Archives for November 2016

From The Beginning: Dr. Seuss – Horton Hatches the Egg (Book #4)

November 23, 2016 by krisis

[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]It’s the fourth installment of my “From The Beginning” read of Dr. Seuss’s entire bibliography. Last week I covered the surprisingly awesome The King’s Stilts.

After that lengthy prose story with a clear message, Dr. Seuss returned with the a rhyming book that both looks and feels like the Seuss we all know and love – Horton Hatches the Egg. Yes, it’s the same Horton who would later hear a whoo. Between the meter and the silly animals, it was liked well enough by the toddler but we were quickly back to The King’s Stilts afterwards … and I think I know why.

Horton Hatches the Egg (1940) – Dr. Seuss

CK Says: – Consider it

Reading Time: 8-12 minutes

Gender Diversity: Horton and the hunters are male; the lazy, shrill bird, Mayzie, is female. Animals are otherwise agender; there are women in a circus crowd.

Ethnic Diversity: None

Challenging Language: kinks, fluttered, tenderly, lightninged, anew

Themes to Discuss: parental responsibility, keeping your word, teasing and being different, hunting and animals used for entertainment, genetics, nature vs. nurture

You probably know Horton the elephant because he heard a Who fourteen years after this book was published, but this was his first appearance – and also Seuss’s first time anthropomorphizing an animal as a main character in one of his books.

Horton Hatches the Egg is a frivolous tale about responsibility and keeping your word that’s a fun read with little ones but lacks some of the narrative hooks that make other Seuss books great.

Horton isn’t the first animal we meet in this story. Instead, it’s Mayzie, a feckless bird who is bored with incubating her egg. While she isn’t quite ready to let it die of exposure, she’ll accept any substitute for her own tail feathers to keep it warm – including the massive hindquarters of Horton the Elephant. [Read more…] about From The Beginning: Dr. Seuss – Horton Hatches the Egg (Book #4)

35-for-35: 2006 – “She Doesn’t Get It” by The Format

November 23, 2016 by krisis

the-format-dog-problems [Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]My heart explodes every time I hear this song.

The Format was one of my favorite bands. You’ve probably never heard of them, yet they still so sound familiar to you. Why is that? Because The Format’s lead singer was Nate Ruess, the elastic-voiced lead singer of the band fun. and guest-vocalist on the Pink duet on “Just Give Me a Reason.”

I’m obsessed with Ruess’s extraordinary rubber band voice. Not only does he have a tremendously large range, not only does he have that androgynous mixed-voice tone I’m obsessed with, but his pitch is impeccable.

I always assumed they auto-tuned the heck out of him to get the perfectly round, ringing sound from his falsetto even as he swoops grandly from note to note. I’ve now seen enough live clips to think he’s the real deal (plus, I asked him about it one time on Twitter and he swore that it was without digital tuning).

The Format’s 2006 LP Dog Problems gives me butterflies in my stomach for the entirety of each listen thanks to the resonance of its lyrics and the peculiar sonic palette of indie dance pop with the occasional show tune influence, but if I had to choose one song from the album to leave on an endless loop it would be “She Doesn’t Get It.”

“She Doesn’t Get It” is a song built on surprisingly simple bones, with the intro and verse built on the barest sketch of an endlessly repeating e-g(/d#)-c#-g(/d#) figure. The band spins it up into something more intricate, with frantic hi-hat rides, chiming high guitar riffs, and ringing bells.

There are so many layers to unpeel in this narrative about being the odd one out, the oldest soul in a crowd. That’s the story on the surface, but underneath there’s something deeper about the nature of reality and how we choose to consume it. While his friends are all out to enjoy themselves, all Nate can see is the same dull trends rubber-stamped across the group.

All the girls pose the same for pictures
All the boys got the same girls’ hair
I am bored ’cause I feel much older
Look at me, as if I’ve got a reason to stare

He’s a sort of intellectually-elderly ugly duckling who can foresee the conclusion at each fumbling attempt at a relationship before they even begin, yet he keeps falling for the same types of girl because he knows exactly what type of guy they want. But, it’s not just any girl that he wants – it’s the one who’s about to go away.

