Impulsive Review of the A.F.P. 11/17/12 Show By R.J. Huneke
Recall the ballots, because Amanda Palmer and The Grand Theft Orchestra are storming the US of A, and need to be written in for the Presidency ASAP.
In her hometown of Boston, Amanda Palmer’s final show of the 2012 “Theater is Evil” tour shook the doors off of the sold out Paradise Lounge and left a floored audience wondering if they would ever see such raw artistry and awe-inspiring musicianship again.
The eclectic punk-influenced rock goddess had nearly canceled concerts earlier in the week as she battled illness and laryngitis, but Palmer stood strong and energetic as she introduced the first of three opening acts, The Grand Theft Orchestra’s bassist extraordinaire Jherek Bischoff and an army of stringed instruments that proceeded to intricately weave a string slapping rock-orchestra meld of finely woven melody and pulsing rhythms.
The GTO guitarist, Chad Raines, brought out his band and screaming axe to rile up the teeming crowd, and his wife and child danced alongside Amanda Palmer as the funky mix warranted vigorous movement.
And when Amanda Palmer finally took the stage with her bandmates, her primed piano, her wild leaps into the crowd, and her soulful, at times blaring, and scintillating singing the Paradise shook with swaying fans.
Hell hath no fury like the uber-talents of drummer Michael Mcquilken, bassist Jherek Bischoff, and guitarist Chad Raines whose backup vocals, leaping, and slamming his axe’s strings ferociously commanded attention with both the edgy guitar lines and his sheer stage presence.
Amanda Palmer’s support of local musicians continued – as it had all tour – as many local and talented horn and stringed players received moments to shine in the opening acts and then again on stage with Palmer and The Grand Theft Orchestra.
A deep vibrancy resonated through “Bottomfeeder” and “Do it with a Rockstar” but the late night cover of “Careless Whisper (I’m never gonna dance again)” with saxophone 80’s duo Ronald Reagan filled the auditorium with a sound that has never been heard before. This was the third show in three nights and everyone was prepared to leave it all out on the floor. The listeners were moved, brought to laughs, tears, and cheers, and all-around rocking.
But Amanda Palmer is and always will be the gracious and humble star and appeared HUGE on this evening. She may love the limelight, but rarely does one get to see such an uncovered and unguarded look into a person’s talents without ego getting in the way.
Despite Palmer’s voice being all but gone when she spoke between songs (during the tunes her belting out of notes, screams, and long held words were fantastic), the talented singer and songwriter could not stop thanking her fans for their love and support that helped make “Theater is Evil” crack the Billboard Album Chart Top 10 upon its release.
The new record was Kickstarter funded without any commercial backing, as the media and corrupt commercial music industry were bypassed by the genius of the Grand Theft Orchestra and their many friends. With it, Amanda Palmer has made her finest album to date, captured the sound that she dreamed and foresaw, and claimed the motto for her and her fellow music connoisseurs: “We Are the Media.”
Before playing the sombre and powerful “Bed Song," Palmer addressed the crowd and explained that her and husband Neil Gaiman had just bought a bed for their new home together and the marriage-estranged ballad was the opposite of their own fairy-tale relationship – filled with emotion, she broke down talking to the group before her as though they were her closest friends.
After numerous finales of variously fun instances of raucousness, Amanda Palmer took the stage alone and spoke to a camera in the crowd: she had one more song for all of her fans and for one in particular, who was too sick from cancer treatment to make the Boston show on Thursday night and would receive the song via video.
The final song of the night was “Hallelujah” and Amanda Palmer’s slow, resonant, and heartfelt singing brought a sense of rebirth to an age-old tune that has never been touched upon in such an innovative and beautiful way. Near the end as the chorus sailed over myriad ears, her voice began to crack on the fringe of the word H-A-L-L-E-L-U-A-H, but she willed the long-held notes to continue graciously onward overpowering her body's objections. It was clear that this performer, artist, songwriter, singer, and fellow human being was giving absolutely everything she had to extend the shared climax of this meaningful artistic experience. She finished as she started, strong, and it was utterly inspirational.
On November 17, 2012, I witnessed the most meaningful and amazing show of my life, and I do not know how anyone – save A.F.P. herself – could top this night’s performance.
Reading The City & the City by China Miéville is like walking into a dream. There has never been anything written like this.
Stark realism and a vivid murder investigation start the tale off as James Patterson might. But the story quickly builds with the unique setting where two cities co-exist alongside one another, sharing the same space though they are two different countries...read the rest on Fantasy-Matters.
