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Marguerite Duras-“Is That You, Sister Marguerite?” (Harper’s, February 2008)

October 21, 2018 by Paul Debraski

SOUNDTRACK: KRISTIAN BELL-3 Songs (Field Recordings, March 27, 2014).

This is one more Field Recording that was done at SXSW 2014 [One Wytch, Unplugged In A Sunny Backyard].

I am unfamiliar with The Wytches.  In fact, when I first clicked play on this, I assumed that the singer was a woman (the name Kristian is a little unspecific).  The blurb says

The Wytches’ furious, hair-flinging psych-rock isn’t the stuff of back-porch acoustic sessions: Both live and on the English band’s singles, the energy is so intense, it can barely be contained. But when NPR Music arranged a Wytches session during SXSW — held in the charming backyard setting of Friends & Neighbors in east Austin — singer-guitarist Kristian Bell stood in for the whole band, with just his voice and an acoustic guitar.

In these three songs from Annabel Dream Reader — due out this summer — Bell splits the difference between The Wytches’ wiry raggedness and the gentler side dictated by both the setting and his instrument. Surrounded by a small throng of locals and their kids, Bell proved worthy of the most bucolic setting he’s likely to play this year.

He plays three songs and you can certainly hear the heaviness implied in his guitar strumming.  His voice also strains as he sings-perhaps more notable in this quieter version?

“Wide At Midnight”  There’s some pretty picking on this song and his voice sounds a but like Billy Corgan’s but far less annoying.

It’s a pretty weird audience for him, no doubt.  Minimal clapping and lots of kids on laps.

“Crying Clown” features these lyrics

In his car she finally
Tampers with her sexuality
Scratching at each other’s minds till their in the nude
As for me, my loyalty
Is only sold illegally
To the pantomime crying clown
Cry for me whilst upside down
Salivating, bloody mouth
Or passionately bloody mouth
And graveyard girl, swinging a bag like a pendulum

which is very funny to see him singing in front of a bunch of moms sitting in a semicircle around him.

“All Of My Skin” has a lovely melody and some excellent guitar playing.  There’s some clever lyrics as well.

The amazing thing to me is that Kristian looks to be about 15 years old.  I wonder how old he actually is, because he handles himself like a pro.

[READ: January 22, 2018] “Is That You, Sister Marguerite?”

This excerpt is quite dark and rather disturbing.

A woman in a convent is asking Sister Marguerite about her newborn baby.

Sister Marguerite tells her that the baby died.

The woman asks if she can hold her dead baby for one minute.  Sister Marguerite is shocked by this and says it’s impossible. Continue Reading »

Posted in Babies, Backyard Show, Death, Field Recordings, Huh?, Kristian Bell, Linda Coverdale, Marguerite Duras, NPR/PRI/PBS, Religion, SXSW, The Wytches, Yuck! | Leave a Comment »

Louisa Baldwin–“How He Left the Hotel” (published 1895) [Ghost Box II] (2018)

October 21, 2018 by Paul Debraski

SOUNDTRACK: “This is Halloween” (The Nightmare Before Christmas) (1993).

Danny Elfman is pretty awesome at creating catchy and spooky songs.

This song, the theme from The Nightmare Before Christmas, is remarkably catchy.  I mean you hear it once and you’re singing “This is Halloween, This is Halloween!” and it leaves you feeling pretty good and excited for the holiday.

Somehow while you’re watching the movie, the creepiness is in the visuals more than the lyrics.  But divorced from the movie, the lyrics (and vocals are really creepy).

I am the one hiding under your stairs fingers like snakes and spiders in my hair.

or better yet

I am the clown with the tear-away face
Here in a flash and gone without a trace
I am the “who” when you call, “Who’s there?”
I am the wind blowing through your hair
I am the shadow on the moon at night
Filling your dreams to the brim with fright
You can do some pretty amazingly scary music when you market it as a children’s song (and maybe throw in this caveat):
That’s our job, but we’re not mean
In our town of Halloween

[READ: October 20, 2018] “How He Left the Hotel”

Just in time for Halloween, from the people who brought me The Short Story Advent Calendar and The Ghost Box. comes Ghost Box II.

