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Tag: Richard Ford

Friday, February 20th

what’s new

Daniel Knox, “Don’t Touch Me” (Daniel Knox, Carrot Top Records, 2/24/15)


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lagniappe

reading table

Some people really are what they seem to be—though not that many.

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Like most explanations, it’s as plausible as anything else.

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Character, to me, is one more lie of history and the dramatic arts. In my view, we have only what we did yesterday, what we do today, and what we might do tomorrow. Plus, whatever we think about all of that. But nothing else—nothing hard or kernel like. I’ve never seen evidence of anything resembling it. In fact I’ve seen the opposite: life as teeming and befuddling, followed by the end.

—Richard Ford, “The New Normal” (Let Me Be Frank With You)

 

Monday, February 16th

white folks got soul, too
(day one)

More of Lucinda W.

Lucinda Williams (with Tony Joe White [harmonica, guitar], et al.), “West Memphis” (L. Williams), recording session, 2014


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lagniappe

reading table

Why am I now a walking accident waiting to happen? Why am I more worried about that than whether there’s an afterlife?

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I don’t look in mirrors anymore. It’s cheaper than surgery.

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Bonding heads the list of words I’ve ruled out. Emerson was right—as he was about everything: an infinite remoteness underlies us all. And what’s wrong with that? Remoteness joins us as much as it separates us, but in a way that’s truly mysterious, yet completely adequate for the life ongoing.

—Richard Ford, “I’m Here” (Let Me Be Frank With You)

Friday, April 4th

only rock ’n’ roll

The War On Drugs, “Under the Pressure”

Live, Philadelphia, 3/14/14


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Recording (Lost in the Dream), 3/14


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lagniappe

reading table

Now, unlike then—sixty years ago—we know so much more about others . . . . [t]hough, of course, we know not much more of the important things—what’s in others’ hearts; and if their hearts are broken or damaged or full.

—Richard Ford, “A Symposium on Magic,” The Threepenny Review, Spring 2014

Friday, 8/10/12

summer in the city

The Black Keys, Lollapalooza, Chicago (Grant Park), 8/3/12

“Howlin’ For You”

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“Little Black Submarines”

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“Lonely Boy”

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lagniappe

musical thoughts

What, if anything, does it mean that, in the year 2012, not one but two of the headliners at Lollapalooza—Jack White and the Black Keys—are deeply influenced by blues?

*****

reading table

Life had begun to demand lies in order to be workable.

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At the crest of the hill where the road went up, was an abandoned house, and beyond it the road disappeared off into the blue sky.

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It’s odd, though, what makes you think about the truth. It’s so rarely involved in the events of your life. I quit thinking about the truth for a time then. Its finer points seemed impossible to find among the facts. If there was a hidden design, living almost never shed light on it.

—Richard Ford, Canada (2012)

Tuesday, 7/24/12

George Lewis (1952-), “Will to Adorn” (2011)
International Contemporary Ensemble (ICE), Chicago, 2012

[W]hen writing “The Will To Adorn,” Lewis was especially “interested in this idea of adornment—color, color, color everywhere.” The piece represents Lewis’ current musical goal to get “more color energy into the pieces.”

Joe Bucciero, Columbia Spectator, 11/10/11

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lagniappe

musical thoughts

In February, when I left this concert, which took place on a Sunday afternoon at Chicago’s Museum of Contemporary Art, I felt both exhilarated and wistful. This performance, which had been such a joy to hear, I would never be able to experience again. Or so I thought, until, just the other day, I discovered this recording online. Young people, many of them, anyway, would see nothing remarkable in being able, thanks to the ’net, to return to a musical experience whenever, and wherever, you want. To me it seems a small miracle.

*****

reading table

I was trying to assert myself as the man in the house, taking charge of things no one could control.

—Richard Ford, Canada (2012)

Monday, 7/2/12

joy, n. looking for something else and happening upon this.

Jack DeJohnette’s Special Edition (JD, drums; Rufus Reid, bass; Marty Erlich, bass clarinet; John Purcell, alto saxophone; Howard Johnson, tuba, baritone saxophone), live, Poland (Warsaw), 1983

Part 1

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Part 2

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Part 3

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Part 4

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lagniappe

reading table

First, I’ll tell about the robbery our parents committed. Then about the murders, which happened later. The robbery is the more important part, since it served to set my and my sister’s lives on the courses they eventually followed. Nothing would make complete sense without that being told first.

Our parents were the least likely two people in the world to rob a bank. They weren’t strange people, not obviously criminals. No one would’ve thought they were destined to end up the way they did. They were just regular—although, of course, that kind of thinking became null and void the moment they did rob a bank.

—Richard Ford, Canada (2012)

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