When I was more actively pop culture blogging in my 20s, the end-of-year reports were obviously one of the big highlights.
What was the best music? What were the best movies?
Much of this list-making was performative and ego-based, of course—wanting to appear to have seen and heard the smartest and coolest stuff, to have the “right” opinions on it all, to be unassailably in-the-know, to be safely elevated as some kind of taste-maker even if it was just to my tiny band of followers and friends.
The ego of this wasn’t only to receive praise, to want to, as our dear departed Carrie Fisher once put it, “be the greatest person you ever met…to explode in the night sky of your approval.” There was also the ego-based need to assert some kind of usefulness in the world, to make myself somehow indispensable so that I wouldn’t be so easily cast aside and forgotten.
If you’d asked me at the time about why I wrote about the stuff I wrote about, I probably would have said something to the effect that I just hoped my reviews would be useful to someone, that I hoped they might introduce someone to a piece of art that they would deeply connect with and love, or that I might steer them away from something that would offend, disturb, or disappoint them.
The thing that I never could have admitted, though, was that I also wanted desperately to be given credit, forever, for that service. I wanted to be assured of my worth, to essentially be some kind of helper animal wearing a t-shirt or harness announcing my centrality to the smooth working of the world around me, announcing that I was engaged in doing a very important job, so that I could combat my terrified suspicion that I was, in fact, inconsequential, not only to the wider world but also to those who were kindly but most likely lying about loving me.
Come for the pithy one-liners about George Clooney, stay for the darkly desperate tap-dancing for validation!
Not dissimilarly, as far as searching for my unique place in the cosmos, this year-end list-making always had a touch of the metaphysical or mystical to it. (Perhaps invisibly, but it was folded in there for me at least.) Somehow I thought that the art that I’d consumed over the past twelve months was some sort of oracle that, when regarded as a whole, could teach me about myself, where I’d come from and where I was headed.
I think it’s no coincidence that I eventually ended up in a clairvoyant training program whose whole method entailed teaching students to describe the pictures that they saw in their own minds’ eyes. I think this must be why I took to my psychic abilities so naturally—seeing and reporting on the details and vividness of clairvoyantly received images was, for me, basically exactly like seeing and reporting on the details and vividness of scenes in a movie.
As a film student and amateur critic, I never had a head for plot. Logical contradictions or absurd suspensions of disbelief or internal consistency meant nothing to me. It was all about vibe, emotion, meaningful rhymes with other films in the genre or director’s body of work, subtle betrayals of stated meaning revealed by a carelessly chosen bit of mise en scene or dialogue.
Almost as soon as I recognized this, I shut that blog down.
Partly, yes, it was because I’d been writing there for nearly six years and was simply getting bored with it. Partly it was because my life had become busy in a way that didn’t afford me the time to write there on any kind of regular basis anymore. Partly it was because that busyness also meant that I didn’t have time to see as many movies or go to as many concerts as I used to, hence eliminating the fodder I would have written about anyway. Partly it was because I was finally ensconced in several communities where I had actual, real people to talk to on a regular basis so that I didn’t have to shout into the void of the internet as desperately in order to feel like I had someone, anyone, to communicate with.
But, undeniably, partly it was also because I was getting a purer hit of the drug, so to speak—rather than reading pictures at a remove via a director’s art, I could read the pictures that I was seeing with my own inner vision just by being awake and alive in my own everyday life.
All that being said, it blows my mind a bit that I’ve seen so few films this year. (Or in the past several years, really.) I still get a huge thrill out of going to the movies; I still treasure them as an art form that even well-regarded serial television will never duplicate or replace; their visuals, at their best, still enhance and inform my own inner visions. Even though the stuff I have seen would hardly be considered important or essential or somehow defining of the year just passed, I greedily treasure every moment that I spent dreaming, wide awake, in the dark.
