The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Every Tuesday, the Sounding Board is a space for a short-ish review of a recent-ish release and conversations about new-to-you music. I’ll get things started with a write-up about a newer, likely under-heard album, and invite you to share your music musings in the comments.
If you get past the glistening surface, Pool Kids’ music offers some surprising depth.
The Tallahassee, Florida, quartet mix ready-for-radio vocals with melodramatic third-wave emo to create slickly sweet-and-sour songs. Christine Goodwyne (vocals and guitar), Andrew Anaya (guitar), Nicolette Alvarez (bass) and Caden Clinton (drums) have pushed their sound in an especially layered and glossy direction with their third LP, Easier Said Than Done. That belies a carefully constructed LP filled with sharp lyrics and interesting ideas.
At times, the album can sound and feel like every hit song from 2005 is trying to walk through the same doorway. This is great news for the small group of people who have spent the last 20 years pining for a Flyleaf-Paramore-T-Pain collaboration.1 However, there’s also enough thoughtfulness and craft at work that even people with little affinity for Pool Kid’s clear influences can find things to enjoy in the album.
I know this because that emo skeptic tag applies to me. I have a high appreciation for melancholy and melodrama, as evidenced by my enduring love for Los Campesinos!, but I tend to gravitate more toward sounds associated with Midwest emo or the mis-maligned genre’s punkier earlier waves.2 I don’t begrudge anyone their fandom, but Taking Back Sunday, Paramore, late-period AFI and Panic! at the Disco never did much for me.3 That said, even with the massive handicap that is my personal bias against its sonic foundation, Easier Said Than Done is an album I kind of like. It’s well-made, well-played and admirably audacious.4
Not all of Easier Said Than Done‘s big swings connect, and its worst whiff comes early. The album-opening title track takes things in an Autotuned, almost-clubby direction before settling into a sound more squarely in Pool Kids’ wheelhouse. While it’s impressive that Clinton can approximate skittering 808s, and interesting textures are created by processing and layering Goodwyne’s already-fantastic voice, it’s ultimately a failed genre experiment. That willingness to go for it does pay off later in a moment of transcendent theatricality on the slow-burning sort of suite “Last Word.” The song starts slow with woozy bleeps and bloops and soft singing from Goodwyne, who sounds like she’s coaxing her words through a microphone on loan from the Strokes circa 2001. Gradually, it picks up steam. Stabs of guitar shake the song clean, like a sonic Etch A Sketch, and make space for Goodwyne’s full-throated voice to soar. This gives way to a hard-edged churn that gets a nice bit of extra bounce out of Alvarez’s bass and crescendos as Goodwyne sings to the rafters again, allowing the song to reset. The reprieve is short-lived as ascending guitar slides into a prominent spot in the mix, and Goodwyne seems to be coiling to deliver a vocal haymaker, growing audibly more tense while singing the words “Think I’ve heard enough already/ Don’t you?/ ‘Cause you know I’ll…” Instead of bringing the sentence to a furious conclusion, the tension falls away completely as Goodwyne finishes the thought, “… Say it to your face, put you in your place/ Set the record straight, know that I communicate directly/ Tell it to me now, the when, the where, the how/ Doubt that without that, we could both move on smoothly.” As the words come cascading out of Goodwyne’s mouth, the burbling guitar is her lone accompaniment, creating a transfixing duet. The report of a drum punctuates Goodwyne’s sentences, growing more frequent and becoming a steady heartbeat as she repeats her verse. Finally, the song’s myriad elements come together for a shout-along finish and an eventual fadeout. It’s easy to imagine the docile last seconds providing a necessary break for heaving breaths during a live show. On the studio album, it allows for a seamless transition to the album’s next track, “Sorry Not Sorry.”
No other song on Easier Said Than Done matches the twirling Roman candle fireball rise of “Last Word,” but a few of its 11 tracks offer similar satisfaction with stylistic departure or extra flair. “Dani” is a melodic stomper with appropriate heft to match its heavy childhood confessional lyrics. It displays some sonic ingenuity using a whistling sound and static pops to simulate fireworks.5 “Perfect View” is an impressively lovelorn track built around delicate lapping waves of guitar. It’s the perfect backdrop of a sappy snapshot of life on the road complete with a warts-and-all description of a free crash pad near Tampa Bay that demonstrates an eye for detail: “The toilet won’t flush, and the bedframe is bent/ And our window is facing a wall of cement/ But it’s a perfect view/ ‘Cause I’m here with you.”
