Tuesday, September 30, 2014

I'm sitting at my desk on a lunch break, thinking about dinner. Then I open my email and see an article on pasta alla norma and suddenly my lunch kind of pales next to the thought of this recipe and article:






"The tomatoes now are the best they'll be all season," says Joe Pasqualetto, chef at Brooklyn Italian jewel box Rucola, gingerly digging through a bowl of rainbow-colored miniature heirlooms. "And eggplants are at their height, too. That's why this dish, to me, is perfect for right now."

He's talking about pasta alla norma, the classic Sicilian recipe for pasta in tomato-eggplant sauce, spiked liberally with garlic and fresh basil and topped with a dusting of hard, salty cheese. Named in honor of Vincenzo Bellini's opera Norma, the pasta is a quintessential entry in the pantheon of nonna-style dishes that made it to America.



As much as I love food, I love pictures of food even better. I also love eggplant, which I think sometimes gets a bad rap. Truly, it deserves more praise. Atlanta Magazine thinks so too:

http://www.atlantamagazine.com/dining-news/if-you-dont-love-eggplant-please-try-harder2/

Thursday, September 25, 2014

Though you wouldn't know it from the cover, Death After Life is an emotionally moving and often intelligent read. It's (no surprise here) a zombie novel, but not just any zombie novel. Using a clever twist, writer John Evans injects the plot with a virus that slows America down considerably, but doesn't completely immobilize it.

Virus Control Cops control events and people ("there is no cure," billboards constantly remind people wherever they go) and there are euthanasia centers for ill and elderly people who might ("might" is used very loosely by the doctors who work at them) be vulnerable to infection, no matter that they haven't been bitten yet.

The economy has tanked, only the rich have money (which they keep  as cash, stashed in secret locations) and citizens risk going out for drinking and dancing most every night, desperate to find pleasure in activities that used to make them feel good. People still go to the movies as well, but finding enjoyment in anything (everyday things or not) is not so easy and numbness has become a way of life. Often, it's difficult to separate the zombies from the humans.

Death After Life is definitely well-written and more than worth than 99 cents it costs to download through Amazon. The problem is how disturbing it is...not so much in the violence (though that's hard to take) but in how eerily life manages to go on as close to "business as usual" during this particular zombie apocalypse.

Somehow it all reminds me of a quote by singer Zola Jesus, who said in an interview not too long ago:

"I want to write songs about things that are important, like why we're here, what the future holds and the apocalypse. Maybe the apocalypse has already started. If you look around in America, there's a lot of sadness and a lot of suffering. Most people turn a blind eye to it. I want people to come to terms with it." -Zola Jesus

Monday, September 22, 2014

In a way I much prefer the 1950s and 60s pulp fiction (even the sadder ones) to (most) modern lesbian fiction where romance can be over the top (and unrequited love always turns out to be requited), every woman the main character meets (even in a small town) just happens to also be a lesbian (statistically, that's almost impossible) and being gay is no big deal (how nice that would be.) 
 
The older I get, the more I realize reality is better for your heart than daydreaming ever could be. And in pulp fiction, there is very little daydreaming going on.

It often has a much more steady grasp of how hard it is to meet someone who would be a true kindred spirit in love and friendship. And the inner struggles (substitute the much smaller society of a conservative family for early 1960s America) echo the circumstances some women still find themselves in, even here in 2014. That alone can be comforting.
 
Another useful dose of reality with the pulps is how one-sided love is treated. The futility of it is eventually exposed, as is the idea that it's more like illness than love…to like someone until your heart aches…especially when that someone doesn’t even know you beyond a name and a face and you are absolutely meaningless to them in any way that counts.
 
Sloane Britain, who edited and wrote for a small publishing company called Midwood Tower in the early 1960s, did this very well in These Curious Pleasures. Her main character not only gets over her unrequited feelings, she goes on to meet someone who is able to love her back.
 
The writing is crisper, less nauseating in its sentimentality and more sincere, plus the universality (straight or gay, man or woman can relate) of feelings is pleasantly surprising. Some of the best passages from one particularly strong example (Valerie Taylor's Unlike Others) include:
 
-There’s no point in owning a double bed if you have to sleep alone.

-But she knew better. You couldn't tell the truth to straight people, ever; the best you could hope for was tolerance without understanding. They saw the different ones as emotionally retarded or, worse, guilty of some nameless sin against society.

 -Still vivid in her own mind were the twelve years of her misery: guilt, worry, daydreaming, trying to find out from books what no one would tell her.

 -She unbuttoned her blouse and tossed it into the hamper. I don't seduce teen-agers, she continued her mental inventory, I don't pick people up, I'm not promiscuous. I tell the truth and pay my bills promptly. I do an honest day's work in return for my pay. They ought to have a better name for people like me.

-If you have enough love, you don't need psychiatry.
 
-...but there were things that friendship didn't cover. She needed someone to dedicate herself to, someone to become involved with. She needed to be first with someone.

 -An office, like a home, has a climate of its own. It's dominated by the emotional content of the people who spend their time there.