To the best of my record-keeping ability, I’m pretty sure this is everything I saw since January, both first run and revival:
Chimes at Midnight
Superman vs. Batman
Born to Be Blue
Captain America: Civil War
The Seventh Seal
Love and Friendship
Stranger than Paradise
The Red Shoes
Older than Ireland
Star Trek Beyond
Lo and Behold: Reveries of the Connected World
The Magnificent Seven (2016, dir. Antoine Fuqua)
Queen of Katwe
I think a lot about an interview that Quentin Tarantino gave a little over a decade ago where he said,
A movie doesn’t have to do everything. A movie just has to do a couple of things. If it does those well and gives you a cool experience, a cool night at the movies, an emotion, that’s good enough, man. But movies that get it all right are few and far between. It got to a point in the ’80s when you didn’t even hold a bad ending against a movie, because every movie had a cop-out ending. If you were going to hold bad endings against movies you’d never have liked anything.
Maybe I’d always agreed with that assessment without having had the words to say so. Or maybe I just read that quote at the right moment, while my own tastes and filters were still at the outside edge of being moldable. Nevertheless, I deeply agree. And I make it a point to try to identify those couple of things that a movie does well every time I watch something. Both so that I don’t feel like I’ve wasted my time and money if I happen to see a movie that didn’t particularly appeal to me, and, more cosmically, so that I feel like I’ve made some small attempt, in my own way, to honor the time, effort, and talent that went into making even a subpar film.
Here, then, are a couple of things that have stuck with me the most, from the small selection of what I’ve listed above.
“No! For sport!”
Werner Herzog, at this point, is not only a complete parody of himself but also one of the few remaining directors whose films I will see without question, regardless of whether I’m inherently interested in the subject matter or not. Lo and Behold was tremendously spotty, thanks to both his own pushy first-person intrusions and a few of the vignettes that devolved into holier-than-thou condescension (the bits featuring the family who professed that the internet was the work of the devil and the kids in the rehab facility for game addiction most especially).
But, as ever, there were beautiful moments of humanity revealed. Ted Nelson’s glee near the beginning when Herzog credits him for the elegance of his conception of how hypertext links should have worked was breathtaking in its innocence. But the moment I find myself replaying in my mind again and again is when notorious hacker Kevin Mitnick is concluding his story about worming his way into a major communications company, basically just by making a series of exceedingly polite telephone calls. Herzog asks him something to the effect of, “why did you do this? For malicious reasons?” And Mitnick instantly shouts back, “No! For sport!” with a passionate purity that totally knocked me out. That, to me, is on a par with Philippe Petit walking between the towers of the World Trade Center on a high wire, just for the useless beauty of it, just because he, alone, could.
The last three minutes of “The Magnificent Seven”
Embarrassing admission time: I’ve never seen The Seven Samurai nor John Sturges’s The Magnificent Seven. But, I had an unexpected evening to spare this fall and the 2016 Magnificent Seven remake by Antoine Fuqua happened to be playing at the movie theater around the corner from my apartment and I liked the casting enough that I figured why not catch it. So, though the film student in me is dying a humiliating little death right now that I can’t do a proper compare/contrast with the older versions, I’ll just say that the whole point of this particular movie was its final (approximate) three minutes.
After the savagery of the final gun battle, who remained? Among a town now populated and left to be led solely by women, children, and old or somehow infirm men, one young (white) boy looks up to watch the heroes of the day riding off into the horizon. And who were those heroes? A black man, a Mexican man, and a Native American man. This is what I mean about the power of movies to inspire, enhance, and inform our own inner visions—I want to live in that world. I perceive the necessary inevitability of that world. A world where it is unquestionable that young white children should be able to see and know, at an early and formative age, men of color who are heroic, who are depicted as survivors, as powerful, as worthy of emulation and inspiration.
“I shall remember this hour of peace, the strawberries, the bowl of milk, your faces in the dusk.”
Further embarrassing former film student admissions: I’d somehow never seen The Seventh Seal before this year. But, as I am lucky to live near the Music Box Theatre, where I can easily see classic films, on a big screen, on a regular basis, I was able to catch it at a matinee with some friends over Memorial Day weekend.
