Tag: #Music

  • Short Story Review: “What’s the Deal, Hummingbird?” by Arthur Krystal

    (The short Story, “What’s the Deal, Hummingbird?” by Arthur Krystal, appeared in the January 24, 2022 issue of The New Yorker.)

    To all the high school English teachers I had, the college English and Creative Writing professors who tried to teach me, and to all the writing group members who argued strongly against me, I can now conclusively say that you were all wrong. That I and my good friend, and sometime writing partner, John Esquivel were right; you can write a story that has no plot or climax, and it can still meet the cathartic resolution threshold for a short story to be successful. No matter your opinion of it, but The New Yorker is a preeminent publication of short fiction, and if their editors saw fit to publish a story of this form, then it must be true; a short story to be successful does not need a plot or climax, it just needs catharsis for its protagonist.

    “What’s the Deal, Hummingbird?” by Arthur Krystal is the story I am speaking of, and I applaud the effort of it. It is a simple narrative of an older male New Yorker dealing with the start of the Covid pandemic, and the thoughts that he has.

    I had the feeling, about half way through reading it, that this was a rather experimental story. Not stream of consciousness, nor modern absurdist, but like a filtered realistic consciousness. It exist in a linear timeline, but it feels like that is there more to show the movement of time, and not as a hard road sign of where the narrator is. Memories and thoughts float in, and so does the music the main character is listening to, which lead me to also feel that there was a music quality to the story; like how listening to classical music can sort of make you feel like the music is floating in the air.

    I did enjoy the story, and the structure of it, but I was still left feeling that the catharsis wasn’t complete. To use a music metaphor; the song didn’t end, but just faded out. Like it was a deep cut B-side from your favorite band. The song was good, but you understand why it didn’t make the album. I think I feel this way because of the structure Krystal used for the story, such as a question is posed in the story, and then referenced again at the ending which brings about the catharsis for the protagonist. Krystal placed the question close to the ending, which I feel didn’t give it enough time mix and fold with the memories, thus making the catharsis feel muted, but not ineffective.

    It is a minor criticism, because I felt that Krystal was successful in creating a realistic character that is experiencing, thinking, and remembering all at the same time. It makes the story feel honest, and, personally for me, proves that a short story does not need to behave like a novel. It can be its own art form.

  • Personal Review, The BEATLES: Get Back (Part 2)

    Having taken another day to think about the documentary “The BEATLES: Get Back” I keep returning to the same question, why do we still care so much about The BEATLES, fifty years on?

    For me, the beginning and the end of it will always be the music. I have always felt that when I listen to The BEATLES in order, From Please, Please Me to Abbey Road, I run the emotional gamut of growing up. I start with just infatuation and wanting to hold someone’s hand, to then understanding that giving love is more important that taking it.

    I also think that the overall BEATLES story still resonates because these were four nobodies in 1962, that really shouldn’t have amounted to anything given their backgrounds, and became four of the most famous people in the world, for what they created. That story makes them relatable, because they are regular people, like you and me. They weren’t born into great musical families, or had every opportunity handed to them. They liked music, did what they loved, and worked really hard at it.

    The last thing that I keep going back to is that they were really friends. The BEATLES weren’t a business arrangement, like other bands. It seems like every bio I read about other bands, there is always the line about, how the public thought that said band members were best friends, like The BEATLES, but they weren’t. I want to believe that if the music is that much fun, then it has to be due to it being created by a group of best friends.

    Watching The BEATLES: Get Back, I felt like I was having those points confirmed. I was watching how my favorite songs came into being. How they were taking from what was going on around them and tying to express it in music. How it was hard work, but relatable work; playing around, trying out ideas, leaving the song, working on another song, and then coming back to the song. Listening to each other and hearing the suggestions, and trying them out. It was work, but man, didn’t it look like the most fun work? And when they did get up on that roof, and got about three songs in, the excitement, the joy on their faces; It did look like they were those nobody kids at The Cavern club, just rocking out.

    With fifty year on now, The BEATLES still make me feel good, about myself, about the world, about love, and about being optimistic. After all this time, they still make me feel included in the party.

  • Personal Review, The BEATLES: Get Back (Part 1)

    There were many things I was looking forward to this Thanksgiving, and one of the biggest was watching, The BEATLES: Get Back. As a stupidly huge BEATLES fan, I had known for some time about Peter Jackson’s documentary about the LET IT BE documentary. I had been waiting and waiting, and then I got very excited when it changed from a single movie to a three-part series that would be on Disney+. And yes, I made my family watch it on Thanksgiving night…

    Or at least tried to…

    When I pulled up the first episode, and saw that it was two and a half hours long, I knew my wife and daughter weren’t going to make it. I was right. About thirty minutes in, they were like, maybe this is something dad should watch alone. And they weren’t wrong.

    Even though other critics have been saying that this eight-hour mini-series is for serious and casual fans, I have to disagree. This is a deep dive for huge fans, and there is no shame in that. Making an album is kind’a boring. They play the song over and over, and then spend a lot of time talking about what they should do, and then they play the song over and over. Boom! That’s how albums are made, and it is long, hard work.

    Now, for us stupidly obsessive fans… This thing is like heaven. Watching them work, and try out ideas, and then fart around for a while, and then try the song again. John, Paul and George had been playing together over ten years, and with Ringo for at least seven, so the ease in which they could just pick up a song, shout out chord changes and go, was stupefying. They are only in their late 20’s, and they are that good. I think the other aspect I really enjoyed having confirmed was seeing that they were an actual good band. Not just recording artists, but a band that could play.

