Category: News

  • The (Songwriter) Always Gets The Girl

    Mom sent me a photocopy of this article from the April 18 Lincoln Journal-Star; I found it online here.  She had crossed out “poet” from the title, and written in “musician.”

    “The Poet Always Gets The Girl”

    By Garrison Keillor

    April is Poetry Month, whatever that may mean to you. Perhaps, not much.

    Perhaps, what with your nomination to be assistant secretary for human rights running into rough waters because of that silly song you sang at the company Christmas party in 1997, which has been used to make you look like an insensitive jerk, your interest in poetry is practically nil. And, if so: Hey, you’re not alone.

    The reading aloud of poetry has been shown, time and time again, to be effective at breaking up gatherings of people. Rather than tear gas or pepper spray, many police departments now use William Wordsworth. Or T.S. Eliot, that small dark cloud of a poet.

    I don’t care for poetry much, either; except for my own, of course. (Have you seen mine? Did I forget to send you a copy of “God’s Hand Shadows On My Bedroom Wall”?)

    That’s the real message of Poetry Month. Not that you should go back and reread the one about the cherry tree wearing white for Eastertide or the plums in the icebox so sweet and so cold. No, no, no. It’s the month when you should write a poem and see how powerful this can be in winning the favor of women.

    Back when our hairy-legged ancestors were living in mud huts, sleeping on piles of animal hides and smelling of rancid grease and wood smoke, men were not attractive to women at all. Fighting with rocks and clubs made unsightly marks on men and left putrefying sores. They squatted around the smoking fires, put ashes on their wounds, exchanged myths, and felt a terrible ache for love and affection.

    They longed to see women exhibit an avid interest in them for their own merits and not have to go marauding against enemy tribes and stand toe to toe with their warriors and hack at them and bash their brains out and eviscerate and decapitate them and drag their women away screaming and sobbing. A lousy way of dating, especially as the winner has plenty of hack marks on him and is not so interested in sex now, due to loss of blood.

    They longed to make themselves appealing to women. At first, they thought they could do this with tomatoes — then known as the “love fruit.” The lady would fling herself into his arms and his pleasure would be greater than if she were screaming and sobbing.

    This worked for a time, but eventually tomatoes became so common that their aphrodisiac powers were diluted. This led to civilization as we know it: music, sport, learning, poetry. Those all began as an attempt by men to impress women who would come home and eat a tomato and come to the bed.

    But, the best strategy was to compose a long ode to her beauty: O wondrous O shining Thou, I lift my pen up now to pay Thee Thy due praise, the wonderment of these my happiest days, and so forth and so forth, her lips, her brow, her raven or flaxen hair, her neck, her breasts, her pale thighs, and so on.

    Then the Christians came along and tried to put aside carnal pleasure, claiming it was a hindrance to the spiritual life. Christian men hung out in gangs of disciples, devoting themselves to Bible study and prayer. (One thing they prayed for in secret was for women to love them, despite their thorny theology.) They taught their children to endure this earthly sojourn in the faith of reward in the life to come.

    But poetry whispers: “Life is a gift and very brief. Seize the day. Gather ye rosebuds while ye may.”

    And that is the gist of the poem you are about to write to the wondrous and shining woman. You adore her and you long to clasp her in your arms and smell her hair and kiss the back of her neck. Forget about the cherry tree and the plums in the icebox. Write your own.

    Don’t send it by e-mail. Write it on a sheet of clean paper and hand it to her. And as she reads it, put your hand on her shoulder so that you’re right there when she turns to embrace you.

    This works almost all the time. You’ll see. Cummings wrote, “springtime is my time is your time is our time for springtime is love time and viva sweet love,” and Cummings got the girl.

  • Songwriter Power Rangers

    swpr 511 copy small.jpgCory and Ember’s Songwriter Power Ranger Series was written up in the Journal-Star this week; congrats!

    From Cory:

    Hello, all of you:

    Recently, my friend Ember and I have been working with Famous Local Music Venue Box Awesome in order to book a songwriter showcase series called Songwriter Power Ranger. The idea is that the Lincoln area has many, many great singer-songwriter types, but for whatever reason, not many of them get a proper amount of exposure. With this series, we want to rally many of these songwriters together in order to create a more cohesive songwriter scene.

    The series will run through May and June (and possibly beyond), and it will take place every Monday night at Box Awesome (8th and “O”) from 6 to 9 pm. This is ideal, as many of us are old and don’t like to be out late on school nights. We figured that Monday early evening is a good night to have this, as there’s not much else going on, and so you can swing by after work, have a beer, and hear some of the best acoustic-ish acts that Lincoln has to offer for a mere $4.

