All posts by CarterHayes

Ibrahim Maalouf – True Sorry

There are some amazing, groundbreaking jazz trumpet players out there right now: Tomasz Stanko, Christian Scott aTunde Adjuah, Avishai Cohen, Enrico Rava, Arturo Sandoval, Ambrose Akinmusire, Terrence Blanchard... and Ibrahim Maalouf. Maalouf's music blends the sonic landscape of his Lebanese heritage with classical training at a Parisian conservatory, a self-cultivated jazz impulse, and funk-inflected rock.

I gave you the longer, more intimate, small-venue live cut of "True Sorry," but if you like it I hope you'll check out this more expansive, atmospheric live recording made possible by the concert venue a Alcaline. I don't think I can pick between them.

I know you may have been expecting a video by Prince today. Instead, I'll leave you with footage of Ibrahim Maalouf in concert, showcasing a sound that embraces everything Prince stood for (and which he would have most certainly dug):

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Souad Massi – Ghir Enta

httpv://youtu.be/sYStxC90iqE

Souad Massi's music has an amazing lineage, steeped the tumult of her native Algeria and its rigid cultural mores. From a 2005 profile by The Independent:

From the beginning, she was drawn to wildly different musical styles. "I listened to folk rock and hard rock," she says, "and then, later, pop music and, I guess, world music. But at first, it was basically through movies, the spaghetti westerns." Joan Baez, who played Algiers in the 1970s, was a formative influence, as was the flamenco and jazz guitar that her uncle played, and even, incongruously, the country star Kenny Rogers. "Folk rock has been a big influence," Massi says, "and I was inspired by the poetry in the songs of that time, its rich metaphors and phrases that had double meanings. I pushed myself to work in the same way."

She learnt guitar with the help of her older brother Hassan, and her first professional gigs were with a short-lived flamenco group, before she joined the Algerian rock band Atakor. She stayed with them for seven years, touring a country where musicians were routinely shot by Islamists and army alike, and playing festivals picketed by extremists, patrolled by armed police and, more often than not, torched by the crowd itself. The Big Chill they were not.

The first time I heard this – I don't even know where I came across it – I was transfixed. The album versions more enchanting than this performance (a clever fella on YouTube dubbed the studio track over this same video), but this is still very nice.

I don't know all the words to the song, but I'm translating the refrain from the Russian translation on this video:

No one but you
No one but you
No one but you
Has entered my heart

No one but you
No one but you
No one but you
In my heart only you

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Boban Marković Orkestar – Mesecina

httpv://www.youtube.com/watch?v=XBDtRhxLwoI

 

This one's for Rhu_Ru. Boban Marković Orkestar is frequently heralded as best brass band in the world. These guys – and Boban's group with his son, Marko – are awesome, but it's just about impossible to find a decent video where you can hear the low brass & accordion as well as the upper brass. In a typical example, here's Marko Marković taking lead on a Balkan-inflected cover of Lee Dorsey's "Ya Ya" nonsense song from 1961:

httpv://youtu.be/WkSVsdHalmU

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24 February 2016 – Fussy First Night

Thanks to everyone for their enthusiasm & kind words yesterday.

We're home from the hospital. The Poissonnier had a rough first night  sleeping (more like not sleeping) at home. She isn't yet comfortable sleeping in her room on her own, so we tried the Pack-N-Play in our room. She fussed a lot for Mrs. Hayes in the night while I slept. We traded at about six this morning. Mrs. Hayes is sleeping now and the Poissonnier is in her crib in the nursery, not quite sleeping and not quite fussing. I'm taking the break to make some coffee, both here and in the kitchen.

Отцы и дети, or A Dad Named Sue

I had two dads and four grandfathers when I was growing up. Sometimes keeping everyone straight was an adventure. I share the same first name with my dad and his dad, which lead to sometimes-comical attempts by one family member to get the right one of us to respond. While I was never put out by this, it did impress on me the importance of names. When I was about twelve I chose a different nickname than the one my dad and his dad use, which caught on with some – but not all – of the family. I even have relatives who still call me a diminutive form of my nickname that I stopped using in elementary school. Now that I’m old enough, I find being called that name endearing.

For many years, I called both of the men who raised me “Dad.” When we finally became close in adulthood, my stepdad became “Pa.” That development came around the same time that I began mending my relationship with my dad (who, contrary to my WGOM shorthand, I never called “Pops”). I don’t think it’s a coincidence this distinction between them emerged during the time when I was establishing a healthy, adult relationship with each of my dads.

With four grandfathers the naming convention challenge multiplied. My grandfathers though remarriage were both “Grandpa” – one “Grandpa Lastinitial” and the other “Grandpa SurLastFamilyname.” My maternal grandfather was “Papa,” as his parents were still “Oma” and “Opa” to my generation of the family. My paternal grandfather, the only one of my grandfathers still living, is “Gramps.” (In fact, he’s the Gramps-iest Gramps to ever Gramps: a baseball-loving, Buick-driving, Cold War Navy vet who taught high school business & sold shoes. He likes burnt toast, black coffee, and Winstons. He doesn’t drink much anymore, but when I was a kid, he drank Schmidt. Before that, it was North Star.)

