Book Review Revue

Besides telling me where the bus is and replacing my guitar tuner, my favorite thing about the iPhone is that I can read books on it. The screen is pleasant enough to look at, I don’t need a light, my books are always on me, they don’t clutter the house and get dusty, the classics are all free, and I can download most anything else anytime. I can even get free titles through the Seattle Public Library (though the selection isn’t as good as iBooks or Kindle… not yet).

The result is reading is more convenient and pleasant, and I do it more. There’s also been a lot more non-fiction in the mix than I’m used to.

There are disadvantages to this format. You can’t share books, which is lame. You can share iBooks with other iPhones that sync to the same computer (as far as I know that’s the only way), but you can’t just give a book to your friend when you’re done with it. And if I ever switch to Android, I forfeit my new book collection.

Also, the price. You should be rewarded for saving the manufacturing expense of a physical book, but you’re not. Usually the digital copy is a couple of bucks cheaper than the paperback, other times it’s more expensive, which, why? New books live in the $11-13 range, which is ridiculous in my view. It should be $5. It’s not like you can share it.

Finally, graphics and images suck on iBooks (and Overdrive, the reader the library uses). So far they’ve been very low-res, lacking detail when you zoom in, when you can zoom in (can’t do it at all on Overdrive). Having to zoom in is annoying as it is, but you should be rewarded with some more pixels. Kindle has been much better in this respect.

That said, the advantages far outweigh the disadvantages. Here are some blurbs on what I’ve read lately.

George R. R. Martin, A Game of Thrones (1996), A Clash of Kings (1998)
You know how the Lord of the Rings is perfectly formulated to capture the imagination of a 13 year-old boy? This is like that, but with “adult subject matter:” incest, rape, ultra-violence, feudalism, treachery, political intrigue, tailoring. I didn’t realize going in that the “A Tale of Ice And Fire” series, of which this is the first book, is such a huge fad right now. But I can see why — it’s fast-paced, suspenseful, engaging, and extremely well-written. Lindy West of the Stranger got it exactly right in her review last week. I don’t forsee getting anything done until I’ve read the next three.

Jon Ronson, The Psychopath Test (2011)
Jon Ronson is a successful writer, and can afford to take a year and travel the world to pursue some vague questions he has about madness. Good for him. On the heels of reading The Immortal Life of Henrietta Lacks, though, this one was disappointing. The books are similar — both are part road-trip story, part history lesson, part ethical inquiry, but where TILOHL was scholarly and thorough and great, The Psychopath Test feels disjointed and slapdash. It helps that Ronson’s an entertaining writer, but in the end I don’t think I learned much reading this one. The actual test, which is a series of questions designed to measure a person’s empathic qualities, is interesting, as are the points Ronson raises regarding who gets to define mental illness, and the character studies of actual psychopaths. But still, for what it cost this book was short and not nearly as good as the comparably-priced TILOHL. Smart buyers take note.

Rebecca Skloot, The Immortal Life of Henrietta Lacks (2010)
Rebecca Skloot took a science class in college and learned about certain enormous advances in biology and medicine that came about because one particular woman’s cancer cells were unique, and could replicate indefinitely in culture. Little was known about the woman beside her name (Henrietta Lacks), few cared, and Skloot made it her mission to uncover the truth, damn it. Incredibly, it took ten years of determined research, along with becoming intimately familiar with the Lacks family, to put it all together, and the result is impressive. One thread describes a lot of clever science that for decades operated in a regulatory black hole, with complicated results. Another thread involves the humans caught up in those complications, and Skloot does a good job of following both without dismissing their ambiguities. There are few clear villains or heroes.

Orson Scott Card, Ender’s Game (1985)
The author invents a 10 year-old protagonist and then tortures him for a few hundred pages. I liked this book. It’s a classic of sci-fi and I look forward to trying out the sequels, but man! It’s fiction designed to make you seethe with rage against the bad guys. I’m not sure what that says about me. The end has a nice twist, I kind of saw it coming, but also didn’t, so that was good.