This is once again a nifty little box (with a magnetic opening and a ribbon) which contains 11 stories for Halloween.  It is lovingly described thusly:

The Ghost Box returns, like a mummy or a batman, to once again make your pupils dilate and the hair on your arms stand straight up—it’s another collection of individually bound scary stories, edited and introduced by comedian and spooky specialist Patton Oswalt.

There is no explicit “order” to these books; however, Patton Oswalt will be reviewing a book a day on his Facebook page.

Much respect to Oswalt, but I will not be following his order.  So there. Continue Reading »

Posted in Canadian Content, Danny Elfman, Death, Fears, Funny (ha ha), Ghosts, Halloween, Hingston & Olsen, Hotels, Louisa Baldwin, Patton Oswalt, Short Story, The Ghost Box, The Nightmare Before Christmas | Leave a Comment »

Daniel Mason–“The Ecstasy of Alfred Russel Wallace” (Harper’s, March 2008)

October 20, 2018 by Paul Debraski

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SOUNDTRACK: SILK ROAD ENSEMBLE-“Saidi Swing” (Field Recordings, March 26, 2014).

I really enjoyed the Silk Road Ensemble’s Field Recording, so I was delighted to see that they did a second recording from the same session [A Field Recording Bonus Track: The Silk Road Swings].  I have no idea how they cleared everyone out and cleaned up the place for this video (how long did these four guys have to hang around?), but it was worth it.

What I find so magical about this piece is that it is four percussionists and yet they make such beautiful music.

They’re playing a piece written by Shane Shanahan called Saidi Swing. While it’s inspired by a traditional rhythm from Upper Egypt called saidi (which goes “dum tek dum dum tek” in its simplest incarnation, for those of you who want to find its seeds sprinkled through this piece), Shanahan uses that pattern just as a launching point. And with such fantastic collaborators — from left to right, Sandeep Das playing the Indian tabla, Shanahan playing the riq, or tambourine, Mark Suter on daff frame drum and Joseph Gramley playing the goblet-shaped dumbek — Shanahan can really let his imagination take flight.

The piece begins with the four drummers playing together.  Then comes the individual moments

First comes a solo by Sandeep Das playing the Indian tabla. I love that it’s mostly finger tapping–the tabla is a fascinating instrument.

Up next is Joseph Gramley playing the goblet-shaped dumbek.  To start his solo, he plays the side of the drum which rings out almost like a tambourine before returning to the proper method of playing.

The third solo comes from Mark Suter on daff frame drum (I assumed it was a bodhran, I wonder what the difference is…ah, the daf has metal rings inside of it and can be made of fish skin (!)).  Suter bangs it for a big open sound but then he rubs his fingers along the skin to create even more fascinating sounds.  It’s awesome.

Then they return to the main rhythm.  All four play loud then quiet and then it’s time for each of them to get a very brief (2 seconds, maybe) solo in order left to right.

Then it’s time for Shane Shanahan playing the riq, or tambourine, to get a solo.  It’s the most conventional instrument except it seems quite different from the one that we see in folk bands.  He does some pretty nifty tricks with it too.

In the last part they each play a solo that’s about a second.  Again, left to right, which sounds cool and probably sounds even better in person.

World music percussion is really fascinating and I’m glad it gets showcased in this way here.

[READ: February 7, 2018] “The Ecstasy of Alfred Russel Wallace”

I never understand why people write fictionalized accounts of true stories.  There must be a reason for doing it–maybe you can’t write a five-page biography and have it get published anywhere?  I don’t know.

This is the true (I assume) account of Alfred Russel Wallace.

Wallace was a student of nature–it filled whim with an ecstasy that sometimes felt like lust.  He was not one for theory–he was all about the search.