She says she’s leaving on a Sunday
That leaves me one more night
Can I take you home?
I know it’s wrong
but I know your type

He can play the role for a night or two, but it never sticks. Maybe that’s why he’s waited until the last possible moment to make a move for this one girl – so it can be a perfect 24 hours without all the messy fallout that usually follows. [Read more…] about 35-for-35: 2006 – “She Doesn’t Get It” by The Format

From The Beginning: WildStorm Universe – WildCATs #15-19, written by James Robinson

November 22, 2016 by krisis

wildcats-v01-015 [Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]WildCATs hasn’t been my favorite title to cycle through in this marathon of reading, but I’ll read just about anything to enjoy Jim Lee art.

So, you’ll understand my trepidation about today’s read when I remind you that of WildCATs #15-19, Jim Lee contributes only to #19, and then only the layouts with Richard Bennett on finishes. What I had forgotten about these issues was who took over for Lee and his BFF Brandon Choi on scripts – Travis Charest on art, with James Robinson scripting.

Robinson is the obvious good sign. While we didn’t know it at the time, he had begun something truly historic the month WildCATs #15 was released … and it wasn’t WildCATs! Robinson also began his legendary, Eisner-nominated, 80-issue run on DC’s Starman the same month. Since then he’s become well-known as a sort of historian archeological scripter, a writer who will dig through all the layers of a character’s lengthy history to find the bones that fit together best into a new story.

wildcats-v01-016 We last saw Charest on WildCATs #0, Special, and back-ups on #8-9, where he was a reliable Lee clone. In the year that elapsed he must have been pricked with a radioactive pencil or something, because his artwork here is something else entirely. It’s the first time so far I’ve opened up a WildStorm book and felt it was not just exciting or dynamic or challenging, but beautiful.

Charest’s pencils with inker Troy Hubbs are so far ahead of their time for 1994, made all the more remarkable by what colorist Joe Chiodo was achieving with 90s technology. I’d hold up the quality of the art in these issues to peak John Cassaday or Travel Foreman. They’re that good. There’s a certain stained glass quality to his figures work, where it feels like he’s defined each distinct plain of their features while still keeping them round and dynamic.

(Since then, he’s become even more remarkable – check out his website!)

The combined powers of Robinson, Charest, Hubbs, and Chiodo pull WildCATs out of the middle of the pack of Image books and makes it a proper must-read. Part of Robinson’s method of doing that is zooming out from the team for his first arc (and also taking Voodoo off the table until he has the chance to do some repairs). His first arc is told from the point of view of a random Black Razor who had his knee shot out by Jacob Marlowe back in issue #2. Now he’s leading the Razors in lieu of Lynch (which places this just after Gen13) and his first mission is to protect the man who nearly crippled him.

wildcats-v01-018-13 Seeing Marlowe and his team of lethal, unleashed warriors through the eyes of the humans who have to keep them contained completely changes the nature of this book. Finally, Warblade and Maul seem powerful and fantastical. Zealot, despite being a whirlwind of blades and death, seems more human and fallible when we’re not relying on her to save the day as a necessary function of the plot.

Then, Charest takes center stage with a puzzle of a structure from Robinson on issue #17, expanding three branching stories symmetrically first in vertical slices on the same page, then in single page splashes, and finally in full page spreads.

Finally, Robinson gets out his archeologist tools and goes to work on Voodoo – and, to an extent, Void. Much as WildCATs Trilogy made Zealot a dynamic character through defining her history, Robinson makes Voodoo’s sudden dedication to being a fighter real and grounded in a psychic dream sequence that explains that she is not only part Kherubim, but also part Daemonite – maybe the only person on Earth who can claim such a lineage!

It’s phenomenal stuff, especially since Robinson plays to Charest’s best strengths and uses issue #18 (and parts of #17) as a series of pinups. It’s unfortunate to see the legs get swept out from under it so soon with the end of #19 leading directly into the WildStorm Rising crossover. I know all good fiction is about interrupting the “Status Quo,” but when it comes to comic books it’s disappointing to get only five or six great issues before an event shakes things up.

Want the full details? Keep reading for a deeper breakdown of the plot. Here’s the schedule for the rest of this month’s WildStorm re-read. Tomorrow we nip over to Wetworks #4-7 (which occur before this arc!) before a second dose of WildCATs with Warblade: Endangered Species (1995) #1-4 & Grifter: One Shot (1995) (plus the WildStorm Rarities Maul story I originally planned to cover today).

