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[ATTENDED: June 27, 2019] Sarah Louise

I had heard of Sarah Louise through NPR, although I didn’t know all that much about her.

The NPR page says, “Henson’s career so far has largely hinged on her unmatched prowess as a fingerpicking guitarist. Solo, she’s made a handful of excellent albums of 12-string acoustic guitar music.  But on Deeper Woods, she branches out into all kind of different sounds.”

Having read that she was a master of the 12 string, I was genuinely surprised that surprised that so much of the show was on electric guitar.  (I assume her 12-string prowess is on the acoustic, but I may be wrong).

It was also strange because she didn’t do a lot on the guitar.  The first couple of songs were sparse guitar playing coupled with complex and presumably improvised drumming from Thom Nguyen.

At times she fleshed out her sound with samples, including in this song which was as much about the birds as it was about her guitar playing. Continue Reading »

SOUNDTRACK: IMOGEN HEAP-Tiny Desk Concert #859 (June 20, 2019).

I know of Imogen Heap from a song called “Come Here Boy” that she released way back in 1998.  It was stark and dramatic and somewhat sexual. In short, a quintessential 90s track.

Then she disappeared.

Well, she actually made an album with Guy Sigsworth as Frou Frou.  And then she disappeared a again.

Actually she didn’t disappear at all. She released a song, “Hide and Seek” which was mostly just her singing into a vocoder (and was quite transfixing.  It became a huge hit (which I didn’t know about because I didn’t watch The O.C.).

But in 2011, she started experimenting with these high tech gloves that allowed her to do all kinds of audio manipulation just by moving her hands.

She even says, some people know me because I am interested in block chain technology and some people know me for these gloves.  They don’t even know I make music they just know about the gloves.

But in this Concert, the gloves come last.

Up first is the first song that she and Guy Sigsworth have written together in 17 years.  “Guitar Song” (she tends to leave placeholder names, so that will likely change) is a quiet pretty song with a lot of, yes, guitar from Steve Jones.  It’s a simple melody fleshed out with keys from Sigsworth.  It’s really pretty and very catchy.

Up next is “Speeding Cars” which she says was a B-side that was never released as a single but which her fans really love.  Zoë Keating plays cello and Imogen says she has a terrific album of her own called Snowmelt and she hopes Keating gets her own Tiny Desk someday.  Tim Keiper is on drums and vast array of percussion.  Imogen is on the piano she has an excellent falsetto for this very pretty song.

Then she puts on the Mi.Mu gloves.

Imogen Heap not only has an enchanting voice but also the talents of a world-class audio engineer. She’s completely engrossed in a technology she’s helped to develop, one that makes it possible to alter sounds, create loops and compose tunes all with the wave of her glove-wearing hands. The high-tech gloves, now called Mi.Mu Gloves, were first shown at a TEDGlobal conference eight years ago. Her performances, with her sound-altering arm and hand gestures, resemble a summoning of spirits, a far more compelling live experience than what Imogen said used to look like she was standing behind her laptop checking email.

She gives a lengthy explanation and brief demonstration of these very cool loves.  Then it’s on to “Hide and Seek,” which she had re-imagined for the Broadway play, Harry Potter and the Cursed Child and which she says that if she doesn’t play people throw tomatoes at her.

It really sounds nothing like the original but it is amazing to watch her make the song with her hands waving around.

[READ: June 1, 2019] “The Maid’s Story”

This story introduces us to the Gersons, a family on vacation in a hotel. The husband is small and insignificant. But the wife is larger than life.  Both physically and in personality.

Hannah Kohl, the maid, was taken with Mr Gerson’s red brooch and when she went to clean the room later, she pocketed it.  As she did so, she promised herself it would be the last thing she ever took from a patron.

But Mrs Gershon walked in before the maid had time to close the jewelry box.  She told her it was costume and worth nothing but how could the maid have thought Mrs Gerson wouldn’t notice?

The maid is very apologetic.  She begs not to be ratted out and pleads with the woman.  She says her eight-year-old son has polio (“So did our president, but Eleanor doesn’t go around stealing jewelry).

Mrs Gerson asks where Hannah is from–Wroclaw Poland.  In the camp? No, her father moved them before.  And the hotel owner’s second cousin helped them.  Then Hannah did something unexpected–she opened up to Mrs Gerson about her travels and her life.

