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Jonathan Franzen–”Anti Climax” (New Yorker, April 21, 1997)

October 13, 2010 by Paul Debraski

SOUNDTRACK: THE VIOLET ARCHERS-Sunshine at Night (2008).

This is the second Violet Archers CD.  It’s a fantastic collection of mellow songs.   “You and I” is a delightful acoustic guitar and vocals song (and Vesely’s voice sounds great: soft and delicate without being whiny).  “Insecure” features the vocals of Ida Nilsen (a great voice which works wonderfully with Vesely’s songs).  It also has a wonderful trumpet solo (!) (which consists of only a few notes repeated but which is totally great).  It sounds a bit too similar to Siberry’s “The Speckless Sky” but it wins out with its own identity by the end.

“Transporter” is an electric track (still mellow though).  Vesely’s delivery is great on this, with unexpected delays making it just off the beat.  Although “Tired” (we can tell by the titles that Vesely is not a “Party On” kind of guy) rocks much harder than you’d expect for the title, it’s still nothing like a hard rock song.  “Sunshine at Night” continues in this louder vein, but again, Vesely’s voice is soft, so even a louder song doesn’t rock hard.  This has some great harmony vocals.

“Suffocates” returns to the upbeat acoustic style while “Truth” is its cool minor chord downbeat companion.  “Themesong” is a cute, more upbeat track that finally mentions a violet archer.  “Don’t Talk” is the only song that builds from a standstill (as opposed to just starting) and the drums and power chords make it feel like it’s a bid for commercial viability.  And the disc ends with “Listening,” a quiet lullaby of a song that showcases’s Vesely’s falsetto.

The Violet Archers still tour and there are some downloadable shows available on the Rheostatics live website.  And, of course, Tim was super nice, so let’s hope for a left field smash hit on their next disc.

[READ: September 29, 2010] “Anti-Climax”

This piece is from The Critic at Large section of the New Yorker and it seems to be a kind of Books redux section.

I enjoyed this piece more than I had a right to enjoy a thirteen year old article about sex books.  Strangely enough it begins with a comment about televisions in airports (which I agree with JF that they are the devil and are unavoidable and make it really hard to read).  And I cannot even imagine that 89% of air travelers believe that the TVs make “time spent in an airport more worthwhile” (although you know that is one of the more nebulous survey questions)

But this topic segues into the matter at hand: sex books.  He notes how he is also at odds with the norm when Men’s Health says that lingerie is the US male’s favorite erotic aid.  And I can’t believe how in tune I am with JF Franzen’s comment:

What I feel when I hear that the mainstream actually buys this stuff is the same garden-variety alienation I feel on learning that Hootie & the Blowfish sold 13 million copies of their first record, or that the American male’s dream date is Cindy Crawford. Continue Reading »

Posted in Airlines, Books about writers, Canadian Music, Consumerism, Essays, Funny (ha ha), Jane Siberry, Jonathan Franzen, Masturbation, New Yorker, Nick Hornby, Rheostatics, Sex, The Violet Archers | 1 Comment »

Jonathan Franzen–“Sifting the Ashes” (New Yorker, May 13, 1996)

October 12, 2010 by Paul Debraski

SOUNDTRACK: VIOLET ARCHERS-End of Part One (2005).

The Violet Archers are the new(ish) band for Tim Vesely from the Rheostatics.  I’ve conveniently waited until The Rheos completely broke up before really really getting into them.  And it took me some time before deciding that I needed to get The two Violet Arhcers discs.  And then I discovered they were pretty much unavailable.

But the nice folks who used to sell their discs got me in touch with Tim himself, and he very nicely sent me the two CDs (for a most reasonable price).

When a band breaks up it’s always interesting to see what the solo members do…if they try to go very different from the original band or if they stay the same.  Well, the Rheos were a pretty unusual band, and if these two discs are any indication, it seems like Tim may have been the pop song writer.

“End of Part One” starts with a guitar and cool organ opening before the song kicks into a mellow rocker.  “Coordinates” has more interesting keyboard sounds (these sound strange to me because the The Rheos weren’t very keyboardy).  Lyrically, it’s a great collection of rhymed verses that lead to a wonderful na na na chorus.