No one ever told me how genuinely funny this movie is! Having only seen Persona in a feminist film class at Indiana University, I was in no way prepared for the genuine delight woven throughout what popular wisdom led me to believe would be another Very Serious and Important Art Film. (No one ever told me what a babe young Max von Sydow is either.)
And of course the hinge on which the film rests is the incredibly tender strawberries and milk scene.
In about nine short minutes it manages to hit all of my emotional buttons in the way that it celebrates an ephemeral moment of beauty and intimacy among an improvised group of friends and chosen family.
In that spirit, I thank you for sharing time and sweetness, even for just a few moments, with me here.
1. Rock music has, stylistically and technically, never moved beyond Jimi Hendrix. Fact.
2. My dad was a keyboard player with a trumpet fetish who mainly listened to jazz, show tunes, and doo-wop around the house, so I actually grew up hearing very little guitar-centric music. The hair metal bands of the ’80s were mainly heard through maxed-out sound systems in cars speeding past the busy intersection where our home was located. As a child, I found those sounds off-putting, if not downright frightening. The ’90s grunge bands, to me, were even worse, all the moreso because my angsty younger brother adopted Nirvana as his band and would play their albums at deafening volumes in his room. Prissy teenage do-gooder that I was, I fucking haaaaated it. In subsequent years, my brother was eventually inspired to pick up an electric guitar of his own, and my dad optimistically viewed this as their chance to bond over music the way he and I had previously bonded over the piano. In one of his finer and more sensitive moments of parenting, he chose not to criticize the grunge that my brother loved but instead attempted to merely enhance his CD collection with recordings of other great electric guitar players. To this end he’d purchased a copy of the Hendrix compilation Jimi Hendrix: The Ultimate Experience for my brother at some point, but for whatever reason, I dubbed it onto cassette and adopted it as my own.
3. Mainly, I remember driving myself back to Indiana University after some vacation or other and listening to the tape in the car on my way down. The comp is paced really thoughtfully, and I remember getting toward the end and hearing his live recording of “The Star-Spangled Banner” in its entirety for what was probably the first time. I was stuck in traffic somewhere on I-465 and just sat there sobbing my eyes out.
4. After college graduation, I spent a few months bumming around Seattle, living with a dear friend who’d recently moved there for a job as a sales rep with Samsonite. The Experience Music Project Museum (now officially known as MoPOP, I guess) had just recently opened and we were eager to check it out. In one of the first exhibits that we walked through, there was a display featuring Jimi’s handwritten lyrics for “Angel.” I cried standing there in front of it.
5. Thanks to all this, it got to the point where I both considered myself and was known as A Jimi Hendrix Fan.
6. Another good friend gave me a couple Hendrix CDs for either my birthday or Christmas one year. He was a devotee of Eric Clapton and so affixed handwritten speech bubbles onto the covers that said things like, “Allison! Hey, baby. I’m just practicin’ to get better than that dandy Clapton.”
It was cute and it made me laugh but was also one of those does-not-compute moments for me. Like, literally? There are people in the world who actively prefer Clapton to Hendrix? And not only just “people” in the abstract, but one of my best friends?? How is there any contest or comparison between them at all? As Charles Shaar Murray puts it in his book Crosstown Traffic: Jimi Hendrix and Post-War Pop:
Eric Clapton, on the other hand, played the blues something like Vladimir Nabokov wrote English: with the masterful formal grasp of one who has studied so intensely that he learns the rules of his chosen language or discipline to a far greater extent than many who have always simply assumed them and instinctively operated within them. Like Nabokov—and, for that matter, like Joseph Conrad and Jack Kerouac, both of whom came to English from, respectively, Polish and French—what Clapton was able to create and express through his acquired outlet was both a revelation to and an influence on many native “speakers.” Yet the cultural distance which provides perspective also imposes isolation; and in an art form where nuance is all, sterility is the almost inevitable result.
