#its about the family connection!!! and the simplicity of the song and the rhythm!! and the way theyve built it over the years!!

[rai-knightshade-art]

When I'm gone, when I'm go~one; you're gonna miss me when I'm gone...

-Cups (When I'm Gone), by Anna Kendrick

(Artist thoughts and close ups under the cut, image ID in alt text)

I keep getting sucked into the Big Family Feels™ 🥺 and the idea of the Cup Song as a through-line throughout Molly's life, a symbol of unconditional love and happiness and joy that she shares with her whole family, but especially with her mom, because it starts as a sort of pattycake stand-in that turns into a routine, just for the two of them.

And, so, this little page was born! A sort of timeline of Molly's life, shown through song, from the times when she was a baby and Jesse would sit her in his lap on the floor of the nursery, facing Beca, as she sang the song to Jesse's soft harmony (sometimes it was the only way to get the poor girl to calm down from a crying fit); to her childhood, when she decided she wanted to make up her own rhythm to Mommy's song, the foundation of it becoming a routine they'd perform nearly every day; to teaching it to Bender the dog as a young teen, and later her younger brothers, so they could all share it; and finally, to Molly arriving at Barden, with her family there to help move her in, and Beca singing the song to Molly's harmony one last time before she officially leaves the nest and flies.

Not pictured: Molly definitely getting emotional/teary-eyed when she joins the Bellas and finds out the traditional first group harmonizing exercise is to sing the Cup Song together (because they're family too! These girls are going to be her family, just like the og Bellas became Beca's family (and eventually Molly and Bella's too, they have a whole posse of aunts who love them), and, somehow, through time, this little song ties them all together). (No I'm not crying why do you ask 😭😭😭.)

Close ups:

[essseateatarot]

The Best 20 Tarot Cards to Get as a Love Outcome (Part I.1)

Love, the most enchanting journey of the human heart, often dances to the rhythm of the mystical tarot. Like an ancient oracle, the tarot cards have the power to reveal the secrets of our affections, and in the realm of love, they are the storytellers of our heart's desires. Picture this: you've just had a Tarot reading, and the cards have unveiled their mysteries. Among the sea of symbols, there, like a shimmering gem, lies the promise of love—a future, a connection, a path filled with boundless affection.

You may wonder, what are the best cards that can appear in your love reading, the ones that whisper of love's deepest treasures?

In this journey through the tarot's, we will unveil the 20 cards that are the stars of love readings, each holding a unique key to the enchanted chambers of your heart. So, take a seat, for love's symphony is about to be played, and the tarot cards are ready to serenade your soul.

1. The Lovers

When The Lovers card graces your love reading, it's as if the heavens themselves are singing a love song to your soul. It's the ultimate affirmation that love, in its most harmonious and passionate form, is in your grasp. This card represents the sacred union of two souls, entwined in a dance that transcends the ordinary. Love becomes a cosmic alignment, a choice of the heart that blooms like a radiant rose. The Lovers card whispers that you are on the brink of a profound and transformative connection. Your choices and desires align with a higher purpose, leading to the ecstatic embrace of two kindred spirits. In this loving tango, the universe itself partners with your heart, opening the doors to affection, passion, and unity. It's a card that exudes the poetry of love, a harmonious symphony where the notes of your hearts blend into an exquisite melody of togetherness.

2. The Two of Cups

The Two of Cups is the tender, yet powerful, symbol of shared emotions and the budding connection between two souls. It's like gazing into each other's eyes and seeing your reflection in a tranquil pool. This card signifies a meeting of hearts and a pact to embark on a journey of love together. Each cup overflows with the pure elixir of affection, creating a connection that is both emotional and spiritual. It's not just a card; it's a promise of an authentic, deep bond forming, one that harmonizes your desires and emotions with another's. The Two of Cups exudes the simplicity of pure love—no grand gestures, just the tender touch of hands uniting in understanding. In this card, you find the whisper of a shared dream, the gentle caress of romance, and the affirmation that your hearts are attuned to each other's desires. It's a magical moment where two hearts resonate, creating an emotional alchemy that promises lasting connection and affection. It is the union of two souls, where love is born from the tender acknowledgment of one another.

3. The Ten of Pentacles

The Ten of Pentacles, an embodiment of enduring love, stability, and shared values, is like a cozy hearth in the heart's abode. In the realm of love, it signifies a relationship that is not only emotionally rich but also solid as the earth beneath your feet. It's a love that is built on the foundations of trust, shared dreams, and lasting commitment. Imagine the warmth and comfort of a home where generations have gathered, where memories are cherished, and where love is a legacy passed from one heart to the next. This card symbolizes not just the love between two people but the inclusion of family, tradition, and a shared future. It's like a vivid tapestry where each thread represents a shared moment, and every knot is a memory that strengthens your connection. The Ten of Pentacles exudes a sense of permanence and deep-rooted love. In this love story, the pages are turned not by fleeting passion but by the solid embrace of shared values and a promise to build a life together. It's the realization that your love is not just a moment in time but a legacy that will continue for generations to come.

4. The Ace of Cups

The Ace of Cups is like a fresh and boundless wellspring of love, a testament to the inexhaustible nature of affection. In the realm of love readings, it heralds the arrival of new, profound emotions that are destined to overflow in your life. This card is like a pure, ornate chalice, filled to the brim with emotional riches, promising the start of an extraordinary journey of love. The Ace of Cups is not just a card; it's an affirmation of the heart's capacity to feel deeply and fully. It's like a cup that continually replenishes itself, ensuring that you will never run dry of affection, passion, and connection. In this card, love is not just a singular experience; it's a wellspring of emotions that flows freely and unconditionally. The Ace of Cups sings of the purity and depth of your feelings, of the boundless potential for love in your life. It's like a bubbling spring of clear, cool water in the heart's desert, an oasis where you can drink deeply and be nourished by the sweetness of affection.

5. The Knight of Cups

In the realm of love, the Knight of Cups is your charming and valiant knight, galloping into your heart with romantic gestures, emotional depth, and a passionate spirit. Picture a figure on a white steed, armed with a heart full of love, coming to sweep you off your feet. This knight is the harbinger of emotional adventures and the messenger of love. When he appears in your love reading, expect bold, romantic gestures, affectionate surprises, and a heartfelt declaration of love. The Knight of Cups is the embodiment of courtly love and chivalry, and he brings with him the promise of a new romantic chapter in your life. He is your passionate suitor, a heart's desire made manifest. This knight symbolizes the intensity and depth of your emotions. It's like a serenade under the moonlight, where every note and word is dedicated to the depth of your feelings. The Knight of Cups is a reminder that love is not just about emotions; it's a journey, an adventure, and a passionate quest. In his presence, love is not a static concept; it's a living, breathing force, ready to stir your heart and elevate your spirit. It's the grand romantic gesture that you've always secretly wished for, delivered with grace and sincerity.

Follow for more posts >>> Other cards coming soon...

[littjara-mirrorlake]

Green, from a Simic perspective

people often talk about green as the color of acceptance, tradition, and simplicity. i, and my red tertiary, initially recoiled at those words, ones I’ve come to associate with oppression and the preservation of the status quo. but i grew to realize green can become far more than that. it was a process to come to terms with it as half my color identity, but now i can confidently say that i am green, just as much as i am blue.

it’s important to remember that no one who identifies with a color can at once show every expression of that color, because colors by nature cover a huge variety of traits. this is just my personal connection to the color green, as a red (or is it black??) tertiary simic.

(long post under the cut.)

while white is the color of religion, as in dogma and moral codes and ideals, green is spirituality. it’s a humbling feeling of interconnectedness and awe independent from the concept of an intelligent God, or any set of cosmic decrees. combined with blue, it is a deep reverence for the complexity and intricacy of nature, the million molecular processes that knit together into the miracle we call life–and, thinking even beyond that, the universe as a whole.

green is the color of ancestry, of returning to one’s roots. my view of ancestry goes deeper and broader than merely humans, extending back through time to include all my evolutionary predecessors–once again influenced by the blue values of science and progress. 

so what is heritage, to this simic? this is heritage: my ancestors swam the oceans before they ever tasted air, and the same four nucleotides compose the story of my being within my cells as in theirs, long ago. i am one branch on a tree of life that extends to every being that draws breath, twitches a minute flagellum, calls on ribosomes to assemble its proteins. although i am an individual with my own thoughts and aspirations, i am also a long evolutionary line culminating ever so briefly in human flesh, part of a living, breathing whole much greater than myself. scientific study is an act of reverence for my ancestors and how far they have come, how beautifully they have diversified.

and there, too, arises the green idea of wholeness, of all things being connected.

another green concept is belonging, more abstract than white’s notions of oath or people or nation. I believe aligning one’s self with groups can often enhance, not erase, individuality. I am proud to define myself as a member of a chosen family, or a biologist, or a Simic. maybe it’s the blue in me, but i tend to focus more on chosen groups than those you’re born into and cannot change.

i don’t believe in destiny–my blue half assures that–but i do believe in nature’s rhythms, the inevitable rise of new growth. green is life and death, in tandem. both holdfast and upwelling. even in a cruel world, life triumphs in the end–otherwise, how would we be here now, breathing and feeling and living after a billion years? in this way, green–or at least simic green–is a progressive force, calling for uprising and unity in the face of our oppressors. (this take, of course, is further colored by my red tertiary–or is it black? I still haven’t figured it out myself.)

and green is a nurturing color. i love and revere life, and for that reason, i foster it. in laboratories, in aquariums, in the fuzzy friends i adore.

so there’s my take on green, at least for now. my spirituality is the rhythm of the heartbeat and the song of a billion life-forms evolving together in this world we call home. i am the legacy of my amphibious, scaled, finned, single-celled ancestors. i am an agent of progress and a member of a vast family. and i am simic.

