North Country land struggle

Filmmaker looks at colonial territories

Jay Craven is an award-winning veteran New England filmmaker. He spoke with the Hippo about his 10th narrative feature film, Lost Nation. Craven is known for making Northern New England Westerns. His titles include Where the Rivers Flow North with Rip Torn and Michael J. Fox, Disappearances with Kris Kristofferson, and Northern Borders with Bruce Dern. He has taught for 25 years at Marlboro College in southern Vermont as well as Sarah Lawrence College. At Marlboro he educates students on how to make movies by involving them in the movie-making process. Lost Nation will kick off a series of New Hampshire screenings at Red River Theatres on Friday, Dec. 13, running through Thursday, Dec. 19. Craven will be appearing at select showings that opening weekend. Visit redrivertheatres.org for more information.

Would you like to give a brief overview of the film?

It’s basically a historical action drama and it’s set in the North Country during the period of the American Revolution. It involves the fact that the huge territory that is now considered Vermont was contested territory at that time between New York and the territory. Meanwhile, a scrappy and some could argue somewhat corrupt New Hampshire governor, Benning Wentworth, started issuing titles to poor farmers and settlers coming out of southern New England, New York claimed. It precipitated an intense struggle between the settlers who were settling the land and New York, which late in the game decided they’d better start settling the land or else it was going to disappear.

A drama unfolded where the New Hampshire grants holders, led by Ethan Allen and others — Ethan Allen considered sort of a founding father of Vermont — resisted New York encroachments on the land that they were settling. It’s the drama of this land conflict between New Hampshire and New York, led by the settlers on the New Hampshire grants. Ethan Allen is a central character, and also Lucy Terry Prince, who was a pioneering Black poet who settled with her family on a New Hampshire grant in southeastern what is now Vermont, Guilford, near Brattleboro, an area that was a stronghold of New York sentiment. It was a very turbulent setting for them to try to both settle their homestead, also as Black people. The film captures the drama of land and freedom — in the case of Ethan Allen, on a huge scale, involving the entire state of Vermont, which frankly he and his brother ended up owning 200,000 acres, because they were land speculators, too. And on a smaller scale, the Prince family, which was trying to simply secure and develop their 100-acre homestead using a New Hampshire grant. It’s a historical action drama around the high-stakes land struggle between New Hampshire and New York, which resulted in that contested territory becoming at first the independent republic of Vermont and later the state of Vermont.

Would you want to go more in depth on Lucy Terry Prince?

Yeah, Lucy Terry Prince was enslaved at the age of 3 to a family in western Massachusetts for 30 years, serving that family, but she also was a poet, and only one of her poems actually survives, which is called ‘Bars Fight,’ about the 1746 Deerfield Massacre, where indigenous fighters allied with the French attacked settlers in Deerfield, Massachusetts. Her poem told the story and was known far and wide and was passed on orally, but it’s the first known work of African American literature. And she was known for convening sort of story soirees on the porch of the family that she was working for, of their house, and would bring by storytellers and poets and people making up stuff as they went along. Another former slave, Abijah Prince, married her and bought her freedom with money that he earned fighting in the French and Indian War, and he was gifted this 100-acre plot of land in Guilford, and over five years developed [it] and brought his family here. When they brought their family here, their closest neighbor became an antagonist, wanting their land and also just sort of harassing them and making their life very difficult. You know, spoiling their crops and scattering their feed to the wind and letting their animals loose and, you know, attacking and beating them and burning their hay rake and stuff like that, so Lucy developed a strategy essentially to defend her family in the moment but more so in court all the way to what was called in Vermont the governor’s supreme council. [She] prevailed, you know, which would have been extremely unusual, frankly, for a woman, let alone a Black woman, to accomplish during this time. She was smart, and she was not going to take it lying down, and she, in what was already a very turbulent, deeply divided political situation, was able to push through and assert her family’s rights and two of her sons fought the American Revolution. Only one of her poems survives, but … she was definitely known as a storyteller and to a certain extent a visionary. … So it’s two different stories of the struggle for land and freedom, one on a big scale, one on a small intimate scale, but they are parallel and they overlap briefly.

With Ethan Allen, could he be considered a founding father of New Hampshire as well?