7. Stupidly, though, I think there were times that I actually forgot Hendrix was primarily revered as a guitar player. Because I actually really loved his singing voice. I know he didn’t consider himself much of a singer and credited Bob Dylan with giving him the courage to utilize his own perfectly imperfect vocals. But, partially because I was a singer myself and partially because I didn’t have much frame of reference for what made him such a uniquely gifted guitarist, I really gravitated and responded to the good humor, ease, and mysticism in his voice.
8. In my early days working as the editorial assistant at my day job, I found myself doing some light production work on Greg Tate’s book Midnight Lightning.
Tate’s writing totally blew my mind, but the bit that really knocked me out was this quote from Albert Allen about Hendrix’s death:
While the other type of sleep, the light sleep is coming upon you, there’s two sockets where you can go into. One socket is death and one socket is the socket to live. I think they call that an “alpha-jerk.” An alpha-jerk is—have you ever felt as though, “Oh wow, I’m going into the wrong hole here”? And you really feel funny, like that’s possibly the hole to die. And the other side is to go ahead and sleep and get into your subconscious and whatnot, which we normally go into. I believe that Jimi, possibly, could have got into his alpha-jerk field and it kind of felt groovy to him because he was high, slightly high, and he said, “Damn, I’m Jimi Hendrix, I wonder if I can die?” And the alpha-jerk came on him and he just said, Fuck it, let me try the alpha, and slipped on out.
9. In early 2011, I’d been singing with the band Tiny Magnets for about a year. In part because we were such a guitar-driven band, I found myself, perhaps naturally, listening to a lot of Hendrix. I’d dump a couple of different comps and maybe Are You Experienced into a playlist on my iPhone and would set the tracks to shuffle. One day on my commute to work, “Can You See Me” somehow came up twice. And then a day or two later, I went to see a friend’s band play at the Empty Bottle and one of the other bands on the bill covered “Can You See Me.” “That’s weird,” the bass player in my band—another huge Hendrix fan—laughed. “That’s not really one of his songs that gets played that often.” We left rehearsal together one night soon thereafter and saw, in an otherwise un-graffiti’d alley, a stencil of Jimi’s face on the garage door across from where we were parked.
11. I was about six months into my formal training as a clairvoyant at that point, so I had no choice but to go into psychic meditation about all these signs and coincidences. And I discovered, with no small amount of incredulity, that Jimi kept showing up because he wanted to be my spirit guide (or tutelary ghost companion). “Hi, Jimi,” I welcomed him, deciding it was best not to let my own energetic signature slip into fawning fan girl mode. He came and sought me out, after all; I thought it was only polite to stay cool, acknowledge his presence, and carry on as equals.
12. Mostly, I called on his spirit whenever I went to band practice. He, quite naturally, loved the noise, loved the energy, and I felt that he just really missed the vibe and camaraderie that arose when a group of people were assembled to play, loudly, in a room together. It was a pleasure to invite his spirit to be present with us. We played really well that spring and through the summer when we recorded and released our album Time to Try.
13. As thanks and tribute to his spiritual influence on my life, I bought this gorgeous necklace to wear to my clairvoyant graduation:
14. My clairvoyant training ended in late September 2011, and Jimi’s energy kind of dissipated from my life after that. My band then ended up playing what would be our last gig in that four-piece configuration in late October.
15. I somehow don’t think the two of those things were unrelated. As much as we might long for him to stick around, Jimi always knows when it’s time to make an exit.
The building that my boyfriend and I moved into a little over a year ago houses an incredibly tight-knit little community.
A bunch of the folks who live there have owned their condos for years, if not decades, and we’re lucky to rent our place from a lovely couple who live just a short distance away in a different building that’s more convenient for them. They and the other long-time residents have welcomed us with incredible openness and for that we are grateful.
One of their most beloved events is the yearly summer barbecue that’s held in the backyard. A couple of the residents are majorly talented and dedicated gardeners, so in addition to the backyard simply being a lovely place to sit for a few hours on a weekend afternoon, many of the dishes made to share invariably include fresh vegetables grown on the premises—kale for salads, a variety of pestos and caprese salads made with recently picked basil, etc. Everyone usually invites over a few friends and other neighbors from nearby buildings for a true community-style gathering.