Need the issues? These issues were collected in 2009’s James Robinson’s The Complete WildC.A.T.s, ISBN 978-1401222048 (Amazon / eBay). For single issues – try eBay (#15-19) or Amazon (#15, 16, 17, 18, 19). Since other WildCATS series hit these same issue numbers, be sure to match your purchase to the cover images in this post. [Read more…] about From The Beginning: WildStorm Universe – WildCATs #15-19, written by James Robinson

35-for-35: 2005 – “King of the Rodeo” by Kings of Leon

November 22, 2016 by krisis

aha-shake-heartbreak-white-kings-of-leon [Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]I talk a lot about how I’m not influenced by radio or best-sellers charts, which is how I wind up with such a niche collection of somewhat-obscure favorites.

Sometimes that insular trend cuts in the opposite direction, where I am deeply and madly in love with something massively popular while convinced that I am the only one who knows about it. Note that this is distinct from “I liked them before they were cool,” and is more like, “Wait, they’re popular? I love them! Was there a memo?”

Case and point: Kings of Leon.

I can’t even tell you how I found them, other than that I added their Sophomore release Aha Shake Heartbreak to iTunes on December 23rd, 2005, nearly a year after its release. That makes me think I saw the LP on a handful of year-end critics charts – maybe from the UK, where they were a bigger hit – and picked it up out of curiosity.

Actually, I still don’t know too much about them. Just in writing this post I learned that the whole band is related! Yet, I stuck with them, buying every subsequent album until I was shocked – shocked, I tell you – to learn that “Sex on Fire” was one of the biggest songs in the country and that anyone else had any idea of who they were (let alone that there was already an “ugh, I hate that cool band” backlash against them).

Kings of Leon is pretty far outside of my typical sphere of women who rock, pop-crossover artists, and acoustic-based songwriters, especially early on before they added a U2 sheen to their Southern Rock inspired sound. I remember being really fascinated with the upbeat, dance-rock drumming on the first song on Aha Shake Heartbreak, “Slow Night, So Long,” and with Caleb Followill’s mealy-mouthed delivery. What in the world was he singing?!

The song that really cemented my love for the band was track two, “King of the Rodeo.” It had a sort of Strokes-ish indie rock sensibility to its layered clean electric guitars and the constant falling sensation thanks to emphasis on the 2 and the 3-and.

There was more of Caleb Followill’s absolutely undecipherable vocal. All I knew was that after the rapid patter part he said “let the good times roll, let the good times roll.” I thought that was the name of the song for a while. He has the same sort of “shaken up soda trying to escape the bottle” vocals that I sometimes effect (see also: Corin Tucker from Sleater-Kinney).

aha-shake-heartbreak-black-kings-of-leon Thus, you get to join me on a special journey, dear reader – I am going to read these lyrics for the first time.

He’s so purity, a shaven and a mourning,
And standing on a Pigeon toe, in his dissarray

Straight in the picture pose,
He’s coming around to meet you

And screaming like a battle cry, its more if I stay

Me and your cold, Driving in the snow,
Let the good times roll, let the good times roll
Cowgirl king of the rodeo, let the good times roll,
Let the good times roll

How dare you come to me like withnail for a favor,
Hold on not my fairy tale you’re trying to start

Take off your overcoat, you’re staying for the weekend,
And swaying like a smokey grey, a drink in the park

Good time to roll on.

Oh, good – they don’t actually make a lick of sense. I feel much better now.

I think the allure of this track for me was that there was something pure and unvarnished about it. This was still a year before Gina and I really ramped up Arcati Crisis, and to me it sounded like what I pictured an indie rock back would sound like when they were rehearsing without all the effects and production. There’s no doubt in my mind that I pulled some inspiration from early Kings of Leon songs like this for my lead lines on Gina’s Arcati Crisis tracks like “Holy Grail.”

35-for-35: 2004 – “I Control The Sun” by Lisa Loeb

November 21, 2016 by krisis

[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]I sometimes wonder if “one hit wonder” has any meaning in a world of limitless streaming and every album of all time available for purchase.

lisa-loeb-2004-promo-square Today, if someone likes your song, odds are they’re going to listen to another one – either intentionally or through some engine of recommendation.

