Janelle Monae All Day

Janelle Monae’s masterpiece album, Dirty Computer, with its socially-conscious future funk and infectious grooves, is as good as it gets. Without question, it’s best-album-of-2018-good.  I’m blown away by how inventive and theatrical the album is while also blending multiple genres. And did you check the liner notes? Read them as you listen to the album to up the ante on your listening experience. Like Kendrick Lamar’s DAMN., with many layers of complexity, Dirty Computer gets better with every listen.

Dirty Computer  is a painstakingly conceived and executed work of art drawing on inspiration from the late, great Prince whose presence is ubiquitously felt throughout.  Other sources of inspiration are Gloria Steinem,  Barack O’bama’s 2008 “A More Perfect Union” speech, and myriad literary works including Toni Morrison’s The Bluest Eye, Neil Gaiman’s American Gods, Naomi Wolf’s Vagina: A New Biography, and recently release film, Black Panther, among others.  One article offers a recommended reading list “based on Monáe’s dystopian inspirations and Afrofuturist influences, based on a future that is diverse and representative of what some might consider subversion—from being pansexual to polyromantic to black.”

If Monae’s music signifies disruption, than by all means: crank the volume, and signify, people, because Monae’s America is the future. Dirty Computer’s America is not homogeneous, fixed, static, and beige,  but instead decidedly diverse, eclectic, colorful, fluid, shapeshifting, and prismatic. The May 1st 2018 issue of The Economist called the album “protest music done right” and gave it praise for delivering a societal critique without being “self-congratulatory”. This great piece from Philadelphia-based publication-The Inquirer— analyzes Dirty Computer in the context of American Protest Music and compares the the album’s final track, “Americans”, to Woodie Guthrie’s “This Land is You Land” and Bruce Springsteen’s “Born In The USA”.  Author Dan DeLuca sums up the album simply as “party-starting protest music, ” and that’s exactly what it is.

But it’s a new kind of protest music. “Americans”, fused with O’bama’s “A More Perfect Union” speech,  is an electrifying anthem that conveys a powerful sense of change for the better, of a new day on the horizon. Monae states that her intent is to inspire and uplift, and those intentions are apparent from start to finish in this album.  I love rolling my window down on a sunny day, cranking the volume, and singing along with Monae: “Just love me baby / love me for who I am / fallen angels / singing clap your hands / don’t try to take my country / I will defend my land / I’m not crazy, baby / naw / I’m American / I’m American/ I’m American/ I’m American. And check these verse lyrics:

I like my woman in the kitchen/ I teach my children superstitions/ I keep my two guns on my blue nightstand/ A pretty young thang, she can wash my clothes /But she’ll never ever wear my pants.
Seventy-nine cent to your dollar/ All that bullshit from white-collars /You see my color before my vision /Sometimes I wonder if you were blind / Would it help you make a better decision?

The message is powerful but you might not even realize you’re getting an education because you’ll be too busy grooving to notice, at least at first.

What I love about this album is that it’s impossible for me to choose a favorite song. In “I Like That,” Monae’s voice flows effortlessly over a deep, droning drum & bass foundation and all the hits are in the right spot, complete with that TLC shout-out: “Sometimes a mystery, sometimes I’m free / Depending on my mood or my attitude / Sometimes I wanna roll or stay at home / Walking contradiction, guess I’m factual and fiction /A little crazy, little sexy, little cool/Little rough around the edges, but I keep it smooth /I’m always left of center and that’s right where I belong /I’m the random minor note you hear in major songs /And I like that /I don’t really give a fuck if I was just the only one  who likes that. “I Like That” is a testament to being fearless and proud in your skin no matter what anybody else thinks. My absolute favorite line in the song appears when Monae recalls a memory from her past:  I remember when you laughed when I cut my perm off /And you rated me a six /I was like, “Damn”/But even back then with the tears in my eyes / I always knew I was the shit.” The rise and fall of the lyrics–the cadence–is as smooth as Monae’s voice and perfectly executed. I’m amazed by how she sculpts a song and meshes the verse within the constraints of the song structure.