[fuckheadwitha]

Listening to Rolling Stone's Top 500 Albums of All Time

Rolling Stone released an updated list of their top 500 albums of all time and being trapped in the purgatory of covid quarantine this seems like the perfect moment to tackle what an almost completely irrelevant former counter-culture institution has to say about music (we can’t actually blame Rolling Stone for this list, a huge number of musicians and critics voted to make it). I am going to listen to every single one of these, all the way through, with a level of attention that's not super intense but I'm definitely not having them on in the background as simple aural wallpaper. Two caveats though: I can make an executive decision to skip any album if I feel the experience is sufficiently miserable, and I'm also going to be skipping the compilation albums that I feel aren't really worth slots (best ofs, etc.). In addition, I will be ordering them as I go, creating a top 500 of the top 500 (it will be less than 500 since we've already established I'm skipping some of these).

Here are 500-490:

#500 Arcade Fire - Funeral

I can already tell I'm going to be at odds with this list if one of the most important albums of my high school years is at the bottom. That being said, I haven't actually given this whole thing a listen since probably the early 2010s, before Arcade Fire fatigue set in and the hipsterati appointed band of a generation just kinda seemed to fade from popular consciousness. I actually dreaded re-experiencing it, since the synthesis of anthemic rock and quirky folk instrumentation which Arcade Fire brought mainstream has now become the common shorthand of insufferable spotify friendly folk pop. Blessedly, the first half of the album easily holds up, largely propelled by dirty fast rhythm guitar, orchestration that's tuneful rather than obnoxious, and lyrics which come off as earnest rather than pretentious. The middle gets a little sappy and “Crown of Love”, a song I definitely used to like, really starts the grate. And then we get to “Wake Up”, whose cultural saturation spawned thousands of dorky indie rock outfits that confused layered strings and horns with power and meaning. This song definitely hasn't survived the film trailers and commercials which it so ubiquitously overlayed, but the line about "a million little gods causing rainstorms, turning every good thing to rust" still attacks the part of my brain capable of sincere emotion. This album is probably going to hold the top spot for a while, because although so many elements of Funeral that made it feel so meaningful, that made it stand out so much in 2004, have been seamlessly assimilated into an intellectually and emotionally bankrupt indie pop industrial complex, the album itself still has a genuine vulnerability and bangers that still manage to rip.

#499

Rufus, Chaka Khan - Ask Rufus

Before she became a name in her own right, Chaka Khan was the voice of the band Rufus, and it’s definitely her voice that shines amongst some spritely vibey funk. That’s not to say that these aren’t some jams on their own. “At Midnight” is a banging opener with a sprint to the finish, and although the explicitly named but kinda boring “Slow Screw Against the Wall” feels weak, this wasn’t really supposed to be an album of barn burners. This was something people put on their vinyl record players while they chilled on vinyl furniture after a night of doing cocaine. “Everlasting Love” is a bop with a bassline like a Sega Genesis game, and the twinkling piano on “Hollywood” adds a playful levity to lyrics that are supposed to be both tackily optimistic about making it big out in LA and subtly realistic about the kind of nightmare world showbiz can be. “Better Days” is another track that manages to be a bittersweet jam with a catchy sour saxophone and playful synths under Chaka Khan’s vamping. This album definitely belongs on a ‘chill funk to study and relax to’ playlist.

#498

Suicide - Suicide

We’ve hit the first album that could be rightly called a progenitor for multiple genres that followed it. Someone could say there’s a self-serving element of this being on a Rolling Stone list (the band was one of the first to adopt the label ‘Punk’ after seeing it in a Lester Bangs article) but the album’s legacy is basically indisputable. EBM, industrial, punk, post-punk, new wave, new whatever all have a genealogy that connects to Suicide, and it’s easy to hear the band in everything that followed. But what the band actually is is two guys, one with an electric organ and one with a spooky voice, doing spooky simple riffs and saying spooky simple things. Simplicity is definitely not a dis here. The opener “Ghost Rider” makes a banger out of four notes and one instrument, and the refrain ‘America America is killing its youth’ is really all the lyrical complexity you need to fucking get it. “Cheree” and “Girl” have almost identical lyrics (‘oh baby’ vs ‘oh girl’) but “Cheree” is more like a fairy tale and “Girl” is more like a sonic handjob. “Frankie Teardrop” has the audacity to tell a ten minute story with its lyrics, but of course there is intermittent, actually way too loud screaming breaking up the narrative of a guy who loses everything then kills his family and himself. The song is basically a novelty, and I think you can probably say the whole album is a novelty between its brevity and character. But for a bite sized snack this album casts a huge shadow.

#497

Various Artists - The Indestructible Beat of Soweto

The fact that this particular compilation always ends up in the canon has a lot to do with the cultural context it existed in, being America’s first encounter with South African contemporary music during the decline of apartheid (it wouldn’t end until a decade later in 1994 with the country’s first multi-racial elections). Music journos often bring up the fact Ladysmith Black Mambazo, the all male choir singing on the album ender “Nansi Imali”, sang on Paul Simon’s Graceland like their virtue is they helped Paul Simon get over his depression and not, like, the actual music. But also like, how is the actual music? Jams. Ubiquitous, hooky guitars propel the songs along with bright choruses over low lead vocals, but I didn’t expect the synthesizer on the bop “Qhude Manikiniki”, nor the discordant hoedown violin on “Sobabamba”. “Holotelani” is a groove to walk into the sunset to.

#496

Shakira - Donde Estan los Ladrones

So this is the first head scratcher on the list. It’s not like it sucks. And I think I prefer this 90s guitar pop driven spanish language Shakira to modern superstar Shakira. But I mean, it’s an album of late nineties latin pop minivan music, with a thick syrupy middle that doesn’t do anything for me. The opener and closer stand out though.  ‘Ciega, Sordomuda’, one of the biggest pop songs of the 90s (it was #1 on the charts of literally every country in Latin America), has a galloping acoustic guitar and horn hits with Shakira’s vocals at their most percussive.

#495

Boyz II Men - II

So, if you were alive in the 90s you know Boyz II Men were fucking huge, and the worst song on the album is the second track “All Around the World”, basically a love song to their own success, and also the women they’ve banged. You can tell it was written specifically so that the crowd could go fucking wild when they heard their state/city/country mentioned in the song, and I’m not gonna double check but I’m sure they hit all fifty states. Once you’re over that hump though you basically have an hour of songs to fuck to. “U Know” keeps it catchy with propulsive midi guitar and synth horns, “Jezzebel” starts with a skit and ends with a richly layered jazz tune about falling in love on a train, and “On Bended Knee” has a Ragnarok Online type beat. Honestly this album can drag, but you’re not supposed to be listening to it alone in a state of analysis, you’re supposed to have it on during a date that’s going really, really well.

#494

The Ronettes - Presenting the Fabulous Ronettes

A singles compilation of the Ronettes, the only ones I immediately recognized were ‘Be My Baby’ and ‘Going to the Chapel of Love’, the latter of which I didn’t know existed since the version of the song I knew was by the Dixie Cups, which was apparently a source of drama since the Ronettes did it first but producer Phil Spector refused to release it. I feel like as a retro trip to sixties girl groups it’s full of enough songs about breaking up (for example “Breaking Up”) getting back together (for example “Breaking Up”) and wanting to get married but you can’t, because you’re a teenager (“So Young”).

#493

Marvin Gaye - Here, My Dear

This album only exists because Marvin was required by his divorce settlement to make it and provide all of the royalties to his ex-wife and motown executive Anna Gordy Gaye. It’s absolutely bizarre, phoned in mid tempo funk whose lyrics range from the passive aggressive (“This is what you wanted right?”) to the petulant (“Why do I have to pay attorney’s fees?”). There is a seething realness here that crosses well past the border of uncomfortable. I don’t think it’s an amazing album to listen to, but it’s an amazing album to exist: Marvin Gaye is legally obligated to throw his own divorce pity party, and everyone's invited.

#492

Bonnie Raitt - Nick of Time

I have never heard of Bonnie Raitt before but apparently this album won several grammys including album of the year in 1989 and sold 5 million copies, which I guess goes to show that no award provides less long term relevance than the grammys. The story around the album is pretty heartwarming, it was her first massive hit after a career of whiffs, and Bonnie Raitt herself is apparently a social activist and neat human being. I say all this because this sort of 80s country blues rock doesn't really connect with me, but the artist obviously deserves more than that. I unequivocally like the title track though, a hand-clap backed winding electric piano groove about literally finding love before your eggs dry up.

#491

Harry Styles - Fine Line

I do not think I have ever heard a one direction song because I am an adult who only listens to public radio. I’m totally open to pop bands or boy bands or boy band refugee solo artists, but I don’t like anything here. It’s like a mixtape of the worst pop trends of the decade, from glam rock that sounds like it belongs in a car commercial to folky bullshit that sounds like it belongs in a more family focused car commercial. This gets my first DNP (Does Not Place).

#490

Linda Ronstadt - Heart Like a Wheel

Another soft-rock blues and country album which just doesn’t land with me. But the opener “You’re No Good” is like a soul/country hybrid which still goes hard and the title track hits with the lyrics “And it's only love and it's only love / That can wreck a human being and turn him inside out”.

Current Ranking, which is weirdly almost like an inverse of the rolling stones list so far;

[dustedmagazine]

Listed: Zelienople

Zelienople, out of Chicago, has been making drone-y, atmospheric music for ten years, following collaborations with Souled American’s Scott Tuma and others. In his review of Hold You Up, Tim Clarke observed, “The foundations are always shifting, creating the waves that give these songs their uneasy, melancholic sway.” Here guitarist/vocalist Matt Christensen and drummer Mike Weis list some influences—musical and otherwise—that shape their work.

Matt Christensen:

Popul Vuh—Agape-Agape (Love-Love)

Favorite records change over time, but this one has stayed with me the longest, so I guess I might have to say it’s my favorite record. At this point, I’ve been alive and with this one long enough to be able to say that. There are so many things about this record that I emulate, but half the time I’m not trying to steal anything but the headspace it creates. The record also sounds like it was recorded direct to cassette tape, and I love it.