Well, he was working under New Hampshire jurisdiction when he started the struggle, so absolutely he would have been considered a New Hampshire pioneer because it was New Hampshire territory that he was defending against New York, so in some ways Vermont was born out of New Hampshire and was born out of a sort of, we could call solidarity, generosity, imagination, greed, whatever you want to call it. But no, there’s no question that when Ethan began his land struggle against New York, he was doing it on behalf of the New Hampshire granted territory.

How did this whole specific situation arise?

Benning Wentworth, the New Hampshire governor, commissioned 131 towns in that territory and he kept parcels of land in each town that were his, but they were running a pretty active land business. If it weren’t for this land struggle, the territory of Vermont would be New York. Although, what we also show in the movie is that when things got tough in this land struggle, Ethan Allen and his brother entered negotiations with the British during the American Revolution to actually deliver that territory to the British. So it could have also ended up part of Canada because there were some attacks coming from Quebec into Vermont. The Americans were not defending them and the Continental Congress did not like what Ethan was doing, because New York had a lot of power in the Continental Congress, including the fact that Alexander Hamilton was a representative from New York. Likewise, the governor of New York, George Clinton, was a very powerful figure. Ethan went to the Continental Congress twice begging the case of vermont or the territory against New York and was rejected.

What area of land is this referencing? What would it have made the United States look like today?

Well it would have been the whole state of, the area that is currently the whole state of Vermont would have been New Hampshire, all the way over to Lake Champlain. Because it’s interesting, New Hampshire Gov. Benning Wentworth, the New Hampshire governor, claimed he settled it first and established political control on the entire western part of the state. So it was odd. The area that was closest to New Hampshire was controlled by New York. The area that was closest to New York was controlled by New Hampshire. … I mean, it was intense. But then the film goes over how all the colonies came into their own statehood. —Zachary Lewis

Books to give

Looking to gift a book? Here are some of the books our reviewers loved this year:

William, by Mason Coile I don’t like horror, but I loved this absorbing, disturbing little book. —Jennifer Graham

Funny Story, by Emily Henry This isn’t all fluff and love, and I don’t think I rolled my eyes once. It is definitely funny, but it’s so much more than that, too: It’s a story of human relationships and all of the messiness and intensity that come along with them, how they can start and end in the most unpredictable ways, and how we all have the capacity to overcome heartbreak and learn to love again. —Meghan Siegler

Playground, by Richard Powers This novel wants us to to think deeply about the unintended consequences of the development of AI and human dominance of the planet as we wade through the events of each character’s life, laid out in constantly changing points of view. For those willing to rise to the challenge Playground is a wholly immersive experience [that] gives the reader a mental workout. —JG

The Women, by Kristin Hannah Hannah superbly blends the heaviness of war with the frailty of humans at their most vulnerable — and often at their best. —MS

Bird Milk and Mosquito Bones, by Priyanka Mattoo Mattoo’s writing is exquisite …. It’s been a while since I enjoyed a collection of essays so much. —JG

The Demon of Unrest, by Erik Larson Larson tells stories that explain the onset of the Civil War better than any AP history course ever could. Nobody does it better when it comes to putting readers in the trenches of history, in this case with cannonballs whizzing over our heads. —JG

And here are a few more recent releases that may make good gifts.

What the Chicken Knows: A New Appreciation of the World’s Most Famous Bird, by Sy Montgomery (96 pages) Montgomery is also the author of The Soul of an Octopus and other books about animals. She lives in New Hampshire.

Heartbreak is the National Anthem: How Taylor Swift Reinvented Pop Music, by Rob Sheffield “An impassioned dissertation on (almost) all things Swiftian,” says the Washington Post of this book by a veteran Rolling Stone writer.

Atlas Obscura: Wild Life, by Cara Ciaimo and Joshua Foer A guide to giant Gippsland earthworms, hot springs snow monkeys, vampire finches and other amazing creatures of the world. “The perfect tome to get lost in on a rainy day,” said Taste of Home. Check out AtlasObscura.com.

Webb’s Universe, by Dr. Maggie Aderin-Pocock A catalog of images from the James Webb Space Telescope along with backstory on the science behind them, from a British space scientist.

