…in the seventies finally fall

Written by

Arcade Fire – The Suburbs

Toby took his tacos outside and crouched on a curb. He knocked some sour cream off onto the concrete, devoured the tacos without tasting them, crumpled the wrappers and tossed them over his shoulder. The wind had given out, and there was no way to tell it was wintertime. Toby thought he might still be hungry.

“You littered.”

Toby turned. He didn’t get up. A little boy had snuck up on him. The boy’s mother was still in the car, griping at someone on a cell phone.

“It’s true,” Toby admitted. “You’ve caught me in an unlawful act.”

“Littering is bad for nature.”

“Nature will be okay,” Toby said. “Nature always wins in the end.”

“You can get a fine. Up to five hundred dollars.”

Toby looked up into the boy’s face. Something was wrong with one of the boy’s eyebrows. “When the time comes, you’re going to make one heck of a hall monitor.”

The boy looked from Toby to the wrappers. They weren’t going anywhere–not the slightest breeze.

“Some people got it, some don’t. You saw me gladly minding my own business over here and something about that bothered you.”

“Are you going to pick them up?”

“You ever hear of an ice age?”

“Yes,” said the boy.

“It might take a long time, but we’re headed for another one. When the iace age hits, a couple of taco wrappers won’t make much difference.”

The boy shrugged. His knuckles were raw, along with his elbows. His T-shirt had a dolphin on it.

Toby stood and brushed his hands together, cleaning them of the gravelly dirt. He touched the boy’s shoulder.

“Your mom doesn’t love you as much as she used to. She thinks there might be something wrong with you. Is she right? Is there something wrong with you?”

The boy’s mouth opened a bit and his funny eyebrow scrunched. He turned back toward his mother.

“You’ve noticed, haven’t you? You’ve been monitoring her and you’ve noticed a difference in how she treats you.”

The boy stared toward his mother in the car, waiting to state her case into the phone. Her eyes were pressed shut with impatience.

“It’s all the bad thoughts you have,” Toby said. “On the outside you’re a hall monitor, but on the inside you’re one sick lad.”

[Text stolen verbatim from the opening passage of Citrus County, by John Brandon, a novel I read within 24 hours, giggling and weeping simultaneously the whole way through, before spending a sleepless night tossing and turning and pondering why my life is so empty.]

[Buy The Suburbs.]

(photo by Louie Banks)

Said your mother’s dead and gone.

Written by

Antony & Bryce Dessner – I Was Young When I Left Home

Eamon sat on the porch of a house he did not live in. He looked out at the road ahead. It was dusty, one-way, leading away from the trees to flatlands that spanned the horizon and sat lonely with the sun sometimes at the end of the day, when it had tired of hanging in the sky lighting the way for the lost. It would fall, swap tales with the land before disappearing to rest. The moon would kick up its heels, hum a tune, man the post for a few hours. Sometimes only half-there. Eamon picked at his lips. He peeled strips of crackled skin, flicked them away. Touched his hand to his face. Looked down at the red puddles pooling on the skin of his fingers. Squinted in the sunlight. Sighed, peeled another strip.

Blonde Redhead & Devastations – When The Road Runs Out

In the dim street light, the radio hummed slowly through the night. Hugged close by a thin layer of sleet in the middle of the road sat the car the radio belonged to. At this hour there might be a couple of dogs barking, rummaging through the evening’s throwaways in the dumpsters lining the side-alleys, fighting for scraps. There were none. Their thick winter coats betrayed their warmth. The car’s headlights dimmed in the fog, two peering eyes in the evening. Waiting. The engine slowed to a murmur. Bedside lamps went cold. [Dark Was The Night.]

(illustration by Paul Blow)

Your blood.

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This is more than a fascination.

Written by

Innate – Fascination

Asier slung his tongue over his shoulder like a swollen, bruised bandolier. He only had the remnants of a rousing chorus. A chorus that echoed in the forest. Consonants ping-ponging from between the branches of the highest trees, swinging from the overgrown canopies. Vowels ooooing and aaaaaing and uuuuuing in their callous tussles with structure. Adjectives hidden in the ground under piles of burnt sticks, jagged rocks, monkey shit. Verbs like mosquitoes biting when he stepped. Soon the nouns would shudder and heave and fall like the others.

(illustration by moleskinex56)

“We build the wall to keep us free…”

Written by

Anais Mitchell (f. Greg Brown) – Why We Build The Wall

Writing about one great song from a brilliant concept album is much like a man saying, “I spent 2 nights with Aishwarya Rai. The conversation was marvelous.” But here goes anyway.

This scene could be set in Detroit, now. This scene could be set in 1933, anywhere. There is no weather in this scene, only poverty. Love and its attendant tragedy come later. In the ninth scene of this folk-opera, Greg Brown isn’t playing Hades, his voice is Hades. When not in sonic expression, the voice is still present: it has a smell; it has a colour. It spends much of the song asking questions of Cerberus (Anaïs Mitchell), but its lingering insistence tells you what you know already: that each answer was decided long ago, like the verdict of a particularly tuneful show trial.