That kind of attention to detail runs through Easier Said Than Done. Even when things don’t totally work, there’s obvious intent and thought at work that’s charming. The lyrics have a pointed specificity. The tracks flow. It’s a cogent, coherent and cohesive whole. It’s an LP that starts with its title track and ends with a song titled “Exit Plan,” which functions as an alternate title track thanks to the lines, “It’s a long drive home when you’re chasing the sun/ I’m not gonna change/ It’s easier said than done.” The album might not always be my cup of tea, especially during its lapses into straightforward mall music emo, but it’s easy to appreciate just the same.
About the writer
Ben Hohenstatt
Ben Hohenstatt is an Alaska-based dog owner who moonlights as a music writer and photographer.
For more information, consult your local library or with parental permission visit his website.
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The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
The Sounding Board
A weekly column where New Music Tuesdays live on. Conversation is encouraged in the comments.
Department of
Conversation
What did we watch?
The Kids In The Hall, Season Three, Episode Eighteen
“That was the dramatic conclusion of Old Yeller.”
“I want to show you film, Dan.”
“Oh, Home Alone?”
“It’s about this woman.”
“I love it!”
“Now that I own it, what’s say I see it?”
“It’s not a flag, let it touch the ground.”
“Walk erect much?”
“Fucking bike couriers, man.”
“If we made the rules, pot wouldn’t be illegal. Hockey would.”
“Marijuana hasn’t killed people. Oh sure, it’s made some people slower. But so has television and old age, and they’re still legal. Otherwise I wouldn’t be here, rapidly ageing on TV.”
“Good point, impartial father.”
I managed to call the Horsey sketch ending in the Old Yeller gag in the opening six seconds.
Bill Burr’s new stand up special Drop Dead Years is pretty damn funny and interesting to compare to Hannah Einbinder’s HBO special, which I (heh) dropped out of 20 minutes in because I had to hit the NOT ENOUGH JOKES button. (My friend watching with me was even harsher and this is an autistic/ADHD woman who also loves Hacks!) I probably *identify* with Einbinder’s point of view more as a neurodivergent millennial, but Burr comes from a different generation of comedians where you’re not necessarily experimenting with your comedy – the goal is to make people laugh as fast as possible even when they don’t agree with you. (Even then, Burr uses the f-word once, then the whole bit is about how he knows it’s a shitty word and he doesn’t have a stronger insult sometimes.)
Of course the whole idea of the special is Burr has changed a lot, is processing, like many middle aged people, that some fucked up shit may have happened to him, and he’s never truly done this before. The bit I’ve sent to my male friends the most from this is how men get to be either ANGRY or FINE, and Burr trying to get past this while feeling sad is still bleakly hilarious.
The bleak joke from this I keep thinking of is Burr talking about wanting to protect his son from the abuse he suffered: “And he’s not gonna be a comedian, okay?”
I feel like the roots of this special really go back to this bit from 2010’s Let It Go. Or at least, this is the first I can remember that he really started exploring these topics that he’d get deeper into with time:
https://www.youtube.com/watch?v=4rov1yfVL84
Yeah, F is for Family was real accurate about how it feels living with an angry, hair trigger guy all the time.
The X-Files, “Our Town” and “Anasazi”
Killer finale here, but I have to take these in order and talk about “Our Town” first.
“Our Town” is fun for a horror fan like me, even if it’s not a classic episode. It’s a bit by-the-numbers–creepy small town where the main industry is a meat-packing plant, and oh no, guess what?–and it thinks that unmasking at the end counts as a twist when it really, really doesn’t. Still, lack of surprises aside, this has some good bits: Chaco’s determination to hold onto his cannibalistic cult’s sense of community, dammit, is a major highlight, something that makes the episode more emotionally complex than it needed to be. It’s a simple in-group vs. out-group mentality, but it’s still more viewpoint than villains like this ordinarily get, and Chaco becomes an actual character by virtue of holding to it even when it inconveniences him.
The use of prion diseases causes some good insidious horror, too. And that slurry of ground-up unusable chicken meat and bone (and the occasional dead body) is incredibly disgusting, especially when one character goes into it face-first.