Faithful Unto Death, by Paul Koudounaris

Faithful Unto Death, by Paul Koudounaris (256 pages, Thames & Hudson)

Traveling in rural Ecuador a few years ago, I looked out the car window to see a woman throw the corpse of a dog into a fire in her front yard. It wasn’t an act of cruelty — the dog was clearly dead — but it was still shocking to see an open-air cremation about to take place.

It was likely the best and cheapest option the woman had, faced with a decision that has confronted families ever since we started viewing animals as companions: What do we do with their bodies? In Faithful Unto Death, Paul Koudounaris walks us through the macabre history, making clear that what seems like the obvious answer — bury or cremate them — wasn’t often an option.

In Europe in the 19th century, many people took deceased dogs to rending sites where the bodies were broken down with chemicals, along with dead livestock. Terrible as that sounds, other people opted to throw their deceased animals into rivers. “In Paris, about five thousand dogs a year wound up in the Seine, the tragedy for their owners compounded by the civic cost, with the bodies polluting the river and resulting in 4,000 francs in annual cleanup fees,” Koudounaris writes.

When the rare individual tried to confer dignity on a deceased pet, things could get ugly. In 1855, a woman in Glasgow tried to inter her beloved cat in a cemetery plot she owned; an outraged mob gathered and broke open the cat’s little coffin, and police had to be summoned. It was considered blasphemous to think animals warranted the same burial customs as human beings.

But cremation wasn’t the answer either, as even for humans cremation was not yet widely accepted. So when an English family lost their beloved Maltese in 1881, they pleaded with the gatekeeper at a local park where they used to walk the dog and convinced him to let them bury him in his backyard garden. Word spread, and others began to make the same request. “Slowly his little plot was transformed into something that not only London, but also the entire Western world, had been unaware that it desperately needed.” Eventually there were more than 300 graves, animal corpses stacked on top of each other, in the gatekeeper’s garden, and he kept up the burying until he himself died in 1899.

Around the same time, pet cemeteries began cropping up in other places in Europe. In the United States, the problem of what to do with animal bodies was not so pressing, since there was plenty of undeveloped land, and you could bury anything you wanted on the frontier. Still, by the 1920s the U.S. had more than 600 pet cemeteries, and the U.S. today has more than the rest of the world combined, Koudounaris says — including one that is, bizarrely, only for coon hounds.

Some people are so enamored of their pets that they want to treat them like humans, even after death. Koudounaris tells the story of a mortician who was hired to embalm a dog that had been hit by a carriage (apparently streets were just as dangerous for dogs before cars) and bury him in a mahogany casket with a glass top. And at a mausoleum in New York, a metal box once came open, revealing not human remains but those of a parrot.

Earlier this year the New York Times published a fascinating piece about how a woman came to be buried at one of America’s most famous pet cemeteries, which is in Hartsdale, New York. Hartsdale is among the pet cemeteries that Koudounaris looks at, along with Pine Ridge, in Dedham, Massachusetts, where the fox terrier of South Pole explorer Richard Byrd is buried. The dog’s name was Igloo, appropriately enough, and his gravestone, larger than that of most humans, is shaped like an iceberg. Pine Ridge is also the resting place of three Boston terriers owned by Lizzie Borden.

Some of the most interesting stories in Faithful Unto Death, however, aren’t told in words but through photographs of monuments and epitaphs: “In remembrance of Smut, for 12 years, our much beloved cat”; “Alas! Poor Tiplet”; “Scott, who really smiled when pleased, faithful friend, guard of Anne”; “Witt – Best friend I ever had, died June 1895”; “In memory of a loving pet, Judy, killed by a tractor”; “Bingo, 1934-1950 – Let a little dog into your heart and he will tear it to pieces.”

In fact, anyone who still harbors grief for a long-gone pet may be brought to tears in solidarity with the animals memorialized here. That said, there are also some pictures I would rather not have seen, such as the mummified corpse of a dog that was found stuck inside a tree by loggers. “Stuckie” is now a tourist attraction in Georgia.