He collected specimens and he wrote letters home to his mother about his joyful expeditions.  He traveled endlessly, exhaustively.  Even when wracked with malaria he continued. Continue Reading »

Posted in Alfred Russel Wallace, Alfred Russel Wallace., Charles Darwin, Daniel Mason, Evolution, Field Recordings, Harper's, History, Nature, NPR/PRI/PBS, Research, Short Story, Silk Road Ensemble | Leave a Comment »

Mitski (Union Transfer, Philadelphia PA, October 19, 2018)

October 19, 2018 by Paul Debraski

[ATTENDED: October 19, 2018] Mitski

I haven’t had that much exposure to Mitski.  I loved her Tiny Desk Concert and had heard great things about her live show.  So I was pretty excited to see her.  I was amazed that she sold out Union Transfer (and every other date on her tour!) so quickly.  She even added a second date in November and that one sold out, too.  Good for her!

In the Tiny Desk, she is solo, playing her guitar.  I was totally unprepared for what was to come.

This was the first night of her tour, so I gather everyone was unprepared.

The stage was constructed with three large screens.  They projected various images, often static, sometimes scenes from nature, sometimes rain-covered windows, in other words, nothing especially memorable.  They served as backdrop for Mitski herself.

The band came out–drums and guitar to the left and bass and keys to the right.  And then Mitski came out in a high-buttoned long-sleeve shirt and a long black skirt.  Her hair was pulled back and she looked very much not ready to rock.  She looked almost puritanical.   Continue Reading »

Posted in Mitski, Overcoats, Philadelphia, PA, Union Transfer | Leave a Comment »

Overcoats (Union Transfer, Philadelphia PA, October 19, 2018) [MITSKI]

October 19, 2018 by Paul Debraski

[ATTENDED: October 19, 2018] Overcoats

Overcoats were the first concert I went to this year.  They had opened for a band I’d never heard of, but I was there for them.  I got there early, had a great spot up front and really enjoyed the show.

Now here it is ten months later and they were opening for someone I really wanted to see.  I knew they didn’t have a new album out so I wasn’t sure what they’d be playing.  It turns out that they had taken a bit of a touring break and this was their first gig in a little bit (we’re so out of shape, JJ said).

Well, I arrived later than I wanted to and wound up with a not great but not terrible spot.  I walked in during their first song (boo).

The crowd was (like last time) very responsive, which is always fun.  And it felt like Overcoats were more relaxed than last time (but that’s probably not true). Continue Reading »

Posted in Feminism, Mitski, Overcoats, Philadelphia, PA, Union Transfer | Leave a Comment »

Ben Marcus–“Cold Little Bird” (New Yorker, October 19, 2015)

October 19, 2018 by Paul Debraski

SOUNDTRACK: YUJA WANG-“Toccata in D minor, Op. 11” (Field Recordings, February 19, 2014).

I have never given much thought to the physical creation of a piano.  This Field Recording [On A Chilly Factory Floor, Yuja Wang’s Piano Sizzles] is set on the factory floor of Steinway & Sons.  As it opens you can see the craftsmen putting some touches on a piano, which really makes you think about how these machines are created.

This episode also introduced me to Chinese-born pianist Yuja Wang.

She is a [at the time] “27-year-old ultra-glam artist” who came to the factory in

one of her trademark dresses, significant stiletto booties and a Gucci fur stole, as well as some wrist warmers as a concession to the temperature.

The piece she played was also one I was unfamiliar with, played a piece that would chop shrinking violets to mulch: Prokofiev’s “Toccata in D minor, Op. 11.”

The blurb calls the piece “blisteringly difficult” and I totally agree.  It is nonstop notes for nearly five minutes.  Wang is up and down the keyboard, banging out notes in a nearly atonal piece (how she even remembered it much less played it is amazing).  And to see her pressing pedals in stilettos is pretty amusing too.

On a third listen, it’s not so much atonal as just very busy.  The melody is in there, it is just surrounded by so much else.  And watching the blurs that are Wang’s hands is jaw-dropping.