“Anasazi” is incredible. It burns through some major game-changing material–Mulder’s father is a huge part of the conspiracy, Krycek kills Mulder’s father, Mulder’s being framed for his murder–at an incredible rate, but it never feels rushed. It’s a perfectly paced downhill slide leading to that unearthed boxcar full of “aliens” (the “merchandise” from the encrypted documents) with smallpox vaccination scars on their arms. “Soft Light” provided personal, chilling horror in Tony Shalhoub’s fate as a permanent test subject; “Anasazi” goes wider, recalling historical and institutional horrors and embodying them in some terrifying, perversely awe-inspiring visuals. There have been moments when the show’s willingness to draw on real-life history with a paranormal twist hasn’t worked for me, but this isn’t one of them. This hits hard, resonating and also shifting the sense of what Mulder and Scully are investigating. The “conspiracy” now feels like the whole history of the country, and there’s no way out of this, and no way forward, without pushing over the whole house of cards. (If this episode suffers at all, it’s from my knowledge that that, uh, doesn’t happen, and that most of this will peter out in an unsatisfying way instead.)
Incredible Cigarette-Smoking Man in this episode, too, especially when he sits down with William Mulder: he has a clarity, even in his own tamped-down panic, that William doesn’t, because William still has a surface-level life of prosperity and success, while the Cigarette-Smoking Man embodies the (cancerous) conspiracy and has nothing outside of it. Even all his feelings are filtered through it. It means he’s used to living on shifting sands when William isn’t, and I love how he can shrug off William’s heartbroken complaint that the files should have been burned, it should all have been burned; sure, but they weren’t, and here we are. Here he’s been, for a long, long time, like Deep Throat’s aliens. Also a good pivot here where he’s been protecting Mulder but now has to authorize his death, which again speaks to how major the discovery in the desert is. William Mulder’s also very good in this episode, especially when he tries and fails to tell Mulder the truth, knowing that he’s everything Mulder fights against; he can hear his own reasons for doing what he’s done are weak.
The water in Mulder’s apartment being contaminated with amphetamines or LSD to get him to establish a recent pattern of erratic behavior so that he’ll be instantly suspected of his father’s death is a brutal, logical development, too; what’s even worse is that it has collateral damage. That old woman weeping at having murdered her husband of thirty years will stick with me–it’s the kind of painful detail of human cost to all the higher-level maneuvering that the show can do really well.
And Mulder’s supposedly trapped in a boxcar the Cigarette-Smoking Man just ordered torched. Oh no! Is this the end of Mulder?
Great description of the CSM and why he’s my favorite character aside from Skinner – he recognized long, long ago, not that it makes his horrific life any better, but he at least is rid of any of William Mulder’s torment.
Yes! And forgot to mention that Skinner gets an A+ moment in this with immediately getting Mulder in a chokehold after Mulder takes a swing at him. Do not fuck with Skinner.
Hell yeah “Anasazi”.
The Practice, “Line of Duty” – Bobby and Helen have a hot night planned, but Helen gets a call about an unreliable informer and tells Bobby that it’s part of a plan to conduct a raid. A raid involving a client of his firm. Bobby feels obligated to tell the client, and the client (a violent drug dealer) responds by ambushing the cops, killing three. For Reasons, Bobby is arrested for murder (which really makes no sense), and he is forced to argue that while what he did is clearly not moral, it’s required by law of a lawyer. The plot is more interesting for how Bobby and Helen handle the consequences. The closing scene, with Bobby alone and Helen alone both watching the police funeral, is very effective. Norman Lloyd returns as Boston’s most intimidating proseuctor, and Dyan Cannon makes her first appearance as a judge. Meanwhile, the lawyer for Boston Electric tries to get the cancer cluster case tossed because Jimmy is an embarrassment to the legal profession, but Jimmy is able to rise about that. I suspect this will be the main theme of the case.
Frasier, “To Tell the Truth” – Niles finally finds a lawyer who can handle Maris’s lawyers, but when Maris accuses Niles of being in love with Daphne, Niles is upset that Daphne could find out his feelings this way, and Frasier refuses to lie when deposed to protect Niles. But it’s all moot as the lawyer finds a much better lever. Alas, even as Niles finally has closure, he might have lost Daphne as she has started dating the lawyer! Saul Rubinek’s first appearance as Donny Douglas, who does indeed steal Daphne. A bit of a mess since we don’t actually get to see Frasier’s decision about his ethics, meant clearly to set up new angst for Niles. The good news is that the whole Daphne-Niles thing comes to a head in the next season and a half. But first, Donny.