This year, we met a couple, mostly in passing, who live just around the corner. “By the way,” one of our downstairs neighbors nudged us emphatically, “they sell honey made by the bees they keep in their yard. Some of the pollen they gather probably came from the plants in this garden. If you see the ‘for sale’ sign in their yard, just ring the bell and they’ll sell some to you.” Our eyes grew big and greedy in our heads and we nearly started salivating at the idea of this fabulous-sounding treat.
For what felt like weeks after, we’d find any excuse to walk past the couple’s magical little home, hoping to see the “honey for sale” sign in the yard, to no avail. We were worried we’d missed out on the surplus completely. But one particularly gorgeous Saturday afternoon, I was coming home from getting my hair cut, and even though my route back from the train didn’t take me past their house, I felt the intuitive pull to go out of my way. As usual, my intuition was right on the money—the elusive sign was out front at last. I even had extra cash in my purse left over from the amount I’d pulled out of the ATM earlier in order to tip my hair stylist.
Barbara met me at the door after I rang the bell and she offered me a choice of different size jars and a choice of creamed or liquid honey. I happily opted for the biggest possible jar of the creamed honey and practically threw my money at her, so happy was I that she was home, that we’d finally connected, and that she was keeping freaking bees in the first place.
“Guess what I just did!” I howled in triumph as I walked into my apartment, raising the golden jar over my head like a trophy for my boyfriend to admire. We instantly headed to the kitchen and set upon the jar with teaspoons. It was, quite literally, the best honey I’ve ever had in my life. It’s delicately floral in a way that I’d never tasted before, even with other local honeys that I’ve bought or tried from the farmers’ market. And of course there’s that indefinable something that flavored it even more subtly, considering that the bees who made it did probably visit our yard and garden on their flights of pollination and considering that I’d just shaken the (sticky) hand of the woman who helped make it all possible.
Y’all, I fucking love living in Rogers Park, if that’s not already abundantly apparent.
So, in the spirit of that local honey, I’m just gathering some bits of sweetness for you this month, hoping the combination of it all might add up to something similarly surprising and nourishing.
I subscribe to a lot of newsletters and I buy a lot of natural products, but I could probably easily eliminate most of them as long as I got to keep Kings Road Apothecary. The newsletter that shopkeeper Rebecca Altman sends out on the weekends is beautifully written and filled with keen insights and observations about the natural world and our relationship to it.
The products she creates—teas, tinctures, body oils, and whatnot—are a joy to use. Not to mention her monthly surprise boxes, based around a theme or specific ingredient, are one of the remaining subscription-style delivery services that I happily continue to spend money on on a regular basis. This stuff is the real deal—sustainably harvested, organic healing wisdom. I’m super nerdy about how much I love her stuff and everyone else I’ve ever introduced to her work has become similarly obsessed. Catch her on Instagram to start and allow yourself to become smitten.
Earlier this fall I started singing with the Chicago Artists Chorale, and I forgot how much my brain and ears change when I’m regularly reading music, singing in four (or more) part harmony, and following the guidance of a genius conductor (in this case, the inestimable Tom Vendafreddo). Recorded music always just sounds different after I’ve been in that choral headspace for a two-and-a-half-hour rehearsal, so when I’m taking the train home afterwards, I don’t want to squander that heightened aural sensitivity on the same old indie rock stuff I listen to most mornings on my commute to work. After a recent rehearsal, I decided to really sink my ears into local jazz guitarist John Moulder’s album Bifröst.
I must have listened to the title track at least two times in a row, if not three, and I’m usually not the type of person to put a song on repeat. It’s a stunning pas de deux between Moulder on electric guitar and Bendik Hofseth on tenor sax, which rides a tight groove for most of its eight minutes before exploding into an incredibly exciting freak-out at the end. Over the next few days, I kept demanding my boyfriend listen back to the track with me and help me pick apart all the technical nuances of what Moulder was playing. “Did you hear that? How did he do that dive bomb thing??” My ears keep craving the sonic intelligence of what they’re doing together. Fantastic stuff.