“I Got The Juice”, featuring Pharrell, is a slammin’ proclamation about owning one’s (fluid) sexuality. SPIN magazine referred to the tune as “the best of Dirty Computer’s homages to Prince.” (I can’t say I disagree although “Make Me Feel” would be a really obvious contender. More on that below.) “I Got The Juice” echoes Prince’s “Cream” in how it oozes sex appeal; but this smashing song goes to eleven on a scale of 10. Just as the song builds to a crescendo and you think it’s going to cool off, it  ramps up for one last feminist wave of authority when Monae powerfully declares: “If you try to grab this pussy cat / This pussy grab you back ” which is a clear response to President Trump’s infamous “grab her by the pussy” statement revealed from his pre-POTUS days and now haunting him eternally.  “I Got The Juice” is like an amped up “Holler Back Girl”, the femme-fatale tune recorded in 2004 by Gwen Stefani. And like Stephani, Monae does not merely holler back. If Trump could forego the catcall and move straight to the crotch grab, you know the appropriate feminist response is neither meek nor apologetic.

An incredible rapper in her own right, Monae’s lyricism in “Django Jane” is punch-you-in-the-gut good. A Guardian article entitled “You Don’t Own Or Control Me” looks closely at how personal and political apex in “Django Jane”, described as “Monáe’s rallying cry, a rebellious protest anthem for women in general (“We gave you life, we gave you birth, we gave you God, we gave you earth,” she sings….[S]he puts down mansplaining with a forceful, deadpan lyric: “Hit the mute button, let the vagina have a monologue.” It’s one of Monáe’s most political songs to date, and also one of her most personal, a revelation for a singer whose critics have called her presence “cerebral”, her music “controlled”, her “constructed” look.” The song may be more aptly described as a battle cry, in that the speaker militantly confront the treatment of Black Americans, and particularly Black women. Monae says that Django is ‘a response to me feeling the sting of the threats being made to my rights as a woman, as a black woman, as a sexually liberated woman, even just as a daughter with parents who have been oppressed for many decades. Black women and those who have been the ‘other’, and the marginalised in society – that’s who I wanted to support, and that was more important than my discomfort about speaking out.'”

In trying to wrap up this post, I’ll just say: give this record a spin. Be blown away by the method and the message.  Want to hear the MOST PRINCE-Y song on the album? Check out “Make Me Feel”: the Prince undertones and overtones are undeniable in the funk guitar rhythm and Monae’s vocal gymnastics – especially when Monae sings “good God / I can’t help it / Ah!”

In saving the best for last, Monae reserves the final dedication in her album notes for Prince-her muse and mentor-and you can’t help but think about how proud he would be of her incredible accomplishment.

 

 

 

 

 

 

Kesha’s Kaleidoscopic Album”Rainbow” is a Work of Catharsis and Transformation

At first, Old Flames (Can’t Hold A Candle To You)” was my favorite song on the album. In a waltz with the one and only Dolly Parton, Kesha’s resonant vocals are set against a meandering pedal steel guitar which is decidedly “country”; yet the underlying  near heavy-metal downpicking and tambourine on the chorus elevates the tune to “not your grandmother’s”  country shuffle. Kesha and Parton’s vocals complement each other beautifully as a faint doo-wop piano adds to the nostalgia of unparalleled love. Lyrically, love is likened to a flame, of course; but embers, fires, and candles are also invoked to describe the type of love about which singer-songwriter Patricia Rose Sebert and Hugh Moffatt wrote in 1978. “Old Flames (Can’t Hold a Candle to You”) is the only cover song on the album: Kesha does her own writing, which is another reason to love this deeply-personal album.