    The full schedule for May is below, and the kick-off show for this series will be Monday, May 4th, at 6 pm (at Box Awesome, of course; flier is attached). This first show will feature Son of 76, Manny Coon, and Cory Kibler (meh heh heh meh). Most of you have heard my stuff (www.myspace.com/corykibler), but if you haven’t heard Manny (www.myspace.com/mannycoon) or Son of 76 (www.myspace.com/sonof76), do yourself a favor and check them out. I’ll send out the flier for each show as they sneak up on us, so that I can remind you people… We really want to make this series a success, and because of the caliber of acts we’ve booked, we know that it will be. We really hope to see you at the first show and every other show afterwards. Tell your friends and family! Google these artists! Pressure your co-workers! Whatever it takes. Hope to see you there! Sincerely, Cory Kibler (and Ember Schrag and Box Awesome). Schedule for May below:

    5/4/2009

    • Josh Hoyer (Son of 76)
    • Cory Kibler (The Sleepover)
    • Manny Coon

    5/11/2009

    • Kacynna Tompsett (Thunder Power)
    • Patrick Bradley (The Amalgamators)
    • Emma Nelson (Kaycee and the Captain)

    5/18/2009

    • Ember Schrag
    • Nick Westra (Crush the Clown)
    • Natalie Illeana

    5/25/2009

    • Rebecca McPherson (Starla Dear)
    • Gene Hogan (Loup River Band)
    • Meesch (formerly of Standard Models)
  • May Milestone

    On Friday I finished* tracking guitars for Fifty Bears in a Fight.  It’s a solid milestone in terms of recording, one of which I haven’t had for a while.

    We recorded my guitars direct to ProTools to re-amplify later; we’ll hook the computer up to my amp, and maybe other amps, play the tracks back through them and record *that.*  This gives us a lot of flexibility in finding the perfect tone, and also lets us isolate the drums and guitars given my limited space and mics.

    Next steps include re-amping my guitars, recording vocals, recording Drew’s guitars and other assorted Rudebusch-wackiness, mixing, mastering, and figuring out how we want to release this.

    *We have one song to re-record drums on, scheduled for Monday night.  It’s an easier one for me, as far as my riffs go.  After that I’ll be working with Matt to finish up “Not Nothing,” which will let him take his gear home so I can set up my own drums and finish “You Have To Wear the Boots.”

  • "Joanna" film trailer

    I haven’t checked out the full scoop on these short films, but Cory’s song “Joanna (You Forgot The Time)” from “The Silent Woods” soundtracks this trailer:

    DESCANSOS: Lina from Chris Roybal on Vimeo.

  • h’s Hummus

    • 3 cans of chick peas (2 drained)
    • tahini to taste (2 T or so)
    • olive oil to taste (3 T or so)
    • juice of 1 lemon (also some zest, if you like)
    • 1 head dry roasted garlic (or to taste)
    • chili pepper to taste (I like 3 dry roasted serranos, or 2 dry roasted and 1 fresh, or else jalapenos, Tabasco, cayenne, hot relish…  use your imagination)
    • salt or seasoning to taste (like Cavender’s All-purpose Greek or Krazy Jane’s Mixed-Up Salt

    Blend all ingredients except the two cans of drained chick peas, until smooth.  Then add the remaining chick peas and blend again, stirring carefully as needed or between blendings until your desired texture is reached.  If it’s thick, you can add a bit of olive oil or just warm water.

    Adding a generous amount of curry powder – I eyeball it, but maybe 1/4 C, or possibly even more – takes this hummus is a new direction.  Two red bell peppers roasted on a grill or open flame, or under a broiler, are great, too.

    Updated 18 April 2014

  • Week's listening

    I’ve been listening to lots of new stuff lately.  New albums by Kylesa, and Tombs; rock.  The new Gomez record is a lot better than Pitchfork led me to anticipate.  Mastodon’s “Crack the Skye” was a bit disappointing the first time through.  I finally heard Juvelen’s whole 2008 album, and cherry-picking three or four songs from iTunes is going to be sufficient there.
    Studio work resumes today from a couple weeks’ break, with stitching together Fifty Bears’ rhythm tracks and tracking my guitar where necessary. -h

  • Essential Beans & Rice

    This is an absolute staple in my house; quick, tasty, substantial, and open to endless variations.

    • 1 box Spanish rice (I use HyVee’s, thanks Jill!)
    • 1 can diced tomatoes
    • 2 cans black beans, rinsed & drained
    1. Make the rice according to the stovetop instructions on the box.
    2. You can add fresh chopped bell pepper and/or chopped onion when you add the water and tomatoes. Or crushed garlic, if you like garlic.
    3. When all the liquid has cooked off, turn the heat off and add the beans. You can also add drained canned or cooked frozen or fresh corn at this point. You could even add chopped fresh mushrooms.
    4. Season with cumin, hot sauce, maybe a bit of lime juice. It doesn’t really need extra salt (there’s enough in the rice’s seasoning packet and the canned tomatoes). I also strongly recommend using a hot pepper flavor (like hot sauce, cayenne, or crushed red pepper) and not using black pepper.
  • Free shows

    I discovered podcasts this week.