Poker Face, “The Orpheus Syndrome” and “Escape from Shit Mountain” – the first of these is a fairly standard episode of the show, with some more enjoyable high-profile guest stars (Nick Nolte and Luis Guzman!) and a twisty case to solve. Very enjoyable, but the second episode definitely benefits from breaking formula a little – Charlie gets dumped in the woods after a hit and run and spends the episode fighting for her own life rather than trying to help / avenge a new friend for once, and her only ally is a kleptomaniac who is (amusingly) only ever referenced by the name on her stolen credit card. Joseph Gordon-Levitt and Stephanie Hsu are the biggest guests in this one but the strength here is the novelty of the different approach and the clever way it ties into the show’s background plot. Curious to see how this season ends, and I’m definitely keen to check out season two despite the general “ugh I gave up on it” vibe I’m picking up here, and being burned before by a Natasha Lyonne series that should have known when to quit.
I will give credit when it is due and Shit Mountain is indeed quite good, the different dynamic is much stronger and more intense and JGL has a real Bad Protagonist vibe, like a Twilight Zone episode lead, that works very well here.
I’m a sucker for a hang-out vibes crime show but changing up the formula definitely kept me on my toes. And yeah JGL does good work!
What did we listen to?
Last Talking Heads report! In between the last two Talking Heads studio records, I listened to the live comp The Name of The Band Is Talking Heads, which is excellent. True Stories and Naked are very good, though where RIL and Speaking In Tongues are complete records, these latter two have clear highlights and feel less like united artworks. Yet their closers always fucking rule, “City of Dreams” is beautiful where “Cool Water” goes hard, feeling like an epitaph and also a last little dropkick to the jaw.
Podcasts: Know Your Enemy interviewed William F. Buckley’s biographer, absolutely worth listening to for anyone interested in 20th century American politics.
You Could Have It So Much Better, Franz Ferdinand
Wanted to revisit this, since I knew my attention had been shot when listening to it the week before. Lots of incredible highlights, but my favorites were “The Fallen,” “Walk Away” (maybe the #1?), “Eleanor Put Your Boots On,” “What You Meant,” and “Do You Want To” (especially digging the queerness here: “Your famous friend, well, I blew him before you.” Apparently everyone involved here is straight but not letting that get in the way of a killer line, and I respect that). I believe there’s more Franz Ferdinand higher up the list, and I’m looking forward to that.
Neon Golden, The Notwist
“Pilot” has such a great, catchy beat, but “Consequence” may be my favorite track: “You’re the color / You’re the movement and the spin / Never/ Could it stay with me the whole day long.” There’s some good mournful tones here.
Original Pirate Material, The Streets
“Same Old Thing,” probably partly because of the strong beat, manages to have a sense of despair without any enervation, which is rare trick that should be celebrated. Also love the wistfulness of “It’s Too Late,” the energetic “Don’t Mug Yourself,” the very funny “The Irony of It All,” and all the layers of “Weak Become Heroes.” This is a diverse album in terms of sound and tone, and that’s really cool.
Her Majesty, The Decemberists
I think “Red Right Ankle” was one of the first Decemberists songs I ever heard, along with “Here I Dream I Was an Architect.” At the time, I thought “Red Right Ankle” was too odd and twee, and now I love it, especially for the “this is the story of the boys who loved you” section. Again, lots of highlights here: “The Bachelor and the Bride” (some kickass, brutal energy here), “Billy Liar,” “The Soldiering Life,” “Chimbley Sweep” (the sudden turn to eroticism and euphemism is fantastic), and “I Was Meant for the Stage” (if I think about it as another character-centric song, not a Meloy-as-himself song, anyway). Nothing in this album quite leaves me floored the way “The Mariner’s Revenge Song” did, but I love it all anyway.
Also, I just noticed The Decemberists are from Portland, Oregon. I love you guys, but of course you are.