The middle songs are a nice mixture of slightly fast rockers and almost folky ballads.   Vesely has a great knack for sing along choruses, but he’s also been alt-enough to know when to throw in an unexpected twist, or an interesting sound (the guitar sound in “Saved Me” is great) and the simple melody of “Simple” makes for a beautiful campfire song.

“Time to Kill” is a delightful gentle rock song with a great chorus and instrumentation.  It sounds like an outtake from a fantastic 1960s compilation.  It’s followed by “All that’s Good” which sounds like an awesome long-lost Neil Young song.  The guitar is spot on and the vocals work wonderfully.

“Fools Gold Rope” is a nice ballad with vocals by Ida Nilsen.  And the last four tracks are all shorter pieces.  “Life and Then” features keyboards prominently, while the oddly titled “Track Display” has some nice guitar work.

This is overlooked pop gem. Nothing is overly commercial, and yet it’s all fun and an enjoyable listen.  I’m glad Vesely is still writing great tunes.

[READ: September 28, 2010] “Sifting the Ashes”

This Dept. of Disputation piece is about cigarettes.  I’ve never smoked and I’ve never been much of a fan of cancer sticks.  However, I find myself siding with Franzen on a few points ion this article.

Franzen has evidently quit smoking several times (it’s even unclear from the way this is written if he’s actually smoking now (1996) or not).  But he never blames Philip Morris or RJ Reynolds for his addiction.  He argues correctly that marketing to kids reserves you a place in hell, but that really, parents and pop culture probably got more kids to smoke than Joe Camel ever did.

He makes some funny observations about smoking (getting freaked out about getting lung cancer?  Why not light up to calm down).  But mostly he notes how all of the attempts in the past to curb smoking have resulted in more hegemony for the big players: The ban on TV advertising saved the industry millions of dollars and froze out new competitors.  Even tax increases on smokes in 1982 were a way for the industry to also raise prices (and make more money) all the while blaming the tax.  And what we wind up with is that no plaintiff can realistically claim ignorance of tobacco’s hazards, therefore the companies will never be deemed negligent for selling cigarettes.

Continue Reading »

Posted in Cigarettes, Death, Essays, Jonathan Franzen, Mad Men, Neil Young, New Yorker, The Violet Archers | Leave a Comment »

Gordon Korman–One False Note [The 39 Clues, Book Two] (2008)

October 11, 2010 by Paul Debraski

SOUNDTRACK: PUGWASH-Giddy (2009).

I found this CD through a connection to The Divine Comedy (Neil Hannon plays on a few of their tracks).  Pugwash (what a crazy name–it comes from a series of children’s books (and a TV show) called Captain Pugwash) is an Irish band with four CDs (and this collection).  And man, it’s hard to find their stuff over here (although their website has a wonderful collection of videos and such).

Giddy is a collection of songs from all of their albums.  Their first album is represented by two songs here “The Finer Things in Life” and “Two Wrongs.”  These two songs sound, with no disrespect intended, like great Oasis ballads.  Say what you will about Oasis’ originality, they wrote some great songs, and these two sound like the best Oasis songs you’ve never heard.

Their other three albums sound far less like Oasis and far more like XTC.  In fact, the XTC comparisons are well-founded as Andy Partridge eventually co-wrote a song with them and eventually signed them to Partridge’s Ape House records (which is how this collection was released in the U.S.).

The XTC comparison is unavoidable on a few tracks.  The opening of “Song for You” (the “when we die” part) sounds like an uncanny XTC outtake, but when the chorus kicks in it sounds nothing like them and moves into more of the gorgeous orchestral pop that overflows on this disc.  And the Partridge co-written “My Genius” is also a wonderful near-XTC outtake, clever, witty, and perfect.

And the song “It’s Nice to Be Nice” is just a wonderful cheery pop ditty.  It sounds retro and charming; if the simple lyrics (and gorgeous harmonies) don’t bring a smile to your face you must be made of stone.

Although the album is primarily orchestral pop, there’s a wonderful array of styles on here.  “Anyone Who Asks” has chipper keyboard bits in the verses, but the chorus is a wonderful mix of dark minor chords.  And then, the absolutely bizarrely wonderful “Monorail” sounds like a fantastic Beck song (with lyrics that are as decidedly unusual as anything Beck himself might write).   It even opens and closes with wonderful circa 1920s banjo.