Mrs Gerson diagnosed her as a kleptomaniac (she compulsively stile things she didn’t need).  But she was mostly concerned about the boy, Isaac.  She insisted that he receive proper care for his polio  The doctor Hannah’d been going to was an elder in the old country synagogue who showed no evidence that he knew anything about medicine  He said the polio would clear up and go away on its own.

The new doctor was in Manhattan, a lengthy trip for Hannah and Isaac.  Mrs Gerson said they could stay with her family when they traveled in.

The doctor gave many recommendations and said that Mrs Gerson was paying for it all.

The Gerson children were uninterested in Isaac until he told them a story about people dying at the hotel.  They found his story (which was partly made up) to be engrossing.

After dinner Mr Gerson excused himself and left the two women to talk.  Mrs Gerson pulled Hannah on to her lap  She soothed her and stroked her head but soon the stroking became sexual.  This made Hannah very uncomfortable and she froze, enduring the touches which gave her revulsed pleasure.

Hannah and Issac went to Manhattan twice a month.  Each time, the same thing happened.  Mrs Gerson never said anything about it, but it happened nonetheless. It was especially upsetting because Hannah very much liked Mrs Gerson otherwise. She was funny and bold and seemed genuinely interested in their health and prosperity.  And Hannah would put p with anything for Isaac;s welfare.

Soon, Issac was deemed just about normal;–one more visit would do it.

One night, Mrs Gerson revealed that all of their money was her husband’s–her family is as poor as Hannah’s. Nobody least of all Mrs Gerson really understood why Bert chose her.  Plus, he always knew that Mrs Gerson liked girls better.

Bert wants things to be easy.  So Mrs Gerson does everything—raises the kids, takes care of family affairs.

The thing with wives is they can leave. Mothers can’t.

Finally Mrs Gerson declared that she loved Hannah.

Hannah grabbed her things and Isaac and left.

When Hannah returned to the hotel, she was called to the office and informed that a guest said that Hannah had stolen from them.  They had to let her go.

What could Hannah possibly do?

 

[ATTENDED: June 26, 2019] Astronoid

I had not heard of Astronoid until I saw that Frost Giant was playing this show with them.  I actually had tickets to Bad Books this same evening and I posted a poll to see who I should check out live.  Of the 5 replies (including one from someone in Astronoid), 4 said Astronoid.  Sorry Bad Books.

Astronoid are from Boston and they play what has been described as “a buoyant mix of metal, thrash, punk, prog-rock and shoegaze.”  They cite as influences the Norwegian black metal band Emperor and the Danish band Mew (two very different bands indeed).

And all of that is evident in their music and their set.

They played every song from their new album (not in order) and a few from their debut from 2016.  The crowd around me was definitely more excited by the older stuff, but the guy next to me seemed to know every drum part to every song. Continue Reading »

[ATTENDED: June 26, 2019] Infinity Shred

I had not heard of Infinity Shred before this show although it seemed like many people were very excited they were opening.

If you look up Infinity Shred you will find a few genres associated with them: electronic, dance, post-rock.  I saw synthwave and chiptune as describers as well.

I don’t know the last two, but I think they all do a good job of describing this band (although synthwave is pretty amorphous, honestly).

Basically the band is a trio from New York.  Clara Warnaar plays drums.  I was standing in front of guitarist Nathan Ritholz and on the other side of the stage was keyboardist Damon Hardjowirogo.

In addition to their instruments, they also had three bright LED panels.  These panels were synchronized to flash red white or blue.  They each lit up a member of the band (with the drummer’s inside her bass drum.  I assumed they were programmed along with some of the sounds?

Damon introduced the band but his mic wasn’t working so he just shouted.  The band began, the lights started flashing and off they went. Continue Reading »

[ATTENDED: June 26, 2019] Frost Giant

Can you be epic in a tiny space?

If you are Philadelphia’s Frost Giant, the answer is hell yes!

I was supposed to see Frost Giant play with Arkona and Korpiklaani at the TLA, but the promoters put Frost Giant on before the start time of 8PM (!) and I missed their set entirely.

I have wanted to check them out, so when they were listed as playing the Foundry with Astronoid, I figured I’d go.  Even though I didn’t yet know Astronoid.

So I arrived early (just in case) and took my place in front of the stage when the band came out.

I was delighted by Armen Koroghlian’s intense drum kit and Matti Frost’s look.  And then I was impressed by their power.