Kill the Moonlight, Spoon
I have loved “The Way We Get By” for years and put it on multiple playlists, but this was the first time I listened to this whole album. It is, unsurprisingly, a magnificent time right from the start, kicking off with the superb “Small Stakes” and using that as the intro to a particularly incredible opening stretch: “Small Stakes,” “The Way We Get By,” “Something to Look Forward To,” and “Stay Don’t Go,” all one right after another. (The best set of opening songs on any album on this project since REM’s Accelerate, maybe.) But “The Way We Get By” is still my favorite: such a warm, sunny, laid-back song.
Screen Drafts, “Classic Hammer Horror Mini-Mega,” “Syfy Original Movies,” “Bookstore and Library Movies,” “Whit Stillman Mini-Super Draft,” “’70s Sports Movies”
This is actually over the last two weeks or so, I just kept forgetting to write these up here. This was a super-fun run: can’t argue with that Bookstores and Library Movies list (and it finally nudged me to watch 84 Charing Cross Road, which I loved), got a lot of bad-movie recs off Syfy Original Movies, want to do a complete watch/rewatch on Stillman now, hell yeah to those ’70s sports movies, etc., but my favorite here was the Hammer Horror draft. Hammer movies have been a big blind spot for me, and this great discussion gave me some ideas about where to start.
Hell yeah, Kill The Moonlight. Few indie bands are as consistent as Spoon, their last record was an excellent break-up album.
Whit Stillman rules, his movies are so good at showing that stuff above the subtext, whatever it’s called.
“The text?”
“Okay, that’s right, but they never talk about that.”
Not a lot to add to these albums specifically… I am surprised I left Girls Can Tell off of the list, which may have been an oversight, and a lot of people seem to prefer The Streets’ A Grand Don’t Come For Free, but I don’t. And, at least one of these bands you’ll see again.
I’m pretty interested in the next group of five albums because we end up mostly swerving well away from indie rock for this batch.
Took in The Laser Age on Night of the Comet. I really like a movie pod that lasts half an hour. (I have just fallen out of the Blank Check habit. The Coen Bros ones are just too long, and twice now they have had big name directors with new movies, and I really am not into that.)
So I am outing myself just a bit: my wife (Batya) and her BFF (Merav) just started a new podcast doing a deep dive into the All of a Kind Family series of books from the 50s. I daresay this is very much a niche podcast, but it’s also a labor of love for them and I of course have to point you at it. I naturally liked the first episode,
https://www.youtube.com/watch?v=XsS1AQ6FQQ0
It’s also on Amazon Music and Audible. I suspect Merav will get it on other platforms soon.
Oh, cool! I’ll have to check this out: I read the first book in that series a few years ago and enjoyed it. (It was the first time I ever came across an actual cracker barrel in fiction.)
1001 Albums, etc. – really blasting through these at the moment, although this wasn’t my favourite batch.
The Only Ones – S/T: I thought I’d heard this before but had forgotten that I mainly know “The Whole of the Law” from the Yo La Tengo cover. “Another Girl, Another Planet” is a classic of course, the rest of the album sounds like a strong early example of “indie rock” before people started really calling it that, but the rest of the songs do feel a little weak compared to the big single.
Elvis Costello – This Year’s Model: I’m finding that I enjoy Elvis in “slightly edgy uptempo new wave” mode but not so much in “classy singer-songwriter” mode, which doesn’t bode too well for the later albums. This one was pretty good though.
The Jam – All Mod Cons: I’ve never been a fan of Paul Weller’s voice, the Jam have some songs that are good enough to get me past it but this album didn’t have enough of them.
Joe Ely – Honky Tonk Masquerade: The title filled me with dread but this is pretty inoffensive country music.
The Adverts – Crossing the Red Sea: Another “punk” band who sound more indie-rock to my modern ears, leaning more on the jangle and melodies rather than fuzz and attitude. Like the Only Ones, they have a couple of stand-out songs but the lesser ones are just a bit “but we have the Buzzcocks at home”.
Big Star – Third / Sister Lovers: Big fan of the first two Big Star albums, this one has never done as much for me and this revisit didn’t change that. It’s fine, but I’ll always reach for one of the other two.
The Residents – Duck Stab / Buster & Glen: Yep, very odd, as advertised. The kind of music where I admire their singular vision but find it a bit annoying to actually listen to.