By R.J. Huneke
The language is key. And with language, China Mieville’s venture into the science-fiction genre is nothing short of spectacular.
As the master storyteller’s past works often utilize unique, flowing and intricate vocabulary, in general (just read The City & the City), the future described in Embassytown imbues. The world-society on Arieka is based around the very use of language and is dependent on word-craft to survive.
China Mieville depicts Arieka as an alien world in which the native populous, the Ariekei, only harbor the human enclave within a city that was co-constructed, alongside the Ariekei’s own, to be an Embassytown. The human city is a colony for the humans on the edge of the most unknown portion of space, the Immer, where few (Avice, the Immerser, is one of these) have traveled. And it is also a colony, of sorts, for the Ariekei, though the humans are largely ignorant to this fact…
There is nothing like this. The Ariekei, also referred to as the Host, are horse, maybe-fly or bird hybrid – well aliens – with two sets of wings and two mouths; they feel and seem utterly strange, lucid and imaginative (while still leaving plenty to the readers’ mind to discern). The Ariekei can only speak truth, from their two completely separate mouths, which is quite a contrast to humanity’s use of language in the book and out of it. The humans of Embassytown have learned how to genetically create and/or manipulate biotechnology and people to form their own Ambassadors who are linguists able to speak and negotiate with the Ariekes.
The main character that Mieville utilizes is Avice Benner Cho, the former native-born Embassytowner and successful Immerser, and she is as contemplative, stubborn, smart and kick-ass a female protagonist as you will ever see. Her life is forever intertwined to her homeland when the Ariekei choose her to become a simile, which allows them to stretch the truth in just such a manner that their minds evolve, a little.
For the Ariekei language is power, life and starkly intoxicating. Their dependence proves to be treacherous, as evolution and language-as-drug-use threatens the entire foundation of Embassytown.
“We speak now or I do, and others do. You've never spoken before. You will. You'll be able to say how the city is a pit and a hill and a standard and an animal that hunts and a vessel on the sea and the sea and how we are fish in it, not like the man who swims weekly with fish but the fish with which he swims, the water, the pool. I love you, you light me, warm me, you are suns. You have never spoken before” (Mieville, Embassytown).
The way of the planet and the space surrounding it is constantly explored and revealed to us, the reader, in a compellingly emotional and explorative narrative that unfolds steadily and brilliantly. What needs to be stressed is how the invented languages (and there are multiple of these in the work), terms and use of characters and story techniques are extremely experimental and courageously innovative, while maintaining a streamlined, philosophical, understandable and absolutely addictive reading experience.
Rarely are there newly constructed future-worlds in fiction that have such depth and originality as this one does. Frank Herbert’s Dune is the only book I can bring to mind that does so similarly, and that comparison is, in itself, of the highest praise.
If you do not know by now, China Mieville strives to bring his monsters to every genre of fiction, and to do so in an enthralling and utterly innovative fashion.
See the rest of the article in the IMPULSIVE REVIEWS Section.
There are very few books that transcend genre and captivate everyone with their truly unique and entrancing story. Neil Gaiman's American Gods is one of the rarities.
This is the tale of a man called Shadow, a large and seemingly slow-thinking individual, who is released from a prison to find that not only is his former life gone, but the world that he has known his entire life is actually full of strange gods that have immigrated to America in hopes of making a living (if it can be called that).
Amidst the riveting narrative there are incredibly insightful glances into the history and the legend of the world's gods, for some have been popular in mythology that is still somewhat remembered in the contemporary world and some are remnants of past subjects of worship that practically no one alive has any knowledge of (Neil Gaiman is one of the few who does).
Ancient Egypt is represented, as well as our Norse mythological friends (or enemies depending on your perspective), and the old gods meet up with new gods of technology and media and TV, which currently enthrall modern society (especially in the US).
This mysterious and thrilling tale of Shadow and the American Gods is unlike anything ever written or undertaken, and this could very well be one of those books that you put down and declare is one of the best you've ever read.
Neil Gaiman is currently on an American Gods 10th Anniversary Edition book tour, and this author's preferred text contains some 80,000 more words to embellish the story. Read the original or the author's preferred version, but above all, make sure that you read American Gods!
IMPULSIVE REVIEW Grade: see it HERE
I have turned the tide and started on my journey. Words and Worlds hang in the balance and I am writing it all down before the RJ Tower! Read about my newest novel on CyberwarSeries.com