Whenever the weather starts to shift and the cooler temperatures start to blow in, I get excited about being able to reach for my dense, sweet, and warm perfumes again. In this kind of mood, sometimes I want my vanilla perfumes, sometimes amber, sometimes incense; right now, I want chocolate. An initial idle grab for my decant of Cadavre Exquis somehow turned into a full-blown chocolate obsession.
My Olympic Orchids scents are the first obvious ones I pull out: California Chocolate, Seattle Chocolate, and Cafe V. But Orto Parisi’s Boccanera got a rave compliment from my boss as I was walking past her desk. (I felt almost embarrassed to send her the link to the fragrance’s description on Lucky Scent’s website: “Boccanera means ‘dark mouth’ in Italian. Nature offers dark holes that express sensuality in an erotic dark way, and this fragrance is no exception.” Yikes!) Black Phoenix Alchemy Lab’s Centzon Totochtin is an old favorite that I’d nearly forgotten about, and Keith Urban’s Phoenix is a cheap thrill that always delights me. Haus of Gloi’s Dank Chocolate scented pumpkin body butter is an insanely rich treat after a shower or just before bed. Now I just need to order a new decant of Arquiste’s Anima Dulcis and I’ll be completely armed for a delicious smelling autumn.
I wanted to explore those occasions in life when things are changing and you’re not quite sure who you are or where you belong or what you’re supposed to be doing anymore. I invited a handful of friends to contribute short pieces and recollections, and they wrote brilliantly about divorce, basic training, spontaneous cross-country moves, and so many other essentially liminal experiences. My own essay centered on the six months after college graduation that I lived with my maternal grandmother before she passed away from lung cancer.
I wrote and revised and scrapped and rewrote multiple drafts of my piece, trying to get at exactly the right tone of confused longing and seemingly thwarted ambition that suffused that time for me. I’m mostly OK with the finished piece and how it turned out, even though I knew I’d probably need to revisit that time of my life in writing again eventually since there’s so much to say about it.
I just didn’t expect to have an occasion to revisit it again so soon.
A big, meaningful chunk of the story that went unwritten in my piece as it stands now was the narration of the actual day that my grandmother died. Not only the narration of the day, but a character study of the major other player in the afternoon’s events, my best friend’s mother, Mary Ann Becklenberg.
I’d known for years that Mrs. B. was a long-time employee of Hospice of the Calumet Area, which was the same hospice team that had been called in to provide care for my grandmother in the last six or so weeks of her life. As a typically narcissistic teenager, though, what did I really know about what hospice care entailed? At least until I was immediately exposed to it.
My grandmother’s physical health went into sharp, sudden decline in the last three-to-five days that she was alive. But that final day, she must have taken a turn for the worse that freaked me out enough to call over Mrs. B. She lived very near to my grandmother’s house and I knew she’d be able to get to me much quicker than the actual case worker who’d been assigned to us.
Many of the details are a blur to me now, but I remember Mrs. B. arriving immediately to help me make my grandmother more comfortable in the hospital bed that had only recently taken the place of her favorite blue recliner in the living room. Mrs. B. helped me adjust the sheets, clean up some bodily fluids, and taught me how to slide my grandmother’s body up to the top of the bed, using the white sheet underneath her torso like a sling.
As my best friend’s mother, Mrs. B. was primarily known to me as an ebullient hostess-with-the-mostess, always quick to laugh, gossip, and revel with friends both dear and recently made, young or mature. But here I got to experience a new, remarkable side of her personality—her professional acumen, her sixth sense for when to offer gentle instruction versus letting me take the lead, her calm certainty in the face of my own grief and panic. How many deathbeds must she have been at over the course of her career as a social worker to have been able to remain compassionate and unphased in the face of this most momentous transition in a person’s life?