Public Image Ltd – Public Image: I am really not into these guys, it’s abrasive and occasionally hits (the title track is pretty good) but John Lydon is a hard guy to like and I find the same with most of his music. My least favourite album from the list for a good while.
Magazine – Real Life: obviously these spun off from the Buzzcocks so I was thinking I might have a similar response as I did to The Adverts, but these mostly have a darker vibe with some surprisingly cool synth work. Think I’d only heard “Shot From Both Sides” before but this was pretty strong on the whole.
Bruce Springsteen – Darkness on the Edge of Town: Was surprised how much I got into “Born on the Run” but this one didn’t really do it for me, the darker / harder edge to it left me a little cold.
Funkadelic – One Nation Under a Groove: Very enjoyable funk and the title track has been stuck in my head ever since. Didn’t immediately have it down as a favourite but can see myself returning to this one.
Throbbing Gristle – D.o.A: The Third and Final Report of Throbbing Gristle: Another abrasive experimental record, like Pere Ubu’s second album I found it quite invigorating but only occasionally enjoyed it.
Thin Lizzy – Live and Dangerous: I love guitar harmonies, and Thin Lizzy are masters of the art. I found about a third of this very lengthy live album pretty forgettable but the good stuff really rocks.
Blank Check, The Hudsucker Proxy – the Doughboys are very much in my “enjoy their guest appearances, definitely no interest whatsoever in spending any time with them outside of this occasional context” category of Blank Check guest, they’re pretty funny in small doses though and I liked the running joke about dogs in sequels. Very fun film to talk about.
Lol that’s my favorite E Street album! And Metal Box is undoubtedly PIL’s best album but I wouldn’t blame you for not pushing further.
Fair enough! I basically liked the other Springsteen album because it had a similar sense of drama / theatrical rock music as Meat Loaf. this one is a darker and more serious proposition and I just didn’t have any fun.
That was the one with Meat Loaf’s songwriter, right?
Darkness is my favorite as well. There is a punk edge or at least influence to some of the songs, especially Candy’s Room. Because The Night which Patty Smith covered came from these sessions. I think Hungry Heart did as well and was almost a Ramones song but was saved for The River. Also, Streets Of Fire was taken as the title of the Walter Hill masterpiece.
The final version of Born to Run is already pretty close to punk for a big crossover hit, but it’s absolutely mindboggling to me it started life as a Suicide tribute (and of course, the finished version of State Trooper’s one too)
Suicide heavily influenced the process by which THE RIVER was recorded. That album really strikes me as a crossover between punk and post-punk with its lo-fi production coupled to references to Americana and early rock-and-roll riffs.
DARKNESS feels like the next chapter in a novel in which BORN TO RUN was the first. It posits that the goals of romantic connection and personal freedom are irreconcialable as a condition of life that will psychically devour you regardless of what goal you choose. One of the Boss’ bleaker tomes. It’s follow-up, THE RIVER, is a more controversial entry but explores this transition with more dynamism and nuance.
I only know “Gary Gilmore’s Eyes” but that is a classic, score one for the Adverts.
The Blank Check on Fargo is excellent. Kinda hard not to have a great discussion* when the movie is that good. Arguably the best one they’ve covered.
*Even when they veered into two of my most despised topics: film awards and the Final Destination movies.
Laughed out loud at Cregger speculating on how the hell Jerry owes so much money. “Its 1987, what did you DO?!”
Went online and saw someone speculate that he ordered dozens of truecoats thinking he could sell them and he’s been trying to pay them off ever since.
Year of the Month update!
This September, we’re covering these movies, albums, books, from 1938!
TBD: Cori Domschot: Bringing Up Baby
TBD: Bridgett Taylor: Rebecca
Sept. 22nd: Sam Scott: Holiday
And there’s still time to sign up for 1959 this month. Check out all these movies, albums, books, et al
TBD: Bridgett Taylor: Pillow Talk/Some Like It Hot
Aug. 20th: John Bruni: Shadows
Aug. 22nd: Gillian Nelson: Khrushchev Goes to Disneyland
Aug. 27th: Lauren James: The Hound of the Baskervilles
Aug. 28th: Cliffy73: Sleeping Beauty
Aug. 29th: Gillian Nelson: The Monorail
Aug. 31st: Tristan J. Nankervis: North by Northwest