Despite the obvious nod to XTC, Pugwash does something that XTC doesn’t.  XTC is a very mannered band.  They always seemed very rigid and formal (and were wonderful because of it).  Pugwash uses XTC as a springboard, but Thomas Walsh seems like a guy who likes to let loose with unchecked silliness, so he can move past the strictures of XTC (and sound like Beck!)

And the packaging is just wonderful. The carnivalesque appearance of the cardboard case is enhanced by not just a cardboard sleeve but also by a second cardboard half-sleeve that you slide on top.  Depending on which way you slide it on, it creates a different set of pictures.  It’s a little thing but it’s a nice nod to the fun of non-digital products.

This is certainly one of my favorite albums this year (even if it came out last year).

[READ: September 21, 2010] One False Note

I enjoyed the first book of the series so much, I couldn’t wait to get to Book Two.  In particular, I was interested to see if Gordon Korman’s writing style would differ much from Rick Riordan’s.  As I said last time, I hadn’t read Riordan before, (although I have read a few by Korman) and while I wasn’t expecting them to write in the same manner, I wondered if they would try to keep the style the same (or if it would be really obvious that they were different writers).

I have to say that I didn’t notice the difference between the two.  Korman’s seems a bit faster paced (but he had no exposition to deal with), and it’s possible that he made things seems a bit more scary/dangerous than Riordan, but not much.

The question I have with the series is three-part: Is the basic plot given to each new writer–like the writer is told what the 39 Clues are–or, possibility two, are they told very specifically, the clue is this and it is here and the writer has to figure out how to get the kids there, or possibility number three, they are free to do whatever they want.

Either way, this is an exciting series, and I’m looking forward to Book Three.

So in Book Two, Amy and Dan continue their adventure.  This time, they go to Saltzburg and Venice.  The Saltzburg trip leads them to the Mozart house.  There’s a wonderful sorta subplot about Mozart’s sister, Nannerl (real name Maria Anna), who was also a great pianist and harpsichordist, oftentimes getting top billing when they played together.  I’s never heard of her, and didn’t know of her talent, and that’s the point of the subplot–how Nannerl had to put her musical skills to the side because she was a woman.   This works nicely with the pairing of Dan and Amy and how they are both good at different things and are both very useful on the quest. Continue Reading »

Posted in Adventure, Arctic Monkeys, Bad Brains, Children's Books, Contests, Foo Fighters, Frank Zappa, Gordon Korman, Nannerl Mozart, Oasis, Peter Lerangis, Pugwash, Rick Riordan, Short Books, Technology, The Divine Comedy, Threats, Travel, XTC | Leave a Comment »

David Bergen–“The Matter with Morris” (The Walrus, September 2010)

October 10, 2010 by Paul Debraski

SOUNDTRACK: SWANS-“My Birth” (2010).

I was a mild fan of the Swans in college ( I loved Children of God) and then post-college, my friend Lar got me obsessed with finding their obscure releases (turns out I have a bunch of LPs that are “valuable.”  Who knew?)  Anyhow, after they broke up I lost touch with Michael Gira’s projects (although Lar got me a cool autograph when Gira last played Dublin).

But Swans are back as heard on NPR.  (NPR?  Yes, NPR).  They have a new album out, but I’ve only heard this track so far.

Swans are loud and abrasive.  Their early stuff is slow and ponderous, nearly glacial–some of the darkest music going that’s not speed metal.  But after a ten plus year hiatus, and all kinds of new musical advancements what will Swans sound like?

“My Birth” is still a bruising song.  It’s loud and heavy but still slow-paced (although much faster than their early stuff).  The drums and bass are loud.  Gira’s vocals are much faster than his almost comically slow deep voice, and now he’s sort of yelling from a distance.

The big difference is that the song sounds contemporary.  Even though it is very Swans-y, it sounds like it has tricks from the last decade (no, not autotune), just a solid juxtaposition of instruments and a very cool/creepy electronic sounding tinkling that runs through the background of the chorus (is it a chorus?).

It sounds more commercial than things they’ve done and yet in no way is it a commercial song.  It abuses the listener and we are thankful for it.  Welcome back, then.

