Feeds:
Posts
Comments

SOUNDTRACK: MR. BUNGLE-The Raging Wrath of the Easter Bunny Demo (2020/1986).

In 1986, Mr. Bungle released a demo tape called The Raging Wrath of the Easter Bunny.

In 2020, after a reunion tour of sorts, the band rerecorded the album, with some slight personnel changes. Original singer Mike Patton was still there as was masterful guitarist Trey Spruance and bassist Trevor Dunn.  But they had two impressive guests stars (who also performed live with them), Scott Ian (from Anthrax) on rhythm guitar and Dave Lombardo, drummer extraordinaire.

And thus they re-recorded the initial demo.  Fans of Mr. Bungle’s later genre bending work would be a little disappointed because this was pretty much a heavy heavy metal record.  But it is Mr. Bungle so you know there’s gonna be some weird stuff too.

The only song they don’t play from the original is “Evil Satan” which is more or less a goof anyway.

“Grizzly Adams” opens the album with a very pretty guitar instrumental. Spruance really shines with this moody, weird piece.  But even when the full band joins in in the last 30 seconds, it doesn’t prepare you for the heaviness to come.

“Anarchy Up Your Anus” is old school metal–heavy guitars with an Anthrax/Slayer vibe.  There’s even a lengthy scream after the opening drum fills.  This song has an opening narration by Rhea Perlman.  Yes.  Rhea Perlman.  The narration comes from the Chilling, Thrilling Sounds Of The Haunted House Disney album (on the demo they just played the audio from the record).

“Raping Your Mind” is out of sequence from the demo (it was originally song 6).  It continues with the heavy Anthrax-like riffage and some serious drumming.  There’s a cool middle moment where there’s two guitar solos and just bass and drums in the back–there’s some seriously wicked guitar soloing going on.

“Hypocrites /Habla Español o Muere” was originally a longer song, but they decided to shorten it and add this humorous cover of the Stormtroopers of Death song.  The title is mentioned in the first few seconds, then after 30 seconds, the song jumps into a bit of “la Cucaracha” and then segues into “Speak Spanish or Die.”

“Bungle Grind” is really heavy with some classic mosh sections and faster riffage.

“Methematics” is a new song.  It’s a bit more standard heavy metal and not so much early thrash until the double bass drums kick.  There’s lots of parts including a classic punk style in the middle.  This is more akin to the later, adventurous Mr. Bungle, but at 8 minutes it is a little long.

“Eracist” is another new song.  This one is great.  Really catchy with some good old fashion metal riffs and chanted chorus.  There’s a seriously heavy middle section, too.

“Spreading the Thighs of Death” was the third song on the demo.  It’s some good fast thrash with wicked chord changes and massive double bass drum.  There’s some really wild guitar soloing too.

“Loss For Words” is a Corrosion of Conformity cover.  It’s a pretty serious cover version.  Patton’s vocal delivery is even a little different.

“Glutton for Punishment” is another new song that fits into the classic riff an thump thrash.  There’s a whispered vocal part where you can actually hear the words!  And a fascinatingly fiddly guitar solo that left me wondering how he did it.

“Sudden Death” ended the demo and ends this as well.  A heavy chugging riff and super fast thrashing–it’s impressive that they can keep it up for seven plus minutes.  I rather liked the “yes/no” chanting at the end.

This album isn’t for everyone (as most Mr. Bungle albums aren’t).  But it does show off some quality old school metal and some serious skill for a band covering themselves 30 years later.

[READ: March 24, 2021] Zed

I saw this book in Barnes & Noble and fell in love with the cover.  I made sure to look for it at the library and was pretty psyched when it came in.

And I was pleased as soon as I started reading.

Set in the not too distant future, one tech company, Beetle, dominates the world.  I thought that Beetle was pretty inspired name.  It could be Apple (who have a connection to The Beatles, with Apple Records) and it looks a lot like the word Google, although I suppose it is probably closest to being about Amazon–with their online assistant Athena.

Nearly every citizen (the book takes place in London, but Beetle is global) wears a BeetleBand which monitors everything you do–like a Fitbit or Apple Watch on steroids.

