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Archive for the ‘Yuck!’ Category

[LISTENED TO: December 2016] Nightmares! The Sleepwalker Tonic

2I though the first Nightmares! book was great.  I had listened to both of these books before, but what was fun about listening this time is that the end of book one gives a little hint at what book two would be about.

Towards the end of Book One, the story tells us that Charlotte’s business was doing well, although a new store had opened up in the next town and was also doing very well–possibly taking away her customers.

And that’s essentially what book two is about.  (No, not about small town commerce).

But let’s back up.  In book one, Charlie Laird and his three friends Paige, Alfie and Rocco prevented the evil president of the Netherworld from taking over the waking world.

Back up some more.  Nightmares aren’t bad.  They are there to frighten us, yes, but their goal is for us to face our fears and come out stronger.  They don’t want to hurt any of us. But the nightmares have an enemy–the goblins.  The goblins have been forced out of the nightmare realm never to return.  And they are constantly trying to get back into the Netherworld. (more…)

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[LISTENED TO: Summer 2016 & November 2016] Nightmares!

nightmresI loved Jason Segel on How I Met Your Mother.  I loved that Jason Segel was instrumental in bringing The Muppets back to the big screen.  And now I love that Jason Segel has written a series of really enjoyable–funny and frightening–children’s books.

This book is about–wait for it–nightmares.  But not in the way that you might expect.  Segel (and Miller–I have no idea how much she contributed to the book) have created a realm where Nightmares live.  It is a wonderfully realized and very well thought out world.  And I am really impressed with how well the whole story works.

It is the story of Charlie Laird.  Charlie is a pretty normal kid.  He does okay in school, he has friends, his family loves him.  But three years ago his mom died unexpectedly.  It was a harsh blow to him and his family.  Charlie has never really gotten over it.  And what has made it especially tough is that Charlie’s dad recently got remarried.  Apparently he got over it just fine.

If that weren’t bad enough, Charlie’s family moved from his old house–the house he grew up in and loved–into the mansion on the hill.  Not a far move–still in the city of Cypress Creek–but worlds apart from what he was used to.  Or what he wanted.

The mansion has always been there in town. It is huge and…it is purple.  It towers over the whole town–you can’t avoid looking at it–and it has always been rather creepy.  It was built a long time ago by Silas DeChant, and it has been in the DeChant family ever since.  So it makes sense that Charlie’s new stepmother, Charlotte, who is a DeChant, would want to live there.

But Charlie hates it  And he hates Charlotte, and he hates anything that tries to get him to see reason about his horrible stepmonster (I didn’t like the lazy use of this term, but it is rather appropriate). (more…)

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[LISTENED TO: June 29, 2016] No Girls Allowed (Dogs Okay) 

Scab McNally is a clever fourth-grade kid who is always inventing things. But he’s also kind of selfish and pretty mean to his sister.  Isabelle is his twin but because she really uses her brain (She is smart times ten) she has been bumped up from 4th grade to 5th grade.

Isabelle doesn’t understand Scab’s brand of cleverness (and mischievousness) and so she writes a daily news report about all of the things that Scab has done to her (and done at school) through the day.  She reads this to her parents every night.  It’s pretty hard for Scab to catch a break at this point.

But obviously, the more Isabelle tells on him the more things he does to her.  He puts cheese in her underwear drawer and dead bugs in her room.

This is all some background to the fact that more than anything else Scab wants a dog.  (There seem to be a lot of books about kids who desperately want a dog).  Scab’s best friend has a dog, Oscar–a wiener dog.  And Scab is super jealous but always happy to help out with Oscar.  Of course, since Isabelle is always attaining on him, his parents don’t think he is responsible to own a dog. (more…)

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[LISTENED TO: April 15, 2016] Stink: the World’s Worst Super-Stinky Sneakers & the Great Guinea Pig Express

T. was listening to this book in her room and I said, hey, that’s Bart Simpson.  And indeed, the book was being read by Nancy Cartwright, the voice of Bart (as well as Nelson, Ralph, and dozens of other minor characters).  The next day we went on a car ride and she asked to listen to the stories.  So we did.  I heard the end of the Guinea Pig story and then all of the sneaker story.  Well, I couldn’t have a half finished story in my head so I had to listen to the beginning of the guinea pig story too, and call it all finished.