Toward the end of the book Koudounaris takes a look at what happens to pets of celebrities and animals that are celebrities in their own right. You’d think the dog that was Toto in The Wizard of Oz would have had one of those glass-topped mahogany caskets, but in fact the cairn terrier was buried at the home of her trainer, which later was razed when the Hollywood Freeway was built. “Cars now speed by above the gravesite, which is trapped under tons of concrete,” Koudounaris writes.

Grumpy Cat, the internet sensation who died in 2019, fared better and has a memorial (with a photo) at Sunland Memorial Park in Sun City, Arizona. (Even in death, Grumpy Cat has 1.4 million followers on X.)

Credit is due to Koudounaris for taking this macabre subject matter and making it engrossing; the only thing perplexing about the book is its presentation: It’s a heavy doorstop of a book, dictionary-like in heft, and maybe not the thing most people would want to display on a coffee table. That said, for people with good arm strength who don’t mind encountering a photo of a dead animal every now and then in a book, it’s a surprisingly compelling read. Kleenex recommended. BJennifer Graham

Album Reviews 24/12/12

Candy Whips, Artificial Melodies (Kitten Robot Records)

This northern California fivesome label their stuff ‘’post-glam” or “accidental goth,” the latter of which is more fitting in my opinion. It’s quite angular, this; to me the tldr description would be Gang of Four sitting around smoking joints with Lord Of The New Church, what with the ’80s-cheesing, mellotron-emulating synth; the resolute, minimalist guitar-chonking and the Stiv Bator vocals of (male) vocalist Wendy Stonehenge. Formulaically, the recipe calls for an Aughts-era verse-bridge structure in the vein of early Cure and such, that is to say the tunes want to take us someplace but don’t always arrive, and yet the journey is nevertheless pleasant enough (that’s especially true of “A Drop Will Do,” an alcoholism-admission story that’s the most phoned-in-sounding thing on board). But there are a lot of cool things in this set, such as “Strange Taste,” with its urgent, no-wave-ish anti-riff. Melodically on point, only rarely bogged down with performative subtlety. A

Kilmara, Journey To The Sun (RPM Records)

The rise of “melodic power metal” is in sync with the same epic-ness we hear in nearly every musical genre nowadays (save for indie of course, whose soil’s been depleted since the 1980s owing to the majority of its bands having more disposable recording money than actual artistry). People don’t have time nor patience for buildup anymore; they want the show-stopping mega-melody now or they go back to social media. We’ve heard it for years from emo-rock bands, pop divas, etc. and now it’s even on the big screen: A year from now, no one will remember that aside from “Defying Gravity” the soundtrack to Wicked is pretty awful (a friend remarked on Bluesky that Stephen Schwartz hasn’t written a decent score since 1970’s Godspell). Unlike Wicked, the fifth album from this Barcelona, Spain-based quintet, is wall-to-wall showstoppers, but sorry folks, sometimes you just have to wait for the big hook-gasm. In other words, conceptually and musically, it’s a fine tracing from the Trans-Siberian Orchestra template, but with more speed when they feel like going for it. I could picture some of this stuff bringing a tear to some metal-head’s eye; such a funny, funny world we live in now. A

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• On Dec. 13, a few new albums will come out and be dumped into the Spotifies and the retail stores that carry music CDs for purchase, do stores even do that anymore? I suppose they do, particularly stores that sell vinyl albums for 1890s Victrola record-playing machines, because they know that certain people fancy themselves as “audiophiles”; they enjoy listening to vinyl records so that they can hear mistakes in old recordings, like they like to go “Woop! Hear that, Petunia? Ringo hit the rim of the snare drum, not the head, lolol, he must have been drunk on the reefers, you know?” No, I’m just funnin’ with you vinyl junkies; by now everyone knows that CDs simply can’t capture many frequencies, like the sound of unintentional rimshots by Ringo or the dulcet tones of groupies power-barfing in the booth; instead, all the sounds get squished together in an aural trash compactor, so the only way you can detect that Jimmy Page has too much treble on his guitar (didn’t he always?) is to suffer through the vinyl versions of 55-year-old Led Zeppelin songs! Speaking of Ringo Starr, he has a new country album coming out Jan. 10, called Look Up, but I’ll save the snarky CSI on that for later, since chances are there won’t be much else for me to talk about in this award-winning column during the first two weeks of the new year. In the meantime, we can point and laugh at Snoop Dogg, whose new album is out this Friday. It is titled Missionary, because Snoop actually invented sex during the time of the pharaohs, and it is produced by famous producing producer Dr. Dre, because why not! One of the singles, “Another Part of Me,” features Police bassist and tantric-sexytime man Sting; the tune borrows Outkast’s steez, reimagining the Police’s “SOS” as a shuffle tune with lyrics about living in L.A. and dealing with people shooting at you because they’re bored or whatever. It’s actually a marked improvement over the original (I know, I know).