Erik Larson, In the Garden of Beasts (2011)
Erik Larson describes the Nazi party’s rise to power in 1933 and 1934 from the point of view of William Dodd, the American ambassador to Germany, in Berlin. Partly I enjoyed this book because I went to Berlin once, and want to go back. Partly also I’m the son of a diplomat myself, though our experience overseas was very different from the Dodds’. I should hope so. The book mostly focuses on their first two years, then really skims over the rest, which was a bit disappointing (they was there til ’37). But ’33 and ’34 were interesting enough. Spoiler alert: things went badly.

Kevin Poulsen, Kingpin (2011)
This one was fast-paced and suspenseful, and about the hackers who steal and sell credit card numbers. Who knew? It’s big business, full of danger and treachery and dumb hacker names. It’s also about the fine line between whitehats and blackhats, and why a nuanced approach is necessary when assessing the activities of the former lest they turn into the latter. Also: crime seems to pay for a while, then everyone gets arrested. So don’t steal credit cards.

Malcolm Gladwell, Outliers (2008)
Enough has been written about this book I think. It’s good — fun to read, thought-provoking and all that. If you’re the kind of person who doesn’t believe that social forces and luck influence how people turn out, that every one is entirely self-made and responsible for everything that happens in their life, then you won’t like this book. It’s not your fault though, you’ve been influenced by social forces and luck to think that way.

Seth Mnookin, The Panic Virus (2011)
The Panic Virus is a history of vaccination, its controversies, and backlashes: particularly the current one regarding autism which is actually finally maybe starting to die down, let’s hope. It’s very well-researched and thorough, but unfortunately Mnookin at times has trouble concealing his contempt for the anti-vaccine crowd — many of whom are just frightened parents. This is counterproductive. Nevertheless, the evidence is overwhelming: mainly, that there is none, that vaccines cause autism. And also, vaccines are incredibly effective at preventing extremely horrific diseases. One line in particular stands out, that vaccines have saved far more lives than any other invention. It’s important to remember that.

Neal Stevenson, Quicksilver, The Confusion, The System of the World (2003-2004)
Collectively these books are the Baroque Cycle, and I thought they were great. The worst I can say about Neal Stevenson is that sometimes his writing can be a bit juvenile (usually in fighting or sex scenes); the rest of the time the man is genius. These historical fictions are both insanely well-researched and imaginatively rendered. After reading these I found I had some basic knowledge of, and interest in, 17th and 18th century European history (I spent roughly half my time looking things up). I wasn’t much into nonfiction before reading these and Cryptonomicon. But now I am. And I learned some new words, like usquebaugh. I order that in bars now and get kicked out.

Neal Stevenson, Cryptonomicon (1999)
This one was also great fun, an adventure story occurring simultaneously in WWII and in 1999, weaving fact, fiction, and a preoccupation with cryptography and money into a fast-paced and engaging, page-turning juggernaut. These are common threads in Stevenson’s writing, particularly his fascination with money, and the use of gold and silver as currency. Strangely, this is a debate that’s never quite gone away (whether all economic activity should be intimately connected to mining shiny metals), and he doesn’t seem to pick a side (except in one scene, where an aged Goto Dengo celebrates Japan’s postwar flourishing despite, or rather because of, not having a gold-backed currency).

Neal Stevenson, Snow Crash (1992)
So yes, after reading this one I got into his other books. The other books are better, but this one’s good fun, a harrowing image of one possible future where the world has devolved into a Darwinian/Libertarian chaos hellscape organized into corporate city-state/suburb/stripmalls, where cyberpunk ninja assassins run amok with atomic robot dogs. Also, there’s an Internet, only you have to wear those silly virtual reality glasses that everyone in 1992 thought would happen.

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Honeycreeper – Live at the Lion’s Den 3/27/2004

(Note: I wrote a few reviews for what turned into the “bad at listening” series a couple of years before the Ball of Wax blog got started. Most of these were for and about me more than is appropriate for Ball of Wax, so I’m posting them here.)

I played with Honeycreeper at the Mojo in Baltimore in August 2004. I remember this show particularly because it ended about fifteen minutes into my set, on account of nobody was there, and I got screwed into playing last. That was also the night my friend Sarah from high school came up from Gaithersburg to see the show, and also the night I drank a lot of tequila with the bartender after the club closed. I don’t remember much after that.