[READ: September 26, 2010] “The Matter with Morris”

This was one of the longer pieces of fiction I’ve seen in The Walrus.  And it was very satisfying.

As the story begins, we learn that Morris is a columnist and that he writes a weekly piece which is taken primarily from his life.  His family hasn’t been all that pleased about what he writes, but he does his best at hiding the details.  (He initially used material from his wife’s analysis business, but he found raiding his own family life to be more satisfying).

And then his life encounters a real tragedy.  He can’t process the problem, and it shows up in his column.  Instead of being quaintly funny, it becomes existentially intense.  Instead of being in first person, it becomes second person (and makes the readers uncomfortable). Continue Reading »

Posted in All Songs Considered, Books about writers, Canadian Content, David Bergen, Death, Depression, Marriage Trouble, Radio, Swans, The Walrus | Leave a Comment »

Consider the Archive (2010)

October 9, 2010 by Paul Debraski

[LISTENED TO: September 27, 2010] Consider the Archive

On September 14, 2010, The Harry Ransom Center at the University of Texas commemorated David Foster Wallace through an evening of his readings and (I love this) Wallace-themed refreshments.  It was also the opening of the Wallace archives at the Center.

[UPDATE: November 8, 2010: The research archives have gone online, details are available here.]

There was a live videocast of the evening, which included excerpts from several of his books. I didn’t get to watch it, but I was able to get an audio copy of the event.

The evening’s readers were:

  • Molly Schwartzburg –Introduction
  • Wayne Allen Brenner, L.B. Deyo, Kurt Hildebrand, Shannon McCormack–The Broom of the System (Grand Ohio Dessert excerpt)
  • Doug Dorst, L.B. Deyo–Correspondence with Don DeLillo
  • Owen Egerton —Infinite Jest (1960, Jim’s Dad)
  • Jake Silvertstein and Kurt Hildebrand–A Supposedly Fun Thing (skeet shooting excerpt)
  • Elizabeth Crane–Infinite Jest: (Avril & Mario)
  • Chris Gibson–Commencement Speech (This is Water) Continue Reading »

Posted in Audiobooks, Big Books, Books about writers, David Foster Wallace, Don DeLillo, Essays, Suicide | Leave a Comment »

Speaking with the Angel (2000)

October 8, 2010 by Paul Debraski

SOUNDTRACK: The Believer July/August 2010 Music Issue Compilation CD: “We Bumped Our Heads Against the Clouds” (2010).

Of all the Believer music compilations, this is by far my least favorite.  It would be oversimplifying things to say that the music is not for me, but in many respects it is not.  Chuck Lightning, the curator of the project states that this compilation is more or less a look into the state of the union for black artists.  And that invariably means a lot of R&B and songs that might be heard on Glee (I like the show, but I never know any of the music).

Deep Cotton’s “Self!” reminds me of novelty dance hit from the late 80s.  Of Montreal, who I thought sounded totally different from this, offer “Hydra Fancies” which is as catchy a disco anthem as any disco anthem can be.  Roman GianArthur’s “Depraved Valet” is an amazingly falsettoed Prince knock off.  Cody Chestnutt’s “”Come Back Like Spring” is a simple almost acapella ode to spring.  Saul Williams’ oddly titled “B.S. in a Tampon” is a spoken word with acoustic guitar that reminds me of Gil Scot-Heron.  Janelle Monáe’s “Cold War” is the first really catchy song (the la las remind me of Carole King), although  I could do without the overstated “Calinda” part and the extended fade.

The first song I really liked was BLK JCKs “Iietys” which sounded enough like TV on the Radio to be really interesting.  Spree Wilson’s “Chaos” also sounds like TV on the Radio (the more R&B side of the band, although the guitar solo is a dead ringer for “Hotel California.”  Scar’s “Rewind” is the song that should be on Glee.  I want to hate it but it is so damned catchy, I can’t.  Again, those Oh Oh Ohs are too perfect (and the auto0tune of course is unassailable).