    As for the arch of the episodes, the first one is a bit tough to get through. Even though Jackson and the PR for this show had spun the story that footage of The BEATLES shows that they weren’t actually on the verge of breaking up, and there was so much fun and love between them. I respectfully have to disagree. The first part shows that they all weren’t hip on being in this band anymore. I mean, George walked out. What I will agree with is that when they are playing music together, they do look like they are having a blast. But once they stop and start talking about managers and anything other than songs, the tension starts to show.

    In the second episode, when George brought Billy Preston in, it changed everything for the better. Preston had an ease and cool confidence, so when joined them at the Apple Recording Studio, man, he just brought an energy to the band that they all feed off of. People start showing up on time, and happy. The songs start clicking, and it is really exciting to watch all of them work.

    When we get to the final episode, and the rooftop concert, it’s a blast, and so heartbreaking. It’s great because once they get going, you can just see that the four of them love it. Love the songs, playing together, being out there, just being together. It’s heartbreaking because, the band only has about a year left, and if they could have got their shit together, they could have toured for Abbey Road, but in the end, it’s the last time they played together as a band.

    There are so many deep dives I could do on these three parts, especially how awesome and great Mal Evans was. (Seriously, is there a bio on Mal, or a movie or anything on that guy? He is the greatest behind the scenes guy of all time.) For that, Peter Jackson did a great job. I have a feeling in a year or two a “Director’s Cut” of this will come out which will be like fifteen hours long with more songs and outtakes. And yes, I will line up to see that as well.

    For me, I got what I wanted. What I wanted to see was that four friends, who really did love and care for each other, would get together and do something really cool, and have a lot of fun doing it. I was not disappointed.

  • Explaining Dead Rock Stars

    One of the many things that is very cool about having a six-year-old is that she is now getting interested into the music the wife and I like, and grew up with. This is a huge relief because I am very happy to be ditching “kiddie songs.” And I’ll take a stand on this one too; Kiddie Songs suck. There! Said it, and I’m not ashamed, and I’ll deal with the push back. Seriously, parents hate it, and kid eventually grow to hate it, so how can you call it good when at some point everyone hates it.

    Just saying…

    Now, the kid is getting into music, and we’re her guide. I have spent time sharing The Beatles with her, and she’s asked lots of questions. I had to explain to her that John was killed, and George died of cancer, so like in all life, she understands even musicians die, but we can still listen to the music they made. It has spurred a funny question anytime we listen to music she thinks is old, which is that she will ask us if the artist is dead, or if the band broke up.

    Last night, the wife was sharing Dolly Parton’s greatest hits, and the conversation came up about how Dolly writes songs, and other people will sing them. “Like who?” the kid asked, and we played the Whitney Houston version of “I Will Always Love You.” Oh, and the kid really liked that, so we started playing other Whitney Houston songs.

    And then the question came, “Is she still alive?” We told her the truth of how Whitney Houston died of a drug overdose, which I know doesn’t make a whole lot of sense to the kid, as she asked, “Why do people do things that hurt themselves?”

    Ah…. And then I know, that just about all the music you love was made by people using a lot of drugs. You know, like you shouldn’t do cocaine, but it seemed to help out Fleetwood Mac. It’s a sticky conversation, and I know this will come up again as she starts finding music she likes. We are starting to find the gray areas in life that are hard to explain.

  • Personal Review: McCartney 3,2,1

    I’m a huge Beatle fan. I have listened to every album, bootleg, and out take that I could get my hands on. I have read books on the band, on their recording techniques, and individual biographies. Once in college, I spent a day in the library reading old magazine articles from the 60’s about them. I even played George Harrison in a play, not that that has anything to do with this, but I thought I would just add it.

    I had known about the HULU McCartney 3,2,1 for some time, but I just never got around to it. Not that I wasn’t interested in it, but Summer was Summer, and things got away from me. But, now that life is calmer, I was able to dedicate some time, and I wanted to dedicate time and focus on this.

    The show is just Rick Rubin asking Paul McCartney questions about his songs – Beatles and solo work – and then listen to the songs as the two guys break down the different tracks on each song. This didn’t strike me as a show for casual Beatles fans, but more like a deep dive for those of us who know about the Beatles process of using a four-track, and how they were excited to get an eight-track at Abbey Road, and all the crazy wizardry they, and the engineers like Geoff Emerick, and producer George Martin, could come up with. So, on that level, it was pretty in-depth. Also, Rubin’s producer’s ear, as well as clearly being a huge fan, helped in bringing up question about the dualistic sound the Beatles loved to play with.

    I enjoyed it greatly, but I was reminded about one very clear fact; the last guy standing gets to tell the story. (I am aware that Ringo could chime in, but what I get from him is that he’s happy with his version of the story. Nothing to add.) I’m not saying Paul was lying in the show, but I think he was clearly smoothing over some edges. No stories of disagreements, or late-night sessions that ended in frustration, only to be picked up again the next day with new and different ideas. But on the flip side of that, I do think Paul was the most complementary and honest in saying that many of his songs were influenced and made better by the other three.

    And in the end, isn’t that what happens to everyone as they age and look back; We remember the good parts and start to forget about the bad stuff. Luckily, there are tons of good songs to remember.