As it turns out, “Spaceship”, track number 14, is my absolute favorite song on the album.  Kesha’s voice is paired with a banjo (and also a mandolin?) on the verses as she sings:  “I always said when I’m gone, when I’m dead / Don’t lay me down with the dirt on my head / You won’t need a shovel, you don’t need a cold headstone / You don’t need to cry, I’m gon’ be going home.” Due to the minimalism of the song, I am able to hear the beautiful timbre in her voice which is not buried (but instead enhanced) by the stripped-down instrumentation. “Spaceship” is essentially a dirge about how the narrator wants to be treated at the time the she departs the earth. I can think of no creative act on par with the self-penned elegy that is perhaps the penultimate act of staking one’s little claim on this spinning earth. The elegy song is basically akin to a living will for artists and one of the greatest works they can write.  The narrator of the song laments her life on Earth and states that she’s from another galaxy and will one day return home. Note the ethereal backing vocals on the chorus and how they creates a ghostly ambience that is not quite of this world. In my lil humble opinion, “Spaceship” is the best song on the album, because in a really beautiful, inventive way the artist confronts her mortality, contemplates her place in the world, and explores her interest in what lies beyond. The existential lyrics contemplating one’s mortality on “Spaceship”  immediately liken the mundane verse in “Tik Tok” to mere fodder for some otherworldy sacred cow.

“Woman” is a righteous, feisty song and gives voice to female empowerment and staking your ground,  dominant themes of Rainbow.  A saxophone full of attitude paves the way for the famed Dap-Kings horn section (who backed the inimitable, late Sharon Jones). Kesha sings: “I buy my own things/ I pay my own bills / These diamond rings / My automobiles /  Everything I got I bought it / Boys can’t buy my love/ Buy my love, yeah / I do what I want / Say what you say / I work real hard everyday / I’m a motherfucking woman, baby alright.” The song is part cabaret, part pop, and all sass, and Kesha sprinkles in some expletives for good measure (and I’m not mad at her for it). In fact, I love her for it because artistic integrity is not sanitized and flawless. Kesha is the antithesis to the Insta-world where all things appear perfect but are far from it: she is the raw and the real. In other words, beauty lies in imperfection. Sometimes, what is most real is disheveled and rough-around-the-edges. Check out “Boots”, which is a little bit like the “answer” to “Woman” and “Hunt You Down”, a pantomimic ballad about murdering a lover who has done you horribly wrong. Either way, this kaleidoscopic genre-bending album showcases Kesha’s dynamic vocal ability and range.

Forgiveness, prayer, and redemption from suffering (at the hands of loved ones) are also major themes of Rainbow. You’ve likely heard “Praying” at this point, which was released with a stunning,  video depicting a narrator who is letting go of the pain of all of those who have wronged her. If you haven’t seen her late night television performance of “Praying”, it is an awe-inspiring performance. The use of repetition andguttural belting of the lyrics “praying” and “changing” make it the centerpiece of the album, no doubt. But “Rainbow”the song after which the album has been named–has quickly become another of my absolute favorites. Kesha wrote “Rainbow” when she was in rehab  for an eating disorder, so this song both embodies and symbolizes healing, growth, and survival.  “Rainbow”–with its swelling string arrangements–evoke the magic of a Disney scene in which the lead character performs her triumphant soliloquy in a sunlit forest. Kesha sings: “I used to live in the darkness / dress in black / act so heartless / but now I see that colors are everything.” Thematically, colors  are a key vehicle for communicating personal transformation, and if you’ve seen the album artwork, you know what I mean. “Rainbow” signifies a new beginning or a re-birth while “Spaceship”–a song contemplating mortality–is the perfect final cut.

And that leaves “Bastards” which was described in the Rolling Stone review as a “ballad ripe for a campfire singalong”. And I couldn’t agree more. In fact, “Bastards” echos the sentiment my father still eschews to his kids today. This pep-talk of a title track is Kesha’s inner dialogue turned outward: ” Don’t let the bastards get you down, oh no / Don’t let the assholes wear you out /Don’t let the mean girls take the crown / Don’t let the scumbags screw you ’round / Don’t let the bastards take you down.” And that’s pretty solid advice.

I haven’t heard much of Kesha’s work aside from her 2010 album, Animal; but after listening to Rainbow, I’d count myself among the ranks of her adoring fans. After just a few spins of the album, there are some standout tracks that I would say are “great”, due either to the result of her collaborations with other (great) artists, her emotive shapeshifting vocals, or how content/lyrics, vocals, instrumentation, and overall production quality culminate in beautifully-crafted songs. As it turns out, the punchy, poppy dance tunes are my least   favorite songs but are catchy in their own right.  The songs I am drawn to and that have the most substance, in terms of lyrical content, also happen to be the most minimally arranged.