Mrs. Hayes & I are both third-generation Americans, our families heavily Americanized but still aware of our ethnic heritage. Papa’s third language was English, which he learned when he went to elementary school; he spoke German & Hungarian at home. My mom & her sisters get by in German to varying degrees. I speak just a little German, but understand a little bit more. To my dismay, we’ve lost the Hungarian. The other side of my family lost its Polish & German even quicker. Mrs. Hayes’ family has held on to their Greek heritage a bit better, mostly thanks to the ethnic dynamics of Orthodox Christianity. While nobody speaks much Greek in her immediate family, the culture’s customs are observed to varying degrees and greetings & blessings are still given in Greek.

Our child’s language acquisition is a priority for both of us. Mrs. Hayes & I both agree on what we would choose for a super power: the ability to speak other languages fluently. Our hope is to have her learn bits of a few languages: Greek and Russian (to communicate with my best friend’s family) for certain, and then whatever we can manage or build beyond that. I would love to send her to an immersion school if we have the opportunity, though that’s many years down the road.

But in the next two month I have a very personal decision to make. Who am I going to be to this little person? Figuring out my new name has consumed my thinking recently. What name do I choose? We agreed on a name for this child for nearly a decade ago. What I never considered is that I'd need to settle on a new name for myself, too.

Because I lost both my dads when they were fairly young, I don’t feel comfortable assuming either of their names in a couple months. At the same time, because we've functionality lost our mother tongues, I wonder if I have the right to claim a non-English name aligned with my child’s ethnic heritage. Do I become Apu, Vati, Tata, or Μπαμπάς? Do I choose Папа, given that’s drawn from the foreign language I speak best and hope to pass on? I honestly don’t know what’s right. But I know whatever I choose has to last two lifetimes.

How did you decide who you were going to be to your child(ren)? Has that name become as much a part of your identity as your given name?

If you speak (or wish you spoke) another language, how did you go about integrating that language into your child(ren)’s life?

Finally, this one goes out to my dads:

httpv://www.youtube.com/watch?v=Dmt7wo0Tnr8

First Monday Book Day: Reading in Translation

J.M.G. Le Clézio - DésertLast week, as we rolled south toward Kansas, Mrs. Hayes and I occupied our minds with podcasts. The pillowy ride of the new (to us) full-size Buick sedan and the monotony of eastern Iowa might have lulled us to sleep were it not for The Incomparable, The /Filmcast, Roderick on the Line, and Radiolab. "Translation," last week's Radiolab episode, got me thinking about the books I've read in translation, particularly the book I'm reading right now –  J.MG. Le Clézio's Désert, translated in my edition by C. Dickson.

This is my first modern French novel. I dutifully read, as I'm sure many of you did, Voltaire and Victor Hugo and Guy de Maupassant in high school. I might be forgetting a few. Since I don't speak French, I never read any of them in anything other than English, just like I'm reading Le Clézio. Mostly, reading this book is flying blind. I'm ignorant of any conventions in French literature, and completely reliant on C. Dickson to convey Le Clézio's entire persona as an author – characterization, phrasing, pacing, voice, everything except the plot. If Désert were a film by Godard or Melville I might have more to go on; I wouldn't need a translator to help with anything other than dialogue. But C. Dickson's my only lifeline to the ship Le Clézio is sailing across the Sahara. I'm over halfway through it, and while I can't say if I "get" it yet, I can say with conviction I'm in awe of the writing. Or is it the translation?

I read and translated a little Russian literature in Russian as an undergrad: Pushkin and Akhmatova and Gogol come to mind. I don't speak or read Russian well enough to read a book anything but haltingly, but at one time I got along enough to form a few opinions, mainly about poets. Blok and Akhmatova blew me away. I know enough about Russian literature and culture to have a decent idea of what an author or poet is doing or the society his work is engaging. With the French, I have no idea. (I will be even more lost when I finally get to Ha Jin's War Trash, hopefully by the end of the year.)

It's funny. Some of my favorite authors are those I can only read in translation. Murakami, for example. There are books of his I like better than others, but despite my near-complete ignorance of non-automotive Japan and my total Japanese illiteracy, he is definitely near the top of my list of favorite writers. How much of that do I owe to Murakami, and how much of it to his English translators, Jay Rubin and Philip Gabriel? I suppose I could answer that by saying I never recommend anyone read Constance Garnett's translations of Dostoevsky or Tolstoy or anybody else. (Please. Read the newer and superior Prevar & Volokhonsky translations.) A good translator gets out of the way and imparts as much of the original author's vision and voice as possible, and a bad one can completely destroy the original while leaving the reader completely unaware of the demolition. The problem is knowing which translator has been at work.

What are you reading?