I knew of Stink from the Judy Moody books.  Stink is Judy’s younger brother (and she’s pretty awful in these books.  I don’t recall if she was awful in her own books).  But that could just be because this is about Stink and not her.  We learn how Stink got his name: Judy started singing a song about him in which stink was the chorus.  And it just stuck.

Stink goes by Stink in school and elsewhere.  And apparently he has a super duper sniffer (this may just be a coincidence and not a side effect of being called Stink).  (more…)

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 SOUNDTRACK: GABRIEL GARZÓN MONTANO Tiny Desk Concert #623 (May 26, 2017)

I have no idea who Gabriel Garzón Montano is.  The blurb suggests that even if I don’t know, others certainly do.

I was, admittedly, thrown for a loop when Gabriel Garzón-Montano told me that he wanted to perform unaccompanied, just him and a piano. The meticulousness of his work is clear on his debut album, Jardin, a three-year creative process in which Gabriel plays most of the instruments, tracking them to two-inch tape, layering its overall sound. Jardin takes its title as an umbrella; fruits, bugs and other plants are the driving metaphors tying together this dense work, which blooms over successive listens. Garzón-Montano doesn’t necessarily wear his heart on his sleeve — he forces you to listen and peel the layers back.

Garzón-Montano’s career trajectory veers wide — living with Philip Glass for a year while his late mother played in the composer’s ensemble, sitting under the minimal maestro’s piano as he practiced; Lenny Kravitz making possible his first tour experience; while Drake exposed Gabriel’s sound to the masses.

That decision to go it alone at the Tiny Desk made sense, though, the moment he started to play; his talent is left elegantly exposed in this unadorned performance. He says his visit to the Tiny Desk “with just piano and vocal reminds me of what is lost when a song is fully produced and arranged — it was an exciting and vulnerable experience. I was nervous for this one.”

Here then, are three songs from Jardin, along with the song that introduced Gabriel to the world… laid bare.

When I listened to this the first time I thought he played 2 longish songs but indeed, there are 4 shortish songs.

I really love the piano sound he gets but the r&b style of pop singing is not my thing and so many “babys.”

I singled out a few things in the songs.  The line in “My Balloon” “I’ll get back on my balloon and meet my baby on the moon” I find endearing even if it is kinda dumb.  I enjoyed the way “Long Ears” came seamlessly from the first song.  It starts with a high note and falsetto vocals. It’s much more interesting than the first song.  And the second half of “Long Ears” is quite interesting, almost dissonant–although I could do without the you you you section.

I thought the first line of “6 8” was “fuck me real slowly,” which was disconcerting.  Especially since a later line was “I’m just like a baby drooling over you.”  But I believe it is “rock me real slowly.”  It segues cleanly into the final song, “Crawl.”  I think he stars in the same falsetto but then switches to a deeper voice.  I love the bouncy middle section that sounds like a musical.  Although once again there’s too much oo ooo ooo ooo.

All of those vocalizings sound especially flat during an under produced occasion such as this.

[READ: April 26, 2017] “You Are Happy?”

This story was fairly straightforward, but it opened up a cultural aspect that I had no idea about.

The main character is Laskshman, an Indian boy living in the United States.  As the story opens, we see Lakshman’s grandmother telling Lakshman’s father that he should break his wife’s arms and legs to prevent her from getting to the bottle.

Lakshman’s mother is an alcoholic, and, apparently, there is no greater disgrace for an Indian woman.  At parties–parties that were usually segregated–she often joined the men and drank and gave her opinions, to the disgust of all present.

She had begun drinking was Lakshman was 8 and they moved to America.   But by the time he was 9 she was drinking during dinner.  When he turned 11 she was drinking during the day.  His father had had enough.  He stated matter of factly that she was a drunkard.  Their marriage had been arranged and they never grew to love one another.  This certainly didn’t help. (more…)

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SOUNDTRACK: TIM DARCY-Tiny Desk Concert #620 (May 15, 2017).

I really like Darcy’s band Ought, but I don’t really like this solo concert.  In Ought, I find his voice contrasts nicely with the punky music (and his arch delivery of the kind-of-spoken-words if entertaining to me).  But here he’s singing some pretty straightforward songs and I find his affected delivery to be kind of annoying.  The blurb name checks Roy Orbison and I’ve never liked Orbison’s voice either.  So I guess that makes sense

Darcy plays four songs–he’s on guitar for three of them.