In general, Kesha really shines when her emotive voice gets to take center stage without competing with a spastic instrumental backdrop (“Boogie Feet” comes to mind). It’s easy to pass judgement on an artist like Kesha who has achieved the all-too-evasive super-stardom; but check out some of her live performances from “Rainbow” and if you’re like me, you’ll be moved by how she has completely lived the experiences about which she sings. “Spaceship”, “Old Flames (Can’t Hold a Candle To You)”, “Rainbow”, “Bastards”, and “Praying” are beautiful and honest songs that I will return to again and again. If you’re the least bit privy to the legal battles and alleged abuse she suffered at the hands of her former producer, “Dr. Luke”, it’s not difficult to see that Rainbow  is a work of catharsis and metamorphosis. It’s fantastic to witness her return to her country roots because, yes, she isn’t merely a manufactured pop-star: not only does she write her own songs, but she can really sing. Check her out!

 

Kendrick Lamar’s DAMN.

When fans say Kendrick Lamar is the Tupac of our time, it’s an understatement that his music has already made a profound socio-political and aesthetic impact. Let’s not forgot that “Alright,” a song from his 2015 masterpiece album To Pimp A Butterfly (TPAB) became a rallying cry for unity within the Black Lives Matter Movement and acknowledges the epidemic of police shootings that disproportionately targets  Black Americans.   TPAB fuses multiple-genres and voices while the finely-crafted DAMN, by contrast, is am exercise in minimalism. Repetition and reverse instrumentation perfectly reinforce the cyclical  format of the album and the album’s themes after which the songs are named (BLOOD, DNA, FEAR, LOVE, GOD, HUMBLE, LOYALTY, etc).  Where some artists overcomplicate and muddy their waters, Lamar expertly tells stories that perfectly accentuate the cerebral/mundane & sacred/profane dichotomies present in his lyricism. And he often does so with painful self-awareness and contradiction (good & evil, dark and light). Check out some of the reviews of Lamar’s 2017 masterpiece, easily my favorite album of 2017.

The process of listening to DAMN.  has been both discursive and linear, which is to say I’ve listened from beginning to end, end to beginning, and most points in between . The rewards of mindful listening –keener insights into social and cultural references, for example–inspired me to look further into the literary references in Lamar’s work. As an album, DAMN. is particularly circular as well, which is to say the album doesn’t have a definitive beginning or end.   DAMN. is a departure from the ventriloquism of TPAB,  but it nonetheless features what could be construed as Lamar’s conscious and subconscious “voices”. For example, “FEAR”–easily one of my top 3 favorite tracks on the album– is an examination of life told from a few different standpoints. Charles Edward Sydney Isom Jr’s voice can be heard early on in the song asking: “Why God, why God do I gotta suffer? / Pain in my heart carry burdens full of struggle/ Why God, why God do I gotta bleed? / Every stone thrown at you restin’ at my feet.” One fan noted that this particular stanza could function to represent Lamar’s subconscious inner dialogue. But there is a second movement in the tune in which Lamar shape-shifts into the persona of (his) mother: “I beat yo’ ass, keep talkin’ back/I beat yo’ ass, who bought you that?/You stole it, I beat yo’ ass if you say that game is broken/I beat yo’ ass if you jump on my couch/I beat yo’ ass if you walk in this house with tears in your eyes”. This movement in the song continues for 23 more stanzas before transitioning into another “movement” wherein Lamar lays bare his anxieties about how he might die: “I’ll prolly die from one of these bats and blue badges / Body slammed on black and white paint, my bones snappin’ /Or maybe die from panic or die from bein’ too lax / Or die from waitin’ on it, die ’cause I’m movin’ too fast.”