It tells you when you are stressed or when you should hydrate or that you shouldn’t have that donut.  Indeed, everything is now really “smart”: fridges, doors, cars.  Everything in your house is monitoring you. And everyone has a Veep, a personal assistant who does everything for you (except for physical things, since it has no body). You pay for all the best stuff in Beetle bucks–the cryptocurrency that replaced actual  money as the dominant currency.  If you didn’t convert your pounds, euros or dollars, when the rate was good, you’re just stuck.

When the book says everyone, it’s really mostly everyone. There are some people who can’t afford such extravagance.  People who don’t work for Beetle get paid in regular money which isn’t very useful.  There are also neo-Luddites who want nothing to do with Beetle.  But they are carefully monitored by Beetle.

Most people work and communicate in a virtual world with avatars that are some version of themselves.  And most importantly, every person has a Lifechain–the algorithm that determines the longevity and happiness you should experience.  This predictions are pretty much never wrong and everyone uses them to judge people–employers, police, etc. Everything you do, every decision you make changes our Lifehchain, which changes you likelihood of doing x y or zed. Continue Reading »

SOUNDTRACK: MILEY CYRUS–Tiny Desk (Home) Concert #161 (January 28, 2021).

I’m quite torn about Miley Cyrus.  I respect her individuality and her desire to push boundaries (and her Happy Hippie Foundation [created to rally young people to fight injustice facing homeless youth, LGBTQ youth and other vulnerable populations] is pretty great).  But sometimes I don’t always love her choices.

In all that time I’ve never given much attention to her music.  She was a pop singer (or worse, a country singer) and that was that.

Now, after getting mixed up with The Flaming Lips, who even knows what she’s up to.

For her Tiny Desk Concert (I can’t believe it’s barely over 11 minutes when so many other have done them over 20) she has built a tiny room, complete with a bed and a window and posters on the wall.  The room itself is probably three feet high and Miley, bedecked in a fascinating array (fake, one assumes) furs an leopard skin pants and a big hat and glasses.

The blurb gives rather an extensive narrative to Cyrus’ video

Here, the scene opens with Cyrus, dressed head to toe in rock-star faux fur, in what looks like a teenage girl’s bedroom. But the perspective in this pink-and-purple space feels a little … odd.  As Cyrus sings, it becomes clear that this is her Wonderland – like Alice full of magical cake, she’s grown to exceed her surroundings. By the end of this three-song set, Cyrus reveals that it’s the adolescent enclave that grew too small for her, not the other way around.

That give a lot of credit to a little video.  But whatever.  First she lounges on her bed and sings a pretty intense version of Mazzy Star’s “Fade into You.”

The original was pretty chill (and maybe a little boring) and Miley inject some powerful screams in the middle and her voice gets all raw.  It adds some drama to an otherwise chill song.  Or as the blurb says

a hazy psychedelic anthem that she infuses with just the edge of the next day’s hangover.

Up next are two songs from her latest album.

The two songs from Plastic Hearts that follow are her own bids at classic-rock timelessness.

In “Golden G-String” Cyrus assesses her own life in the spotlight with Leonard Cohen-esque charm.

She takes off her coat and hat (the video ifs filmed from different angles and there’s some overlapping edits.

This song is really quite catchy.  I think Id like to hear the album version.

And “Prisoner” is the power ballad that lets Cyrus really break out – as she leaves the tiny room — just a box, it turns out, on a soundstage – and joins her band,

Her poor band is never really on camera. It pans around a little before prisoner–you see some hands and some hair of Stacy Jones: drums; Mike Schmid: keys; Max Bernstein: guitar; Jamie Arentzen: guitar and Joe Ayoub: bass.

“Prisoner” sounds like a classic rock song-maybe from Heart or Fleetwood Mac.  This album is getting some good accolades and I might just have to check it out.

[READ: March 18, 2021] I Text Dead People

We brought this book home from the library for my daughter, but I found myself reading and (sort of) enjoying it.

