Jason Kao Hwang’s Sing House (JKH, violin, viola, compositions; Kalun Leung, trombone; Christopher Forbes, piano; Ken Filiano, bass; Andrew Drury, drums), live, New York, 9/29/19
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lagniappe
random sights
other day, Oak Park, Ill.
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reading table
not grown to a butterfly
this late in autumn
a caterpillar
—Matsuo Basho (1644-1694), translated from Japanese by Makoto Ueda
sounds of Melbourne (by way of Chicago and New York)
Honey Dijon (DJ), live, Melbourne, 2018
Honey Dijon grew up on the south side of Chicago, in a family that she describes as very musical. She began clubbing during her mid-teens with her parents’ acceptance as long as her academics did not suffer.
I’ve always been aware of being an inconsistent personality. Of having a lot of contradictory voices knocking around my head. As a kid, I was ashamed of it. Other people seemed to feel strongly about themselves, to know exactly who they were. I was never like that. I could never shake the suspicion that everything about me was the consequence of a series of improbable accidents—not least of which was the 400 trillion–to-one accident of my birth. As I saw it, even my strongest feelings and convictions might easily be otherwise, had I been the child of the next family down the hall, or the child of another century, another country, another God.
—Zadie Smith, “Fascinated to Presume: In Defense of Fiction,” New York Review of Books, 10/24/19