My guess is Honeycreeper were using this CD as their demo at that time to get gigs… it was clearly recorded at a show as there are lots of people talking throughout, the mix is uneven, and about halfway through a bunch of digital glitching makes the CD unlistenable. Before that happens though the CD does do a good job of getting across what the band is all about, which is high-energy fast-tempo rock/funk/fusion (in their words: “punkadelic funk rock”) performed by very good players. Think Heart if Heart were hippies, and throw in some Blondie, No Doubt, Zeppelin, and lots of jazzy solos.

Slightly unusual is that singer Mandy Beck plays a baritone sax… I don’t see that too often. I see from their website they’re still going strong, and have released a couple of high-quality albums since this demo came out, not bad:

http://www.honeycreeper.net

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Archivist

In the last month or so I wrote a couple of reviews for the Ball of Wax blog as part of my ongoing “Bad at Listening” series, where I pick something from the dozens of CDs I’ve acquired at shows over the years and review it. The last two were of Southerly and Man Man.

This is a fun exercise, this reviewing thing. I know I’m not that old yet but I’m on this “archiving” kick lately to sort out all my crap and make sense of it. Mostly I mean files on my computers and stuff in my basement (like all these tour CDs), but also the stuff I remember, or think I remember.

For example, I could say more about meeting Southerly/Krist in Wisconsin, details that don’t apply to an album review, but that I got to think about while writing it.

Like meeting Seattle band Snowdrift, who also played that show, with whose then-drummer Keith I’ve remained friends ever since. And how after the show we all followed Krist to his father’s house in Appleton, then hanging out in the kitchen that night drinking beer, fighting my awkwardness regarding how to act having just met these people and now spending a night with them in a stranger’s house. It was fun though. The next day Krist made us breakfast, which we ate in his bright green Wisconsin back yard, and then I left to go to Chicago. At Oshkosh I passed by the airport where the EAA happened to be having, right then, their famous annual fly-in. This was a nice coincidence as I’m the kind of person who knows what that is. More than playing shows it’s all the time between shows that makes touring memorable, and why I wish I’d done it more.

On the subject of archiving, a few months ago I got one of these:

and I’m way into it. I’d been looking for a NAS solution for years, and this met all my criteria for ease of use, low power consumption, and file server features. It’s pretty much an external hard drive and a Linux server with a web-based desktop UI that’s stripped down for file server tasks. It can do a lot more than that, like running Apache and Mysql, but I ignore those. The fanciest thing I have it do is nightly incremental backups from itself to a USB hard drive, for redundancy. Sadly, this excites me beyond all shame.

As a result of this purchase, I’ve been going through tons of files from various computers I’ve owned over the last 15 years or so, and deleting them or throwing them onto this thing. It’s amazing how much time I can blow doing this, but there have been some rewards, including some b-side songs I expect to post here eventually. I have to be careful though. Life is short, it’s better to make new things/memories than to be sorting through old ones.

 

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Blogging frequently

I get a lot of spam from the various services I’ve signed up with over time that are supposed to help you sell music. Companies like CD Baby, Fanbridge, Tunecore, Jango (which I’ve yet to use), etc. have mailing lists where they advertise their latest features, and they usually include “industry advice” essays from various experts on how to make the most of new media marketing and social networking to “connect with your fans.”

One thing that comes up repeatedly in these essays is the importance of frequent blogging and tweeting. Fans, apparently, want to know that you’re a fantastically interesting person with special thoughts and keen insight — how else did you write those songs they put on their ipod? It’s important not to blog only about the shows you have coming up or the single you’re trying to sell. Write about what crazy thing you did last night, or that weird conversation you overheard on the bus, or those words you live by from the Bhagavad Gita. You know, crap full of meaning. Then fans will find you engaging and will have you on their minds, then you can drop in a casual reference to your upcoming show, and then profit.

This is all fine and good, and makes sense, but it’s odd advice, that one must produce the appearance of ingenuity and wit. There’s something very un-genuine about it. But at the same time, some people were born for microblogging. I see their Facebook posts every day — these people just have interesting random thoughts and know when and how to put them into a pithy tweet (comedian Dartanion London is a great example). I imagine that for them this works, that their fans do keep them in mind and are more inclined to listen to their recorded output and go to their shows.