Rob Roy’s “Velvet Rope Blues” is my favorite song on the disc by a large distance. It’s a weird rap that reminds me of The Streets, with an awesome sung chorus ala OutKast.  Hollyweed’s “Have You Ever Made Love to a Weirdo” is a trippy, juvenile space rap that is really silly.  Sarah hates it but I kind of like it, as it’s in the spirit of Frank Zappa, (although I hate the sax solo).  Fear & Fancy’ s “Off the Grid” sounds also not unlike OutKast.  And George 2.0′ s “Turn Off the TV” is a anti-TV rap rant (with the somewhat ironic conclusion that you yourself might end up ON the TV).

M.I.A. is probably the biggest name on the disc. “Born Free” is a weird little track of highly distorted vocals over a punk guitar buzzsaw sound.  But her vocals are mixed so loud in the mix that they sound unrelated.  It sounds not unlike a Go! Team track.  This track makes me wonder how she became such a sensation.

Hot Heavy & Bad’s “One” returns to that disco sound in the vocals with some contemporary bass sounds.  It wears out its welcome pretty quickly.  Tendaberry’s “Cold Boy” sounds like a less horn-y Fishbone.  Mother Novella offers one of the few all guitar songs, “Closer 9 1/2” and it’s an okay mid tempo rocker.

The final song is pretty awesome in theory: Nina Simone covering Alice Cooper.  That’s right, Nina Simone covering Alice Cooper.  Sadly I don’t know the Alice Cooper song, so it’s a bit lost on me.

[READ: September 16, 2010] Speaking with the Angel

I bought this volume when it came out (and apparently donated $1 to TreeHouse at the same time).  It’s a collection edited by Nick Hornby (and the cover is designed similarly to the way High Fidelity and even About a Boy were at the time (“the Hornby look,” I suppose).

I didn’t buy it for Hornby alone, although he does have a story in it, but because it looked like a really promising collection of stories from authors I liked.  And for some reason I didn’t read it until now.  It includes 12 stories, and as the introduction notes, $1 was donated to TreeHouse.org.uk (in the US $1 goes to TreeHouse and another $1 goes to New York Child Learning Institute).  I don’t know if the money still goes there, but you can donate with a form at the back of the book.  Continue Reading »

Posted in Alice Cooper, BLK JCK, Boredom, Carole King, Colin Firth, Dave Eggers, Death, Dreams, Fables, Fantasy, Fears, Fishbone, Frank Zappa, Gil Scot-Heron, Giles Smith, Glee, Helen Fielding, Humiliation, Irvine Welsh, John O'Farrell, Melissa Bank, Nick Hornby, Nina Simone, Of Montreal, OutKast, Patrick Marber, Pete Shelley, Politicians, Prince, Prison, Punks, Rob Roy, Robert Harris, Roddy Doyle, Set at School, Short Story, The Buzzcocks, TV on the Radio, Zadie Smith | Leave a Comment »

Jonathan Franzen–“Lost in the Mail” (New Yorker, October 24, 1994)

October 7, 2010 by Paul Debraski

SOUNDTRACK: PAVEMENT-Crooked Rain, Crooked Rain (1993).

Now this album, Pavement’s second (after the Watery, Domestic EP, which I’ve never heard) is my idea of perfect Pavement.  Some might complain that this album is too commercial (although it hardly is) but to me is shows a consolidation of the talents into actual songs.

It opens with “Silence Kit” which sounds like a twisted take on a Buddy Holly song–disconcerting and familiar at the same time.  The second track “Elevate Me Later” ups the ante a bit with a noisy raucous chorus.

“Stop Breathin'” is a dark song, a sort of minor ballad that sounds even more disconsolate with the slightly out of tune guitar work.   But the lengthy instrumental at the end is (although simple) quite pretty.

And then there is the sublime nonsense of “Cut Your Hair.”  This was the first Pavement song I’d ever heard all those years ago.  And from the silly “oo oos” at the beginning to the crazy screaming guitar solo and crunchy “NO BIG HAIR” line I fell in love immediately. It was a wonderful left field hit (not unlike “She Don’t Use Jelly”) that brought a great band some attention.

It’s followed by “Newark Wilder,” a slow track that fits wonderfully after “Hair.”  One might even call it a ballad.  But it is definitely not standard fare, when the bass (or baritone guitar) plays a riff instead of a bridge.

The album picks up the rocking vibe again with, “Unfair” which I noticed is like a rough precursor to Weezer’s “Beverly Hills.”  It’s a fairly conventional song but it’s made unconventional by Malkmus’ delivery and guitar style (and would probably be a hit if it was released today).