This wall isn’t Pink Floyd’s Wall – so it isn’t Bob Geldof’s Wall either. This wall keeps us free from the others, free of poverty, free from the enemy. The cultural symbolism here is rich, and you shouldn’t be surprised that Ms. Mitchell is a political science graduate. Cerberus, singing for us, truly believes that the wall keeps us free. That’s what he knows, because that’s what he’s been taught – our friend and guardian is the property of an abusive master, and like all good property, doesn’t know what abuse is. Hades asks a lot of questions in this song. But Hades is no fool. He knows not to ask the one important question: “Why would the wall make us feel free?” The wall makes us free because we are afraid.

[If you enjoy Greek mythology, Depression-era imagery, and excellent folk music – or if you enjoy pretending to like these things to help you get laid – then purchase Anaïs Mitchell’s “Hadestown.“]

We asked Rob to offer us his mind. You can see why now. Follow him on Twitter or Tumblr, because it surely is worth your time.

Going against your mind

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The Electronic Anthology Project – I Dim Our Angst In Agony

The Electronic Anthology Project is “Built To Spill re-recorded in the vein of the ’80s 12 inch remix,” according to the group’s myspace page. It’s also trippy as balls.

It makes me feel like someone is running a finger around in my skull and mixing up my brains like soup in a bowl. It makes me feel like a swirl of neon colors all yellow and orange and purple. It makes me feel like dropping acid. It makes me feel like ripping off my clothes and running around waving sprinklers in the dark.

[Buy The Electronic Anthology Project. Photo is Ryan McGinley‘s Fireworks Hysteric.]

Oh, great, yeah!

Written by

Littl’ans & Peter Doherty – Their Way

Bags crammed with girlfriend owned additions. Grandmother’s holy water etching comforting passages through the oil on my brow. Fear for the moments when the stomach is too slow to catch up with the plane and its surge. Photocopies of photocopies – just incase. A borrowed iPod – green – fully charged with selected musical, podcast(ical), and audio-book goodness. And Say Anything…, prepared for the play.

[They did it their way and no other (way).]

Say cheese!

Written by


moools – neednoneed (iruiranai)

It didn’t take three minutes after the graduation ceremony for Jen’s aunt to bring up teaching.

“So what are you going to do with your history degree? Teach?” Aunt Betty asked cheerfully as they leaned in to snap a picture together.

Jen frowned.

“Hopefully not; I don’t like kids,” she said.

Which wasn’t really true. She quite enjoyed kids, usually. But it made for an easy answer that shut up people like Aunt Betty without making them regret the birthday checks they sent.

The thing of it was – why teach when she could DO?

Jen speared a stray balloon with her heels.

Teaching felt like giving in. There was life to be lived! Romances to sever prematurely, dusty countries to visit, tales to retell loudly in bars, apartments to tiptoe barefooted into, lakes to jump into off balconies!

(Oh god, why was Uncle Earl’s hand so low on her back?)

To be locked in a classroom for the rest of her life felt like trading adventure in. She wasn’t ready to settle for that.

Not just yet.

[Buy Weather Sketch Modified]

Who makes Steve Guttenberg a star?

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The Simpsons – Flaming Moe’s

Shit, man. For an animated television show, The Simpsons has churned out a hatful of gems in their decades on air. “Flaming Moe’s” has a melancholic honesty that some serious performers will try and try and try to reach.

The Simpsons – We Do (The Stonecutters’ Song)

“Oh yeah. Beer busts. Beer blasts. Keggers. Stein hoist. A.A. meetings. Beer night. It’s wonderful, Marge! I’ve never felt so accepted in all my life. These people looked deep within my soul and assigned me a number based on the order in which I joined.”

[Songs In The Key Of Springfield.]

Cast a cold Eye on life

Written by

Sharon Robinson – Alexandra Leaving

You’ve [almost] [possibly] never been.

To a moment where you whisper to “Yours, L. Cohen” through drizzly air; whispers of wishes for further days and contentment for each and every candle whip of light that remain.

“I don’t know when I’ll be around these parts [“Yeats’ county”] again.”

He wouldn’t allow us to set our own tone, our own world – he forced the question, the thought: the chance of adjoining edges to his lifes frame. The concluding paragraph. The finishing touches.

“Like a baby, stillborn, like a beast with his horn – I have torn everyone who reached out for me.”

The gut wrings with prudish rejection when it hears something so crass, something lost in the plain sight of previous visits and views and listens. You see, for the most part, I see Cohen as a comic. Not meant as a negative: he grasps at irony and dangles brimming tales in front of us to toss and devour whole, but then there’s true tragedy – and until now the tragedy of Bird On A Wire, that specific line, such tragedy was lost to me.

“The light of evening, Lissadell,
Great windows open to the south,
Two girls in silk kimonos, both,
Beautiful, one a gazelle.”

When he smiles, we do. Keyboard skills [basic notes on Tower Of Song] met with claps and bellows of reverence and veneration. Cohen’s rebuttal? “Thank you, music fans.” A world in cahoots could author no line so love inducing.

There were a few sporadic seats untouched. Still some who don’t [won’t ever] get it.

[Everybody knows you and me and the things we do.]