• Wait, don’t run off yet, here’s one that’s awesome, a posthumous album from a rapping feller I actually like, DMX! We all know that the D-Man was always big into spittin’ about his faith on his first six-or-so albums, but on this new one, Let Us Pray: Chapter X, there’s more prayin’ than rappin’! Grammy award-winning producer Warryn Campbell set DMX’s prayers to music for the first time on this groundbreaking project that fuses hip-hop to gospel; it includes features from Killer Mike, Snoop, LeCrae and MC Lyte. In “Favor,” DMX thanks the lord for blessing him with fame and such; there’s straight-up praying and some trademark rhyming, super cool stuff.

• I assume you may not know much about British indie-dance act Saint Etienne despite their being around for nearly 35 years. Their trip is blending velvet-rope dance stuff with ’60s pop and whatnot, but on “Daydream,” the single for their latest LP, The Night, you’ll hear straight-ahead trance stuff a la Oceanlab. It’s great, you should listen to it.

• We’ll end the week with Rome, the new live album from Cincinnati, Ohio, post-punk revival band The National! Includes a version of the (very) Kings Of Leon-like “I Need My Girl,” a sad and mawkish rawk ballad that may move you, I don’t know for sure.

How to Winter, by Kari Leibowitz

How to Winter, by Kari Leibowitz (Penguin Life, 272 pages)

When Kari Leibowitz was looking for a research opportunity that would help get her into a top-notch doctoral program, she reached out to Joar Vitterso, a psychology professor at the University of Tromsø in northern Norway. He agreed to become her research partner in studying why Norwegians, despite long periods of darkness and cold, seem relatively immune to the winter blues that so many Americans report.

So despite being something of a winter-phobe herself, having grown up at the Jersey shore, Leibowitz signed up to experience Tromsø’s “Polar Night” —the two months in which the region doesn’t get direct sunlight — and other things she thought would bring her misery. Instead she wound up studying, and ultimately adopting, a winter-loving mindset, which she says is the key to thriving in winter.

In How to Winter, Leibowitz expands on the article she wrote that appeared in The Atlantic in 2015 (“The Norwegian Town Where the Sun Doesn’t Rise”). Although she soon departed Norway for Stanford University — where winter lows are in the 40s and it hasn’t snowed since 1976 — that article established her as an expert source on coping with winter, and she’s made it a focus of her work since. How to Winter combines her experiences in northern climes with research from Stanford’s Mind and Body Lab on what amounts to positive thinking — reframing how we perceive experiences. Not surprisingly, it’s Leibowitz’s on-the-ground experiences that are the most interesting part of this book.

In Tromsø, which is in full darkness for most of the day between late November and late January (save for a bluish twilight that lasts a couple of hours), Leibowitz found that residents report relatively low rates of seasonal depression. Part of this is because the region is well-equipped for winter. “The city has infrastructure to keep the roads clear of snow and restaurants warm even when it’s blustery outside. Every restaurant and coffee shop has soft lighting and open-flame candles … and cafes often have heat lamps and blankets at outdoor tables so that people can enjoy coffee outside year-round.” At the city’s international film festival, held in January, people watch films outside, and it’s not uncommon for parents to let their appropriately dressed babies nap outside. The first principle of a winter mindset, it seems, is not to be afraid of the dark and cold.

Compare that mindset to the collective moaning and gnashing of teeth that occurs when it gets dark an hour earlier in New England. It’s not that the time change doesn’t have a real effect on our life, Leibowitz writes, but that Americans tend to follow a script about winter misery that begins about that time, rather than actively planning ways to enjoy the season. With regard to the November time change, for example, Leibowitz recommends reducing meetings and commitments the week of the change — seeing it as a time to catch up on rest, make our homes more inviting and cozy and begin pleasurable winter rituals, such as fires or saunas, or what she calls “slow hobbies” like baking, knitting or woodworking.