    I needed a soundtrack (well, news, actually) for my new exercise gig, and went searching.  The BBC is up and running now, but in the course of finding that I also found some gems in the music section.

    Many of NPR’s “All Songs Considered” live concerts are available, including a stellar Radiohead show and sets from Spoon, Ted Leo + Pharmacists, The Hold Steady, and a bundle of other indie-ish heroes.  Also, several “song-of-the-day” options are available from sources like KCRW in California, KEXP in Seattle, and The Current in Minneapolis.  (I’m counting on one of these to feed my appetite for new jams after my Paste subscription runs out; their monthly sampler is kind of tame for me.)

    THE PROBLEM IS that this stuff shows up in iTunes’ “Podcasts” directory, not the main music library.  !!!  So I figured out how to fix it:
    IF YOU WANT CONCERTS/SONG-OF-THE-DAY DOWNLOADS TO DISPLAY IN YOUR MUSIC LIBRARY, RATHER THAN YOUR PODCAST LIBRARY…

    1. First download some stuff or subscribe – in iTunes, go to the iTunes store / podcasts / music / NPR / NPR: Live concerts from All Songs Considered podcast

    2. Click “Get episode” for a show you want
    3. When download is complete, go to “Library / Podcasts” in left bar of iTunes – change the view to “View as list” – and expand “NPR: Live Concerts…”

    4. Right-click (control- or command-click for some Mac users) the concert and click “Convert ID3 tags…” Select v1.0 and click OK.  (This is the critical step; iTunes puts podcasts in the podcasts directory based on tags in the higher versions that don’t exist in v1.0.  So, when we are deleting that part of the tag, and will then be able to re-import to iTunes.)

    5. Right-click the concert again and click “delete” – click “remove” from the iTunes library – click “keep file.”

    6. File / add to library – navigate to the file (unless you’ve changed how your iTunes keeps your library, it’s under YourLoginName / Music / iTunes / iTunes Music / Podcasts / NPR… – click OK
    7. Now it’s in your music library! You’ll probably want to edit the tags so it shows up as an album with the artist’s other stuff. It’s one long track, so you might also think about checking the “Skip while shuffling” option.

  • MR|Review – U2, "No Line on the Horizon"

    “No Line on the Horizon” realizes a nearly-complete synthesis of “The Unforgettable Fire”’s aching, open-skied soundscapes and the amped-up, cut & pasted “…Atomic Bomb.”

    u2noline.jpg Must-hear!
    Recommended
    Good
    Fans only
    Skip this
    Owww! My ears!

    Walking a middle line critically, I find “No Line…” to be a good album both in context of the band’s discography, and the current state of rock music. It hits the right touchstones and pushes some boundaries, though individual listeners seem to be hearing more of either one or the other.

    The opening title track matches an ominous “Achtung”-ish verse with a neo-classical-U2 chorus organically, sounding vastly better than it looks on paper. “Magnificent” succeeds almost in spite of demo-level lyrics and melody – a bit more revision would have gone a long way – yet this is the familiar story of much of U2’s best work. Producer Brian Eno’s famous preference for early takes and spontaneous performances shines through, and generally works, the fact that it’s been five years since U2’s last album notwithstanding.

    To the record’s vast credit, seven of the eleven songs have lodged in my mind for whole days in the week or so since I picked it up. Nothing galvanizes a universal moment quite like “Beautiful Day” did; nothing tries; “No Line…” generates its glimmers of infinity in the particulars. “Moment of Surrender” finds its connection standing at the ATM, “I’ll Go Crazy…” in self-deprecation, and the impeccable “Breathe” in simply surviving from one second to the next.

    I fully expect these songs to gel further on tour, in the tradition of “Bad,” “A Sort of Homecoming,” “In A Little While,” and “New York.” “No Line…” isn’t as self-contained as the band’s essential “Achtung Baby,” with its de- and re-constructed edgy pop, or the eternal anthems of “The Joshua Tree.” It wrestles with uncertainty. It swaggers (“Get On Your Boots”) and stretches (“Unknown Caller”) and asks if that’s what we want from U2 in 2009.
    Can we stand it?

    Bono shapes insights like “The stone was semi-precious/We were barely conscious/Two souls too smart to be in the realm of certainty/Even on our wedding day,” vivid images (“She said ‘Time is irrelevant, it’s not linear’/Then she put her tongue in my ear”) then climbs up to the pulpit crying “Soul rockin’ people on and on/C’mon ye people/We’re made of stars… Stand up for your love” – do we need him to choose? Contradiction, imperfection; forces in a tension that, for the moment, produce magic.
    I was prepared to love this record and, accordingly, bought it on vinyl. It was the right choice; songs that variously soar, burn, and pummel are predictably over-compressed on CD and digital.