- But even more than any physical relationship she wanted somebody who would come first in her life. A girl who would be more important to her than anything else in the world, a love that was emotional and spiritual as well as physical

-You've got it bad, she thought scornfully. Where do you think it'll get you? Carrying the torch for a girl who doesn't even know the score. How adolescent can you get?
 
-The solution was to find a good steady girl, who wasn't frigid or alcoholic or any more neurotic than the average run of human beings. Somebody warm and intelligent who would be glad to settle down and make a home. This would be about as easy as finding uranium in the back yard.
 
Valerie Taylor's novels ended up happily more than not, especially compared to her contemporaries at the time she was writing. She became instrumental in helping start one of the first equality rights groups in the country and in 1965 she met and fell in love with the woman with whom she'd spend the next decade. 
 
When her partner wound up seriously ill in the hospital, Taylor was not allowed to visit her and never got to say goodbye to her before she died. Heartbreaking incidents like that still happen to this day and is one reason gay people fight so hard for the most basic of rights. I can think of fewer things more tragic than to be denied the chance to be with your loved one when you most need each other.

Sometimes, the way people see us is not the person we are inside. We may appear idiotic, unattractive (I refuse to use the word "ugly" because it is such a mean, nasty word), even pointless. 

We may seem that way because we are just so bad at human interaction. We'd be better off never having to be around other people and yet we actually do like them. What we end up doing is not always what we set out to do. We try to fake it until we make it and often come up short.

I used to think having good intentions was enough but now I realize that's just not true. People aren't mind readers, they only have our actions to go by. 

They don't know the reason we might not be able to talk coherently with them is because we like them, not because we don't. It's always been hard for me to grasp (and frustrating) that the more I care about someone or something, the more I tend to flub what I most want to go well.

Terrified of saying something stupid, we can avoid them completely and be rude without meaning to be. There are occasions when it feels like I have lost the will to try with certain people because I realize (hopefully, not too late) that they just don't care for me and we are never going to be friends. I learned in high school the horrible consequences of trying too hard to win someone over.

Ever since I was a little girl I've been most comfortable away from others. Teachers tried to help and my parents were always telling me to stop reading and go out and play. I didn't like the real world, only the one in between the pages of a book.

When I was about ten years old, my grandfather put a copy of Dale Carnegie's How To Win Friends & Influence People in my hands. Whether breaking out into Elvis songs or grabbing an unsuspecting dance partner out on the floor, he had a way about him that suggested there was no one he was not comfortable being around, at home or parties. He could have written the book himself.

I didn't want to disappoint him so I did end up reading it, though I honestly don't think it helped much. I don't want to "win" friends or influence anyone. I just want to feel comfortable around people and not have to fake a way past my shyness, which I still have to this day.
  
(p.s. By "we," I really mean me. Most people I know have their acts together and if they don't they're doing a great of job of pretending they do.)

Sunday, September 21, 2014

Sunday odds and ends, throughout the day...and on Monday

Who knew there is a small subset of self-help books that focus on using parallel universe theory to greatly improve your life? 

As hokey as it sounds it's definitely not boring...and (if it were real and worked) would be kind of nice to channel the positive aspects of an alternate version of you into this you. Instead of wondering whether there is another you somewhere out in the universe, you could be the person here.

I'm a bit ashamed to say I bought this for my Kindle, but the quantum physics-fascinated part of me just had to...and the part that likes to think somewhere I'm getting it right better than I am here. I

It's too soon to say good things, though. The author is using lots of science, but so far real world application of this seems pretty flimsy.




From the 2014 Fall Season Preview in the Wall Street Journal:

"I love to cry, and I love music that makes me really vulnerable. I like coming out of a show feeling ripped into a million pieces. When music can do that, then it's just an amazing thing."-Laurie Anderson

http://online.wsj.com/articles/35-new-yorkers-share-their-fall-arts-entertainment-picks-1411078936


Sunday turned out to be a busy day and I still haven't read the papers, but I am excited about some of the new tv shows ("Gotham" airs tonight at 8 on Fox), though these reviews make they seem "iffy."(I do love this part of the review for "NCIS: New Orleans;" it's absolutely true>>Scott Bakula is one of our great underrated TV resources.)

 http://www.hitfix.com/whats-alan-watching/fall-tv-reviews-scorpion-forever-ncis-new-orleans

For more reviews, including one for "Gotham," read here:

 http://www.tvguide.com/News/New-Fall-TV-Season-Reviews-Gotham-Sleepy-Hollow-Forever-Scorpion-1087342.aspx

Saturday, September 20, 2014



'But it wasn't safe to have dreams like that...that hurt too much, that cut to the quick in all the wrong places. The futility, the hopelessness of it banged like a cymbal inside her skull.'-Randy Salem



If you take away the horrible title and the oddly positioned figures on the cover, you've got the potential for a great book in The Sex Between. If you visit websites like Strange Sisters you'll notice that dozens upon dozens of lesbian pulp fiction titles were published in the 50s and 60s, most of them with the most outrageously lurid covers you could ever imagine, many of them actually written by straight men rather than genuine lesbians. If you go to the Kindle store, you'll also note that just a fraction of those have survived as bona fide worthwhile reads, written by women who truly understood what it meant to be gay in an era that condemned them as "perverts" or worse.