The Master, Directed by Paul Thomas Anderson

This might be my favorite film of all time. I once read an interview with the 2 guys from the band America, and they said that one person wrote about the indoors, and the other about the outdoors. I mostly write about people, so I would maybe be an indoor person. I feel that this movie is perfection. I don’t like to use the word “amazing” unless it’s warranted, but Joaquin Phoenix is amazing in this. The acting, tone, look, sound, and overwhelming complexity of the characters is amazing.

The Les Paul Jr.

I never really connected with guitar for a long time. I started out on bass and didn’t even play guitar live until after our 3rd record (Ink) was released. I then switched to a Telecaster (that blue one on the right is a Tele that I converted to an Esquire). I then played Teles live and on all of our records up until “Show Us The Fire”, when I switched to an LP Jr through a ’74 Fender Pro Reverb amp (no pedals!). I fell in love with this guitar. The simplicity, it’s almost piano-like sound, and the way I feel connected to it hasn’t gotten old. I really love this guitar.

My music room

My favorite place in the world. Clean, bright, minimal. Saturdays are my alone/ music days. I’m always working on recordings, and I will lay on the couch (just out of frame, at the bottom), and listen to what I/ we’ve done, on a loop. If I can fall asleep while listening, that’s a good sign.

My girl, 13

My favorite person in the world. I took this picture after we had been cooped-up for 2 straight days. We walked the mile down to the Chicago Lakefront to play volleyball. It was 55 degrees out, so all of the self-isolating people were out, and the streets and beach were more crowded than usual. With the pandemic in its 2nd week (for the U.S.) I would sometimes imagine it being just the two of us surviving in a post-apocalyptic world, and that didn’t seem like the most horrible thing.

Mike Weis:

During this period of isolation, uncertainty, anxiety and just feeling a bit bat-shit crazy as a result of being a working parent during this global pandemic I’ve found that what I crave the most right now is spaciousness. For weeks I’ve been voraciously consuming information, breaking news and first-hand feature stories concerning the Coronavirus. This overdosing on media was starting to get to me so I decided to decrease my clicking, scrolling and tuning-in to a manageable limit and using the breaks for more empty space. We are fortunate that our family are able to “shelter in place” in the woods of northwest Indiana at my wife’s parent’s house. I’ve turned to nature for relief since this thing happened and it’s become my raft. I spend most of my free time in the woods, just listening to the sounds of wilderness waking up from Winter. However, as a “billboard photographer”, I need to be on the roads for a few hours every weekday. When I’m not tuning into my book on CD (The Overstory) I’m finding that the only music that doesn’t make me feel claustrophobic is stuff that is non-narrative, non-linear, without subject and is chock full of a good chunk of emptiness. As John Cage says, “there’s too much there, there” So this list is all about the father of this kind of music... John Cage.

John Cage— 4'33"

Of course! This “composition” has probably had the most influence on my mid-life years. Cage’s idea of listening indiscriminately to the everyday sounds of our surroundings has been a radical shift in how I perceive the world around me. When I tune in like this, immediately I feel an expansiveness that “lifts my feet off the ground.” “The wisest thing to do is to open one’s ears immediately and hear a sound suddenly before one’s thinking has a chance to turn it into something logical, abstract, or symbolical. Sounds are sounds and men are men, but now our feet are a little off the ground.”—John Cage

John Cage—Branches

Ideas must have flowed ceaselessly out of Cage’s head because this one is pretty nuts and it seems ridiculous on paper. “The instruments to be used are amplified pods, cacti, and other plant materials, such as pod rattles from a Poinciana tree, which Cage specifically mentions in the score. Other instruments are to be selected by the performers, using I-Ching chance operations. Cacti are played by plucking needles with toothpicks, amplifying their sounds via cartridge-like attachments.” I love the idea of using plant material as sound generators. Whenever I walk in wilderness I’m constantly looking for things to create sounds with on my hike. During this pandemic shut-in period I’ve been recording rhythms in the woods using sticks, trees, seed-pods, water, etc. and then sending them to Matt and Brian to be formed into Zelienople songs.

John Cage—Ryoanji

The first time I heard this piece I absolutely fell in love with the sounds before I even knew it was inspired by the beautiful rock garden at Ryoanji Zen Buddhist temple in Kyoto, a place that I fell in love with during a visit a few years earlier. I like that the score instructs the performers to “play in ‘Korean unison,’ their attacks being close, but not exactly together.” These parts are a series of quarter notes (as in the percussion part), which (different for each instrument) are to be played slightly before, slightly after, or more or less on the beat. So many of my favorite things coming together in one piece of music, it feels like it was written specifically for my ears!

John Cage—Imaginary Landscape no. 1

1939! This piece was composed in 1939! Holy shit, it sounds radical even by today’s standards. Most likely the first electro-acoustic piece ever composed. Pretty sure most of my solo work can be traced back to the influence that this short piece had on me.

John Cage—Fourteen

This is from Cage’s later period,1990, composed less than two years before his death. It’s a really beautiful piece of soft, resonant tones made mostly by bowing objects. You Ambient kids out there should dig this one.

[mcneelamusic]

How To Play The Concertina Like Noel Hill

Noel Hill is the master of the modern concertina. He singlehandedly revolutionised traditional Irish concertina playing, forever changing the musical landscape.

The concertina owes much of its popularity today to Noel’s innovative and inspirational playing and his virtuoso technical brilliance.

Hill is an other-worldly player: the ornamentations and variations he brings to the dance tunes are imaginative and thrilling, his air playing is arresting, and the rhythm and lift in his music in general is as good as there is. – The Irish Echo

Noel’s playing style is not only iconic but unique. He has inspired generations of players yet who strive to replicate his sound, yet his playing is instantly recognisable, right from the first note. There is only one Noel Hill.

What is it that makes his playing stand out from the crowd? Keep reading and together we’ll explore his iconic concertina playing style, as well as his approach to traditional Irish music.

I’ll show you how you too can follow in the footsteps of this concertina master and take your playing to the next level.

Contents [hide]

Piping Influence

Recommended Listening

Teaching

Unique Playing Method

Why Does Noel Hill Favour Cross-Fingering?

Noel’s Iconic Sound

The Coveted Instruments

The Irish Concertina

The Irish Concertina 2

The Irish Concertina 3 – Live in New York

Collaborations

Kindred Spirits

What is Cross Row Fingering?

How Does it Work?

Find Your Own Magic Concertina

Piping Influence

Noel has previously stated that he would rather be an uilleann piper. Luckily for us, he was born into a family of concertina players, and followed in their footsteps.

His love of the pipes is evident in his playing however, and has contributed hugely to the evolution of his unique musical style. Noel has spent many years studying and attempting to emulate the great pipers.

Legendary Irish uilleann pipers Willie Clancy and Séamus Ennis have had the strongest influence on both Noel’s concertina playing style and his approach to the music.

I was fascinated by the pipes. I hear Clancy playing in my head all the time and there’s a very strong influence of piping on my playing. After moving to Dublin I spent a lot of time in the company of Séamus Ennis who often stayed with us and talked about music and piping – he was a remarkable man. – Noel Hill

The piping influence can be heard to this day, remaining a fundamental element of Noel’s playing.

While the concertina’s reedy tone is already reminiscent of that produced by the uilleann pipes, Noel incorporates further elements of the piping tradition.

This can be heard in the phrasing he uses, the bass notes and chords he chooses, and his heavy use of ornamentation – particularly the ornamented low D’s which mirror the use of cranson the pipes.

Hit play, close your eyes and listen to the video below. It’s not difficult to conjure the image of a master piper in action:

Listen to any of Noel’s albums or catch him live and you’ll soon become aware of the way he uses certain bass buttons on the concertina to recreate the timbre of the uilleann pipes’ drones and regulators, providing the subtlest of backdrops for his eloquent melodic expressions. – Irish Music Review

Some might marvel that such a virtuoso of the concertina could possibly lament his choice of instrument. I would argue however that this sense of longing and, to an extent, envy, largely contributed to Noel’s in depth exploration of the concertina’s potential. His exploration of style and sound transformed the landscape of modern Irish concertina playing.

Recommended Listening

If you want to play the concertina like Noel Hill then you need to get busy listening to the great musicians who first inspired him. This includes Mrs. Crotty, Paddy Murphy, Willie Clancy and Séamus Ennis to name but a few.

It’s important to understand the inspiration behind Noel’s own playing, and the rich musical tradition he tries to honour with each performance.

In addition to this plethora of brilliant music, Noel’s own discography is mandatory listening not just for budding concert players, but for anyone with an interest in traditional Irish music.

The Irish Concertina

Noel’s debut album, The Irish Concertina was released in 1988 and won Folk Album of the Year that same year.

This humble album remains to this day a masterful showcase of both Noel’s technical brilliance and the concertina’s capabilities.

One of my favourite tracks from this iconic album is Noel’s haunting rendition of the slow air Táimse im’ Choladh.

Noel is one of the greatest slow air players of our time. His deep connection to the music is evident at all times yes, but it’s particularly palpable when he plays an air. You can hear a tenderness in each note, carefully selected and played and a deep sense of vulnerability.

In Noel’s own words:

When I play music, it is like a prayer to God…the story of my life is told through music and whatever suffering I endured is reflected in my music. It lifts whatever burdens you are carrying. Without music I think I would have lost my mind.

Prior to Noel’s influence, the concertina was still largely seen as an instrument to provide music for dancers. Dance tunes were played in a rhythmic, punchy style with little thought given to musical interpretation.

Noel’s unique approach however transformed the concertina before our very eyes into an instrument capable of depth, feeling and highly emotive musical performance.

The Irish Concertina 2

Noel’s follow up solo album didn’t emerge until 2005.

Other concertina players, inspired by Noel, had risen to prominence since, but none had succeeded, in my opinion, in rivaling Noel Hill.

This album features not only the masterful playing of Ireland’s greatest concertina player, but also a dream team of accompanists – Alec Finn, Steve Cooney and Brian McGrath – whose playing perfectly complements Noel’s sleek concertina stylings.