I’m astounded by how Lamar crafts songs that build great intensity and ferocity through the sheer volume of lyrical stanzas alone: strip away all of the layered instrumentation and the lyricism–poetry–would stand independently of its own accord. “FEEL” is another standout song on this album because Lamar utilizes a “stream-of-consciousness” approach set against a dreamy, synth-n-bass backdrop. Lamar is righteously vulnerable in this song and lays bare his anxieties, summons his heroes, and appears to turn his anger inward for a moment. On a really simple level, “FEEL” is a song about anxieties: “Look, I feel like I can’t breathe
Look, I feel like I can’t sleep/Look, I feel heartless, often off this/Feelin’ of fallin’, of fallin’ apart with/Darkest hours, lost it/Fillin’ the void of bein’ employed with ballin’/Streets is talkin’, fill in the blanks with coffins/Fill up the banks with dollars/Fill up the graves with fathers/Fill up the babies with bullshit/Internet blogs and pulpit, fill ’em with gossip/I feel like this gotta be the feelin’ what ‘Pac was
The feelin’ of an apocalypse happenin’…I feel like the whole world want me to pray for ’em / But who the fuck prayin’ for me?”  Something that is conceptually remarkable about DAMN. is that it is an honest exploration of what it means to be human. It is considerably difficult for an artist to not only tap into but to give voice to the wide spectrum of emotion without censoring oneself.  Lamar goes into the depths of his soul in this album, which is an act of bravery unto itself. When asked what he would do differently the second time around?: “I’d go deeper”,  he tells Rick Rueben in a fantastic interview.

“DNA” is my favorite song on the album because of it’s unapologetic boldness in which Lamar attacks the microphone and takes no prisoners. For the reason that hip -hop allows the artist to re-fashion him or herself into the larger-than-life master of her own destiny, I am perpetually drawn back into its magic again and again. Unlike other musical genres, the best hip-hop acts as a springboard not only for reflection but for personal (and thus social) revolution and transformation not lost on Lamar: “I got power, poison, pain and joy inside my DNA/ I got hustle though, ambition, flow, inside my DNA.”  If you watch the official music video for “DNA”, you’ll see an incredible performance between Don Cheadle and Lamar that features Lamar administering a lie detector test to Cheadle. A sample of a Fox news brief features two news pundits mocking Lamar’s massive hit song “Alright” that calls out police brutality. I personally love how Lamar takes these two news pundits to task and challenges their snap-judgements and assumptions.  Like Nina Simone said, it is an artist’s job to “reflect the times.” Lamar does just that.

DAMN. becomes more revolutionary the more you listen and allow yourself to be awash in the poetry, politics, and existential philosophy. Having listened to DAMN. at least twenty-five times, I am amazed by Lamar’s “fast and furious” lyricism. A Pitchfork reviewer who gave the album a heavy-weight champion score of 9.2 opines that  “Lamar’s recitation is so effortless you wonder where he breathes, or if he does at all.”     Indeed, I also wondered when, exactly, he would find the space to take a breath during the recitation of his lyrics. If you haven’t heard this album yet, just listen with an open mind, which is to say with a neuroplastic mind, since we now know that the brain is not fixed but rather capable of change and charting new territory.

 

Meet Maria Nhambu

Last fall I wrote about Maria Nhambu’s memoir, Africa’s Child. You can read my blog about it here. It tells the story of how she grew up as an orphaned, mixed-race child in Tanzania. The first book in the Dancing Soul Trilogy, Africa’s Child is as heartbreaking as it is inspiring. It leaves you wondering where she went from there.

I am thrilled to share that the second book, called America’s Daughter, has been published. In it, Nhambu chronicles what it was like for her leaving Africa. She was eighteen years old with a newly-adoptive mother who was barely four years older than her. She found a vastly different culture in America and began building a new life in it.

Laugh and cry with her as she recalls the many differences between Tanzania and Minnesota. She reveres education as her key to escaping a life of poverty and oppression. It is no surprise that she chose a career as an educator (at one point, she taught a soon-to-be famous musician named Prince Rogers Nelson.) Nhambu has a love for music, especially African music. She went on to create a program called Aerobics With Soul. It incorporates African dance into a fitness workout.