Though Randy Salem's T.S.B. is not the best "pulp fiction" I've read, it certainly is not the worst...and better yet, it speaks to the experience of being so different in the time of "love that dare not speak its name." I'm not sure which surprises me more about this book...the fact that the cover does not speak to its contents at all or that there is a happy ending. Maybe, in some way, the cover art was meant to throw people off from the fact neither woman is doomed to a life of unhappiness? I doubt it, but surely back then publishers did their best to titillate rather than educate readers on what it's actually like being gay.

Here Randy Salem introduces you to Lee and Maggie, two women who have known each other pretty much their entire lives yet have never told each other how they really feel. Lee, older and supposedly wiser, is sure Maggie would never return her feelings so she tries to be as content as possible with their roommate situation. Maggie also helps Lee with secretarial work and they live a fairly comfortable life together as friends and employer/employee. Lee is a love 'em and leave 'em type girl while Maggie has never been in love or in any kind of relationship, physical or otherwise.

Lee may be a jerk to all the other women in her life, but to Maggie she is quietly devoted, suffering in love from afar. Maggie looks up to Lee and discreetly manages to keep the chaos in Lee's life from snowballing. Only when intense meddling, in the form of family matriarch Kate, comes storming into their lives do things take a dramatic turn. What seems like tragedy that can only be met with futile resistance becomes so much more...with Lee and Maggie discovering things about themselves and family dynamics that are both terrifying and life-changing.

Having found much more substance and reflection in this genre by Ann Bannon or Sloane Britain, I couldn't quite warm to this 100 percent...nevertheless its ending had its own kind of power and Randy Salem chose wisely in having both characters become more than just stereotypes. 


Bad title and out-of-place cover aside (Maggie is nothing like the brunette on the cover), The Sex Between definitely deserved to be "rescued" by Cleis Press. The way each woman feels about the other and how everyone in their lives disapproves and tries to demonize their love deeply spoke to me, both the first and second time I read the novel.

You could ask what need is there these days for such books, but I'd have to counter: we very much still live in a world where gay people are demonized and lesbians suffer in silence with no family or friends to talk about things like this.

Friday, September 19, 2014

iTunes is currently giving away U2's new album Songs Of Innocence for free. Apple received a lot of flack for automatically placing it in the "purchased" section of every iTunes account holder.

Though I can understand the upset at such a presumptuous move, I am thoroughly enjoying the music. Amidst all the outrage and assumptions that something free can't possibly be any good are glowing reviews like the one below from Rolling Stone.

I have to say I think the album is their best in years! It's consistently good throughout, not at all spotty...lots of beauty shines through the Innocence.

No other rock band does rebirth like U2. No other band – certainly of U2's duration, commercial success and creative achievement – believes it needs rebirth more and so often. But even by the standards of transformation on 1987's The Joshua Tree and 1991's Achtung! Baby, Songs of Innocence – U2's first studio album in five years – is a triumph of dynamic, focused renaissance: 11 tracks of straightforward rapture about the life-saving joys of music, drawing on U2's long palette of influences and investigations of post-punk rock, industrial electronics and contemporary dance music. "You and I are rock & roll," Bono shouts in "Volcano," a song about imminent eruption, through a propulsive delirium of throaty, striding bass, alien-choral effects and the Edge's rusted-treble jolts of Gang of Four-vintage guitar. Bono also sings this, earlier in a darker, more challenging tone: "Do you live here or is this a vacation?" For U2, rock & roll was always a life's work – and the work is never done.--David Fricke

Read more: http://www.rollingstone.com/music/albumreviews/u2-songs-of-innocence-20140911#ixzz3DnYW6xLp
Follow us: @rollingstone on Twitter | RollingStone on Facebook

"Song For Someone" is especially wonderful...it's just so lovely I can't stop listening.

"Song For Someone"

You've got a face not spoiled by beauty
I have some scars from where I've been
You've got eyes that can see right through me
You're not afraid of anything they've seen

I was told that I would feel
Nothing the first time
I don't know how these cuts heal
But in you I found a right

If there is a light
You can always see
And there is a world
We can always be
If there is a dark
That we shouldn't doubt
And there is a light
Don't let it go out

And this is a song
A song for someone
This is a song
A song for someone

You let me into a conversation
A conversation only we could make
You're breaking into my imagination
Whatever's in there is yours to take

I was told I'd feel
Nothing the first time
You were slow to heal
But this could be the night

If there is a light
You can always see
And there is a world
We can always be
If there is a dark
Within and without
And there is a light
Don't let it go out

And this is a song
A song for someone
This is a song
A song for someone

And I'm a long way
From your hill on Calvary
And I'm a long way
From where I was, where I need to be

If there is a light
You can always see
And there is a world
We can always be
If there is a kiss
I stole from your mouth
And there is a light,
Don't let it go out


I was very wary of downloading the recently released iOS8 on to my iPhone 5s tonight, but now that the process is over I have no regrets. It took over an hour and a half to get it all working, but I didn't lose a thing (this has not always been the case with previous updates) so that's a huge plus right there!