[READ: January 6, 2017] “Cold Little Bird”

I feel like Ben Marcus stories resist me, somewhat.  But this one was fantastic.

Martin and Rachel have two boys: a ten-year old-and a six-year-old.  As the story opens, Jonah, the ten-year-old says he doesn’t want to big hugged anymore. That he doesn’t like it.  He hopes that they will respect his decision about this.  He tells them that they can always cuddle with Lester, the six-year-old.

The parents shrug this off and think it is a phase.  Even when Jonah flatly says “I don’t love you.”

His parents tried to respect his wishes even as it went on for several weeks.  Martin was getting more and more exasperated, but Rachel seemed to be okay with it–telling him to back off and give the boy some space.

Soon enough, Jonah started playing with Lester–being very chummy and lovely with him.  And yet he did not warm up to his parents. Continue Reading »

Posted in Ben Marcus, Doctors, Field Recordings, Funny (ha ha), Humiliation, New Yorker, NPR/PRI/PBS, Parenting, Religion, Short Story, Yuja Wang | Leave a Comment »

Teddy Wayne–Loner (2016)

October 18, 2018 by Paul Debraski

SOUNDTRACK: SILK ROAD ENSEMBLE–“Briel” (Field Recordings, March 26, 2014).

There have been many fun Field Recordings, but this one [Welcome to Yo-Yo’s Playhouse] is surely the most fun. The countless members of Silk Road Ensemble were taken to ACME Studio, a theatrical props warehouse in Brooklyn.  They were given pretty much free reign to put on costumes, to bring out mannequins, to do whatever they wanted and that makes this session seem even bigger than it already is (and it’s already pretty big).

That’s all not to mention that the Silk Road Ensemble is a pretty amazing group of musicians:

cellist Yo-Yo Ma and some of the world’s premiere instrumentalists and composers, including members of Brooklyn Rider, Chinese pipa virtuoso Wu Man, Iranian kamancheh virtuoso Kayhan Kalhor, Spanish bagpiper Cristina Pato, American percussionist Shane Shanahan and clarinetist Kinan Azmeh from Syria.

As we’ve had the opportunity to forge those bonds over time [many of these performers have done Tiny Desk Concerts], we’ve gotten to know the warm, generous-spirited personalities that come along with these immense talents. We thought that setting them loose in a props house, where they could pick and choose among the curiosities for little elements to bring into the camera frame, would bring those aspects of their personalities into sharper focus. What we wound up with was a magical afternoon of play in all senses of the word — not just having the chance to record these virtuosos and their instruments in a spirited performance of John Zorn’s Briel, here arranged by Shanir Ezra Blumenkranz, but also to capture them (and us) having an immense amount of fun.

I had no idea this was a John Zorn piece.  It sounded like a Hebrew composition and now I understand why.  But in the best world music tradition, this piece is arranged for musicians from all over the world–percussion, strings, brass and reed.  There’s a bagpipe solo, a kamancheh solo and a field of percussion.  The song is just way too short.

But to watch Yo-Yo Ma play the cello while holding a mannequin that looks like George Harrison is just one of the many highlights.

[READ: April 2018] Loner

Everything about the look of this book appealed to me.  The title, the crappy cover, the backwards type, the size, it all just seemed like a light, funny story.

Perhaps something about it should have read “creepy” too.

David Federman is a New Jersey native.  He went to Garret Hobart High School (named for New Jersey’s only vice president) He’s smart (he was accepted in to Harvard) but dull and, as we get to know him, pretty unlikable.  He imagines that Harvard will be a place where he (and other geeks like him) will flourish and kick ass.

He’s not wrong in thinking that–everyone he meets  seems to want to change.  But no one wants to change by hanging out with David.