On the other hand, I’ve yet to see a correlation between micro/macro blogging talent and music talent. Moreover, as a music fan, I’m annoyed when a musician has tons of blogging output, as it means more stuff I have to wade through to get to something I care about. And then, some people aren’t funny, or particularly interesting, and sometimes they write things that ruin their careers (Scott Adams being this week’s example).

So I guess that if I were writing one of those essays, I’d say that frequent blogging is only good if you’re good at it. If you’re not, then you should probably keep it down. I hope the future of musician success isn’t dependent on Twitter savvy, but if it is, so be it. I for one suck at Twitter, so I’ll stick with random luck and wishful thinking, thank you very much.

Ahem, by the way, I have a show coming up: the Ball of Wax #24 release at the Sunset Tavern in Seattle, May 11, 2011, 9pm.

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An objective review of the Dismemberment Plan: Showbox Sodo, 3/12/2011

[Eds. note: I wrote this for ballofwax.org, but there was enough ink spilt about the Dismemberment Plan already, everywhere, by everyone, and they didn’t need the publicity. And, it’s not that great of writing. So why post it here? Because I can. I also started using the word ‘natch’ in this piece, and that needed to be documented (natch).]

Unlike certain people on the staff here, I don’t maintain a very expansive knowledge of important indie rock bands, music, and history. What I knew of the Dismemberment Plan before Saturday was that “You Are Invited” song, plus a memory of them being big back when I was first learning about indie pop (hat tip to long-defunct indiepopradio.com on that count). Also the “Death and Dismemberment” tour, whose name was pithy and memorable. Well done, marketing people.

My friend Brian had extra tickets to their show at Showbox Sodo, so I went. What better introduction to a famous and popular group? And who better to give an objective review? Enough rhetorical questions.

In short, the band was great. I hate it when people describe a musical experience as “amazing,” so I won’t do that, but I will say that the group exhibited that rare quality you sometimes see with musicians that have played for a long time, and performed their songs many times, yet still enjoy playing them. It’s a combination of passion and competence that’s very fun to watch. And that drummer. Hot damn! That’s 50% of the band right there. Such precision, power, and intricacy, yet relaxed in the groove. The rest of the band: perfectly serviceable. It would not, however, be unfair to say their main job is to back up singer Travis Morrison.

I’m not sure I’ve seen someone use his voice quite like Morrision does. He goes from ballad-crooning to full-on screaming, but then he also.. is it quite right to call it rapping? A lot of words real fast on the meter. I don’t know what he was saying, but there was a lot of it. And he could keep all of this up without fatigue for almost 2 hours.

Also, the man is entertaining. But then they all were. Everyone was getting into the stage banter thing (except, notably, the drummer), and while that can get tiresome pretty fast, it was clear these guys were happy to be there, and the good feelings onstage were shared by the audience. Which is important. This positive atmosphere seems to have been missed in a lot of indie pop star reunions lately (see “ment, Pave”).

What can I say of the music… it’s hard to go into a concert cold, without knowing the songs beforehand. I don’t have anything specific ringing in my head afterward (except “You Are Invited,” natch), though they succeeded in making me want to go to my local library and learn more about their band. I can say that at various times I was reminded of the Death and Dismemberment thing, because a number of the songs sound like Photo Album-era Death Cab For Cutie. Given the timeline though, it may be more accurate to say that Death Cab sounded like them. This music was more complex, with lots of parts and turn-on-a-dime time signature shifts. Lots of that. They clearly like messing around with time.

Somewhere halfway through the set they turned into Fugazi, with the energy, tempo, screaminess, and avant factors being increased beyond what had occurred heretofore. I wouldn’t be surprised if these people came from hardcore, which would also make sense as they’re from DC. They dialed it down again some toward the end, but the entire set was high-energy and avoided introspection. Sadly, I can only speak in these broad strokes, as everything bled together for me, and writing about music is hard. But it was easy to tell which were the hits from the fan reaction. I didn’t know they had that many hits.

On the downside, they played one of those prescribed encores, which are always lame. On the plus side, the only did it once, and a large number of audience members then got on stage with them for one song (you can sort of see this in the picture above). Which was a cool fun thing to have happen, though I was worried the stage might collapse.

And that was it. Famous reunited rock band was pretty badass, even to the uninitiated.

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