Technically, The Irish Concertina 2 is a wondrous affair, a panoply of rapid-fingered twists and turns which reinvigorates… More crucially, however, our doyen has retained his ability (and agility) to do things with the concertina of which other exponents can barely dream (and some remain illegal in parts of Mayo).– Irish Music Review

You can hear Noel in action below, accompanied by the mighty Brian McGrath and fiddle legend Frankie Gavin:

The Irish Concertina 3 – Live in New York

Noel’s third solo album is a slightly different offering. Recorded live in New York, it gives a different insight into his playing.

It is filled with an electrifying energy that only live performance can bring and is nigh impossible to replicate in a studio.

A dozen years after the release of last recording, Hill is emerging from the silence, the void, with this lightning rod of a live recording. The sound is bright, and Hill’s creative energies coarse through his richly eclectic tune choices…

His soulful feel for the slow air is inimitable, so that ‘Ó Rathaille’s Grave’ traces its lonesome path into the listener’s subconscious to echo long after the final note has sounded. – Siobhan Long, The Irish Times

Collaborations

It’s not just Noel’s solo material that’s worth a listen. Hill has performed and recorded with some of the biggest names in the tradition.

There are two collaborations however that, in my opinion, stand head and shoulders above the rest.

In 1979, Noel recorded a duet album with Clare fiddle player, Tony Linnane. This recording was revolutionary in its own subtle way. It was the first time I recall a concertina player perfectly matching the phrasing of a fiddle player.

While the concertina retained its distinct and iconic change, there was something different about how Noel was shaping the music. There was no doubt that he was perfectly in sync with his duet partner. No easy feat on two such differing instruments.

Watch them in action below, accompanied by the great Alec Finn and Matt Molloy:

Kindred Spirits

Noel has also recorded two beautiful albums with fellow Clareman, Tony MacMahon.

It’s this collaboration that has left the most lasting impression on me, perhaps because these albums feel like the meeting of two kindred spirits.

The first album, I gCnoc Na Graí (In Knocknagree) was recorded live in a Sliabh Luachra pub in 1985 and features a selection of lively duets and solos, interspersed with the exquisite slow air playing for which both musicians have become known.

The second, Aislingí Ceoil (Music Of Dreams) was also recorded live in Dublin in 1993. This time, the pair were joined by the stunning vocals of Iarla Ó Lionard.

Again, the simplicity allows each performer to shine. There are no complex arrangements, no unnecessary bells and whistles – just each doing what he does best.

Each note is played with intent, as a tribute to all those great players who have gone before them and in whose footsteps they have followed. Yet still, the music is electrifying!

If ever a recording could capture the sheer enjoyment of performing Irish music and dance then this is it! – The Living Tradition

MacMahon and Hill have become lifelong friends since with a shared reverence not just for the music, but also for each other. You’ll never hear anyone speak more highly of Noel Hill’s playing than the magical Tony Mac Mahon himself:

As a musician, he is a soul tonic, the true master of the Irish concertina. He has absorbed everything that makes this music special and reflects it back to us.

His soulful playing of the old song-airs of Ireland is the perfect introduction to his art; from the life affirming detail of his dance music to the plaintive long notes of the slow airs, and all created on a musical instrument – smaller than a shoe-box, between his hands. – Tony MacMahon

Teaching

Noel Hill is in fierce demand as a teacher and it’s easy to understand why. While other master musicians are more focused on solo careers, Noel has great reverence for the ‘noble art of teaching’.

He has previously expressed that he feels a sense of responsibility to pass on the music and assist with the preservation of the tradition. He is a firm believer that musicians must give back to the tradition which has provided for them so richly. It is this deep love for traditional Irish music that Noel wishes to carry on in his legacy.

While strong technique is vital for good concertina playing, Noel doesn’t just teach technique. He also encourages his students to develop their own playing style and learn to create and express their own musical soundworld.

Despite learning from the great masters himself, Noel has succeeded in carving out a sound and that style that is uniquely personal and he encourages his students to do the same.

Noel preaches the importance of making the music your own, while remaining true to the traditions.

Each year, hundreds of concertina players flock to the Noel Hill Concertina Schools which take place in both Ireland and the US. It’s a great place to learn from the master himself and become immersed in his unique playing style.

Those who’ve attended typically rave about the experience and leave as converts to Noel’s playing method, ready to preach his musical gospel to the world.

Unique Playing Method

Noel learned much of his concertina playing from his uncle, but perhaps the most significant influence on his playing method came from legendary Clare concertina player, Paddy Murphy.Paddy Murphy is considered a pioneer of the concertina. He deviated from the older two-octave playing style of Mrs. Crotty and the previous generation and began to explore the potential of the instrument.

He borrowed ornamentation from other instruments, particularly pipes and fiddle, and developed a system of alternative scales to facilitate smooth, flowing phrases, while playing in new, often unused keys. It’s his unique system of cross-row fingering for which he is best remembered today.

Noel Hill learned this cross-fingering playing method from Paddy and has continued to develop it, adapting it to suit the needs of his own playing.

What is Cross Row Fingering?

Cross row fingering is intended to reduce bellows movement. This allows for smoother, more flowing musical phrases.

It also aims to reduce the potential for chopping. Chopping is when a player uses the same finger to play two buttons one after the other. This is something all styles of concertina players aim to avoid.

How Does it Work?

The Anglo concertina is, as you already know, a diatonic instrument. The Anglo concertinas used to play traditional Irish music are typically tuned to C/G. This means that the middle row of buttons on the concertina contains all the notes needed to play the scale of C major. The innermost row contains all the notes to play the scale of G major.This versatile instrument is also bisonoric, meaning each button plays two different notes depending on whether you push or pull the bellows.

Many notes feature more than once on the concertina, and can be played by playing alternate buttons. Whether the note is produced by pushing or pulling the bellows depends on which button you choose to play.

So, if a certain phrase or melody is creating an unnecessarily choppy sound with too much bellows movement, you can simply replace one of the notes by playing it on an alternative button.

Let’s take the note G2 for example.

You can play G using three separate buttons in the left hand:

Two of these buttons require that you push the bellows to produce the note.

The third option however is produced by pulling the bellows.

So, if you have a phrase that would achieve a smoother sound by being played entirely on the pull/draw for example, you can use the G on the outer row (which is played by pulling the bellows).

Most concertina players will do this intuitively to some level or another, but Noel Hill really thinks about each note and phrase he plays. His attention to detail is unrivalled.

Watch his performance below and see if you can identify any of the places where he opts for alternative fingerings:

Why Does Noel Hill Favour Cross-Fingering?

By reducing the frequency of the push/pull change of direction of the bellows, the player can shape the phrases differently, changing the emphasis on certain notes and allowing the tune to flow more freely, in a less choppy manner than traditional, older style concertina playing.

While the idea itself is simple, it can require a lot of thought to execute well. Most concertina players are grounded in home row fingering and can struggle with the change.

There’s no right or wrong when it comes to either system of playing however. There are advantages and disadvantages to both. Much like with the differing systems of playing the button accordion, it comes down to personal preference.

Cross-fingering requires a lot of foresight and preparation. You really have to think ahead and it can take some time before it becomes instinctive. In the early stages you may have to map out a tune to plan where your fingers should be placed.

As I’ve mentioned however, it allows great scope for shaping musical phrases. It also frees up certain fingers for playing chords and certain embellishments.

Noel’s Iconic Sound

Noel’s sound is truly unique and instantly identifiable. His cross-fingering method is one of the biggest contributing factors.

It allows him to explore the full potential of the music and to shape tunes in a way that reflects his own vision.

When it comes to phrasing, Noel is hugely influenced not only by the sound of the uilleann pipes but of the fiddle. He succeeds in replicating both the smooth, flowing sound of these instruments and the rhythmic bark of which they are capable.

While his unique cross-fingering method allows him to do this, it is also his unrivalled musical ear which helps him achieve this impressive feat.

Another contributing factor to Noel’s iconic sound is his use of chords.

Noel typically plays chords which omit the third. The third dictates whether a chord is major (happy) or minor (moody/sad). These open chords, without the third, are neither major nor minor and create a more ambiguous modal sound.

This gives more freedom to the tonality of the tune. Noel is not dictating the sound according to the rules of a major or minor key, but instead creating a free, more open sound, shaped by the tune itself. This is essentially the musical meaning of the word modal.

The Coveted Instruments

Like most masters of their chosen instrument, Noel does not limit himself to owning or playing just one instrument. He instead owns an array of exquisite concertinas including models by Wheatstone, Lachenal and John Dipper.

Noel has previously stated that he owns three Wheatstone Linota concertinas (as though owning one wasn’t enviable enough!). In addition to these three beauties he also plays a Lachenal Anglo Concertina and a County Clare miniature by concertina maker John Dipper.

Noel plays concertinas in a variety of keys including the standard C/G but also in A/D and Ab/Eb. The Ab/Eb model in particular produces great clarity and sweetness. You can hear him play it in the video below:

For those looking to pick up one of Noel’s coveted instruments I have good news and bad.

Let’s start with the good. These vintage concertinas do occasionally come up for sale – in fact, we’re even lucky enough to have some of these beautiful vintage concertinas for sale in our shop right now!

Take a look at our full range of vintage and antique concertinas, or head straight for this Wheatstone Linota or Lachenal 30 Key.

If you’d like to know more about any of our concertinas, especially those in our vintage range, please contact me by emailing info@mcneelamusic.com. I’m always happy to talk concertinas!

The bad news for some is that some of these vintage concertinas come with a hefty price tag. If they’re out of your price range however, don’t despair. There are many high quality affordable alternatives available.

Find Your Own Magic Concertina

Why not check out my blog post on The Top Five Concertinas Under $2500? It’s a great place to start for some inspiration and advice on high quality, affordable concertinas.

You’ll see I’ve listed the Phoenix Concertina as a suitable alternative for intermediate players. This 30 key concertina comes in C/G tuning with the option of either a matt black or natural wood finish. It comes with either Wheatstone or Jeffries layout – though, if you’re looking to emulate Noel Hill and his cross-fingering method, you should opt for the Wheatstone layout.