Nhambu still spends summers in Minnesota, but lives in Delray Beach, Florida during the winter. Thanks to family ties she has to the Quad Cities, she will be visiting us at Eastern on Saturday, Sept 9 at 10:30am to share her story with us in person. Joining her will be her adoptive mother and sister. Refreshments and copies of her books will be available. If we are lucky, there will be dancing. 😉

Nhambu is a gifted storyteller whose candor has made me cry, then cheer for her. Come meet a fascinating woman whose indomitable spirit has proven that love truly does conquer all.

Moonhead and the Music Machine by Andrew Rae

 I’m a sucker for fantastic  artwork and, lucky for me, Moonhead and the Music Machine is packed to the gills with gorgeousness. I want to buy individual prints of various scenes in this story and put them on my walls. Author and illustrator, Andrew Rae, is a seriously talented graphic designer who also does animation in addition to illustrating a number of comic books, graphic novels, and zines. You can check out his work at Moonhead Studios here! Moonhead t-shirts, anyone? Sign me up yesterday.

In terms of storyline, Moonhead and the Music Machine is a classic underdog tale in which Joey Moonhead, the main protagonist, must defy his bullies and wear his uniqueness (his strength) like a badge of honor.  Early on in the book, Joey attempts to engage with his parents who are both aloof and neglectful. Subsequently, he spends a lot of time alone in his room and his mind begins to wander, quite literally. The thing about Joey’s head is that it’s a giant moon that can detach and float through space independent of his body. Naturally, I think about how perhaps Joey’s moonhead is allegorical with daydreaming or even escapism, hallmark characteristics of being a young person who is discovering his or her own dreams and ambitions but who also experiences a fair amount of alienation (from parents, authorities, peers, etc). Initially, Joey’s wandering head tends to get him into trouble with parents, teachers, and friends.

That is, of course, until he learns how, with the help of willing adults and friends, to channel and harness his creative energy and embrace his individuality. Sockets, his best friend, is a big part of helping him navigate the hallways and social terrain of high school where Joey posits that that the adults are “training us to conform…to be factory workers!” Of course, Socket’s response, which is the other side of an age-old argument about education, maintains that “getting good grades” is one ticket to being able to determine your own path without being self-sacrificial. Joey & Sockets share a playful and sweet friendship in which they respect but still challenge each other’s opinions.

Enter music. Like many teens, Joey stumbles upon music in an organic way after having a parent-teacher conference that results in Joey’s finding a record player and a set of headphones. Whereas Joey’s head once levitated just above his body, ready at any moment to float away, it now was tethered to his record player by way of his headphones. Music is very “grounding” and facilitates connectivity unlike any other medium due to its accessibility and transcendence of time/space and language boundaries. To boot, I was overly excited about how Rae re-imagined classic album artwork design for album covers by musicians like David Bowie, Captain Beefheart and the Magic Band, and many others.

Once Joey is infected by the music bug, there is no going back. After taking interest in a music machine-building project, Joey meets the mysterious Ghost Boy and together they dazzle their classmates during a talent show after building a key-tar esque instrument (half-keyboard, half guitar) and bringing the house down. After their performance, Joey is overcome by the response of his peers who are inspired by the overall message Joey sends: to embrace and find strength in your individuality–in your moonhead. It may be important to note which of your friends stick by you even at your worst, when you don’t have anything of monetary or social value to offer aside from your friendship. They are the real deal, people. Read this graphic novel simply for the gorgeous artwork but find richness and multiple layers of meaning in its simplicity.

 

 

 

Universal Harvester by John Darnielle

I just finished listening to John Darnielle read his book, Universal Harvester, on CD. I am left asking myself, “What just happened?” I liked it. I think I would like to re-read it, this time in print.

The book is about a young man named Jeremy Heldt who works at Video Hut in Nevada, Iowa in the mid-nineties. He is a down-to-earth guy, having lost his mother to a car accident six years prior. As a relatively responsible twentysomething adult, he isn’t sure what to do when he discovers that some videos have been returned with strange footage spliced into them. It is unclear to him whether the scenes are a goof, or if someone is getting hurt and sending out a cry for help. Also, his boss at the video store may or may not have become personally entangled in whatever it is.