“Allison, these will be her last breaths,” she stressed to me, quietly but firmly, as my grandmother began gulping desperately for air.
And, as it became clear, as I clung to my grandmother’s left hand while I crouched at the side of the bed, that she had indeed taken her final breaths, Mrs. B. let me collapse into tears, providing space and safety for me to have my own emotional experience freely, while standing literally beside me, solidly holding the space, lending her inimitable strength, but not rushing to comfort or otherwise distract me. I’m pretty sure she was also the one to have called the ambulance, and recommended that I step outside into the backyard so as not to have to watch them physically remove my grandmother’s body from her house for the last time. She was masterfully efficient and unquestionably authoritative, yet possessed of a supreme delicacy that protected and sustained the bedrock emotional reality of everything that had just transpired.
I of course saw Mrs. B. many times in the ensuing years, at the holidays, at her other daughter’s wedding, at my own father’s wake. Her Alzheimer’s eventually became discreetly apparent but never overly distracting or disturbing to me. The essential radiance of her personality was more than enough to patch over any memory or cognitive fog that may have been affecting her, at least in those moments when she knew she had to be “on” in public. Even in my final visit with her at the nursing home just this spring, though she was mute and unresponsive, I was fascinated to notice the last kinesthetic traces of her personality still lingering in her muscle memory—the way she would suddenly lift her arm or shift her weight was so persistently Mrs. B. that I found it hard to resist a naïve belief that she might open her eyes at any moment and start chit-chatting with me again like old times.
And so, though of course I’m enormously sad over her death, for my sake as well as her family’s, I can’t help but marvel, admiringly, at how much of her essence still remained present despite the brutality of the Alzheimer’s, at how much she allowed her life force to be felt by her many, many loved ones, right down to the very end. And because, in my own mind, I associate her so much, and so positively, with my grandmother’s death, in many ways I feel like she’s simply gone back to work again, quietly yet authoritatively being the one to show us all how to make a graceful, and grace-filled, exit.
My dad had a debilitating stroke in the summer of 2004 and then died a full eight years later at the very end of 2012. He hadn’t left much in the way of a will, so my family and I did the best we could with the wake and funeral arrangements, guessing at what he would have wanted.
(I will always be proud of my insistence on playing The Spaniels’ “Goodnight Sweetheart, Goodnight” as mourners filed past the casket for the last time on the day of the funeral. My dad often ended his gigs with a tape recording of the song, and, even though the funeral home attendant rushed, slightly panicked, to turn down the volume on the stereo when that first bass vocal riff DA DA DUH DUH DUNH kicked in, it’s just the sort of impish, slightly inappropriate joke that would have tickled the shit out of him.)
The other major decision that needed to be made at that point was burial or cremation. He’d never said much about what he’d wanted, neither while he was healthy nor after the stroke. My maternal grandmother had at some point purchased, for herself, the plot at the cemetery next to my mother’s gravesite, but then at the last minute, before her own death in 2002, decided she wanted to be cremated, with no funeral, no fuss. But the process of transferring the deed to that space to my dad was never pursued, and then it was too late. Also, it’s not like our family was swimming in money, and the precious little that had been set aside for the wake didn’t go very far, so, all things being equal, it seemed to make the most sense to skip the additional cost of a gravesite and headstone and whatnot and just opt for cremation for him as well.
My boyfriend drove me back to Northwest Indiana in early January 2013 to unceremoniously pick up the cremains from the funeral home on a grey weekday morning. It was a plastic bag filled with ashes inside a cylindrical metal canister, inside a sturdy black box with a lid, inside another slightly flimsier box with a label with his identifying information on it, inside a heavy black bag with straps that closed shut with thick strips of Velcro. We drove the 45-50 minutes back to Chicago with the bag in the back seat. The tiny one-bedroom apartment where we were living at the time had next to no storage, so I ended up putting the whole grim package, of all places, on the top shelf in our kitchen pantry. (Lest you get the wrong idea, we had plenty of other stuff on that shelf as well—art supplies and rubber stamps, a broken flashlight, and one of the cat carriers.)