I recently mentioned “Gold Soundz”.  (And it’s amazing how much the live version sounds just like the studio–as if everything was intentional).  It’s followed by the goofy Dave Brubeck parody/tribute “5-4=Unity.”  And of course, “Range Life” is just an awesome slacker anthem.  It’s got everything.

The last three songs offer a lot of diversity.  “Heaven is a Truck” is a piano based, drunken-sounding ballad.  “Hit the Plane Down” is a rambling wonderful shambles that devolves into a complete chaos, and “Fillmore Jive” is a 6 minute “epic.”  It opens slowly, and then builds into a fairly conventional sounding (drunken, sloppy, end of the concert) rock song.

I feel that Pavement peaked with this disc.  It’s really fantastic.

[READ: September 23, 2010] “Lost in the Mail”

As I am wont to do, I have gotten a little obsessed with an author. Recently it was Wells Tower (there’s still a few Harper’s pieces by him I haven’t read yet). And right now its Jonathan Franzen (even though I haven’t read any of his novels yet).  After reading the previous New Yorker piece, I wanted to see what else he had written for them.  Seeing his entire list at the New Yorker site is daunting and it makes it seem like he was constantly writing quite long pieces for them.  And yet, parsing it out, it comes out to about one article a year.  And yet some of these article, whoo boy, are 12 or 13 pages…quite lengthy for the New Yorker.

And so, I’m going to read these pieces over the next few weeks–I thought about reading each year’s piece during a different week, but that seems too regimented.  And since the majority of these pieces are non fiction (there are about 5 short stories in the mix) I’m going to be reading them with an eye towards these questions: Can a good writer make a story that I don’t care interesting?  Would I enjoy this same piece if it were written by someone else?  As a reporter (at large) does Franzen bring some kind of personality to the way the piece is constructed that someone else may not have?

This questions are unanswerable of course, because no one else wrote the piece in a different way.  But, when scanning the titles, some of the subjects interest me but others do not.  And those will be the real test.

This piece, about the Chicago Post Office is something that I didn’t care about specifically.  However, I have a certain love of the Postal System, and so I found this story heartbreaking and something of an illusion-shatterer. Continue Reading »

Posted in Drinking, Drugs, Jonathan Franzen, New Yorker, Paul Debraski, Pavement, Post Office, The Flaming Lips, Weezer | Leave a Comment »

Jonathan Franzen–“Meet Me in St. Louis” (New Yorker, December 24, 2001)

October 6, 2010 by Paul Debraski

SOUNDTRACK: PAVEMENT-Slanted and Enchanted (1992).

I decided to go back and give a good listen to Pavement since I’ve always liked them but never loved them And, yes, they were in Central Park the other night).  So I started at the beginning.

I listened to the disc about a half-dozen time at work and I really started enjoying it a lot more by the end. It’s a difficult album, one that doesn’t actively embrace its listeners.  It’ a noisy, sloppy album (and that’s one reason why I like it), but there are hints of melody within.

Because I’m not in the moment, I can’t decide just how revolutionary this album was.  Nearly twenty years later it sounds like any number of noisy distortion fueled, lo-fi recordings of the period.  You can hear all kinds of influences on the band, Sonic Youth, The Fall, even The Replacements.  So, it’s not like they created something out of the blue.

Perhaps they were the first band to consolidate these influences into this particular stew.  No songs really stand out for me, as this seems more of an album of sounds that a collection of songs.  I rather enjoyed some of the oddball instrumentals and the use of keyboards, (which seem too polished for their sound: out of tune guitars and scratchy vocals).

It’s a fun record, and it certainly sets a tone and an agenda for the band.  I’m just not blown away by it.

[READ: September, 22, 2010] “Meet Me in St. Louis”

As I mentioned in the Franzen article the other day, I missed the whole brouhaha with Oprah and Franzen.  This article, which touches on that somewhat, gives Franzen’s perspective on what happened.  But primarily it shows (his take on) the videorecording that happened for his big Oprah TV show.

Mostly it involves Franzen driving around St. Louis.  Franzen grew up in St. Louis but spent most of his adult life in New York City–which is where he considers his home.  However on the book tour for The Corrections, he stopped in St. Louis.