I was first drawn to listen to this book because I read in a Booklist review that it is set in small-town Iowa. Not knowing anything about author John Darnielle, I thought, “I want to find out how he portrays an Iowan. I want to hear if he’s going to butcher the way we talk.”  I was admittedly skeptical that I wouldn’t find his portrayal of an Iowan to be silly, maybe a little bit insulting. Often it seems to me that nonnatives perceive us all to be rubes. Sometimes actors portray our manner of speaking in a way that more resembles a southern drawl than the intonation of an actual Iowan. I was pleased to find Darnielle’s main character sounding like some Iowans I know, albeit the ones who have also spent time living out west. This made more sense to me once I looked up a little more about Darnielle online and learned that he grew up in southern California and lived in Portland, Oregon briefly after high school. He did live in some of the Iowa towns where the events in Universal Harvester take place, though it is unclear when and how long.

My opinions of the writer/reader’s dialect aside, this book is a hard one to categorize. Some libraries in our system have classified it as fiction; others put it in the horror section. I am not usually a reader of horror books, and when I realized it was considered that, I thought “Uh oh. What am I getting myself into?” As I got further into the book, I kept bracing myself for something gory or horrifically disturbing. When I think horror, I think gore. However, there isn’t anything terribly gory in this book.

It turns out I was just as mistaken as the folks who think Iowans speak with a drawl. I came across this great article from The Horror Writers Association and learned that horror can take as many forms as the people who read it. After all, not everyone is horrified by the same things. I happen to find gore horrifying, some people are just as horrified by the unknown. Death is perhaps the biggest of the unknowns, but there are also a myriad of other unknowns throughout life.

There are many unknowns in Universal Harvester. If you like a plot that gets neatly tied up at the end, this book is not for you. However, if you appreciate great writing and a story well-told that makes you think and ask questions, then you should check this book out. It would be a great book club selection, because there is plenty here to explore and discuss. (In fact, if you know me, please read this book so we can talk about the details together! I’m still not sure what just happened.)

Next, I am going to check out some Mountain Goats CDs. The author of this book is in a band called the Mountain Goats, and he has been hailed as one of the best living lyricists. Judging by his novel writing ability, I’d say that’s likely a fair assessment. Happy reading and/or listening!

New CD’s for November

Bon Jovi — This House is Not for Sale

The first Bon Jovi album without longtime guitarist Richie Sambora

 

 

 


Alicia Keys — Here

The fifteen-time Grammy-winning singer, songwriter, and producer will release her highly anticipated sixth studio album. From the human condition to global politics, Here offers a keen glimpse of everything that matters most to Keys.

 

 

 
Miranda Lambert — The Weight of these Wings

Miranda Lambert’s highly anticipated sixth studio album was inspired by both heartbreak and newfound love. Among the tracks is the new single Vice.

 

 

 
Bruno Mars — 24K Magic

After four years, and two Super Bowl halftime appearances, Grammy Award winner Bruno Mars is back with his highly anticipated third album, which includes the hit title track.

 

 
Metallica — Hardwired…To Self Destruct

Metallica releases their eleventh studio album. The two disc set is their first studio album since 2008’s Death Magnetic.

 

 

 
Now That’s What I Call Music 60

The 60th installment of the popular music series that features the hit song from Calvin Harris and Rihanna, This Is What You Came For.

 

 

 
Doug Stanhope — No Place Like Home

Doug Standhope tackles an abundance of hard-hitting issues, from caring for the mentally-ill, to Vietnam vets, being locked up abroad, and why everyone should kick like they kick. He also take on ISIS, global poverty, TMZ, and LGBT related issues. No one is off the table in this one-of-a-kind stand-up special including Gabrielle Giffords, the Duggars daughters, Caitlyn Jenner, and Robin Williams.

20 Feet From Stardom

20-feet-from-stardomBefore I watched 20 Feet From Stardom I never realized how heavily my favorite music relied on the talents of the unsung heroes (pun intended): background singers. As a child, I would sometimes joke that I wanted to be a background singer. I’d dress up and stand in the living room, swaying and ooohing. I thought it was funny because… who wants to be in the background when you could be in the limelight? Turns out, plenty of people.