The band played four songs, starting with the almost lead off track from their new album The Harlot Star. Continue Reading »

SOUNDTRACK: JEREMY DUTCHER-Tiny Desk Concert #851 (May 22, 2019).

I have seen this photo from the Tiny Desk of Jeremy Dutcher in his shiny purple clothes for a month or so now and I’ve been very curious about just what was going on.

I had no idea that he was a First Nations performer or that this performance would be so intense.

Jeremy Dutcher came to the Tiny Desk with sparkling, purple streams of glitter draped around his shoulders. Then he set his iPad on our Yamaha upright piano, not to read his score as pianists do these days, but to play a centuries-old wax cylinder recording of a song sung in the incredibly rare language of Wolastoq.

Dutcher is

a 27-year-old, classically trained opera tenor and pianist. He’s not only a member of the Tobique First Nation in New Brunswick, Canada, but one of fewer than 100 people who still speak — and in his case also sing — in Wolastoq.

The song that used that wax cylinder recording was “Mehcinut” which begins with lovely gentle piano music by some quiet cello.

Jeremy Dutcher, along with cellist Blanche Israel and percussionist and electronics wizard Greg Harrison, wove that old recording into a remarkably passionate performance that was very 21st-century, with a deep nod to a century past.

Then the song jumps into a faster rhythm and the drums are added.  When Dutcher sings he sounds operatic and I assumed that he was singing in Italian.  It’s fascinating to learn that it is in Wolastoq.  Then I heard the old recording play.  I wasn’t watching, so I didn’t know what was happening.  That part is even more interesting to know what it is and the way he has based the song melody around that.

His album Wolastoqiyik Lintuwakonawa from which these song are taken won the 2018 Polaris prize.

“Pomok naka Poktoinskwes” [“The Fisher and the Water Spirit”] opens with more beautiful piano melodies and cello drones.  After a verse or so, he slams on the piano and the song takes off.  The percussion grows loud and heavy with Harrison hitting all kinds of things (acoustic and electronic) with both sides of his mallets and cello sliding up to high notes.

His voice As the song nears the end, he sings into the opening of the piano and you can hear his voice echoing as if from miles and miles away.   It’s outstanding.

His Tiny Desk performance illustrates his deep respect for his heritage, even as he sings through vocal processors and looping devices of the very present.

But more importantly, he stresses awareness of a people nearly extinct, to a culture often too steeped in the present.

Introducing “Koselwintuwakon” he says our earth mother is very sick. She will take care of herself.  But we must build relationships with each other.  These should be built on love and song.  He asks everyone to sing a drone–a symbolic and fun gesture that everyone an partake in.

This is a much quieter piece, with his voice looped.  It is peaceful and feel magical.  Harrison starts bowing something–I can’t tell what it is, but it adds magical sounds and his low thumping drums bring this ethereal song down to earth.

By the end of the piece, all of Dutcher’s voices have been looped and he sits at the piano manipulating the sounds.

It’s an amazingly moving moment and really unites the centuries and the cultures.  One can only hope that he inspires others to learn the language as well.

[READ: June 1, 2019] “Remote Control”

This is an excerpt from an interview on the CBC between Megan Williams and Uri Geller, the Israeli-British psychic who I can’t believe is still alive.

I don’t usually post about things like this but I enjoyed this so much I felt it needed to be posted here.

Geller wrote an open letter and made a “threat of sorts” to Theresa May attempting to get her to stop Brexit. Continue Reading »

SOUNDTRACK: ENSEMBLE SIGNAL PLAYS JONNY GREENWOOD-Tiny Desk Concert #850 (May 20, 2019).

The blurb for this piece is actually by Jonny Greenwood (instead of an NPR staffer), so I’ll keep the whole thing.

I’ve watched a lot of Tiny Desk concerts over the years. It’s good to see musicians in the raw, away from stage lighting and backing tracks — as if they’ve just stopped by an office to play over a lunch break, with desk-bound employees watching on. The performances should expose flaws, but instead they tend to expose musicians being casually brilliant, like the members of Ensemble Signal, who certainly play these pieces beautifully.

Unfortunately, I was nowhere near Washington, D.C. for this recording. And I still find it bizarre that you can put a musical idea on paper and have it reproduced at such a distance — and with such added life. We’re used to sounds and images being shared as exact clones of one another, but the pleasure in using ink and paper is that the music is interpreted rather than just reproduced. All those years of practice, in all those players, distilled into 15 minutes of music. It’s a big privilege — and a continuing motivation to write the best I can.