This is a well-crafted instrument that promises to bring your playing to the next stage. It’s ideal for those who might not be at quite the same level as the concertina master himself and want to improve their skills on a durable, highly responsive instrument.

Then, you can slowly build your own concertina collection before investing in the concertina of your dreams. Which, let’s face it, for us concertina lovers is pretty much every concertina out there!

[thepermanentrainpress]

UNDER THE RADAR: APRIL 2020

It’s been a mentally exhausting few weeks, but one constant – for us, at least – has been keeping connections, and some sense of comfort, through music. This month’s Under the Radar releases are from Stay Lunar, SOLA, Silvertone Hills, Andreas Enok, Colour Tongues, and Chasing da Vinci. Take care of yourselves and each other, friends.

1) Stay Lunar - “Dreaming That I’m Not In Love”

Has skepticism ever sounded so dreamy? 

“Dreaming That I’m Not In Love” may be about relationship insecurities, the thoughts that question a partnership—but in sound, it is far from melancholic. The Bristol indie pop band cycles through intention and trust, all amidst a mirage of synths, driving bass, and bouncing guitars. It pops, clean riffs and the ambient beats that are prime for the dance floor, if not your Discover Weekly playlist first. The lyrics ponder (“can you trust a thing? / when I awaken, I’m not him”) as the narrator seeks clarity and assurance, but it asks for more than sympathy and understanding nods. 

Encouragement, optimism grows with each passing second – Stay Lunar wants you to feel, and they’ll soften the blow with their magic.  

Written by: Chloe Hoy

2) SOLA - “Finding You”

Vancouver-based artist SOLA released her debut single, “Finding You,” with a strong message in mind. The song is a journey through self-understanding, of delving into one’s own past in order to understand their current self. SOLA’s lyrics reflect the exploration of her own mind and the trauma that lies amongst her memories, juxtaposed with the melding of saxophone jazz influences and intriguing chord changes. The music video melds with the whimsical tone of the song, yet contrasts the deeper content of the lyrics. It is bright and filled with solar flares that show a sense of strength, moving on and finding confidence and security in oneself – something that is echoed throughout the song.

Written by: Liz Douglas

3) Silvertone Hills - “Reaction”

“Reaction” is the latest release from Hamilton, Ontario’s Silvertone Hills. From the get-go, it has a toe-tapping ease that is not to be mistaken for complacency; the riffs hint at ‘90s Britpop, and the vocals are throaty and strong-willed. “Drift off, early morning / Sunrise, bring me home / Been a long night, checkin’ out of mind games / Keep tight, mind your own,” Liam O'Sullivan sings of two lovers with an ‘us against the world’ mentality. It is restlessly-spirited rock, spinning under the streetlights, ending rather abruptly—a story far from over.

Written by: Natalie Hoy

4) Andreas Enok - “Aching Years” 

Andreas Enok’s new single “Aching Years” works off a delicate piano foundation, ebbing with silky vocal harmonies. The heartfelt track was recorded in the intimacy of his bedroom, just him and his piano. “Aching Years” addresses the torment of losing someone that you care about, and the guilt and pressures put on oneself to be their support.

The stripped-back sound allows for Enok’s emotion to seep through, creating something heavenly out of extreme hardship and struggle. He uses elegant imagery contrasted with splintering pain with lyrics like, “Diamonds filled with broken lines / Let’s make it alright with a refine.” The simplicity of the melody, partnered with Enok’s smooth vocals, make for a song that wrenches at your heartstrings.

Written by: Liz Douglas

5) Colour Tongues - “Control”

Some days call for a splash of colour, and “Control” offers just that. A lucid pop rock tune teetering between indulgence and good intention, the vocals bounce along with their more technical guitar rhythms; drummer David Taylor keeps them grounded in ephemeral charm. It is fun, and fluid, basking in all its dance party glory and youthful chants through the bridge.

“I think of you when my heart goes cold and you're the one I want, but I'm not the one who's in control.” 

Written by: Natalie Hoy

6) Chasing da Vinci - “Sorry”

The Nashville band is multi-faceted, soft guitar pop one day, synth grooves the next. In their latest release, band/family member Jedidiah Smith takes lead vocals in the heartfelt ballad. It’s about change, recognition, and the pain of a broken relationship (“It’s back to second guessing every step out on my own”). It builds from confusion and uncertainty, to a stark realization of the past partner. Cascading piano, light harmonies, and the rich range of the lead vocalist – no better capture of the raw feeling.

A falter in judgment and perceptions of a situation that don’t align; different paths exist, but it still hurts to accept a new normal.

Written by: Chloe Hoy

[jazzworldquest-blog]

USA: Virtuosic Artists Collide in Elegant Conversation of Latin + Blues on StringShot

Virtuosic Artists Collide in Elegant Conversation of Latin + Blues on StringShot

Trio’s debut album and U.S. tour set to capture the hearts of roots, rock, world, and jazz fans

There’s a bedrock of sound that unites the music of the Americas, despite the remarkable variety of musical expression on the surface. And then there’s the unique, near-magical energy that comes alive when devoted musicians let their skill and artistry converse.

StringShot, the new trio collaboration between legendary blues slide guitarist & producer Roy Rogers, Brazilian guitar virtuoso and songwriter Badi Assad, and South American stringed harp master and violinist Carlos Reyes, harnesses both, bringing blues and Latin music into close dialog while demonstrating how well friendship translates into flawless performances and songwriting. Their beautifully produced debut album, StringShot, leaves ample room for the musical kindred spirits to strut their stuff and move with effortless tenderness.

“I’m always trying to push the envelope, ” laughs Rogers. “It’s conducive to great music. The Latin and blues conversation has always appealed to me, and I love the rhythms and the challenge of a different genre.This is the first time I’ve gotten to explore it outside of a strictly blues context, and it’s been wonderful.”

“Though our styles are totally different, we use them as a way to communicate our hearts out,” explains Assad. “In the lyrics process, we could feel that we take in life in similar way, with day-by-day discoveries, with a lot of simplicity coming from the soul, and a love for music with a lot of freedom. Roy has a very big heart and he embraced me as a sister, with that same kind of care and support. You can hear it in the music, our very special friendship.”

American audiences will get to hear the collaboration live for the first time, as StringShot embarks on its debut tour on the West Coast this autumn.

{full story below}

Rogers, Assad, and Reyes all share a passionate devotion to their music and instruments, reflected in wildly creative and successful careers that cross boundaries and defy borders.

Rogers apprenticed playing with the greats, in particular John Lee Hooker, and later forged a name for himself as a peerless slide player and talented producer and songwriter. (He’s been nominated for 8 GRAMMYs for both.) Assad, daughter of a world renowned and deeply skilled musical family, took her classical training and put it through the filter of Brazil’s Afro-Latin heritage, evolving into an effortlessly graceful singer-songwriter. Reyes, a virtuoso on the Paraguyan stringed harp as well as the violin, has often taken his instruments into new territory, both as a player and fearless collaborator.

There is another, deeper layer connecting these musicians, a mutual fascination with each others’ styles. Rogers, for example, has toured Brazil and was ‘taken’ by the country’s cultural wonders, an experience that sparked “Blues for Brazil,” a song he originally recorded with legendary harmonica player Charlie Musselwhite but revisited and reimagined with StringShot.

Rogers’ son Sam, a beatboxer and vocal percussionist, visited Brazil and held a workshop a few years back. Assad showed up to take his class and that connection eventually led to Assad becoming friends with the entire Rogers family with Gaynell Rogers taking on Assad’s management.

Through this chance connection,Assad and Rogers decided to also collaborate together.  “When I first went to Roy’s house to rehearse, I was very nervous because I didn’t know him very well and I had no idea what Iwould play on the guitar. Roy is a genius and I became shy. But he and his wife welcomed me with so much love and simplicity that my heart melted. It was ground zero of our friendship.”

That friendship-launching rehearsal led to a full-fledged project that brought in another key element, Reyes’s harp and violin; Reyes previously had been featured as a special guest with Roy and his band The Delta Rhythm Kings for the past few years. All of the instruments share strings, but occupy radically different spaces and contribute different voices to songs that range from pensive ballads (“God Prayed It” ”) to Afro-Cuban-inspired frolics (“Back to Havana”). The main thing, Rogers says, is to stay true to your sound, even as you embrace and dance with others’: “The whole criteria as a player is to be who you are. You may admire Brazilian or Cuban players, but you can’t just imitate. It’s a confluence of factors here, and these influences are coming together because we’re creating a sound together.”

The connections and differences enrich the music. “Carlos is South American as I am and in that sense we share some similar approaches to the rhythmic background,” explains Assad. “Yes, our countries have different styles of music but the heat behind the chords and the passion behind the rhythms are the same. So we understand each other in a silent and ancestral way. With Roy it is different. We share similarities because we play the same instrument and sing as well.” They also wrote the lyrics to several of the album’s songs together, sending ideas back and forth between California and Brazil. (“Wounds of Sight” and “Back Along the Way”)

Drawing on shared sensibilities and distinct contrasts, channeling them through their individual artistic approached, StringShot really came into its own in the studio, as Rogers began to hone the sound. “The sound happened in the studio. I had an idea of how the sound could come together. You know when you’re recording if it is going to work good or not,” Rogers notes. “There were more than a few moments in the studio where I went ‘wow’ this is the sound. We’ve got it.”

The pinnacle of the production approach resounds on the moving, “God Prayed It,” a song Rogers originally wrote with Metallica bassist Jason Newsted for another project, but one Assad transforms with profound emotion. “I thought this song and several of the other tracks deserved a full production treatment. That’s why it’s lush; that was by design,” Rogers says. “You’ll hear a few sparsely produced songs in there for balance, but at moments, we decided we would make it about as full as you can get, with added string arrangements and more.”

“When you explore a new combination, it’s exciting, especially when it comes together for all the right reasons,” muses Reyes. “It’s the interaction.”