The producers of Oprah wanted to film his great homecoming, even though he never felt it was one.  About two years before this event he and his brothers sold their family house after his widowed mother died.  That was the last time he had been to the house, and he had planned to never return. Continue Reading »

Posted in Books about writers, Consumerism, David Foster Wallace, David Lipsky, Essays, Jonathan Franzen, New Yorker, Oprah, Sonic Youth, The Fall, The Replacements | 3 Comments »

Jessica Shattuck–“Bodies” (New Yorker, September 30, 2002)

October 5, 2010 by Paul Debraski

SOUNDTRACK: PAVEMENT-“Gold Soundz” live on the Colbert Report (2010).

Philistine alert: I never loved Pavement.

Yeah, let that sink in.  It’s shocking, I know.  I have liked a great many of their songs, and I could definitely see myself enjoying the entirety of their new greatest hits record.  But even though I have their first three discs, and I adore them in theory, in practice I just don’t love all of their output.

When they broke up in 2000 or so I wasn’t really that bummed.  I felt they’d done a number of great (and by now) classic alt rock songs, but I didn’t really feel like music had ended or anything.

Having said that, the fact that they’ve reunited makes me happy.  It’s nice to see yet another “classic” alt rock band banging out some tunes together.  And, in this case, it means that I get to hear them play a great classic track live on The Colbert Report.

This song is a kind of The Platonic Form of Pavement songs.  It features everything: noisy guitars, vocals that go from mid-range to high pitched with almost no warning, inscrutable lyrics and, in spite of itself, a catchy liquid center. I’ve never seen them live (and I missed a chance in Central Park recently, sorry Al) but this clip sure makes me think they’d be a great show to see.

And who knows, maybe I’ll have to actually get Terror Twilight.

Colbert’s interview with Stephen Malkmus is hilarious, too.

[READ: September 20, 2010] “Bodies”

As with a previous time that I scoured a New Yorker back issue, I found a short story that came directly after the article I wanted.  The name Jessica Shattuck sounded familiar (and her debut novel The Hazards of Good Breeding also rang a bell), but apparently I’d never read her before.

This story opens with a woman named Anna who we learn has recently been diagnosed with Stage III Hodgkins lymphoma.   She is currently living in her bosses’ house with her boss’ husband and five-year old son.  The arrangement is not ideal, but Anna had nowhere else to turn.  And, since she is not working, while she is recovering she is acting as the boy’s nanny (the boss is away a lot and the husband spends much of his time working out).

She is beginning to feel better, stronger, and is even feeling confident enough to leave the house for a little while.  And so, to me, the last thing I expected was for this story to grow sexual.  And yet it does. Continue Reading »

Posted in Cancer as plot device, Jessica Shattuck, Marriage Trouble, New Yorker, Pavement, The Colbert Report | 1 Comment »

James Joyce–Ulysses (1922) [abridged audiobook 2000–Jim Norton & Marcella Riordan]

October 4, 2010 by Paul Debraski

[LISTENED TO: September 27, 2010] Ulysses [abridged]

Because I am a glutton for punishment, I decided to listen to the abridged version of Ulysses as well (what’s 4 more hours of my life?).  (This edition is by Naxos, which Amazon is selling as a download).  I decided that the main reason was that since I have the text so fresh in my mind, it would be interesting to see what they abridged.  I mentioned in a recent post that the abridged version is 4 discs (just under 5 hours).  That is a serious abridgment, from 40 to 5 hours (actually the Naxos unabridged version is only 22 discs…how come theirs is so much shorter?  It seems that Jim Norton reads much faster).  And I am curious to see what they consider the “essential” text of the book.  Plus, realistically, I would never really want to do it at a later date.

So this version is read by two different people: Jim Norton (who read Dubliners, Portrait, and an abridged Finnegans Wake too) and Marcella Riordan.  There are a number of places where the two interact (she is Molly in the early scene in bed and she is some of the whores in the nightwon scene…it adds some real dramatic resonance to the story). Continue Reading »

Posted in Death, Drinking, Dublin, Ireland, Irish Writer, James Joyce, Jim Norton, Language, Marcella Riordan, Masturbation, Prostitution, Sex | Leave a Comment »

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