“Still Waking Up” is first. He says that “Joan Pt. 1, 2” is more of a rocker on the record but he’s taking it down–wonder if I’d like it more as a rocker?  Musically I like the way it switches gears for Part 2 and I like his voice a lot more for this second part.  “Sledgehammer And The Rose” is a new one.  I like the slinky guitar lines at the end of each verse. For the final song, “What’d You Release?” Toronto songwriter Charlotte Cornfield plays piano (with no guitar).  His voice is a bit deeper on this one and it works pretty well with the slowness of the piano.

But I gather I’d prefer him with his band.

[READ: March 22 2017] “Herman Melville, Volume 1”

The previous Lodato story that I read concerned a young meth addict.  This one concerns a twenty year old homeless girl.

She remains unnamed throughout the story and we learn snippets of her past.  Her father apparently committed suicide recently and she has nobody else.  Her only thought about him is that she hopes someone is watering the grapefruit tree in his backyard.

She had been experimenting with running away–she gathered a lot of her stuff and some money and would head to the Greyhound station.  She would hang out there for a while and then ultimately go home. Then one day Evan was there.  He smiled at her and commented on her skateboard and banjo.  She began to cry and he held her and they have been togetehr for the past seven months.  He has even proposed to her (although nether one has mentioned in since, so who knows if it meant anything).

(more…)

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SOUNDTRACK: SINKANE-Tiny Desk Concert #611 (April 10, 2017).

I’ve heard of Sinkane but I didn’t really know much about them.  Not knowing what to expect, it was really fun to watch this show and see such diversity in the band.

Their music kind of defies categorization, which the blurb addresses:

Sinkane is the music of Ahmed Gallab — and such hopeful music it is. He grew up in London and has lived in Sudan and in Ohio and, these days, New York City. His band reflects his own love for music from around the world; you can hear a great New York jazz band in the rhythms of Sinkane, but you can also hear the influence of Bob Marley and the hypnotic repetition of Sudanese desert sounds.

“U’Huh”is the first song.  Ahmed says “You can help us out with this song you just have to say ‘u’huh.'”  The song is fun right from the bat.  The verses are catchy, with each line ending with “u’huh” (although singing partner Amanda Khiri  looks a little intent as she sings that affirmative line).  Ahmed sings with a surprising falsetto–which plays off against the repeated “u’huh.”

The song contains the Arabic phrase “kulu shi tamaam,” which translates to “everything’s great — it’s all going to be all right.”  And when it gets to the chorus, it grabs hold and won’t let go.

I love that there’s kind of reggae guitars (by Johnny Lam) and a surprising amount of acoustic piano (which you don’t hear all that much in reggae) from Elanna Canlas.  I also love that all of s sudden yo become very aware of all of the percussion, like a small triangle and cowbell and other things.  Those are all played by guest percussionist Reggie Pace from No BS! Brass Band.

“Favorite Song” opens with snaps /claps and a slinky guitar riff, a pulsing bass (Ish Montgomery) and a fun piano melody.  No falsetto for most of the main vocal lines and the great chorus “wont you play my favorite song….”

“Deadweight” has a cool dark riff on bass and guitar and the guitar uses a glass slide as well.  The bass and drums (Jason Trammell) are a great rhythm section.  Ahmed and Amanda sing a duet and they sound great together.  Then the whole band sings together.  I love that the piano plays little melodies that seem to be different from the rest of the song and yet work perfectly.  The guitar solo at the end comes as a surprise but it sounds terrific.

This is a fun, uplifting set from a really interesting band.

[READ: February 1, 2017] “Underground”

I really enjoyed this story quite a bit.  Although, as I think about it more, it almost seems like three unrelated episodes and makes me wonder if this is an excerpt from something bigger.

This is the story of Michael Salter.  Michael is forty-seven.  He’s recently divorced and even more recently come out as gay.  He has three distinct portions to his day.

The first is him at home with his most recent “boyfriend” Jeremy, a twenty-something guy he picked up on Grindr.  Michael is old-fashioned and formal.  He dresses beautifully (and has done so ever since he was little–learning to tie his own bow tie in school).  [There’s an odd line here “Mr. Collins, his Latin teacher, had taught him, and after an hour of practice Michael had the knot mastered along with a boner-size bruise on his backside.”  I have several possible ideas about what this means, but the “boner-sized bruise” just doesn’t make literal sense to me.]