“That connection really contributes to the sound,” agrees Rogers. “I want it to be known as the StringShot sound. This kind of musical collaboration works when artists are open to explore.”

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[soundcheckmnl]

ZEDD ECHO TOUR 2018

EDM powerhouse Zedd returns to Manila for a one-night-only show on April 13 at the Smart Araneta Coliseum, brought to you by Random Minds Inc. in partnership with Karpos Multimedia.  Tickets are now available at all Ticketnet outlets or log on to  www.ticketnetonline.ph or call 911-5555.  Ticket prices are as follows: VIP STANDING – Php 5,090, BOX – Php 4,030, UPPER BOX – Php 2,015.  For up-to-the-minute news and information on Zedd Echo Tour 2018 be sure to log-on to www.facebook.com/RandomMindsInc and follow on instagram via randomminds

 Born Anton Igorevich Zaslavski in Russia and raised in Kaiserslautern, Germany, Zedd began playing piano at age 4. “Both my parents are musicians and from a very early age they encouraged me to make classical music,” Zedd recalls. “I kept up with that until I was about 12 when my brother and I started a rock band. From there I went in a more post-hardcore/ metal direction and really developed my sensibilities as a drummer — so I was sort of constantly moving into different styles of music.” Upon hearing Justice’s album † in his late teens, Zedd was inspired to try his hand at electronic music and learn the art of production. By 2010 he’d won two Beatport remix contests and soon started drawing rave reviews for his remixes of tracks by the likes of Skrillex, The Black Eyed Peas, Fatboy Slim, and Lady Gaga.

 This theme of experimenting with different musical styles has remained a constant and proven successful for Zedd, who teamed up with Alessia Cara for his latest single “Stay” and landed his first #1 at Top 40 Radio in the U.S. Heralded as a "bright and buoyant banger" by Entertainment Weekly and "super infectious and immediately likeable” by Billboard, the certified platinum single (U.S.) has garnered over 620 million streams digitally and reached the top 10 on Billboard’s Hot 100. Zedd also took to the stage with Alessia on the season finale of “The Voice” to perform “Stay” to an audience of over 9 million viewers. Zedd explains, “I’m always working on bigger projects, but for the moment this track isn’t necessarily part of anything bigger than just me making music. I’m trying not to look at genres, and the songs I’ve been working on are really all over the place – from a complete chord progression to “Stay” to a song that I never would have done before. I just like to close my eyes and make the music that I want to hear.”

 It is with this spirit of openness and inclusion that Zedd organized a fundraising concert with 100% of its profits benefitting the American Civil Liberties Union (ACLU). The concert, aptly named WELCOME!, was started as a call-to-action on Twitter in response to the immigration ban and resulted in a lineup including Bebe Rexha, Camila Cabello, Daya, Halsey, Imagine Dragons, Incubus, Machine Gun Kelly, Macklemore, Miguel, Mija, Skrillex, Tinashe and Zedd. These musicians span the spectrum of musical genres, emphasizing that everyone is welcome. The impetus behind the fundraiser is near to Zedd’s heart; Zedd confides, “As an immigrant myself I feel the need to stand up against the tyranny that threatens our basic human rights. I'm thrilled to come together with all of these incredible artists to help raise money for the ACLU, an organization that works daily to defend and preserve the rights guaranteed to us by the constitution.”

 Zedd released his debut album Clarity after signing with Interscope Records in 2012 — the same year he found himself featured in the New York Times, who praised him as an EDM prodigy and noted that “his talent is extraordinary.” The albums’ title track shot to No. 2 on Top 40, nabbed a Grammy Award, and sold 2.6 million copies. Platinum follow-up hit “Stay The Night” (ft. Hayley Williams of Paramore) racked up more than 400 million streams and won the 2014 MTV Clubland Video Music Award.

 For True Colors (2015), the follow-up to Clarity, Zedd made a point to limit his listening to artists from outside the realm of electronic music, such as Radiohead, Queen, and King Crimson. “I get a lot of inspiration from artists who work in genres whose rules are very different from my own genre. It really helps me break down the boundaries of what can be done with things like song structure, melody, and rhythm.” While each track on True Colors is indeed a world unto itself, complete with gorgeously crafted textures and mesmerizing rhythms, the album also bears a classically melodic sensibility that hints at the simplicity of its origins. “For this album I wrote every song on piano, because I wanted the core of each one to have a timeless feel to it,” says Zedd.

 The album was a resounding success, debuting at No. 4 on the Billboard Top 200 Albums chart, No. 1 on the Dance/Electronic Albums chart, and in the Top 10 in eight countries worldwide. True Colors also earned Zedd a 2016 Billboard Music Award for “Best Dance Album.” Its lead single “I Want You to Know” (feat. Selena Gomez) spent four weeks at No. 1 on Billboard’s Hot Dance/Electronic Songs chart and has been certified Platinum, while the second single, “Beautiful Now” (feat. Jon Bellion), has been certified Gold. In support of the album, Zedd hit the road for a 53-date global headlining tour, which included shows at New York City’s Madison Square Garden and Los Angeles’ Staples Center.

 True Colors was launched with an ingenious series of fan-only events that brought the album’s central theme to life by connecting each song on the album with a specific color. “I hear color in all the music I write and for this album, I wanted to really focus in on that concept and take it to a new level,” says Zedd. Dubbed the #ZeddTrueColors campaign, the events included outings in Joshua Tree, Alcatraz, and the Grand Canyon.

 Fans were taken to these color coded locations, got to spend time with Zedd, and heard the new tracks before anyone else. For the finale at the Empire State Building, Zedd took over for an acoustic performance of “True Colors,” accompanied by a majestic light show bathing the top of the building in ever-changing pulses of color. These events were captured in the True Colors documentary, which also explored the process behind the music through high-voltage performance footage and revealing interviews with Zedd, his family, and industry supporters. The film premiered at The Los Angeles Film Festival.

 In 2016, Zedd teamed up Aloe Blacc to create “Candyman” — a modern reinterpretation of Sammy Davis Jr.’s 1972 classic “The Candy Man” that kicked off M&M’s 75th anniversary celebration, attracting over 40 million impressions nationally and selling 1.5 million copies. Over the summer, he followed up with “Starving,” the smash with Hailee Steinfeld and Grey that broke the top 10 on Top 40 radio and racked up over 240 million plays on Spotify alone in just four months.

 With the success of his collaborations like “Clarity,” “Stay The Night,” “Starving,” and most recently, 2017’s “Stay,” Zedd’s current single “Get Low” with Liam Payne lends to a more urban sound and continues to dominate the global charts.  

[amateurethnomusicology-blog]

Inventive, brazen and unapologetic, Icelandic singer Bjork turns a teardrop into a thunderstorm and a smile into a beam. Her albums “Debut,” “Vespertine” and “Vulnicura” challenge listeners to see the world from an emotional point of view. As pivotal examples of Bjork’s most gripping work, each album is emotionally reflective on the roles Bjork has impressively juggled over the years as a mother, lover and acclaimed international musician.

“Debut,” with its driving rhythms and powerful lyrics, introduced the world to the energetic, 28-year-old mother. “Vespertine” breached the Outkast-Destiny’s Child-’NSync-laden charts with its electronic and avant-garde use of household sounds and Inuit choruses. 14 years later on “Vulnicura,” Bjork mourns over her divorce with Matthew Barney in a devastatingly beautiful narration of their disintegrated relationship.

Bjork was raised in a broken family. Her parents divorced in 1966, only a year after her birth. She lived with her mother, Hildur Hauksdóttir, a homeopathic doctor and martial arts teacher. Conscious of her daughter’s creative gift, Hildur enrolled Bjork in music school at the age of five.

Bjork released her first EP of children’s music at age 11, gaining her popular recognition in Iceland. She caught the punk rock and new wave bugs in her teenage years, forming groups Exodus, Tappi Tikarrass and KUKL.

In 1986, KUKL evolved into The Sugarcubes, a full-blown psychedelic rock band featuring Bjork on vocals, her then-husband Thor Eldon on guitar and Bragi Olafsson on bass. The Sugarcubes signed with Elektra Records (The Doors, The Stooges) in the U.S. and with One Little Indian Records (Asgeir, Olga Bell) in the U.K.

The Sugarcubes’ debut “Life’s Too Good” (Elektra, 1988) stormed the U.S. and the U.K., pleasing both college radio audiences and white-collar critics. The single “Birthday,” an eclectic David Byrne meets Liz Phair track, became a crossover radio hit, exposing conventional audiences to Bjork’s distinctive vocal styling.

The Sugarcubes put Iceland on the music map. Suddenly, the media became attentive to the island country way before the Kardashians vacationed there.

“Debut” was released in July 1993. A blend of jazz, house and trip-hop “Debut” jangles with contemporary rhythms. Although many of the tracks were pre-written by the teenage Bjork, “Debut” is a mature dance album sophisticated enough to spin in a city club, yet unassuming enough to play at a neighborhood block party. A showcase for her creative technical abilities, allmusic.com describes “Debut” as an album of “emotional pop songs.” Perhaps Bjork’s most diversely themed albums, “Debut” spans a range of subjects.

The opening track of “Debut,” “Human Behavior,” is one of Bjork’s greatest earworms. With its up-tempo groove, sporadic strings, and commentary on humanity, “Human Behavior” is reminiscent of The Talking Heads’ “Road to Nowhere” (“Little Creatures” 1985). In “Human Behavior” Bjork expresses her discomfort with humans from an animal’s perspective. In a Q&A with The Guardian, Bjork revealed that “Human Behavior” was inspired by her childhood, when she felt more comfortable being in nature alone than in the company of other humans. An insight into Bjork’s alternative perspective on the world, “Human Behavior” is a rousing statement of nonconformity.

In her lyrics “If you ever get close to a human and human behavior/Be ready, be ready to get confused and be in my head after/There’s definitely, definitely, definitely no logic to human behavior” Bjork uses anaphoric techniques to reiterate her frustration with the irrationality of human behavior. Whether intentionally or unconsciously utilized, this technique causes the animal protagonist appears to have a stutter, further conveying her uneasiness surrounding human behavior.