The first piece, Three Miniatures from Water, was originally a sketch for an Australian Chamber Orchestra commission in 2014. I thought it’d be easier to approach writing for full orchestra by starting with a piano miniature and scaling it up. In fact, only some of the material made it to the final commission, and I always felt the original three miniatures hung together well enough as its own piece of music.

I’m a big admirer of composer Olivier Messiaen, and one of the musical scales he favored was the octatonic mode. It’s a lot like an Indian rag in that it’s a rigid set of notes, yet isn’t necessarily in a major or minor key. There are hundreds of rags in Indian music, but I was surprised to find that Messiaen’s octatonic scale isn’t one of them. Despite this, it sits nicely over a drone — and that was the starting point for this music. That and the glorious sound of the tanpura, the drone instrument that underpins everything in classical Indian music.

The piece is called Water, after the Philip Larkin poem with the same title, and was especially inspired by the final stanza:

And I should raise in the east
A glass of water
Where any-angled light
Would congregate endlessly.

The second piece, called 88 (No. 1), is also in one of Messiaen’s modes in the first half, before becoming a celebration of the mechanical nature of the piano. The performer has to put fingerless gloves on halfway through, partly in tribute to the immortal Glenn Gould, and partly because the technique requires some painful hammering. But don’t let that fool you into thinking the music is dark or angry: It is — or is meant to be — joyful.

“Three Miniatures from Water” features lots of drones from the strings ( Lauren Radnofsky on cello and Greg Chudzik on bowed upright bass).  There’s also the excellent tanpura drones from Paul Coleman and Elena Moon Park. The violin from Olivia De Prato plays a slow melody that seems to appear and disappear while the piano plays a somewhat spooky pizzicato melody.

“88 (No. 1)” is a solo piano piece by Lisa Moore (who played piano on the other piece as well).  It does seem to use all 88 keys in various fashion.  Indeed, she does put on fingerless gloves a little more than half way through the piece where she does play quite possibly every note (I can’t imagine what that looks like on paper).  For the last 45 seconds, she seems to be banging relentlessly (but tunefully–are there chords?) all over the keys.

Neither one of these pieces seem particularly joyful to me–they both seem kind of scary, but I am fascinated at the kind of compositions the guy from Radiohead makes.

[READ: June 1, 2019] “Then Again”

This is an excerpt from The Other Half, a manuscript that Ciment is writing to rebut her own 1996 memoir, Half a Life.

In that original memoir, she wrote about meeting her husband.  At the time she was seventeen and he was forty-seven (and her art teacher).

She asks what should she call him now.  “My husband”?  Yes, if it is the story is about the man she married and lived with for forty-five years.  But what if it is about an older man preying on a teenager.  Should she call him “The artist” or “the art teacher.”

She says he didn’t know what to expect when he kissed her for the first time–she could have screamed or slapped him.  But she had fantasized about him for the last six months, so that was not going to happen. Continue Reading »

SOUNDTRACK: RHEOSTATICS-“Here Come the Wolves” (2019).

This is the first new officially released Rheostatics song in 15 years.  And it’s a doozy. A six and a half minute epic with a few different parts and styles within.

I’ve heard this song on a few of the the recent RheostatcisLive recordings, but this studio version explores depth and detail in a way that the live version could not.  And it’s really fantastic.

The video is also cool because it shows guitarist/singer Martin Tielli in a timelapse video finishing the cover art.

Starting with a menacing riff including Hugh Marsh on violin (and some interesting whoos! in the distance), the chorus opens the song.  Then comes a stomping series of catchy verses.

After 2 and a half minutes, the song slows down and Martin picks up a quietly sung middle section.  He sings over some eerie violins and keys before the guitars slowly build.  Quietly picked acoustic guitar flesh out the song as Martin continues.

After two minutes of this quieter section, it picks up again with a piano-based version of the melody.  This takes on a more uplifting feel as Martin sings in his whispered vocals.

The song has a nice climax and then a short denouement.

It’s nowhere near as weird as some of my favorite songs by them, although it is far from a guaranteed radio hit.  Nevertheless it is pure Rheostatics, and I love it.

I’m delighted to have them back making new music and holy cow, if I have to go to Toronto to see them play live, so be it.

[READ: June 24, 2019] “Back Then”

This is a story of a woman looking back on her burgeoning adulthood.