What I like most (so far) is the Podcast app that automatically appeared. I've never done Podcasts before and became curious right away. I chose one with an Anjelica Huston interview from the Pittsburgh Hear and Now Show. (She's such a neat and nice lady and strikes me as very genuine and very intelligent. And when she talks of her late husband you can so hear the love in her voice.)

Then I discovered a Podcast all about Todd Haynes's cult film Superstar: The Karen Carpenter Story. I'm listening to it right now and it's not just about the movie itself (made with Barbie dolls in the late 80s and so eerie and sad I find it almost unbearable to watch) but about Karen herself...and her voice.

That podcast is called The Lost Picture Show with two British gents named John and Julian, one of whom loves the Carpenters as much as any Carpenters fan possibly can and the other for whom there could be very few tortures worse than listening to their music.

http://thelostpictureshow.com/

It may be nice to have podcasts to listen to late at night when it's hard to keep your eyes open, but  you're still awake anyway and the sound of a soothing voice gives you the illusion of not being alone.

I can't wait to discover and learn more.

Monday, September 15, 2014

Mondays are universally tough, or so it seems to me. Even the most upbeat of people sometimes want to postpone them. For me, even though I almost always love where I'm going to be going when I wake up on Mondays, I still need something to make me smile.

Mariachi bands make me happy, think of better times and futures ones I hope will happen someday. I don't care if it's authentic mariachi or samples of it in OMC's 1996 "How Bizarre," I get pretty much giddy, going on vacation in my mind since it's much cheaper and the chances of things getting out of control much slimmer.

Here are some bands to check out now:

http://www.mtviggy.com/lists/7-mariachi-bands-you-need-to-know-now/

Sunday, September 14, 2014

Thank you, Shuffle...



I'll take my smiles any way I can get them these days and for some reason whenever I unexpectedly hear "Got A Hold On Me" by Christine McVie I feel better. Not only does it have lots of feel-good vibes, it's just so darn bouncy you can't not smile. :)

I've always liked Christine McVie. Her voice may not have the character that Stevie Nicks's has, but it's still a very nice one (not bad "nice," but real nice) and "Songbird" (one of the prettiest Fleetwood Mac songs...prettiest songs, ever, really) is all in her court.

According to Songfacts:

Christine McVie penned the song in half a hour after she woke up in the middle of the night with the song in her head. She recalled to Mojo January 2013: "I got up and I wrote it on the piano."

I love the comments about the song. One Songfacts user writes that she sings it to her three-year-old to help her get to sleep at night.:

http://www.songfacts.com/detail.php?id=2182

And, as much as I love Stevie, it doesn't hurt to remember that Christine contributed a lot of good to the band too (so glad she's back for the current Fleetwood Mac tour!):

http://thewildheartrocks.wordpress.com/2011/07/13/10-great-fleetwood-mac-songs-that-are-written-or-sung-by-christine-mcvie/
 

Sunday paper snippets...


From this section of the New York Times Book Review ("Sara Paretsky: By The Book") I discovered another "new" author, whose books sound very intriguing:

Which do you consider the best detective stories of all time, and why?
Anna Katharine Green, for defining the consulting detective for the 19th century; Wilkie Collins, for playing with the form and transforming it; Dashiell Hammett, for reinventing the form for the 20th century; the Holmes oeuvre, for making detective fiction popular in both Great Britain and America; Amanda Cross and Lillian O’Donnell, for opening the door that enabled Marcia Muller, Linda Barnes, Sue Grafton and me to challenge the form in new ways.
 
What makes a good detective novel?
Believable characters first, a good story, an understanding of how to pace dramatic action. I like commitment by a writer, to the form, to the story — there are lots of slick writers of crime fiction who aren’t writing out of passion, but for the market. They write good English sentences, but for me, the lack of commitment makes them uninteresting.


for the rest of it, just jump here:

http://www.nytimes.com/2014/09/14/books/review/sara-paretsky-by-the-book.html?_r=0

 
To get a free copy of The Leavenworth Case for your ereader go here:
 



Girl Defective continues to haunt...

Girl Defective is the kind of novel that continues to beat in your soul long after you've finished it. I absolutely loved the characters, the story, the love, but I also adored all the music references and jotted down almost every song referenced.

I re-discovered some favorites and found some "new" to me. Tim Hardin's "It'll Never Happen Again," for instance, is one track I pulled up online right away to listen to, then bought off iTunes because it's so achingly beautiful. As Sky says, "the mournful piano was like a finger prodding me."