David winds up in a freshman group that he hates–the Matthews Marauders (who are anything but).  In fact, nothing is going very well until he sees Veronica Wells.  She is everything he desires–a sophisticated New Yorker with money, intelligence and beauty. Continue Reading »

Posted in College, Cristina Pato, Field Recordings, John Zorn, Kayhan Kalhor, Liars, NPR/PRI/PBS, Salon.com, Set at School, Sex, Sexism, Short Books, Silk Road Ensemble, Unlikable main character, Unreliable narrator, Wu Man, Yo-Yo Ma, Yuck! | Leave a Comment »

Cynan Jones–“The Edge of the Shoal” (New Yorker, October 17, 2016)

October 17, 2018 by Paul Debraski

SOUNDTRACK: GRUFF RHYS-Yr Atal Genhedlaeth (2005).

In honor of the author being from Wales and of me recently seeing Gruff Rhys in concert, this is a post about his debut solo album, Yr Atal Genhedlaeth.  The title is in Welsh, as id everything else.

If you don’t understand Welsh, as I don’t, Wikipedia gives us a guide line for the album which I’m going to trust.  There are 11 songs in just under a half an hour

  • Yr Atal Genhedlaeth [‘The Stuttering Generation’, but ‘atalgenhedlu’ is Welsh for a contraceptive] is 8 seconds of stuttering voices.  I feared the disc was broken when I put it on.
  • Gwn Mi Wn [‘I Know [that] I Know’, could also mean ‘a gun I know’, a reference to the battle in the song].  Gruff played this song live with two members on drums.  It’s a cacthy near-a capella song with just the drums and his voice.  He loops his voice here (and live) to make more and more harmonies of himself.
  • Epynt [named after a mountain in Mid Wales, but about money, with the ‘E’ standing for the Euro, and ‘pynt’ sounding similar to the Welsh word for Pound].  This song has a DIY punk feel–two chords, loud drums and chanted chorus Eh-pint, eh-pint.
  • Rhagluniaeth Ysgafn  [‘Light programming’, but ‘lluniaeth ysgafn’ means a light snack].  This song has an electronic drums and simple guitar chords.  Once again, it’s Gruff’s voice that carries the melody.  As with most of these songs, he makes a big song with very few elements.
  • Pwdin Ŵy 1 & 2 [literally ‘egg pudding’, means ‘”egg custard’, two love songs]  The first part is under 2 minutes with a slinky guitar and bass.  It’s fleshed out with all kinds of weird sound effects.  The second part (all of 3 minutes) is quieter, with just his guitar and voice and some quiet percussion.  The solo is either a melodica or harmonica, I can’t quite tell.
  • Y Gwybodusion [‘The Experts’] is a simple garage rocker.
  • Caerffosiaeth [literally ‘sewage fortress’. ‘Caer’ is a common part of Welsh place-names (for example, Caergybi), used to indicate that there was originally a castle or fortress in the town/city]  This is the strangest song on the disc–full of all manner of weird sound effects.  These effects accompany the simple (cowbell and drumbeat) electronic percussion that sets the tone for Rhys’ overlapping vocals.  This song sound the most like one you might try to insert English words into the Welsh that he is singing like maybe: “Blue-eyed fork, blue-eyed fork, I love your bag and your power torch.”
  • Ambell Waith [‘Sometimes’] opens with a pretty acoustic guitar melody as all manner of quiet sound effects skitter around in the background.
  • Ni Yw Y Byd – [‘We Are The World’] is not a cover of the charity song, it is an incredibly catchy folk song with a flute (piccolo?) solo.
  • Chwarae’n Troi’n Chwerw [‘When Play Turns Bitter’, from a Welsh proverb. A Welsh language standard originally written and sung by Caryl Parry-Jones].  This six-minute song starts quietly with just an acoustic guitar,  It starts to build and go a little faster when the drums come in. By four minutes, there’s cymbals and what feels like a full accompaniment.  The last minute or so is Gruff playing the banjo.

It’s a pretty album with pretty melodies and a splash of Gruff’s wackiness strewn about.

I don’t think you’ll learn any Welsh from this records but it is neat to think you can sing along with it without knowing what any of it means.

