
An interesting fact I found out from talking to the European volunteers here is that landlords and -ladies have the legal right to come into the apartment you are renting from them at any time.











I have always identified strongly with Rob, the record store owner played by John Cusak in High Fidelity. Rob spends a great deal of time obsessing about popular music (like me) and kicking out thieving hoodlums from his record store (uh...not like me). By accident he realizes that two of those hoodlums are actually talented musicians and ends up producing their record. His girlfriend Laura tells him that he’s come full circle by actually becoming a part of the music-making process instead of just being a music consumer.
Those of you who follow Facebook probably saw the video of me and two students from the university singing “Hear You Me” for a school concert. I hadn’t sung in front of people in nine years (since I played Madam Mysteria in the ninth grade play, to be exact), but my church choir training at St. Bridget’s all came back to me with some help. It was really cool to actually make music again.
The guys from the band invited me to sing with them anytime I wanted and I was more than happy to take them up on the offer. Tragically, I haven’t been able to track down a cello for rent in Comrat, so I’ve been sticking with singing, although guitar lessons have been promised soon.
We have no gigs yet—there’s only three of us so we can’t exactly do full sets now—but we are getting a repertoire together. Thus far we have worked on:
“Viva la Vida” — Coldplay
“Say Yes” — Elliot Smith
“Lovers in Japan” — Coldplay
“Wonderwall” — Oasis
“Miss Misery” — Elliot Smith
“Twilight” — Elliot Smith
“The Middle” — Jimmy Eat World
“Cemeteries of London” — Coldplay
“Waltz #2” — Elliot Smith
We’ve tried to add some Regina Spektor songs, but they’re really hard to sing! Her voice is just too intense for my limited powers. We’ve been leaning pretty heavily on the Elliot Smith. When I was playing classical music, I always loved pieces a lot more once I’d played them. I’ve discovered that the same thing is true for Elliot Smith’s music. His songs are even more fantastic when you’ve learned them inside and out. (I know it’s sacrilege, but I have to admit that I wasn’t a huge fan of Either/Or until I started singing songs from it.) His songs aren’t that hard to sing and they grow on you tremendously. His voice is in a totally different register than mine so I end up sounding pretty manly on “Say Yes,” but I’m hoping that the more I sing it, the less weird the low notes will sound.
I’ve also discovered the amazing power of YouTube for listening to new stuff by artists you like. I found a sweet video of Elliot Smith performing in the Stinkweeds on Apache (RIP) in Tempe from 1996. It made me extremely nostalgic for Tempe. Oh, to have an Eastside Records in Comrat! Or a Hoodlums! Or a Milano’s Music! I could go on forever. We don’t realize how good we have it music-wise in America.
I can also recommend Sad Kermit singing “Needle in the Hay” in a bizarre homage to Wes Anderson. It’s definitely worth a watch to hear a Muppet singing about drug abuse.
My recent switch from a music consumer to a music maker has inspired me to add another life goal to my list. So far we have:
I need more life goals!
On the eve of my departure for Kiev, I realized that it’s been a pathetic 23 days since my last post. I figured I ought to remedy that before heading into Ukraine.
There are three things that generally inhibit me from posting:
All three factors have colluded in the past few weeks.
The last three weeks have been busy and quite fun. I no longer spend all evenings holed up in my room like an Internet junkie! I have engaged in many semi-scandalous activities such as drinking coffee illicitly and dancing at the disco. The last two weeks were the start of classes, and I had 11 pairs per week to prep for, which is no joke. At any rate, this semester I have a much lighter courseload than last year, thank God. Here’s what I’m teaching:
Development of Conversational Speech
Linguistic Analysis of Artistic Texts
History of English-Speaking Peoples
You gotta love the convoluted course titles! The conversation class is the most fun because I get to teach my students extremely practical things and just talk with them. Today I showed them a bunch of videos of people with Valley girl accents. Then I pretended to be a waitress at a restaurant. Everyone wanted strawberry shortcake. I forgot Alyona’s Coke...sorry, Alyona! For those who are interested this website has pretty awesome, realistic colloquial English lesson materials.
The main frustrations have been getting back into the post-Soviet work culture. Enough said. I am leaving for a training in Kiev with my fellow Moldovan, Georgian, Armenian, and Azerbaijani ETA’s tomorrow, which I hope will recharge my tolerance for bureaucracy and give me a plethora of lesson planning ideas. I’m excited in the extreme because the Regional English Language Officer will be conducting the training and he is extraordinarily cool.
To change the subject abruptly, I have found myself getting weirdly obsessed with the Hold Steady and Bruce Springsteen. In particular, the song “Atlantic City.” I went on a fairly long tangent about popular perceptions of New Jersey in my literature class today. It was pretty uncalled for. I’m already getting as nuts as the professors I knew in the States.
I think this has to do with the fact that both the Hold Steady and the Boss are what Russian speakers would call спесифический. That is to say, they reflect the character of a certain place (Minneapolis and Jersey, respectively). I mean, you probably couldn’t even translate Hold Steady lyrics because they just wouldn’t make sense outside of an American context. (Although the chorus of “Party Pit”--“I’m going to walk around and drink some more”--is pretty much the most Russian thing I’ve ever heard.)
They are both essentially trying to tell the stories of people who live in a certain time and place without a whole lot of judgment, which is pretty unusual in popular music. Craig Finn, lead singer of the Hold Steady, writes about people like a college girl who gets mixed up with a townie murder and a teenage boy who gets kicked out of his own prom for being high. Bruce tells us about a man moving to Atlantic City to become a contract killer--and trying to convince his girlfriend to come with. It makes for some pretty good listening.
The Hold Steady also adds an interesting element of religion, alternating between blasphemy and piety. Craig Finn says, “I feel Jesus in the clumsiness of young and awkward lovers / I feel Judas in the long odd of the rackets on the corner.” Nevertheless, he seems pretty pleased that a past girlfriend was “a really good kisser and wasn’t all that strict of a Christian.”
I’m not sure if I’m obsessed because of nostalgia or the good music, but I can say that buying Boys and Girls in America at Hoodlums while I was on break was probably the best $5.99 I’ve spent in quite a while.
With that, I’m going to pack. Here I come, Kievan Rus!