Animals, she writes, are more in tune with the changing of the seasons that humans are, and this is one reason many of us resist the advent of winter; we haven’t been having to prepare for it, and we expect our well-lit, furnace-warmed lives to go on as usual, rather than make changes. “We pretend we are not animals like any other, as if aligning with nature is a personal or moral failure. But this is a fallacy, and when we look at it plainly, we can see how nonsensical this view is.”

Then we’re told by the media that we’re suffering Seasonal Affective Disorder even though we probably aren’t — true diagnoses range from 0.5 to 3% of the population, and you only have SAD if you first meet the criteria for clinical depression — SAD is a subset of that. So you probably don’t have SAD — you just need a mindset that sees winter as wonderful, Leibowitz writes.

Leibowitz argues that a positive winter mindset is not the same thing as positive thinking, which too often tries to get us to deny the negative. We can’t think our way into its being 80 degrees and sunny when it’s snowing in January, but we can employ “selective attention” to overcome misery. Much of what bothers us about winter is anticipatory — we expect to be cold and miserable if we go outside, when actually when we force ourselves to get outside, it’s often pleasurable and at minimum makes our enjoyment of the indoors even greater when we return. “When we stop pushing against it and observe what it really feels like, asking ourselves, ‘How intolerable is this, really? Am I in danger or am I just a bit uncomfortable?’ the quality of the cold shifts and we find that maybe it’s not as bad as we thought.”

That’s one reason part of her advice to adopting a winter mindset is get outside (“You’re not made of sugar” is the title of one chapter), and she offers research that shows, counterintuitively, that when people do things like cold plunges and winter swimming, they wind up feeling warmer and happier after the shock of the experience.

Leibowitz acknowledges that it’s easier for some people to love winter than others. In Oulu, Finland, for example, known as “the winter biking capital of the world,” bike paths are cleared of snow before roads are. A number of Scandinavian cities have heated sidewalks so people don’t have to worry about falling on snow or ice. Leibowitz travels to places where it’s the norm to have heated floors in bathrooms, individual coat racks next to booths at restaurants and there are even heated toilet seats in public restrooms.

Moreover, she acknowledges, it might be difficult to adopt a “winter is wonderful” mindset if you don’t know how you’re going to pay your heating bill. Not many of us have access to the saunas of which she sings praises. And some of her advice at the end of each chapter is a bit cringy (“Take an awe walk” and “take a family nap”). The book could have been made tighter, and more effective, by icing out its Oprah magazine vibe.

Still, there’s value in much of Leibowitz’s advice, and her travels are interesting. I like many of her suggestions, such as to change the “holiday spirit” into the “winter spirit,” put as much thought into planning January and February as we do December, and instead of trying to force bright light into our winters in defiance of nature, embrace softer lighting and candles (a practice Leibowitz calls “Big Light Off.”) In fact she’s such an effective persuader that even a winter visit to Tromsø is sounding good right now. B

Album Reviews 24/12/05

Kodak Black, Trill Bill (Capitol Records)

This Florida-based rapper boasts the necessary cachet to make him relevant to the current generation of working-class rap fans, a cohort who seemed to have completely lost the thread of whom to be mad at. This, the second mixtape he released in November, pushes the trappy single “News Matt,” characterized by a twin vocal track that’s bluesy, intentionally sloppy and horror-movie-ready in its tonality; his swagger is still there, no worries. Lots of melody here, such as in the arpeggiated piano lines of opener “Cherish The Moment,” the cheese-soaked ’80s-keyboard-driven “Dirty Revolver” and the five-star-hotel-lobby-evoking “Maybach Van.” Not much to report in the way of percussion; nearly every drum line is identical, but that’s of course secondary. As always the idea is to microwave 30-year-old tropes from New Jack City (he even gave away a truck full of turkeys on Thanksgiving, not kidding). B

Calum Scott and Christina Perri, “Kid At Christmas” (Capitol Records)