On “There’s More to Life Than This,” Bjork channels her teenage restlessness into an angsty disco call to find more meaning in life. She sings, “Come on girl/Let’s sneak out of this party/It’s getting boring/There’s more to life than this.” An allusion to a theme on her album “Vespertine,” “There’s More to Life Than This” is consistent with her desire to break the status quo, and is an indication into Bjork’s dissatisfaction with everyday life. The production on this track is exciting; the clamor of voices sustained in the background are reminiscent of Marvin Gaye’s “What’s Going On” and a background hook similar to Michael Jackson’s “Wanna Be Startin’ Somethin’” makes one feel like they are in a room full of action. The lyrics and production contribute to the song’s overall anticipatory and anxious feel, adding to the lively spirit of “Debut.”

Furthermore, a boy who saw everything from a naturalistic point of view inspired “Venus As a Boy.” Bjork describes the boy’s point of view as a "beauty point of view, and not superficial beauty but the beauty of brushing your teeth and the beauty of waking up in the morning in the right beat and the beauty of having a conversation with a person." A sweet song, innocent in arrangement but perverse in lyrics, describes the boy’s desire: “He’s exploring/The taste of her/Arousal/So accurate/He sets off/The beauty in her/He’s Venus as a boy.” The song plays with perspective, mythology and gender in a fascinating approach to uninhibited sexuality, a subject Bjork has never been shy about. For 1993, “Venus As a Boy” was ahead of its time in terms of women expressing their sexuality. Tactfully executed, the song makes a brilliant public statement about being comfortable with one’s sexuality.

The sexual tones in Bjork’s music continue on “Vespertine,” the experimental album of an already-established experimental artist. The album sounds like a cyborg Bjork typing on a laptop while suspended in space. Musically, “Vespertine” has fewer climaxes and declines than “Debut,” creating a melancholy mood throughout the album. Intentionally monochromatic, the album’s working title was “Domestika,” as Bjork originally wanted to celebrate the triteness of everyday life through what she referred to as “domestic” moods and noises translated into melodies and beats. Lyrically, the album delves into sex and love, and “Vulnicura” meaning “relating to, occurring, or active in the evening” replaced “Domestika.”  

“Cocoon,” the album’s second track, describes making love though explicit and metaphorical sensations. Bjork fluctuates between metaphors like, “Who would have known that a boy like him/Would have entered me lightly restoring my bliss” and direct lines such as “He slides inside/Half awake half asleep/We faint back into sleephood/When I wake up the second time in his arms/Gorgeousness, he’s still inside me!” This kind of honest and erotic vulnerability is empowering to women because it rejects the sexual double standard in which men are encouraged to express their sexuality and women are told to repress it. Female interpretations on sex, though few, are hardly celebrated in the art world.

Bjork continues to address intimacy in “Hidden Place.” In an interview with CDNow.com, she explained the song: “'Hidden Place' is sort of about how two people can create a paradise just by uniting. You've got an emotional location that's mutual. And it's unbreakable. And obviously it's make-believe. So, you could argue that it doesn't exist because it's invisible, but of course it does.” Poetic verses such as, “He’s the beautifullest, fragilest, still strong/Dark and divine/And the littleness of his movements/Hides himself/He invents a charm that makes him invisible/Hides in the hair/Can I hide there too? /Hide in the hair of him/See solace/Sanctuary” magnify the extraordinary bliss of being close to someone. Though a relatable human experience, Bjork’s abstract interpretation further elucidates the extent at which one can feel affectionate, shedding light on what it is that can make a relationship so special.

The album’s mood brews In “Pagan Poetry,” a sorrowful lament about unrequited love. Bjork utterly exposes herself at the four-minute mark when the swirling ambient tones drop, leaving Bjork singing, “I love him, I love him/I love him, I love him/I love him, I love him.” Though she repeats this over and over, her inflection makes the phrase sound almost like a question, as if she is unsure of this statement and is trying to find some sort of meaning in it. In contrast to her warmth in “Cocoon” and “Hidden Place,” “Pagan Poetry” is full of tension as Bjork wrestles with entrapment of idealization.

“Vulnicura,” Bjork’s most recent album, is an intense fifty-nine minutes of Bjork’s feelings before and after her breakup with Matthew Barney. Listeners have heard Bjork be vulnerable before, but on “Vulnicura” she bares her soul, grieving over the loss of her relationship. It is important to note that the majority of Bjork’s work is told from an omniscient point of view. On “Vulnicura,” Bjork speaks from the first person, a telltale sign that she wants to connect with people and that she trusts them with her most personal feelings.

What sets “Vulnicura” apart from other breakup albums is Bjork’s ability to make even her most personal experiences speak to the whole world. Bjork’s work over the past thirty years, often viewed by the mainstream as complex and inaccessible, did not always achieve worldwide relatability and affirmation. However, “Vulnicura” is a straightforward deliverance of heartbreak without much room for interpretation as the facts surrounding the relationship are contained in the album’s lyrics. In her handwritten note announcing the album’s release, Bjork wrote, “Hopefully these songs could be a help, a crutch to others and prove how biological this process is: the wound and the healing of the wound, it has a stubborn clock attached to it."

The album’s concise lyrics and accompanying string arrangements create an invisible connection that wraps listeners up. There is something so relatable about the simplicity of music and lyrics, and all one has to do is close his or her eyes and let the music carry him or her on a journey. With seven out of nine songs on the album being over six minutes long, the strings serve as necessary storyline cues, introducing moments and characters and guiding the storyline. They weave in and out with Bjork’s libretto-style singing, and there are times when Bjork pauses and allows the strings to respond, carrying the story on their own. With her string arrangements brought to front with her vocals, the strings become Bjork’s comfort in her despair and a listener’s safety net on his or her journey.

Thematically, the first three songs on “Vulnicura,” “Stonemilker,” “Lionsong” and “History of Touches” are about Bjork’s pre-heartbreak. In “Stonemilker,” Bjork sings, “Show me emotional respect/And I have emotional needs/I want to synchronize our feelings.” Addressing Barney, Bjork asks for him to cooperate with her to save their relationship. She wants to try, and she blames their disconnect on timing, singing “A juxtaposition in fate/Find our mutual coordinates.” Interestingly, she also states, “Moments of clarity are so rare/I better document this.” In the line, “I better document this,” she sums up the goal all of her work, to preserve emotional experiences.

Similar to “Vespertine’s” “Pagan Poetry,” “Lionsong” is a song about rejected love: “Maybe he will come out of this loving me/Maybe he won’t,” Bjork sings, acknowledging that the relationship may be beyond repair. “Lionsong,” listeners hear Bjork admit for the first time that she doesn’t know what to do with her feelings: “These abstract, complex feelings/I just don’t know how to handle them/Should I throw oil on one of his moods? But which one?”

“History of Touches” once again establishes Bjork’s emphatic reverence for intimacy. The song, long past eroticism and nestled deep in former unity, is foreboding, signaling that everything is about to change. Bjork sings, “I wake you up/In the night feeling/This is our last time together.” The suspension held throughout this song is almost too painful for the heart to bear, as final moments with significant others can be some of the saddest memories.

The next three songs, “Black Lake,” “Family” and “Notget” tackle Bjork’s heartbreak after the breakup. “Black Lake” is Bjork’s diss track at Barney, in which she releases her fury about being scorned at, and about her newly severed family. She sings, “Family was our sacred mutual mission/Which you abandoned.” In her fury, she also describes her wound as a big hole in her chest, as depicted on “Vulnicura’s” cover. She sings, “I am one wound/My pulsating body/Suffering being/My heart is an enormous lake/Black with potion/I am blind/Drowning in this ocean/My soul is torn apart/My spirit is broken/Into the fabric of all/He is woven.”

“Family” one of the album’s darkest songs, is Bjork’s elegy to her separated family. Written six months after her breakup, Bjork mourns, “Is there a place/Where I can pay respects/For the death of my family/Show some respect/Between the three of us/There is the mother and the child/Then there is the father and the child/But no man and a woman/No triangle of love.” Full of disappointment and misery, “Family” reveals more to listeners about Bjork’s expectations for herself as a mother and for Barney as a father. Because she grew up in a detached household, Bjork desired a stable home and family for her and Barney’s daughter. This is another one of Bjork’s pleas to Barney to respect her and their family by participating in the family they created together.

In “Notget,” written 11 months after the breakup, listeners hear a very uneasy Bjork try to make peace with her pain through the declaration that the split has changed her forever but she has to move on and grow from her despair. She sings, “If I regret us/I’m denying my soul to grow/Don’t remove my pain/It is my chance to heal.”

The three final songs, “Atom Dance,” “Mouth Mantra” and “Quicksand” are attempts at situational acceptance. The album concludes on Bjork’s somewhat positive belief that life must go on.

What’s magnificent about Bjork is her supernal ability to translate human emotion into colossal and sophisticated works of art. Even more than acknowledging feelings, Bjork pushes human sensations past the realm of reality, redefining them by her own mythological terms. Listening to Bjork requires one to analyze his or her experiences through conceptual questions like: What is the capacity of a feeling? How can abstraction affect the magnitude of an emotion? In which format will the intensity of an emotion be most accurately conveyed? How can I fulfill this emotion?

If listeners are up for the challenge, they will find comfort in this process. As shown in the line, “I better document this” from “Vulnicura,” even the most agonizing situations can make for meaningful material. As Bjork’s work proves, expression is a lifelong introspective process that serves as therapy not only for oneself, but for others as well. 

[thirst-days]

Nasi goreng with hot dogs

thirstDays No. 11 Eat Rice Yet?

When I was a kid I was allergic to wheat and dairy. In those days, words like “gluten free” were definitely not found on all manner of food packaging or in a dedicated section of the grocery store like they are now. Being a kid, my fondness of vegetables was also limited. So I ate a lot of meat and I happened to absolutely love it. Every Halloween my Opa would give me a dried sausage that I would savour for weeks, taking it out of the fridge every day and delicately nibbling away at it. In any case, my mother had her work cut out for her when it came to getting vegetables in my mouth — even more so because dinner time was my bad temper’s golden hour.