Annabel Craven and her mother have just moved from Sacramento to this small town.  They moved because Annabel’s Uncle died and left his house to them.  Since they lived in a tiny apartment in Sacramento, her mom figured it was a step up.  Except that their new house is actually a creepy old “haunted” house that is adjacent to a cemetery.

On her first day of school, Annabel took a shortcut through the cemetery where she found a phone.  She had recently broken her phone and her mother was trying to teach her the value of things by making her save up for a new one.

Obviously, she will return this found phone to its owner, but until then, it might be nice to be able to communicate with people  Sadly, the phone has no power so she couldn’t locate its owner anyhow. Continue Reading »

SOUNDTRACK: LOUS AND THE YAKUZA-Tiny Desk (Home) Concert #168 (January 27, 2021).

If I listen to a few Tiny Desk Concerts in a row, it can get pretty dull hearing the same more or less generic pop music (the bar has been lowered I’d say for Home Concerts).  So it’s really nice to hear something different.  Like vocals in French!

Lous — an anagram for “soul” — is Marie-Pierra Kakoma, a 24-year-old artist based in Belgium but born in the Democratic Republic of the Congo.  Lous and The Yakuza perform a Tiny Desk from the Book Bar in the Hôtel Grand Amour in Paris.

“Dilemme,” her 2019 single, opens the set.

The song conjures up images of growing up in the Congo and Rwanda: “Living haunts me, everything that surrounds me made me mean,” she sings in French. Her songs are often set to Congolese rumba rhythms, filled with resilience, beauty and resistance.

I just love the way the chorus ends with a choruses and echoed “na na na na” (or “non non non non”) as Ayelya Douniama and Myriam Sow sing along and harmonize.

“Bon Acteur” opens with some sharp drums from Jamiel Blakeand and then gentle keys from Joseph Nelson while Lous kind of raps–quickly–in French. It is pretty sweet.  The song has a slower soft jazz feel at the end.

Up next is her favorite song on the album “Dans La Hess” means “being broke” ’cause that’s what I used to be.  “It’s over now because we’re shining.  Some black girl magic.”  The song has a soft bounce with some slightly funky five-string bass from Swaeli Mbappe.

And while the music is smooth, upbeat and warm, what lies beneath in Lous backstory, in her French lyrics, is, at times, deep and disturbing.

She came to Belgium because her family escaped war in the Congo. They were refugees.  These songs from her 2020 album, Gore, are steeped in a life that saw her mother imprisoned in the Congo for being Rwandan, then become separated during their escape to Belgium. They were eventually reunited, but Lous was a troubled teen and spent a period of time adrift before pulling her life together in pursuit of music and art. There’s much to uncover and discover here. This Tiny Desk (home) concert is a deep journey.

“Solo” is a quieter ballad with just washes of keys and her voice for the first half of the song.  Eventually the bass and drums come in, but they stay quiet accenting her wonderful voice.

She thanks everyone and then speaks in French to introduce “Amigo.”  This song feel more tense than the others.  There’s a wicked drum beat (mostly rims) and a sliding funky bass that counterpoints the swirling keyboard chords.

It’s fascinating not knowing what she’s saying and honestly being unable to tell what the tone of the lyrics are meant to be (if she is playing music that’s contrary to the lyrics, I’m a total loss).

“Amigo” feels very dancey with nice backing vocal but the highlight is the moment in the middle where it’s just the keys and her spoken word.  Who knows what she’s saying, but it sounds great.

[READ: March 20, 2021] “Seven”

I don’t often think that short stories published in the New Yorker are actually excerpts from future novels.  I’ve got it in my head that these are all short stories.  Which is patently false.  Although it doesn’t say anywhere on the page whether it is or not, so I simply don’t know.

What has happened many times is I’ve felt that a short story had a poor ending only to find out it wasn’t an ending, just a part of a whole.

So I’m assuming that this story is part of a much greater story because otherwise the ending is a total fizzle.  And yet the story felt like it could have been a short story–the detail wasn’t extravagant (the best sign that it’s a part of a novel is if it seems like there is too much detail).

This story is fairly simple, so far.  A Haitian immigrant is living in New York.  It has been seven years since he has seen his wife.  We learn a little later that they were married for exactly one day–as a binding agreement–before he left for New York.