Some people cite High Fidelity as their favorite music-infused novel. I mean it with all sincerity when I write that Girl Defective pretty much topples that to the ground. It's more heartfelt, more earnest and, in a fiction world where record collectors and music lovers are almost always guys, it's nice to have a girl be the main character.



"Music was everything: the whole stinging, ringing pulse of being human was in here."
 


This drawing is from Dickens' Bleak House and done by Hablot Knight Browne (I love that name!) way back when the novel was originally published in serial form. I look at it and find odd comfort and can't get over how much the shading adds to the mood, makes the picture so powerful.

The way Caddy Jellby is leaning against the mantel is so modern, reminding me that body language is universal and timeless. I'm not a big Dickens fan, but I do so love Bleak House.
 
As I sometimes do when I can't sleep, I wander out into my living room and look at all the books on my shelves and know that even if I never slept another night in my life there still wouldn't be enough time to read novels new to me or revisit the careworn ones.
 
When you love books a lot, sometimes you just have to find comfort in their presence alone and not worry that you'll never get to them all...



Saturday, September 13, 2014


Paloma Faith's "Can't Rely On You" is the perfect Saturday night song to get you out of a slump.
 
I first read about the album it's off of (A Perfect Contradiction) in the new October issue of Curve magazine. Music reviewer Kelly McCartney calls the cd "a thinking woman's dance music."
 
Channeling a bit of Donna Summer with some Amy Winehouse and vintage Motown, A Perfect Contradiction's only fault is that it doesn't drop until its American release on October 7th. I don't think I can wait that long to buy the rest of it. "Can't Rely On You" has been on repeat several times tonight.
 
Nylon magazine also sings its praises:
 
It might be criminally early on a Wednesday morning, but we have just the thing to drag you out of bed....and that's Paloma Faith's new album! Musically or otherwise, the English singer, songwriter, and actress stands out in everything she does. It doesn't matter if she's performing or sitting front row at Burberry (which she did a few weeks ago), this is a lady who's hard to miss.

Her statement retro style, her two-tone hair and defined brows might catch your attention at first, but it's her seriously powerful voice that will keep you captivated. These chops are especially evident on her third LP, A Perfect Contradiction, which is stocked with irresistible dance numbers that have major heart. Drawing influence from R&B, disco, and soul, the slick release is a unique mishmash of eras and inspirations. They might be hard to pinpoint (Amy Winehouse? Billie Holliday? James Brown? The list goes on....), but this genre-skipping sensibility keeps things interesting.

Clearly we're not the only ones obsessed, because Faith enlisted Pharrell to lend his golden touch to the lead single, "Can't Rely On You." The spunky track is the perfect intro to the LP, which Faith describes as, "'if it's all gone to s***, f*** it, let's have a dance' kind of record."
 
You can listen to her right here:


Insomnia can be wonderful (almost) until it becomes useless. You can't sleep, but you can't think, either. You have two books on your nightstand you're dying to read, three more on your Kindle and you still haven't caught up with the Sunday papers...that quiet, free time beckons, but it's pointless, because you haven't slept well for nights and it feels like you have bananas for brains.

Even so, I picked up Kate O'Brien's As Music And Splendour at 4 this morning and found myself enraptured with Anne Enright's lovely introduction. Normally, I read forewords after I finish a novel because often plot points are revealed or reflections that make more sense in the story's aftermath.

Mostly, though, Ms. Enright writes of two of the novel's most critical elements: love and music.

 -that all love is impossible, that it fades as you try to grasp it. 

-And still, the music yearns and insists that love is possible so long as we are true.

Now, that I am into the book (first published in 1958) my only frustration is in finding the time to read it all in one sitting. Maybe it won't be so bad if my insomnia strikes again tonight.



Friday, September 12, 2014


 
There is nothing quite like listening to David Bowie's dreamy and beautiful "Heroes" in German. I love the song so much, no matter whether he performs it in English, German or French. This is the story behind it...
 
 (from Songfacts) :
 
This song tells the story of a German couple who are so determined to be together that they meet every day under a gun turret on The Berlin Wall. Bowie, who was living in Berlin at the time, was inspired by an affair between his producer Tony Visconti and backup singer Antonia Maass, who would kiss "by the wall" in front of Bowie as he looked out of the Hansa Studio window. Bowie didn't mention Visconti's role in inspiring this song until 2003, when he told Performing Songwriter magazine: "I'm allowed to talk about it now. I wasn't at the time. I always said it was a couple of lovers by the Berlin Wall that prompted the idea. Actually, it was Tony Visconti and his girlfriend. Tony was married at the time. And I could never say who it was (laughs). But I can now say that the lovers were Tony and a German girl that he'd met whilst we were in Berlin. I did ask his permission if I could say that. I think possibly the marriage was in the last few months, and it was very touching because I could see that Tony was very much in love with this girl, and it was that relationship which sort of motivated the song." (thanks, Michael Lloyd - London, England)
 
Some people dispute the fact that Bowie would have had this view of the Berlin Wall, but Hansa Studio moved its location sometime after "Heroes" was recorded.
 
 
more on "Heroes" here:
 
 
and here:
 
 
 
from designlov.com



"Heroes"

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can beat them, just for one day
We can be Heroes, just for one day

And you, you can be mean
And I, I'll drink all the time
'Cause we're lovers, and that is a fact
Yes we're lovers, and that is that

Though nothing, will keep us together
We could steal time,
just for one day
We can be Heroes, for ever and ever
What d'you say?