[READ: January 4, 2017] “The Edge of the Shoal”

I thought that this was going to be yet another story about a guy fishing–and how he and his father had bonded over fishing.  Because that is how it started.

He didn’t tell his wife where he was going–just left a note to make salad.  He assumed he would catch a fish, but his real reason for going out in the kayak was to disperse his father’s ashes into the water.  (I’m not exactly sure where this is set, but I assumed Europe–okay Cynan Jones is Welsh).

The narrator was still hearing his father’s voice as he cast out for the fish.  Frankly I was worried that this story was far too long if that’s all it was going to be about.

But then things take a very different turn. Continue Reading »

Posted in Boats, Cynan Jones, Death, Fishing, Gruff Rhys, New Yorker, Short Story, Storms, Wales | Leave a Comment »

Tessa Hadley–“Funny Little Snake” (New Yorker, October 16, 2017)

October 16, 2018 by Paul Debraski

SOUNDTRACK: CORY HENRY AND THE FUNK APOSTLES-Tiny Desk Concert #792 (October 5, 2018).

Cory Henry & The Funk Apostles blew me away with the first song of this Concert.  “Love Will Find A Way” opens with a deep bass sound as the funk starts.  And then Henry adds the great sound of the Hammond.

There’s so much joy in the sound of the Hammond organ, especially for those of us of a certain age. Hearing it can transport you to the early ’70s, when every rock band seemed to have one in its arsenal: The Allman Brothers, Santana, Deep Purple. In the hands of true masters — like the late Billy Preston and the very-much-alive Booker T. Jones — the organ can be a melodic, funky rhythm machine.

Cory Henry’s name belongs in the same breath as the Hammond organ masters of the past. The instrument creates the central sound of his dynamic, neo-soul- and funk-infused musical identity, and he opens his turn behind the Tiny Desk with what feels like an encore: the full-on soul assault of “Love Will Find a Way.” The song twists and turns, then winds up as a full-on celebration — and it’s only the first song in his set.

The song does have several part including a lengthy middle solo section.  Over the heavy organ chords there’s a wailing guitar solo and a keyboard solo from the synth player.

By the end of its six minutes it absolutely feels like an encore–a show ender.  It’s awesome.

“Trade It All” is a bit more soul, less funk, which means I don’t like it as much.  B

Henry’s keyboard skills are on full display during a synth solo in “Trade It All,” which also spotlights his entire band. To my mind, they’d have sounded right at home on Stax Records in the ’70s — no small accomplishment.

The middle shows a softer, quieter side of the Hammond–one that sounds a bit cheesier to my ear.  And yet there’s no denying Henry’s deft finger work (there’ a hint of Stevie Wonder in there for sure).

The final song, the ten-minute “Send Me a Sign” has a lengthy, almost preacher-like quality and is clearly gopsel-inspired.

It showcases some of the roots of Henry’s songwriting; it’s inspired by church sermons that bloom into group sing-alongs. Just another way Cory Henry digs way back to give us something new and exciting.

[READ: October 11, 2017] “One Saturday Morning”

I have never been disappointed with a story from Tessa Hadley.  She might be one of my favorite writers whom I’ve never read outside of magazines.

This story is wonderful because the we learn so much about so many people through the eyes of one woman.

Valerie is Gil’s second wife.  Gil is in his fifties and Valerie is twenty-four.  Gil is a successful professor and she was (as someone described her with disdain) a typist.

But as the story opens, Valerie is trying to cope with Gil’s daughter.  Robyn is nine years old, can’t button her own dress and is utterly unprepared for several days at another house.  This was the first time Valerie had met her…stepdaughter?  And Robyn was plain and kind of dull.  She was polite but had no toys (she played cleverly with scraps of fabric, but would not engage when asked about them).