He had been trying to get her a visa and it took over six years (hence the title “Seven”). Continue Reading »

SOUNDTRACK: SEVANA-Tiny Desk (Home) Concert #159 (January 26, 2021).

I had not heard of Sevana, although she is a member of Protoje’s In.Digg.Nation collective

“If You Only Knew” is a pretty pop song.  I enjoyed the way the music dropped out and there wa s quiet drum fill Mark Reid.

This concert was filmed at the Kingston Creative Hub back in September 2020 (the interludes you’ll hear about the pandemic are reflective of that time).

The second song “Blessed” opens with gently picked guitars from and Nicolas Groskoef and Almando ‘Mundo Don’ Douglas who also both play solos throughout Almando first, Nicolas later in the song.  It sounds like a Santana song and is an example of her

jumping delicately between traditional R&B, Caribbean gospel and soul, with touches of reggae interspersed.   On “Blessed,” an infectious ode about the miracle of life and faith, she welcomes us with open arms into her church and demonstrates the wide range of her multi-octave voice.

“Be Somebody” has some interesting sound effects and vocal samples from Jean-Andre Lawrence and washes of keys from Rhoan Johnson.

She closes out the four-song set with her most recognizable tune, “Mango,” a dancehall-influenced love song.

I would have thought this dancehall song would be more of a banger, but aside for some quietly pulsing bass from Kawain Williamson, the song is pretty mellow.

[READ: June 3, 2019] “A Dream of Glorious Return”

This is an excerpt from Rushdie’s novel Fury which I have not read.  The thesis sentence comes fairly early though.

Life is fury, he’d thought.  Fury–sexual, Oedipal, political, magical, brutal–drives us to out finest heights and coarsest depths

It concerns professor Malik Solanka, a fifty-five year old retired historian of ideas.  He is presently living in Manhattan, although that is a recent change in his life.

He seemed to mostly want to be a solitary man–celibate by choice–ignoring those around him.  Like his neighbor, that damn Mark Skywalker who asked if the slogan “The sun never Sets on American Express International” would seem offensive to Britons.

The novel really sets the time and place quite well–current movies, the election (“unlovable presidential candidates (Gush, Bore))” and the talk of Cuban refugee Elian Gonzales.

The phone rings and it is his wife Eleanor in England.  She complains that their son is ill and he doesn’t seem to care.   But more importantly

without a scrap of credible explanation you walked out on us, you went off across the ocean and betrayed all those who need and love you most.

He thinks back to how they met and how he had fallen in love with her voice.  Fifteen years ago when he phoned a publishing friend, Eleanor had answered and he was smitten with her voice–asking her out for dinner that evening.

So how could he leave her and his child?  One night

he sat in the kitchen, in the middle of the night, with murder on the brain: actual murder, not the metaphorical kind.  He’d even brought a carving knife upstairs and stood for a terrible, dumb minute over the body of his sleeping wife.  Then he turned away, slept in the spare bedroom, and in the morning had packed his bags and caught the first flight to New York

He had left his first wife Sara earlier in a less dramatic fashion.  They married too quickly and felt trapped almost immediately.

He reflected back to his childhood in Bombay when Mr Venkat, the big-deal banker whose son Chandra was the ten year old Malik’s best friend

became a sannyasi on his sixtieth birthday, and abandoned his family forever, wearing no more than a hand-hewn loincloth, with a long wooden staff in one hand and begging bowl in the other.

He would never return.

This story could go in many directions from here.

[CANCELLED: March 24, 2021] Ratboys / Another Michael [rescheduled from September 9, 2020]

indexIt looks like Johnny Brenda’s is simply cancelling everything through the spring.  Which makes sense.  I’m glad they have a restaurant downstairs to keep them going, because it’s one of my favorite venues.

This date seemed to have been scheduled and then immediately moved with little fanfare.  There is evidence online that this show was planned.  But it has quietly  been moved to March of next year.

I really like the new Ratboys record Printer’s Devil. It’s got a lot more rocking sound than their earlier albums.