Things were different in 1994, when Lisa Loeb broke through with her classic “Stay (I Missed You)” (which, incidentally, Ashley and I have discover can create a tender singalong in any barroom).

It truly was a singular hit – it appeared on the Reality Bites soundtrack when Loeb was unsigned without any other songs available on commercial releases. If fans loved that track when Loeb hit the scene they were out of luck. Her only other recorded work was on a cassette tape you could only buy from her at shows. Today, those tunes would be plastered all over BandCamp or SoundCloud, waiting to be devoured, supplemented by YouTube videos.

(For the record, I wouldn’t call Lisa Loeb a one-hit wonder; “Do You Sleep” was huge and she’s had several other charting singles.)

Hardly any artist broke through with their singular hit quite like Lisa Loeb did, but many artists – especially women in the 90s – fell to the same fate. They maybe garnered another LP before being dropped from their labels and dropping out of sight for all but the most ardent fans.

As it happens, E and I are quite ardent in our Lisa Loeb fandom. In fact, you could go so far as to say it’s part of the foundation of our relationship. We’ve never missed a Lisa Loeb release, and this house is a parallel universe where she has dozens of notable singalong hits.

One of those house hits is “I Control The Sun,” off of Loeb’s fourth (and, I’d say, indisputably best) record, The Way It Really Is. The record came out just a few months shy of E and I moving in together when I graduated college. As an overachieving Type A control freak with a raucous OCD Godzilla who rules over my innards, I deeply connected with the song in a way that’s similar to my feelings about “Center of Attention.” It might be the best song about the anxiety of being perfect since Alanis’s crushing “Perfect” on Jagged Little Pill.

There’s no doubt in my mind Lisa Loeb has her own internal raging OCD monster. I’ve seen the way she’s methodically spread her brand across multiple platforms – voice acting and starring in reality shows between albums, and now pivoting to children’s music and a line of glasses as her core fandom ages. And, well, I’m a musician and I’ve seen her live – I know all of those little tells a musician makes on stage when things aren’t going perfectly well, and she’s does them as much as I do.

the-way-it-really-is-lisa-loeb But what use is all of our perfection when it comes to our relationships? Lisa and I can control every factor in the world, but we can’t change how someone else feels. That’s why, for all its whimsy, I hear a certain desperation in this song:

I control the sun
I turn on the stars
I make all the colors that you see as you circle me
I open up the sky
I control the speed
I can make the green lights flash
I can make you crash

Those are the words of someone trying to be the wizard behind the curtain – keeping every light flashing and plate spinning all with a smile plastered across their face. What better to represent the epitome of that control than subverting the sun itself?! It’s the perfect endgame for someone with a galactic-sized need to be in charge.

I can’t make you see things the way I see them
I can’t make you feel things the way I feel them
I can’t wait around for you
I’ve got better things to do

When the sun metaphorically does your bidding, it’s really easy to want to throw up your hands the first time another human being is completely inscrutable. I’ve been that controlling person – not just in romance with E, but with friends and at work. I’ve thought that I’ve had such a good grip on all the measurables that nothing intangible could ever get in my way.

I control the world
I can make it flat
I can make the water deep so I can save you from the sea

(That’s actually a good explanation of how I fell backwards into being a good Account Manager. Early in my career I went to my boss, distraught that controlling the sun and the sea level wasn’t making my clients like me. She, much more of a people person that I, replied, “Have you ever tried asking them if they like baseball?” Being a good AM had very little to do with control and more to do with social penetration and certainty – but, that’s another post entirely.)

The song presses on, with Loeb lamenting, “I’ve tried everything” until she finally admits the truth in a vortex of rising single string bends that signal just how out of control not being in control makes her feel.

‘Cause I control the sun
I control the sun
If I can control the sun
Then why can’t I have you?
I’ve got better things to do

You could read that last line as finally giving up and walking away, but that’s not what her performance conveys. I hear resignation in that last bit of vocal and also a shade of self-reflection. Is there really something better to do, or has Lisa just been busying herself with the anxious work of control?

Maybe it would be better to let the sun rise and set on its own and enjoy the fact that not everyone sees things your way every time.