I, I wish you could swim
Like the dolphins, like dolphins can swim
Though nothing,
nothing will keep us together
We can beat them, for ever and ever
Oh we can be Heroes,
just for one day

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can be Heroes, just for one day
We can be us, just for one day

I, I can remember (I remember)
Standing, by the wall (by the wall)
And the guns shot above our heads
(over our heads)
And we kissed,
as though nothing could fall
(nothing could fall)
And the shame was on the other side
Oh we can beat them, for ever and ever
Then we could be Heroes,
just for one day

We can be Heroes
We can be Heroes
We can be Heroes
Just for one day
We can be Heroes

We're nothing, and nothing will help us
Maybe we're lying,
then you better not stay
But we could be safer,
just for one day

Oh-oh-oh-ohh, oh-oh-oh-ohh,
just for one day


 

This book is magic...

"Sometimes I thought if it wasn't for music, I wouldn't be able to cry or laugh or feel giddy or wild. Music was a valve."


This is the kind of book that is so good you're afraid to write a review for it in case you fail it miserably. Until I can get my thoughts together properly this is all I'll say: anyone who adores genuine, quirky and very likable characters, anyone who appreciates the beauty of vinyl and just how powerful music is...Girl Defective is for you.

Of the two covers, the bottom one most definitely captures the spirit and humor of the book. It's like the artist of the top cover didn't even read it! (Argh!)

....

So it's a day later and I still can't do Girl Defective justice...
Kirkus captures it pretty nicely :)

KIRKUS REVIEW


Skylark Martin lives above her family’s vintage vinyl shop that—like its merchandise—is an endangered species in their re-gentrified, forward-looking Melbourne suburb.

In the five years since Mum left to “follow her art” in Japan, Dad’s kept the shop going, drinking homebrew and mourning the past (musical and otherwise). Sky, 15, and Gully, 10, aka Agent Seagull Martin, who wears a pig-snout mask 24/7 and views the world as a crime scene waiting to be investigated, hold down the fort. Sky harbors no illusions about their dreary status quo—Dad’s drinking, Gully’s issues, her own social stasis—but she does have dreams, recently ignited by a new friend, the beautiful, wild and fearless Nancy.

Other agents of change include Eve, Dad’s old flame, and Luke, the shop’s attractive, moody new hire. Drawn, mothlike, to Nancy’s flame, Sky’s dreams are haunted by Luke’s sister, whose similarly wild lifestyle led to tragedy. The family business grounds Sky. Its used records and cassettes, like time capsules, store music that evokes the past’s rich emotional complexity for the Martins and their quirky customers, while the eternal present and frantic quest for the next big thing hold no appeal.

 Funny, observant, a relentless critic of the world’s (and her own) flaws, Sky is original, thoroughly authentic and great company, decorating her astute, irreverent commentary with vivid Aussie references; chasing these down should provide foreign readers with hours of online fun. (Fiction. 14 & up)

Wednesday, September 10, 2014


In all of the inner turmoil I've ever experienced with being gay it comes down (basically) to this: how much of myself do I have to scrape away before I'm "acceptable" to the people who most hate "what" or "who" am I?

To function in the work world and other places, I pretty much shut up about that part of me (which is not much of a hardship because that is just a small part) except for how I hate lying when I'm directly asked, which doesn't happen often.

I have had people found out about me, only to have them never look me in the eye directly after that or (in some cases) just stop talking to me altogether.

This happened again very recently and I am still hurting over it, especially since they brought up the conversation and I chose to be honest. Lying, apparently, for some people is much more acceptable than homosexuality.

Even though he's not writing about it here at all, I think of Shakespeare, though I have no clue whether he would support gay rights or not if he were around today. In the Merchant Of Venice there is this well-known passage:

"I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die?"

People who are gay still do all the things straight people do. You know: buy groceries, shop for shoes and clothes, go to the dentist, take the car into the stop, care about their families and friends.

Most of us have a "lifestyle" that is no different than straight people's...but the word "lifestyle" (a popular word choice among rabidly anti-gay politicians so they can create fear and visions of things gone amuck) certainly has no bearing on gay people who remain celibate or remain committed to just one person their whole lives together.

I think of what I'm willing to do to please the people in my life who are so anti-gay they will only have me as part of their lives if I am who they want me to be. When these people are my parents, whom I love a lot, it's so unbearably difficult.

There are some things about me that I always thought I'd change in a second if I could...the physical things that keep me single, the emotional things (like shyness) that help me fade away when it comes to being datable and finding love. Now I wonder if maybe they are actually blessings, a weird kind of double protection, to go with the determination and old-fashioned beliefs I already have.