The guitars are more distorted.  The drums are louder and Julia Steiner’s voice seems a bit bigger.  But they still have a pop sensibility.  They seem liked they’d be fun live.

I could have seen Another Michael open for Pinegrove at House of Independents.  I picked a different night with a different opening band.  They play a kind of mellow indie rock with lead Michael’s vocals veering into R&B styles.  They don’t exactly seem to go together, but maybe it would work.

 

SOUNDTRACK: MARCO BENEVENTO-Me Not Me (2009).

This album (Benevento’s second) with the confusing title is actually a (mostly) covers album.  Marco takes some familiar (to me) and some unfamiliar (to me) songs and turns them into instrumental versions using piano (and more), bass (from Reed Mathis) and drums.

The first song is My Morning Jacket’s “Golden.”  The melody is instantly recognizable and bouncy and fun.  Matt Chamberlain provides drums, which are skittery and complicated but never loud. Until the end when the songs starts to float away with trippy synths and some wild drumming.

“Now They’re Writing Music” is an original piece that switches between synth and piano and features Chamberlain and Andrew Barr on drums.

“Seems So Long Ago, Nancy” is a Leonard Cohen song.  It’s produced as if it’s on an old scratchy record with echoing bass and drums over the scratchy piano.  Barr is on drums.

“Mephisto” is an original, a slow jazzy number with a hummable melody and Chamberlain on drums.

“Twin Killers” is a Deerhoof song.  Appropriately, it has some riotous drums (from Barr who is on the next two songs as well).  It’s longer than the original because it features a cacophonies middle section that is just insane.  But Benevento’s faithful reproduction of the melody line makes this really catchy.

“Call Home” is a pretty lullaby.  It’s an original with soft keys and a baby cooing.

“Heartbeats” is the Jose Gonzales/The Knife song.  The main low riff sounds like its on the bass and then Marco plays the familiar lead melody with all kinds of fuzz thrown over the song.

“Sing It Again” is a mellow song from Beck off of Mutations.  I don’t really know it that well but this version is very pretty and simple.

A highlight of the album is this really fun version of Led Zeppelin’s “Friends.”  It’s immediately recognizable and yet different somehow.  Its full of raucous paying from all three especially when Benevento ads the sinister synths near the end.  Chamberlain plays up a storm on the drums.

The final song is George Harrison’s “Run of the Mill.”  I don’t know the original, but this is a jazzy song with lot of piano runs from Marco and some restrained drumming from Chamberlain.

This is a pretty solid introduction to Benevento’s music, although his albums definitely get better once he starts writing his own songs with words.

[READ: March 14, 2021] “Surrounded by Sleep”

Ajay was ten years old.  His family lived in Queens (having moved from India two years earlier).  He and his older brother, Amam, were in Virginia visiting his aunt and uncle.  One morning Aman was swimming in the pool.  He dove in and hit his head on the cement bottom.  He was on the bottom of the pool for several minutes before anyone noticed.

His parents were not terribly religious, but as Amar lay in a coma in the hospital, his mother began to pray regularly.  She also prostrated herself and fasted.

At first Ajay thought “her attempts to sway God were not so different from Ajay’s performing somersaults to amuse his aunt.”  Then Ajay knelt before the altar and drew in the carpet an Om, a crucifix, a Star of David and the Superman logo.

When his mother saw him praying, she asked what he prayed for.  He told her for a 100 on his math test. His mother said “What if God said you can have he math grade but then Aman will have to be sick a little while longer? …   When I was sick as a girl, your Uncle walked seven times around the temple and asked God to let him fail his exams just as long as I got better.”

Ajay replied, quite rightly, “If I failed the math test and told you that story you’d slap me and ask what one has to do with the other.” Continue Reading »

SOUNDTRACK: JLCO SEPTET WITH WYNTON MARSALIS-Tiny Desk (Home) Concert #163 (February 2, 2021).

I was looking for some era-appropriate music for this post, then I saw this Tiny desk from Wynton Marsalis which hearkens back to big band but is very contemporary (just like this story).