Oops, looks like I spoke too soon in the Playlist about the end of this year’s new holiday records, although in my defense it’s rare for me to be advised about new ones after the second week of November. This one’s a pop duet between 2015’s Britain’s Got Talent winner Scott and heavily tattooed American singer-songwriter Perri, whose debut single “Jar of Hearts” was featured on American TV’s So You Think You Can Dance in 2010. Bless their hearts, these two wanted to create a single that’d become a “seasonal classic is for the grown-ups out there who still get a certain warm, fuzzy feeling in wintertime” and they do make an effort in this mawkish and (spoiler) vocally muscular happy-ballad. The result is something that’s too nuanced and important-sounding to be dismissed as a throwaway tune sung by the cookie-shop owner and her (hopefully future!) beau in the latest Hallmark Christmas movie, but not by much really. B

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• As far as the retail stores are concerned, it’s been Christmas for many weeks now. On the day after Halloween, the ever-present danger becomes real, rolling itself out slowly: We walk into our Targets and Walmarts and malls just waiting to hear the first strains of Brenda Lee’s “Rockin’ Around The Christmas Tree.” It’s always that one we hear first, with its half-plugged, anodyne Chuck Berry-ish guitar, an insidious, innocent-sounding ditty bespeaking casual joyfulness, nostalgia-loaded quaintness and buying signals, a warning shot before everything descends into a frenzy, culminating in thunderously metal versions of “Carol of the Bells” while we drive around semi-aimlessly through impossible traffic, searching the stores for that one gift we Simply Must Get. For me this year — and I can talk about this here because my wife probably hasn’t read this column for years now (familiarity does breed inappreciation, not that I’d enjoy discussing my “writing process” every week with some breathlessly gushing admirer) the Simply Must Get is some coffee mugs to replace the ones she loves: Robert Gordon Hug Mugs, the “Blue Storm” pattern in specific. Of the original four she bought years ago, only one survives today; like disposable characters in a slasher film, the other three met their ends in fiendishly clever ways. The next-to-last one expired when the handle simply fell off when I was washing it last week. Given that there’s no way I’m paying $110 to have four new Blue Storm mugs imported from Australia, I’ll start my search this week; I’ll pop into the hilariously overpriced kitchen-and-bath chain stores (funny how those companies never survive more than three years, isn’t it?) and try to find the closest match. I’m hoping to get that mission accomplished before the stores shift into full-blown “last minute/final warning” mode of the holiday shopping season, when every single place you walk into, from Hot Topic to Dollar Tree, has Andy Williams’ “The Most Wonderful Time Of The Year” playing overhead, just to remind you that “you’re out of time, let’s cough it up already, buddy, that’d be great.” Speaking of that, the Christmas album-buying season has pretty much already ended, although the new Netflix special A Nonsense Christmas with Sabrina Carpenter will show up on Friday, Dec. 6, featuring the ridiculously overexposed young diva duetting with Shania Twain among others. Hard pass of course.

• It may be too late for Christmas albums, but it’s never too late for older artists to microwave some Beatles songs for a quick buck or posterity or whatnot! We talked about Americana/country singer Lucinda Williams a few months ago, and I think I also mentioned that Abbey Road is the only Beatles album I can stand, so lucky for me (or someone), Williams will release Lucinda Williams Sings The Beatles From Abbey Road this Friday, the 6th! Naturally, the song I like the least on that album, “While My Guitar Gently Weeps,” is the teaser single. It’s kind of noisy, which is a positive.

• If you’d ever wanted a more sedate, epically melodic Prodigy, you may have gravitated to New York art-rock band Geese, and if you like Geese, you may like the first solo album from Geese frontman Cameron Winter, Heavy Metal, but then again maybe not! In the first single, indie piano-ballad “$0,” Winter does a low-voiced nick of a drunken Thom Yorke. I couldn’t deal with it very long but maybe his mom likes it.

• And finally it’s Austin, Texas, garage rockers White Denim, with 12, their 12th album if you don’t count their 2023 collaboration LP with Raze Regal and one or two other releases. Whatever, “Light On” combines the sounds of Relayer-era Yes with Mungo Jerry for no reason whatsoever, not that it’s officially bad.

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