In the summers she and her family would go to a lake (in Ohio).  The story begins with them watching the Perseids.  She and her sister wanted to go down to the lake to see them fall into the water, but her mom always said no.

The story is full of sweet details–her sister peeing behind the furnace in her grandmother’s room, walking in flip-flops to buy the paper for their dad, the goat in the neighbor’s yard, even the trailer park.  They had enforced lunch and “quiet time.”  Quiet time was supposedly to prevent them from getting cramps, but it was really just for their mom to have some peace.  And how the last day always brought a double feeling of wanting to stay forever and wanting to go home. Continue Reading »

SOUNDTRACK: UraShimaSakataSen (浦島坂田船)-Shoutër (2016).

When I looked up “Shouter” I found this song (I love the umlaut).

I’ve never heard of UraShimaSakataSen (浦島坂田船), or USSS for short.  But I love that this is their description:

USSS is a 4-unit indie pop boy group consisting of Uratanuki (Green), Shima (Purple), Sakata (Red) and Senra (Yellow).

I didn’t spend a lot of time researching this band, but every image of them seems to be manga.  And the video for this song is entirely manga (hilariously only four still images recycled).  Each singer is a color and each singer has a background of that color.  And each time that singer sings the screen turns that color.

I particularly like that Green has a cuddle creature on his shoulder implying some kind of fascinating back story, I’m sure.

Most of the lyrics are in Japanese, but there is an occasional English section like the one that mentions the title:

浦)Unlimited,
島)Success,
坂田)Shining,
船)Shoutër,

For a pop band, this song doesn’t quite sound as poppy as I’d have thought.

It starts with a flute and loud electronic drums as the soft vocals come in.  The flute returns and it segues to heavy guitars and kind of rapped section as the song bounces along.

The chorus has heavy guitars and a grungey stomp before all four sing whatever it is the chorus is.

The melding of heavy metal guitars, traditional sounding flute, dance drums and pop melody and fast singing is (at least for 2016) so uniquely Japanese.

Babymetal has released their first album two year earlier.  While this is in no way a heavy metal song (and sounds nothing like Babymetal), the use of the really heavy guitars in this song has to be attributed to Babymetal’s success.

Then I had to check out the lyrics.  Someone has spelled out the English lyrics online.  Holy cow this is a really dark song.  And, how many pop songs name check Joan of Arc, Aristotle and Nietzche?  Is UraShimaSakataSen some kind of existential anime boy band?  The plot thickens.

Maybe we cry while we’re born
And smile when we die because we’re happy
All our words pile up
Our voices continue to reach its limits as we search for the meaning of shouting
Input, Verify, Accept, Start.
Being raised in a made-up and empty pitch black world
I play alone
A little light shines from the window like a lamp
One or two texts stand out
I wonder what I should play tonight.
Should I talk, dance, or draw…
Walk out to spaces and change
Going back and forth from reality and delusions
All ya flags throw away; struggle through it.
After spending extra time eating dinner and taking a bath
I say the magic words.
Listen to my voice
What should we shout in an empty world?
The people who “encourage” us, like a gallant figure Jeanne d’Arc
What should we shout in an empty world?
We chase after people who cause “conflict”, and want to be like Einstein…
Shout! Yeah Yeah Yeah
Until our voices continues to reach its limits
Stopped, Reload, Reenter, Restart.
I see. It’s because I wasn’t taught to be a good loser?
I only keep on losing my way
So I wonder what I should do with my future?
Right hand, left hand, you, and a survey
Let’s talk more; it’s prolonging the battle
Really, thank you for everything.
Shocking sound and tonight; you’re the guest of honor
Here, so to say, is the electronic secret base
Enjoy tour and travel; I’m the guide
It’s the era for minority groups and puffing out your chest.
These are words to destroy weapons
Listen to my voice
What should we shout in an empty world?
We “petition” to understand people, like the unfortunate Alan Turing.
Comforting people in lamentation about Friedrich Nietzsche…
Shout! Yeah Yeah Yeah
Until our voices continue to reach its limits
If the us that cry while we’re born
Smile when we die,
Then, y’know
I’ll make noise with you all every night
Until our voices reach its limits.
That’s the answer I got from shouting daily.
The empty world disappears and returns to normal.
Each person lives together and waits for reality in a faraway place
In an empty world, I wonder what’s left?
I want to play here one more time.
Please listen to my voice
What should we shout in an empty world?
“Confessions” tie people to the truthful Aristotle.
What should we shout in an empty world?
“Promises” tempt people like Shakespeare…
Shout! Yeah Yeah Yeah
Until your voice reaches its limit

[READ: June 20, 2019] “Shouters”

I think it’s fascinating the way that Shouts & Murmurs tends to make funny people… less funny.  Is it the nature of the New Yorker, that the comedy is such that it’s at a different wavelength?  (Not higher or lower, just different).