Marsalis has been writing music about democracy and the call for justice for decades. “I hope that the social and political corruption and turmoil of these times cast a light on the individual investment required to maintain a libertarian democracy,” he wrote on his blog in January. “May the events of these times inspire us all to engage even more deeply in the rights and responsibilities we have as citizens.”  Wynton Marsalis and the Jazz At Lincoln Center Orchestra Septet recorded their Tiny Desk (home) concert at Dizzy’s Club, or what they call “the house of swing.”

The first of the three pieces is called “Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters),” a six and a half minute instrumental that  features tasty solos from just about everyone.

“Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters),” [is] a bold statement about humanity and the consequences of racism. Marsalis says this piece — as well as the rest of the music on his new album, The Democracy! Suite — deals with the timeless human issues we see exacerbated during the times of the pandemic, like social challenges and matters of the heart.

It’s got a big swinging intro and then things settle down for individual moments.  First Walter Blanding plays a grooving tenor saxophone solo.  Wynton takes a bright trumpet solo.  Carlos Henriquez gets a little upright bass solo action and has a little back and forth with Obed Calvaire on drums.  I often wonder if these solos are written out, or if they follow a general guideline or if they are all improvised.

After a return to the main melody, Ted Nash gets a very different sounding alto saxophone solo after which Elliot Mason plays a ripping trombone solo.  Dan Nimmer plays a slightly dissonant piano solo before the band returns to the main theme and brings it all home.

The next two pieces of the suite run uninterrupted into each other.

“Deeper than Dreams” is a reverential piece Marsalis wrote for those who have lost loved ones during the pandemic. Marsalis … lost his father, the legendary pianist and jazz patriarch, Ellis Marsalis, to complications from COVID-19 last spring, and [he] speaks affectionately of “the times when our old folks come and sit with us in the spirit realm when we are sleeping.”

This piece starts slow and swoony. This time the solos are more duos.  With Marsalis and Nash playing together, then Blanding and Mason going back and forth and finally a piano and bass moment for Nimmer and Henriquez.

To close, “That Dance We Do (That You Love Too)” is playful and funky and inspires a hopeful message, one that Marsalis says is “for everybody who got out and got down during this time on behalf of freedom.”

This final piece opens up with a funky introduction.  Nimmer mutes the piano strings as he plays a sound that sounds like a guitar.  The bass brings in a funky rhythm and then the horns all go to town.  The biggest surprise comes when Blanding brings out a tiny saxophone that looks almost like a toy and yet he plays a wicked and wild solo on it.

Then Marsalis plays a muted raw trumpet solo–he gets some wild and crazy sounds.

Obed Calvaire never gets a drum solo per se, but his work throughout the songs is always interesting and complex with all kind of nice percussion and rhythm.

This was a really fun set.

[READ: March 15, 2021] Matthew Henson and the Ice Temple of Harlem

I saw this book at work and thought it might be a reprinted Blaxploitation novel.  But in fact, this is an entirely new book.

I also didn’t realize that Matthew Henson was a real person.  I’m embarrassed not to know that but I see that it was almost by design that I didn’t know who he was.

Henson was an American explorer who was one of the first people to reach the geographic North Pole.  He was essentially partners with Robert Peary on several voyages to the Arctic over a period of 23 years.  [I’d never heard of Peary either, so I didn’t feel too bad about not having heard of Henson].  But unsparingly, upon the success of reaching the North Pole, it was Peary who received the accolades and Henson was dismissed as his helper or even his servant.  Henson received nothing for his work and wound up languishing until many years later when his work was finally recognized:

In 1937 he became the first African American to be made a life member of The Explorers Club; in 1948 he was elevated to the club’s highest level of membership. In 1944 Henson was awarded the Peary Polar Expedition Medal, and he was received at the White House by Presidents Harry Truman and Dwight Eisenhower. [He died in 1955].  In 1988 he and his wife were re-interred at Arlington National Cemetery. In 2000 Henson was posthumously awarded the Hubbard Medal by the National Geographic Society.

So that’s the background.