One solution whose flavour has stuck on my tongue was nasi goreng, or “fried rice.” Being from a Dutch family on my mother’s side, Indonesian food was common, a lasting connection to the Netherland’s colonial ties with that country. An amalgam of leftovers with fried rice wrapped in a warm smoky flavour, the nasi goreng of my childhood involved cut pieces of hot dog and frozen peas. I would help my mother or watch as she moved the rice around our heavy yellow wok. Red flecks of chilli. Bright and happy green peas. A bubbling pot of wieners. My mother humming, singing and whistling as she moves about the house, opening the windows to air the smell from the kitchen.

As an adult I introduced nasi goreng to the man who is now my husband, though without the hot dogs and with a great deal more sambal, a chilli sauce that I always have on hand in our house.

Eat Rice Yet? curated by Henry Tsang and Diyan Achjadi, was tightly organized around the smells, tastes, sights and memories of food and drink. The experience of food, of sharing a meal, which has been present to varying degrees in all of the thirstDays events, was here given its full due, allowing the cross-cultural, familial, political, and spiritual nature of food to come to fruition—a rich and complex broth simmering under attentive eyes. I kept thinking about the entirety of the event as a recipe in itself, with all the flavours of sake, horchata and kimbap enriched and accented by the presentation of video, story and song. The star, of course, was rice, taking centre stage with humble grace and gravity as a meal in itself, a side dish, a carrier of delicious sauces, a container for fish and vegetables, full of potential. Each presentation of the evening enriched the appreciation of rice in itself and illuminated profound connections and separations between us. Rice was an active agent within this, a proposition for new understandings.

Michael Rakowitz’s Dar Al Sulh (Domain of Conciliation) (2013) began the evening with the words, “You know it really is a pity how we treat each other now. I know you can’t forgive me but forgive me anyhow?”1 A video document of the restaurant project that operated in Dubai for one week and served Iraqi-Jewish cuisine, Dar Al Sulh refers to a legal territory or domain in which an agreement between Muslims and non-Muslims ensures the freedom of religion, autonomy and protection for all. The project stems from Rakowitz’s ongoing Enemy Kitchen (2003-) where he teaches participants to cook recipes compiled with his Iraqi-Jewish mother, creating the conditions for a discussion of Iraqi culture in America that moves beyond media portrayals. Similarly, Dar Al Sulh presents possibilities for the representation and interaction of Iraqi and Jewish culture in the wake of Jewish exodus from Arab lands in the 1940s. Serving platters sourced from antiques dealers in Israel that survived the journey of the Iraqi Jews out of Iraq, parallel the preciousness of the cuisine served as both the recipes themselves and the Iraqi Jewish Arabic language are under threat of being lost. “You are eating a dying language from the plate of a ghost,” words adorning the window of the restaurant, remind visitors of the implications of the experience they are having despite the conviviality of it all.

Following the screening, Meeru Dhalwala, co-owner of Vij’s and Rangoli in Vancouver, gave a talk—”A Grain of Rice, a Pot of Rice”—about opening a restaurant in Seattle: Shanik. She attracted female staff who were immigrants and refugees from India, Ethiopia and Eritrea by visiting convenience stores and Walmarts and “greeting people who looked Indian,” advertising a safe place for women to work. What was immediately evident in Dhalwala’s talk was a sense of humour and honesty that comes from the practical realities of running a kitchen. She described the restaurant as a “cultural mess,” divided along ethnic lines with caucasian front-of-house staff, Indian cook staff, and Ethiopian and Eritrean cleaning staff. In rapid fire she discussed the many differences that kept these women separated: not speaking the same language, differences in religious beliefs, and dietary practices.

It was a slow and difficult process to bring these women together. The cuisines of their home countries share some common spices, so they learned the names of these in each other’s languages to break down barriers in communication. It wasn’t enough. One day, however, Dhalwala was cooking a simple rice pilaf with basmati, red bell peppers, yellow bell peppers, turmeric, cilantro, jalapeño, and toasted cumin. It was a meal that everyone in the kitchen could eat, and they enjoyed it so much that they began to sharing it around the same table, even enticing the front of house staff to join in. The conditions for conversation were set and the kitchen staff had an unexpected (at least for the audience, perhaps) moment of bonding when Dhalwala casually asked one of the staff, who was Eritrean, if she would be interested in Oguz Istif, Dhalwala’s partner in the restaurant. This sent the entire kitchen staff into a disapproving frenzy because of Istif’s Muslim heritage. Dhalwala’s frankness about this experience of bonding over a shared discrimination against another had the audience laughing together. It was totally unidealized, stemming from long seated prejudices as well as the continued conditions of separation experienced by many immigrants and refugees in the United States as well as Canada. Despite this, their distance was lessened in the simple act of sharing rice. As she spoke, we were fed small cups of rice from Vij’s and shared in the retelling of this story.

First Intermission: I drink a cup of sake and eat kimbap, a Korean seaweed rice roll (or three).

The second act began with a meditative video work by Chee Wang Ng, 108 Global Rice Bowl (2008). The object of meditation is a rotation of white rice in white bowls, varied in shape and size, and shot against a cool grey background. A pair of pine-coloured chopsticks are laid in front, creating a diagonal line that moves off to the right of the screen. The composition is carefully considered. Each well rounded mound of rice is proportionate to its vessel. With each new bowl of rice, a chime sounds—similarly varied in its tone and pitch—and a different country is inserted into the phrase “Made in _____.” China and Japan make multiple appearances along with Canada, Thailand, Vietnam, France and many others. The 108 tones correspond to the number of beads in a Buddhist rosary, aligning the path to enlightenment, or the repetition of a powerful mantra, with the simple grace of rice. The connectivity between places of vast geographical distance is also brought to bare in the repetition of this similar image and object of contemplation, speaking to the movement of bodies and goods that transcend borders.

The video brought the audience to quiet attention and, at least for me, back into my sensing body. Fred Wah’s reading then promptly whisked me away again, and the distinction between the simplicity of Wang Ng’s video and the complex and vivid imagery of Wah’s stories (and the attendant differences between watching and listening) deeply enriched the experience of both works. Wah read from Diamond Grill (1996), a semi-fictional biography about growing up in his father’s restaurant in Nelson, as well as reading some newer material. I have never read Wah’s work before and was enraptured by his descriptions that brought memory and taste so close together that the two became indistinguishable. The selections were part recipe, part biography, observing the life of the town as much as the way the hand remembers the rhythm of cooking, rhythm that Wah brought to life again in words. The final note I wrote while listening to Wah was “the palpable flavour of words.”

I sat that with over the second intermission where I tried a different kind of sake and shared a cigarette in the cold December night.

As I came back in and got another cup of sake, Vanessa Richards took the stage. A Dark Welcome Table: Songs for Grace in Action was a multimedia and layered narrative told primarily from the perspective of a young black girl of Jamaican descent living in Vancouver in the era of the Vietnam War. It was a story about wrong names: about grapes and raisins and techniques for eating rice pudding; about being chased home from school by a white kid who kicked and spit on her door; about Phillis, the young Squamish “Indian” girl, and the story of the two sisters, the mountain peaks that are called Lions even though the narrator thinks they look more like tiger ears. This was the same story told by Mohawk writer E. Pauline Johnson in Legends of Vancouver (1911)2 but inflected with the energy of a shared tale between two young friends. As Phillis explained, the Squamish “let the Haida know they weren’t mad anymore,” allowing peace to come between the two great nations, which led to the creator placing the sisters on the highest mountain range at the end of their life so that we could continue to look upon them and feel peaceful. Richards broke out into song: “heartbeat, it’s a love beat.”3

She told us about an older boy, Adam, who looked like Muhammad Ali. “No Viet Cong ever called me a nigger.” She thought that Adam might knock out that white boy just like Ali, and wondered if Adam and Ali could stop the big war. A video a Ali is projected on the wall: “I’m gunna float like a butterfly and sting like a bee. George can’t hit what his hands can’t see!”4

Finally, Richards was joined by Anna Baignoche on guitar and they sang “Children of Darkness” by Richard & Mimi Fariña (1965), standing in front of a wall drawing of the two sisters, their peaks simply outlined in black with a few m-shaped birds flying in the sky. “Now is a time for your loving dear, and a time for your company. … And now in this age of confusion, I have need for rice pudding!”

Following this enrapturing performance, Hank Williams’ “Jambalaya (On the Bayou)” came on—which is my favourite Williams’ tune—and we all gathered around a table of rice dishes: Nasi Uduk with sweet coconut, Nasi Kuning with savoury turmeric. I drank a final cup of sake, this time from the Fraser Valley where the fertile soil supports rice agriculture, and talked with Henry about my memories of eating Nasi Goreng. I left buzzing on sake and the deep warmth that the sharing of food threads throughout all of history.

Notes 1. Leonard Cohen, “Anyhow,” Old Ideas, 2012. 2. http://digital.library.upenn.edu/women/johnson/vancouver/vancouver-01.html 3. “Heartbeat, it’s a Lovebeat,” The DeFranco Family, 1973. 4. https://www.youtube.com/watch?v=HXzQqqn-rVc

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Tarah Hogue is a curator and writer of Dutch, French and Métis ancestry originally from the Prairies. She is Curator with grunt gallery since 2014 and is the 2016 Audain Aboriginal Curatorial Fellow with the Art Gallery of Greater Victoria. She is currently working on #callresponse with Maria Hupfield and Tania Willard along with invited artists Christi Belcourt, Ursula Johnson, and Laakkuluk Williamson-Bathory. She recently curated Unsettled Sites, a group exhibition with Marian Penner Bancroft, Wanda Nanibush and Tania Willard at SFU Gallery. In 2009 she co-founded the Gam Gallery. She has written texts for Canadian Art, Decoy Magazine, Inuit Art Quarterly, MICE Magazine, and others.