One of the few "ex-gay therapy" philosophies that comes as close to non-offensive as I've ever seen centers around this:

Singleness is not a sin.

The site (Christian Answers) goes a bit further and enters territory I don't like ("The opposite of homosexuality isn't heterosexuality, it's holiness."), but at least the man who espouses this belief gets that you can't "make" someone gay become straight.

I hope that I can promise not to write much more on this, at least not for a while. Really, I'm okay with being single, I'm okay with doing as much as I'm humanly capable of to make my family happy, but the one thing I can't do (something I don't think anyone can do) is make myself feel things I don't.

It's hard enough denying your own, very real emotions without trying to fabricate new ones that just won't come. I know it's not politically correct to say this, but I would gladly be straight if I could be.

What person would want to risk losing their family, their friends and others they respect? Love is wonderful, it really is, but whether it's one-sided or reciprocal, it's hard to be in love in a world that so clearly has its set rules on what it thinks it is and isn't.

More on this can be read at the link below. I don't agree with everything, but I do like that there is some understanding and compassion:

http://www.christiananswers.net/q-cross/cross-gaychange.html






After reading an upbeat review for Celebrate: Greatest Hits in a an old-ish issue of Mojo I just had to check out the last Simple Minds release even though I haven't really thought about them in years. What a pleasant surprise this collection is!

There are the obvious 80s staples, of course, like "Alive and Kicking" and "Don't You (Forget About Me)" that still sound great decades later and there are the lesser known (at least to the casual fan) tracks that remain fantastic. "Love Song" almost sounds menacing with its relentless beat, but that's not necessarily a bad thing. "Let There Be Love" is mystical and mesmerizing, as pleasing as ever to the ear! Some songs, like "She's A River," don't hold up so well, but that's the rare exception.


Newly recorded highlights include "Stars Will Lead The Way" and "Broken Glass Park," both of which manage that rare feat of making a band you loved yesterday sound just as amazing today! You may not need to buy the whole album (diehard fans probably already have much of what's on here!) but if you're new to the band or haven't heard them in years, definitely give this a listen!

Monday, September 8, 2014

Glenn Miller, 1940. Associated Press

I'm just now reading the Sunday papers from this past weekend. I love this snippet from a WSJ article by James Ellroy on Glenn Miller's "Perfidia":

The song is about love and betrayal, and Miller's version fits this era perfectly. His rendition begins forcefully, all heavy brass. The reeds join, low and mournfully, with the clarinets on top. Then the Modernaires, the vocal group in Miller's band, sing the lyrics in tight harmony, like a whispered secret: "To you / My heart cries out 'Perfidia' / For I find you, the love of my life / In somebody else's arms." It's the song of the underdog.
 
Miller understood that music is elegiac. Other orchestras back then were hipper, but Miller knew that people would look back at "Perfidia" and say, "This is the Miller sound." He understood it was a romantic era.
 
"Perfidia" always takes me back to a time I never experienced—when L.A. had big gleaming cars and there wasn't a particle of smog in the sky. Women I know like the song, too. The sentiment is universal. It touches the gut of the jilted party and offers a supportive shrug. Hey, you love, you lose.
Amidst the sad and bad in the news world is this lovely story:

 http://jezebel.com/two-women-in-their-90s-wed-after-spending-decades-as-a-1631790801
via The Associated Press
http://globegazette.com/ap/state/two-iowa-women-get-married-after-years-together/article_c27bc39f-37ab-5c9c-a9c7-e17149d780ed.html


This line from the second article gives is so incredibly hopeful: "The two women say it's never too late for a new chapter in life." It would be nice to personally think so, not necessarily with finding love, but with life, in general.  :)

Sunday, September 7, 2014

There are certain singers whose voices soothe me so much I immediately feel better. Karen Carpenter (it goes without saying)...Stevie Nicks (even when she's not always the best enunciator, she still sounds so wonderfully wise and weary)...Carole King (Tapestry is an album that definitely makes a rainy day better)...Tina Turner.

Tina Turner has always struck me as a classy lady and one who is at peace with herself. She once said her greatest beauty secret was being happy inside.

Her voice is so natural, her singing both exceptionally controlled and often very mellow ("Better Be Good To Me" is a favorite and shows off her range quite well), I just peace out. Plus...I don't why exactly, but I bet she'd be a really neat person to share a cup of tea with sometime.


Saturday, September 6, 2014

Growl is definitely well-named. I have no business drinking this, but I didn't sleep last night and needed some caffeine. Little did I know just one of these little guys is worth four cups of regular coffee.

It depends on the individual, of course, but I would not recommend this drink. My anxiety, which can be off the charts anyway, is really high right now, my heart is beating extra hard and I feel more than my normal kooky. Plus, the taste (the one I got is called Sweet Vanilla) is on the yucky side (as if it didn't finish brewing and there are still coffee grounds in it.)