    “No Line on the Horizon” is a rewarding listen, becoming more substantial with time. It sits comfortably with “War,” “The Unforgettable Fire,” “Pop,” and “All That You Can’t Leave Behind” in U2’s second tier of studio efforts; perhaps, rather than the gushing of fans and griping of haters, the range of critical responses is a solid indicator of U2’s improbable relevance.

    MR|Review directs readers’ limited attention among works via ratings, and within works via prose, focusing on works where our opinion diverges from critical or popular consensus, or we have significant insight that compliments or challenges readers’ aesthetic experience.
  • U2 Live on Letterman

    I haven’t assembled my thoughts on “No Line On The Horizon” yet, but I did record the audio from U2’s week-long stint on The Late Show with David Letterman these past five days.  They played:

    Monday – “Breathe”

    Tuesday – “Magnificent”

    Wednesday – “I’ll Go Crazy If I Don’t Go Crazy Tonight”

    Thursday – “Beautiful Day”

    Friday – “Get On Your Boots”

    Anyone who would like a link to all five mp3s can leave their email address in the comments (Example: howie (at) theinternet (dot) come – this format will help prevent robots from picking up and spamming your addy); I’ll email out a .ZIP via YouSendIt a week from today.  They are 192 kb; I recorded the audio (sadly) not from cable TV but from the digital broadcast signal, so they’re not the cleanest ever, but if you’re either 1) a U2 fan or 2) interested enough to request the files, you won’t care.  They sound alright.

    Mostly, I’m always interested to hear how the band performs the songs live, without all the studio overdubbing and mixing tricks they have increasingly relied on.  I tend to like the live arrangements better. -h

  • Rabin on Mediocrity, Bear

    The AV Club’s Nathan Rabin praising mediocrity:

    … As I get older I increasingly realize why people watch movies they know will not be any damned good. Great art generally challenges audiences. It makes demands. It upsets and provokes and confronts injustices we often would rather not contemplate after a long day at work. That is why I sometimes find myself thinking, “You know I’m in the mood for? A mediocre movie. Something’s not too good, not too bad but safely and comfortably somewhere smack dab in the middle.

    -“In Praise of Mediocrity

    Does this generalize to music?

    Nathan doesn’t apply it to television in his experience, but does to books.  “There’s something lulling and soothing about genre mediocrities, movies that immerse us in the comforting, familiar realm of clichés and conventions,” he writes.

    It seems to me that some – more than half? – people listen intentionally to mediocre music, either by seeking it out (avoiding challenging music) or by accepting standards that tend reward mediocrity (FM radio play, top sales chart positions, etc.) as their arbiters of music-judgment.

    My iPod has taught me that I prefer a higher ratio of weird/awesome to mediocre music than I would have expected.  I’m downgrading artists I thought I really loved when they come up on shuffle (John Vanderslice except “Cellar Door,” nondescript punk music, virtually every singer-songwriter in my catalog) and assigning higher rankings to stuff that has a touch of the avant-garde or quirky about it (Squarepusher, The Mars Volta, Amandala! (soundtrack)).

    I’ll cop to enjoying mediocre novels on a regular basis, along with a consistent-but-lower-than-expected amound of mediocre music in my library.  Movies and TV, I’d much rather see something good.  -h

  • Are We Anti-Edgy?

    A tiny post by Robin Hanson from Overcoming Bias, quoted in its entirety:

    In the art world something is “edgy” if it might well shock ordinary folks, but of course not in-the-know folks. The idea seems to be that ordinary folks are shocked too easily by things that should not really be shocking.

    The opposite concept, which I’ll call “anti-edgy”, is of something that does not shock ordinary folks, but should. In the know folks are shocked, but most others are not. Why does the world of art and fashion emphasize the edgy so much more than the anti-edgy?

    Robin crystallizes an idea I’ve pondered in fuzzy-form for as long as I’ve been writing songs; how is it that I can find my stuff pretty weird (h&s’ “near and far”) and others find it pleasant background music?  How did we manage throw classic rock guitars and cheesy keyboard drums together (Sally Ride’s “It’s A Trap”) to nary a “meh…”?Maybe we’re anti-edgy?  Shocking only to those (musicians, mostly) who have the ears to parse out what’s going on?

    Even if we’re not, anti-edgy is something I aim for.  Music that functions well enough on the surface to get a person into it (whether that’s through rocking out, or catchiness, etc.) but will warp your mind a bit if you start taking it apart.

    You know, like Chicago.  Or Mastodon :-)

    -h