She was certainly a dullard when it came to food–toast was all she could think of. Continue Reading »

Posted in Cory Henry and The Funk Apostles, Drinking, Marriage Trouble, New Yorker, Parenting, Short Story, Snow, Tessa Hadley, Tiny Desk Concert | Leave a Comment »

Kevin Barry-“The Coast of Leitrim” (New Yorker, October 15, 2018)

October 15, 2018 by Paul Debraski

SOUNDTRACK: BIG BOI-Tiny Desk Concert #793 (October 9, 2018).

Like everyone is America, I loved OutKast’s “Hey Ya” when it came out (still do).  And that album was pretty great (if a little long).  And then they kind of imploded.

I was always more of a fan of Andre 3000’s trippy side than Big Boi’s pop side.  And yet for this Tiny Desk, Big Boi is  aton of fun and the songs are really catchy.

These guys helped redefine the sound and style of hip-hop in the ’90s, incorporating funk and psychedelia while transcending genre boundaries. As half of OutKast — still the only rap group ever to take home Album of the Year at the Grammys —

The energy in the room was buoyant and vibrant from the moment they walked in the door. OutKast star Big Boi, Sleepy Brown of the prolific Atlanta production collective Organized Noize, and their eight-member backing band have been working together for 20-plus years, and their chemistry is instantaneous and undeniable.

And Big Boi is hilarious from the get go:

We have come from the planet of Stankonia to give y’all three big songs behind a tiny-ass desk.

The set starts with OutKast’s: “So Fresh, So Clean.”  It sounds as good as it did in 2000, and possibly a little better live.  Big Boi’s voice instantly sounds like it does on the record (the way he echoes clean).  The bass (Preston Crump) sound great running through the song and the gently echoing guitar (David Brown) sounds great.

The backing vocals (Keisha Williams and Terrance “Scar” Smith) are spot on.  Perhaps the biggest surprise comes from the trumpets (Jason Freeman and Jerry Freeman).  It didn’t occur to me that he’d use them, but they really make the track.

After the track, he cracks up the room by saying “the Tiny Desk needs a Tiny fan” (of course they are all wearing matching hoodies that say TRAP HOUSE (in the style of WAFFLE HOUSE).

Big Boi continues to thrive as a solo act, riding the charts with last year’s Boomiverse and its hit single “All Night.”

He describes the song as a “current pop smash hit with L.A. Reid–the first hit to launch that label.”  It opens with a super catchy and fun piano riff (very old-school sounding). The piano is a sample which DJ Cutmaster Swift plays on his Mac and then scratches it on the turntable.

Holy cow is that song catchy.  I love at the end when Big Boi and his rapping partner Sleepy Brown mime the piano part perfectly.

The final song is “The Way You Move” from 2003’s Speakerboxxx/The Love Below.  He describes it in a hilariously casual way as “one of the biggest things we’ve ever done.”  It opens with some great scratching and the snappy drums from Omar Phillips.  This is a song that was a little too poppy for me on the record, but man it’s an undeniable track.

It’s a terrific set and one that I wish was ten minutes longer.

[READ: October 14, 2018] “The Coast of Leitrim”

This story seems like a simple case of a loser-ish guy trying desperately to woo a woman.

Seamus Ferris is thirty-five.  He lives alone in an inherited house and he has fallen hard for a Polish woman who works in a cafe down in Carrick.  He has no mortgage, which is a plus, but he’s not especially exciting, generally speaking.

He feels that the situation is like a vast love affair, although he has never spoken to her–more than ordering anyway.  But he knew that she was sensitive, with a “dreamy distracted air” and she was “at a remove from the other mullockers who worked in the cafe.”  She was pretty but no supermodel–Seamus admitted he himself was not hideous.

Using some sly detective work–he peeked at the work schedule while using the toilet, he learned her name and then did some research on Instagram.  Her full name Katharine Zeileinski was unique enough for him to be able to narrow down the account quickly.  She didn’t post much, but what she did suggested she was single. That’s all he wanted. Continue Reading »

Posted in Big Boi, Funny (ha ha), Humiliation, Irish Writer, Kevin Barry, New Yorker, OutKast, Poland, Sex, Tiny Desk Concert | Leave a Comment »

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