As the day went on, I only felt worse and I didn't like how extra-worried and hyper it made me. Well, "made me" isn't the best of choice of words since I'm, of course, responsible for my own behavior but I still felt so completely off that I did not like it all. I even felt a bit mean inside, like the "growl" stood for monstrous. Again, that's my fault, but I think it's best to avoid anything that doesn't agree with you. I don't want to be mean, I want to be nice and I don't think I was today.

So now I'm sipping Sleepy Time Celestial Seasons (it is so relaxing!) and hoping to be a better person tomorrow. I really need to switch all the way to tea.

Friday, September 5, 2014

Honestly, I have such mixed feelings about Flannery O'Connor.

On the one hand, the woman could write short stories unlike anything else around...and often about things she had no personal experience with...on the other, her feelings on gay people (though to be as fair as possible, I'll add that she felt any love not directly tied to God was "perverse") and civil rights (little as we know about those feelings) make me cringe a lot. (When a friend of hers spoke of being committed to the civil rights movement, O'Connor responded by telling her racist jokes.)

Her recently published A Prayer Journal shows a woman of devout faith, yet it is this kind of faith (that comes from a woman of such narrow, sanctimonious and often prejudiced views) that confuses me. How can someone who writes:

I do not know You God because I am in the way. Please help me push myself aside. I am mediocre of spirit but there is hope. I am at least of the spirit and that means alive.

be the same woman who would react to a friend's news that way? Be someone so judgmental of others who do not share her beliefs?

I often feel so mixed up and torn with guilt inside when I find out a writer I once truly enjoyed is not whom I thought she (or he) was.

Of course, it's still easier and different with people you can easily put away (i.e. authors, musicians, actors or actresses) but what do you when people in your own life feel a way that appalls you? Then, it's not so easy to put down a book or turn off a song, especially if you like them before you learn of their views...

For more from Flannery O'Connor's A Prayer Journal, you can read here:

http://www.newyorker.com/magazine/2013/09/16/my-dear-god




from moviefanatic.com
Seeing L.T. Smith's newest novel released sooner than expected, I couldn't hit one click on Amazon fast enough. As I have with her previous novels, I got a bit giddy with how hilarious and deep down good Still Life is, both in style (the language is a character all its own) and story (a complex roller coaster of a ride, always pulling you in.)

No one gets the wonders of emotion and "does she or does she not like me?" like L.T. Smith does. And the vulnerability of her main characters is very touching and a huge bonus. They can also be adorable without being precious and their self-doubt rings so true it can be absolutely heart-breaking.

You want to quietly scream at Jess (the center of Still Life): "You're an idiot; can't you see she likes you?" Then you remember what it's like to think (even know) that you could never be liked back by that special someone...and, of course, there's the simple fact it's fiction (where chances are much higher unrequited love will turn out to be very much requited) and the reader is able to step back and see things differently than the characters do.

Besides the sweetness of it all, there's the uncomfortably relatable, where you feel like L.T. Smith knows exactly how you feel and you know immediately she just gets it, gets that horrible and beautiful jumbled mess of liking someone a lot:


"I wanted to not feel the way I did, wanted to not like Diana Sullivan as much as I did. I really wanted to hate her, even just dislike her intensely, but it wouldn't come....I felt as if I should fill the void, but I couldn't drag anything from the depths to help me out. I was nervous, apprehensive, expectant, yet not. The silence seemed to drag and drag, and I was as useful as a chocolate teapot. I wanted to blurt out that I liked her--just so she'd know. No strings."

"No strings." That part is my favorite. If only you could tell someone how you really feel, just say it once (and quickly), then that would be it. No strings, not a single one, would be attached.

All in all, I thoroughly enjoyed Still Life, though I would have loved the opportunity to have a geeky bookworm type (coke bottle glasses and all) be the object of someone's love and lust. There's a rather comedic moment in the beginning of Still Life when Jess Taylor thinks the voice that enchants her from the other side of the room belongs to a woman who looks exactly like Professor Sybil Trelawney from the Harry Potter movies.

Because of my own hang-ups about how looks are portrayed in books, film and even pop music, I actually felt a flicker of hope that finally a character in a romance novel is non-traditionally attractive and might actually have physical character to her face. Not only does she turn out to not be the woman with the wonderful voice, Jess is relieved to discover the voice belongs to Diana Sullivan, whom she refers to as "gorgeous" several times throughout the book.

But Diana, thanks to a writer who always sees beneath the surface of things, turns out to be far more than a pretty face and the reader gets a funny and delightfully endearing love story full of see-sawing emotions that give it a painful and poignant rawness. L.T. Smith's characters have a philosophy of love (*see below) that makes one sigh extra hard, which is absolutely everything you could want until you have to return to reality after finishing the last page.


*"If I had to choose between the erotically charged encounter we had shared the previous evening and the one I was now experiencing curled up on the chest of the woman I was falling for, I would have been hard pushed. Cuddling was delicious intoxicating, but in the most ethereal way imaginable. I believed I had waited all my life to experience that feeling. I was home. This being together was home. She was home. My home."