Anyhow, Michael is a fancy older guy and Jeremy is a young stud.  Jeremy posts selfies all day and has thousands of followers.  Somehow this is part of his job.  At seven dates, Jeremy had become Michael’s most serious boyfriend.  And yet Michael is constantly checking Grindr, more in sheer amazement at the technology and the ease of cruising than for actually wanting to do anything. (more…)

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SOUNDTRACK: SAN FERMIN-Tiny Desk Concert #315 (October 28, 2013).

When I first heard San Fermin I was immediately grabbed by the female lead voice (the song was “Sonsick”).  It was so powerful and gripping. I didn’t realize then that the female leads were the lead singers of Lucius (who I also didn’t know at the time).  San Fermin is the creation of Ellis Ludwig-Leone.

Since then I have enjoyed other songs by them as well, although I find that the songs sung by Allen Tate to be somewhat less exciting to me– I feel like his voice could one day hit me as amazing but it’s almost a little to understated for me.  And yet musically I love the orchestration and chamber poppiness.  As Bob writes:

San Fermin’s music bursts with ambition, talent and extreme joy. Its self-titled debut is charged with great storytelling and amazing vocals by both Allen Tate and Lucius singers Holly Laessig and Jess Wolfe. Then there are the arrangements: little gems that turn these songs into cinematic vignettes using trumpet, sax, keyboard, violin, guitar and drums.

San Fermin is the musical vision of Ellis Ludwig-Leone, who wrote these songs with Tate’s dark, rich voice in mind. Here at the Tiny Desk, Rae Cassidy makes the album’s female vocal parts her own.

So it’s interesting that the songs were meant for Tate.  I want just some more oomph from him.  especially here in this set.  And that’s because Rae Cassidy absolutely rules this set.

“Oh Darling” begins with a gentle piano and Cassidy’s pretty, delicate voice.  After a verse from her, Tate’s voice comes in and it’s almost comically low and formal (and actually perhaps a bit too quiet).  But when they all come in and sing it is just beautiful–the women in particular.

For “Sonsick” Cassidy sings lead with just drums.  As the song builds there’s a great chorus where the backing vocals (including Tate) sing in falsetto.  This version is quite stripped down compared to the recorded version and it really allows Cassidy’s voice to shine.  When she hits those incredibly high notes with such power, it gives me chills.

In the final song, “Renaissance!” Tate sings lead over a slow piano and violin.  The women sing backing vocals.  I like the way that the song builds in intensity with more instruments, but his voice is a little too flat for me–although he does kick in extra at the end.

There’s a really stunning version of the first two songs with the band singing live in a street and cafe and France.

Incidentally, Cassidy has since left the band and gone solo, and I wish her much success.

[READ: December 28, 2016] Humans of New York Stories

Sarah got me this book for Christmas.  I knew of Humans of New York, of course, but I wasn’t a follower of it.  So while I knew of it I didn’t really know that much about it.

There’s a brief introduction to this book (which is his second HONY book) in which he explains that HONY grew from five years of experimenting.  It evolved from a photography blog to a storytelling blog.  His original inspiration was to photograph 10,000 New Yorkers.  But then he decided to start including quotes from some of them.

He started interviewing people and found their stories became the real heart of the blog.  Of course, he thanks the community of readers and participants, because without them, he has nothing.

The rest of the book–425 pages–collects the photos and the stories. (more…)

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   SOUNDTRACK: WAXAHATCHEE-Tiny Desk Concert #321 (November 23, 2013).

Waxahatchee is pretty much Katie Crutchfield.  The band recently played a show near me and I wondered if it was a band or just her.

This might be as intimate as hearing Katie Crutchfield sing in her basement. That’s where she and her sister would play guitar, write and sing songs 10 years ago, when she was 14. Katie and Allison Crutchfield had a band back in Birmingham together, The Ackleys; these days, Katie performs as Waxahatchee, while Allison’s band is called Swearin’.

The songs Waxahatchee brought to the NPR Music offices aren’t just stripped down for this Tiny Desk Concert, this is Katie Crutchfield as Waxahatchee, spare and exposed; this is what she does. Sometimes there’s a drummer (her sister’s boyfriend Kyle Gilbride) and at other times another guitarist, her boyfriend Keith Spencer (both play in Swearin’), but even on Waxahatchee’s second album, Cerulean Salt, there are plenty of bare-boned songs. This is intimate music for an intimate setting, as we got to stand in careful silence, listening intently and capturing this frail and powerful performance.