In this story, Henson has come back from his expedition and has been making a name for himself as a kind of hero for hire.  It’s a wonderful conceit and a great way to get attention for a man who deserves more name recognition.  Also very cool is that the book includes Bessie Coleman, (the first African American and Native American woman to earn a pilot’s license–although she had to go to France to earn it since America wouldn’t give her one). Continue Reading »

SOUNDTRACK: THE MOTHERS OF INVENTION-“Trouble Every Day” (1966).

Frank Zappa and the Mothers of Invention would play all kinds of music over the course of their existence (even more genres added when Frank went solo).  It’s not even entirely clear how you’d describe their first album Freak Out!

This song opens up side three of the double album and is a bluesy song based around a four note (and one bent note) melody and includes harmonica solo.  The song runs almost 6 minutes long and doesn’t change much until after about five and a half the tempo increases dramatically until the song fades.

It was written after the Watts Riots.  It was an accurate description and also sadly prescient.

Right in the middle of the song Frank states:

Hey you know something people I’m not black But there’s a whole lots a times I wish I could say I’m not white

That seems like it was a pretty powerful thing to say (and something you’d be unlikely to hear on the radio) back in 1965.

The chorus sticks with us

So I’m watchin’ and I’m waitin’
Hopin’ for the best
Even think I’ll go to prayin’
Every time I hear ’em sayin’
That there’s no way to delay
That trouble comin’ every day
No way to delay
That trouble comin’ every day

He certainly predicted the state of 24 hour news

Well you can cool it, You can heat it…
Cause, baby, I don’t need it…

Take your TV tube and eat it
‘N all that phony stuff on sports
‘N all THOSE unconfirmed reports
You know I watched that rotten box
Until my head began to hurt
From checkin’ out the way
The newsmen say they get the dirt
Before the guys on channel so-and-so
And further they assert
That any show they’ll interrupt
To bring you news if it comes up
They say that if the place blows up
They’ll be the first to tell
Because the boys they got downtown
Are workin’ hard and doin’ swell,
And if anybody gets the news
Before it hits the street,
They say that no one blabs it faster
Their coverage can’t be beat

Things haven’t changed since this song was written

And it’s the same across the nation
Black & white discrimination
They’re yellin’ “You can’t understand me!”
And all the other crap they hand me
In the papers and TV
‘N all that mass stupidity
That seems to grow more every day
Each time you hear some nitwit say
He wants to go and do you in
Because the color of your skin
Just don’t appeal to him
(No matter if it’s black or white)
Because he’s out for blood tonight

Perhaps the theme verse for recent events

Don’t you know that this could start
On any street in any town
In any state if any clown
Decides that now’s the time to fight
For some ideal he thinks is right
And if a million more agree
There ain’t no great society
As it applies to you and me
Our country isn’t free
And the law refuses to see
If all that you can ever be
Is just a lousy janitor
Unless your uncle owns a store

It’s a shame this song still resonates.

[READ: March 22, 2021] Parable of the Sower [2024-2025]

I found Kindred to be an enjoyable (not exactly the right word, I know) novel.  I thought the premise was really cool and I thought the content was impactful and was conveyed really well.  It was a powerful story that did not shy away from brutality.

But it in no way prepared me for Parable of the Sower.

I didn’t know anything about this book at all before starting.  At first I thought it was neat that it was set in 2024 (hey that’s so close!)  And that, coincidentally, myself and my daughters are almost the same ages as the main character and her father (will this be our future?).

But then, holy crap, Butler doesn’t hold back.

The brutality of Kindred was based on reality.  It was horrible and, in retrospect, hard to believe that people could do such things.  The brutality of Sower, however, is all based on the future projection.  The book was written in 1993. Basically, she posits that in 30 years, America has become a rotting hellscape.  And while we haven’t reached quite the levels that she imagines, there are some pretty eerie accuracies.  I have to assume, given the natural of the elected politicians, that some things are going to get very very spookily prescient.

The book opens in 2024 with a quote from Earthseed.  We don’t know what that is yet, but by the end of this week’s read we’ll learn that Earthseed is a sort of manifesto written by the main character, Lauren Oya Olamina–I didn’t realize her name was given after the first quote from Earthseed until looking back on it.  Each chapter has another quote from Earthseed and then the story unfolds as a series of diary entries. Continue Reading »

SOUNDTRACK: KISHI BASHI-“Honeybody” (2016).