Or maybe these pieces aren’t really supposed to be all that funny.

Steve Martin is one of the funniest people ever and yet this idea is so blandly unfunny, that I don’t understand why he wrote it.

I enjoyed the opening… Continue Reading »

SOUNDTRACK: GRAHAM COXON-The End Of The F***ing World (Original Songs and Score) (2018).

When I saw Graham Coxon live, he played a bunch of songs from this soundtrack.

I assumed that the soundtrack would be one song and a bunch of moody instrumentals, so I never really looked into it. But recently I read that it was really good.

And it is.

There’s 16 songs on the record.  Most are full songs and the few instrumental pieces are just as interesting.

“Walking All Day” is the catchy song that he played live that did interest me in the soundtrack.  It’s a bouncy folk song with a buzzy acoustic guitar solo.  He sings in a quiet whispery voice which sounds different from his usual singing voice.  The lyrics are sweet, if not odd:

Walking all day with my mouth on fire
trying to get talking to you.

“Angry Me” has a punky strum on acoustic guitar.  It sounds like a bratty Blur song from the album that “Song 2” came from.  [He played this].

“Flashback” is 16 seconds of heavy metal noise with saxophones and pummeling drums.  It’s very disconcerting between these two songs, and I feel like it should come later for better sequencing.  But it is only 16 seconds.

“In My Room” is a quiet acoustic song.  It starts with just the guitar.  Then the bass and drums come in as Coxon slowly sings about those outside of his room:

Outside the window they’re singing
Inside the doorway there’s me
Endlessly thinking and working

“Bus Stop” is five minutes long.  There’s a two-minute super catchy instrumental section which is followed by a bouncy verse with rather shoegaze feel.

Then there’s a few really short songs all around two minutes.  “The Beach” starts with a rumbling slide guitar solo and adds picked guitar notes.  It’s got a very Western feeling.  “Saturday Night” is a quiet mournful ballad of acoustic guitar and piano.  He played this live (without the piano).

“On the Prowl” is a garage rock song with a very fifties feel.

“It’s All Blue” is another delicate folk song that Graham played live.  It features his more innocent vocal lines.

“The Snare” is a heavily reverbed noir kind of song with that familiar detective bass line and echoing guitar (very David Lynch).  The last minute or so totally rocks out with a distortion filled solo.

“Lucifer’s Behind Me” is a fast song with bongos and more vibrato guitar lines.  It’s kind of upbeat despite the feeling of pursuit in the lyrics.

“Field” is a lovely instrumental.  A 90 second acoustic guitar piece that is rather relaxing.  A nice contrast to “She Left the Light On– a stark and sinister acoustic song with a lead whistle!  The middle is catchy.  He played this one live.

“Roaming Star” is a 2 minute gentle acoustic piece with soft vocals  About half way through there’s some very old-fashioned sounding horns.  He played this one.

“Sleuth” is a two minute instrumental.  It has a chugging electric guitar with some looping guitar solo work over the top.

“There’s Something in the Way that You Cry” is a slow mournful ballad that he played live.  It’s a pretty sad ending to a soundtrack album that holds together really well and isn’t only instrumental pieces.

I now wish I had heard them before the show so I could have really appreciated them live.

[UPDATE: I watched the show in May 2020 and the soundtrack works really well.  The show is very very dark, as you might guess from the title].

[READ: June 20, 2019] “Superstring Theory for Dummies”

Zev Borow is associated with Dave Eggers.  He worked on their magazine Might and also on McSweeney’s ( I don’t think they work together anymore, but they might).  Since then, has written for just about every publication out there.  He also wrote episodes of and became a prominent story editor in the show Chuck.

This is the first piece of his I’ve read in the New Yorker and, as with so many Shouts & Murmurs, it’s mildly funny.

The bit starts with a quote from the Times in which the author tried to describe superstring theory which looks beyond the three dimensions of space.  Imagine that you are in the book Flatland.  You can move forward and back, left and right but not up or down.

So Borow expands on that.

Continue Reading »