And all of that is true.   These are pretty, quiet folk songs.  They are so quiet it almost seems like she doesn’t have her amp on—you can hear her pick striking against the strings.

To me the power of these songs is in the lyrics, and yet the music isn’t boring or simple either.  Her chords are always, if not interesting, then certainly spot on.  But I keep coming back to the lyrics.  Like the end of “I Think I Love You”

I want you so bad it’s devouring me / and I think I love you but you’ll never find out.

Her speaking voice is quiet too, and after the first song she admits, “This is one of the coolest things I have ever gotten to do.”

“Bathtub” has this wonderfully intense line:

And I tell you not to love me
But I still kiss you when I want to
And I lament, you’re innocent
But somehow the object of my discontent
And it’s fucked up, I let you in
Even though I’ve seen what can happen

The entire Tiny Desk Concert is only 9 minutes–which is simply too short.  I know that the Tiny Desk Concerts usually have bands play 3 songs, but when they are mostly short ones like “Tangled Envisioning” (not even 3 minutes), they could tack on an extra one or two.

[READ: August 30, 2016] Science: Ruining Everything Since 1543

Zach Weinersmith writes the daily webcomic Saturday Morning Breakfast Cereal.  I supported the Kickstarter project for this book because it looked frankly hilarious.  The one thing I have to say off the bat is that I don’t love his drawing style.  There’s something about it that I simply can’t get into.  Even after two full books of these drawings, it just never gels for me.  But that’s fine. because I’m here for the jokes.  And they are awesome.

The book is comprised of the best religion-themes comic from the 13 years that SMBC has been around.  There’s also a whole slew of comics that are exclusive to this book.

We are greeted with this: “For these drawings, the part of God is played by a giant yellow disc.” (more…)

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  SOUNDTRACK: DAUGHTER-Tiny Desk Concert #313 (October 21, 2013).

Daughter is a quiet folk band (at least in this Tiny Desk Concert) in which two acoustic guitars (Elena Tonra and Igor Haefeli) and one drum (Remi Aguilella) play behind Tonra’s gorgeous, angsty vocals.

For all three of these songs, she sings delicate whispered vocals that are quite lovely, but also quite dark.

Like this line from “Youth” “Most of us are bitter over someone / setting fire to our insides for fun.”  I love the way Haefeli’s guitar harmonics sound like keyboards and how powerful the martial drumming sounds when it comes in.

“Landfill” opens with thudding drums (Mallets instead of sticks) which are louder and bigger and yet still feel gentle.  And yet, as the blurb says: The song is “achingly pretty and melancholy, the track builds to an absolute gut-punch of a line — “I want you so much, but I hate your guts” — that conjures a pitch-perfect mix of gloom, desire and hostility.”

They put out an EP and in 2013 released an album:

the lovely If You Leave, but Daughter was kind enough to resuscitate “Landfill” for this stripped-down performance at the Tiny Desk. As you’ll see and hear, that aforementioned gut-punch is a recurring specialty for the band: In all three of these sad, searing songs, singer Elena Tonra showcases a remarkable gift for coolly but approachably dishing out weary words that resonate and devastate.

Between these two songs, Bob asks if this is an awkward place to play, and she responds, “No, we’re just awkward people.”

For “Tomorrow” there is a beautiful ascending guitar melody and loud drums.  I really like the way the guitars play off of each other–even though they are both acoustic, they sound very different and complement each other nicely.  Like in the wonderful melody at the end.  Despite how pretty the song was, apparently she was unhappy with it saying “a bit ropey, that one.”  I hadn’t heard that before, but evidently it means “unwell…usually alcohol related” so that’s pretty funny.

[READ: August 30, 2016] Science: Ruining Everything Since 1543

Zach Weinersmith writes the daily webcomic Saturday Morning Breakfast Cereal.  I supported the Kickstarter project for his book Religion: Ruining Everything Since 4004 BC and this book was part of my funding level.

I was more interested in the religious comics, but I am tickled by how funny the Science comics are.  Weinersmith knows a lot of science (or at least scientists) and make some really funny jokes about the subject.

The one thing I have to say off the bat is that I don’t love his drawing style.  There’s something about it that I simply can’t get into.  Even after two full books of these drawings, it just never gels for me.  But that’s fine. because I’m here for the jokes.  And they are awesome. (more…)

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