Darlene Love, Merry Clayton, Lisa Fischer, Judith Hill, Tata Vega…these are just a few of the names belonging to people so talented they could easily carry the stage on their own. But for varied reasons, each as unique as the individuals themselves, they remain mostly anonymous background singers. To be sure, some of them would love a successful solo career, and have tried to reach that goal… to no avail. Others have been content to leave the spotlight and all the complications that go with it to the names we recognize so well: The Rolling Stones, Bruce Springsteen, Bette Midler, Michael Jackson, Stevie Wonder, Sheryl Crow, David Bowie…the list goes on.

20 Feet From Stardom takes us behind the scenes where the singers share, in their own words, what a career as a professional background singer has been like for them. It is as emotional as it is funky and upbeat. As soon as I finished watching, I promptly looked up their names in the library catalog and put holds on as many albums featuring their vocal talents as possible.

I think any of us would be hard pressed to come up with a Top Ten list of our favorite songs of all-time that did not include a contribution from of one of these fabulous singers.  That’s what makes it so unbelievable that they are not household names. I challenge you to watch 20 Feet From Stardom and not come away with a song in your head!

New CDs for October

Michael Buble — Nobody But Me

The 9th studio album and first in three years from the multi-Grammy, multi-platinum award winning singer. It follows the critically acclaimed To Be Loved album which was his fourth album to reach No. 1 on Billboard’s Top 200 Charts.

 

 

Colbie Caillat — The Malibu Sessions

Grammy Award winning singer-songwriter Colbie Caillat returns with the follow up to her 2014 album Gypsy Heart. Her sixth studio album also includes the single Goldmine.

 

 

Kenny Chesney — Some Town Somewhere

Country superstar Kenny Chesney releases the follow-up to his hit album The Big Revival. His latest includes the single Noise, which is quickly rising up the country charts.

 

 

 

Green Day — Revolution Radio

After four years, Green Day return with a brand new album, their first release since being inducted into the Rock and Roll Hall of Fame. Their latest includes the new single Bang Bang.

 

 

Norah Jones — Day Breaks

One of music’s most beautiful and critically acclaimed voices returns with an album that finds her returning to her jazz roots.

 

 

Kings of Leon — Walls

Kings Of Leon release the follow-up to their Mechanical Bull album. Includes the songs Waste A Moment; Find Me; Over; and more.

 

 

Pitbull — Climate Change

International icon Pitbull releases his 10th full-length album that features an array of superstar and burgeoning musical guests including Jennifer Lopez, Enrique Iglesias, Prince Royce, Jason Derulo, Stephen Marley and more.

 

 

Rascal Flatts — The Greatest Gift of All

Country superstars Rascal Flatts release their first ever holiday album, which features both new and classic tracks like Strange Way to Save the World; The First Noel, and Someday at Christmas.

 

New CDs for September

Jason Aldean — They Don’t Know

A decade into his career, Jason Aldean has scaled the highest level of country superstardom, including being named the 2016 ACM Entertainer of the Year. Now he releases his sixth studio album, which includes Lights Come On.

 

Bon Iver — 22, A Million

Bon Iver releases their first new album in five years. Justin Vernon embraces the use of electronics by using a sampler-base synthesizer for this new project.

 

 

Casting Crowns — The Very Next Thing

The Grammy winning band releases a collection of intimate songs as well as upbeat, fresh sounding tracks with impactful lyrics centered around identifying and acting on what’s right next to you. Includes Oh My Soul, a song Mark Hall wrote in response to his journey through a cancer diagnosis

 

Idina Menzel — Idina

Tony Award winner Idina Menzel, the voice behind Frozen’s massive hit song Let It Go, releases her fifth studio album. Her latest includes the single I See You.
Of Mice and Men — Cold World

After a lot of hype, anticipation, and a two and a half year wait, Of Mice & Men return with a brand new album. They deliver thirteen aggressive rock anthems that will satisfy their ever growing fan base.

 

Regina Spektor — Remember Us to Life

Singer-songwriter Regina Spektor is back with her first new album since 2012’s What We Saw from the Cheap Seats. The first single, Bleeding Heart, has already been featured in NPR’s All Songs Considered.