I love Kishi Bashi and am always excited to see him live and to hear new music from him.

Much like the story, this song is remarkably cheerful and happy.  It feels different and special in Kishi Bashi’s canon.  All of the Kishi Bashi elements are there: strings, looping, soaring vocals, but there’s a few novel moments as well.

The chorus, for instance has an island feel.  The way he sings “Maybe sipping a Coca-Cola with me, babe” you can feel your feet in the sand.

But first there’s an orchestral string opening, following by some manipulated pizzicato plucking and Kishi’s singing

Then the chorus

Cause everybody wants a Honeybody someday
Mama said they don’t grow on them trees easy
Hands down on the ground
I’m begging you to please, Honeybody, please me

Followed by some lovely soaring oooh oooh oohs in the post chorus.

The song seems like it could just end with another repeated chorus, but after the post chorus, the song shifts gears to a buzzy synth sound.  The song turns vaguely electronic with a soaring violin as he sings the chorus to a new melody.

Delightful happy music. #stopasianhate (I mean, really, knock it off).

For a delightful twist on the song, check out this version with the Nu Deco Ensemble

[READ: March 13, 2021] “Honey Pie”

Most of Murakami’s stories are abstract or, at the very least, kind of puzzling  There’s usually some vaguely supernatural element to them that you’re never sure exactly how to read (and it usually doesn’t matter because the story is good.)  This story, which like most of the others was translated by Jay Rubin, is it only the most straightforward story of his that I’ve read, it is one of the most beautiful.

The story begins with a man telling a little girl a story.  The story is about Masakichi the bear, the all time number one honey bear.  The girl, Sala, asks many questions about the story–good, thoughtful questions (“Can bears count money?”).  The storyteller, Junpei, loved the girl and the questions.  The questions helped him to guide the story that he was making up.

Junpei was a professional writer, but these storytelling gigs were for his best friend Sayoko and her child Sala.  Sala had been having some terrible nightmares ever since the earthquake hit Kobe.  They don;t live near Kobe, but tit’s been on the news every day.  Sala fears that the Earthquake Man is in the house and she can’t settle down until she checks every single possible place in their house.  Finally Sayoko called Junpei because he stays up all night writing anyway. Continue Reading »

SOUNDTRACK: PICTUREHOUSE-“Sunburst” (1998).

Picturehouse drummer Johnny Boyle was in the Irish Drummers book.  I was unfamiliar with them, but apparently they were pretty huge back in the late 1990s (at least in Ireland).  Boyle played on this album (Karmarama) and the follow up.

“Sunburst” was apparently all over Irish radio when it came out.  After a fun opening drumfill, this song falls into a gentle indie rock vein.  There’s some lovely harmonies, some nice gravelly vocals from singer Dave Brown and a big soaring “what a day” chorus.

The end of the song bops along on series of bah bah bahs and and a tasty fuzzy guitar solo.

It’s a delightful jangly pop song and was understandably a big hit

[READ: March 15, 2021] “Girl with Lizard”

I was sure that I had read this story, or something like it, before.  But this is the first story by this author that I have read.  This story and the resulting short story collection Flights of Love were translated by John E. Woods.

The story concerns a boy and a painting.  It was a painting of a girl looking at a lizard on the beach.  His mother and father called it “The Girl with the Lizard” and his mother referred to the girl in the painting as “The Jewish Girl.”  The painting played a large role in the boy’s childhood.  He napped under the painting every day during nap time.  He became very familiar with the details of the painting, which had a pride of place in his father’s office.

He became so familiar with it that when asked to describe a painting in detail for school, he was excited to write about this one.  He stared at the painting and took in all the details. He marveled that when he was little he had to look up at the girl and now that he was older the two were at eye level with each other.

His father admired the essay but told him that the painting was very important and it would be much better if people didn’t know they had it.  He said it was valuable and din;t want anyone to steal it.  He refused to say anything more about it and over the boy’s life, he never learned the provenance of the painting,  But his father certainly believed it was valuable. Continue Reading »