With my younger siblings’ full agreement, I’d decided that, once the weather got nice again, the best place to scatter his ashes would be in Southern Indiana. We actually ended up making the trip in early September, the weekend of what would have been his 64th birthday.
My dad’s undergraduate years at Indiana University were among the happiest of his life, and at some point early in their relationship, he and my mom started vacationing in Nashville, Indiana, a small town less than 20 miles away from Bloomington, known mostly for its arts and crafts community and for its relative proximity to the Brown County State Park. In a short journal of the first year of my babyhood that my mom kept for me, she lovingly described Brown County as “our place.” We subsequently spent many, many years vacationing there as a family, both before and well after my mom’s death.
There’s a bit of family lore about a time when, as kids, my dad and his younger brother were being so naughty that my grandparents packed them into the car late one night, took off from their home in Hammond, and threatened to drop the two of them off at one of the oil refineries in nearby Whiting. The boys, being young, impressionable, and credulous, were, of course, terrified.
Haha, hilarious bit of parenting, right? It was the 1950s, things were different then, my dad and uncle grew into upstanding citizens as adults, no harm done, right? Sure, I guess, but I’d also argue that this incident did no favors for my dad’s subsequent ability to separate out from the family group and define himself as a man.
He spent the majority of his adulthood, until he went into the nursing home post-stroke, living no more than a 20-minute drive away from his parents and two younger siblings. Which is why I think his school years at Indiana University and his vacations spent in Nashville with my mom were so important for him. Even if he would not have described it as such, Southern Indiana represented personal autonomy. It was the one place on earth where he’d had the experience of being, blessedly, his own man. No wonder we vacationed there so frequently! While he maintained his devotion to our extended family for the majority of the year, there was always at least a week or two set aside for a road trip, when, while still being a good parent and caring for me and my siblings, he could also reconnect with the energy of his own first, joyful, youthful separation.
But, because traumas and internalized assumptions that go uninterrogated tend to keep trickling down the family tree until they’re consciously disrupted, I actually was dropped off in the middle of nowhere as a young child, as I’ve written about before. What felt like being abandoned for no reason that I could make any sense of at the time consequently passed along to me that same compulsion to stay connected to my loved ones at all costs, fearing for my safety, while I simultaneously, desperately craved the permission to claim my own sense of distance, of silence, and of personal space.
During the first year of my training as a clairvoyant, I received a profound reading from a classmate—she saw an image of me rowing myself way out into the darkness at the center of Lake Michigan in an effort to get myself away from the tyranny of other people’s thoughts, emotions, and demands. I was astonished that I’d never thought of my need for silence in quite that way before. Despite my years of sitting in Zen meditation and attending silent retreats, I’d never consciously acknowledged that I actually needed silence, that it wasn’t just something that I made do with when there was no one around for me to entertain and/or take care of. And not only did I need the silence, but I was actually allowed to claim it for myself regularly, simply, rather than going to increasingly outlandish lengths to find it. I was relieved and grateful to have had that aspect of my spirit recognized and validated with neutrality.
Photo by Rose Trinh
And so I came to deeply sympathize and resonate with my father’s clear but unspoken longing to carve out a place for himself to be free. After eight years of watching him suffer the purgatory of an uncooperative body, an uncooperative body which of course needed constant monitoring by nursing home staff (that is, the complete opposite of autonomy), I resolved to frame the scattering of his ashes as a significant act of mercy.
It’s not really illegal to scatter ashes on public property. But darting in and out of my boyfriend’s car in Nashville, poking through the underbrush near the Jordan River on campus, and trying to choose the perfect scenic spot on the route between the two towns, all the while looking over my shoulder to see if anyone was going to give me shit about what I was so furtively doing, still felt a bit like a scavenger hunt in reverse. Or like TPing a friend’s house in the middle of the night, or some other bit of benevolent mischief. (Lord knows that the catch-as-catch-can quality of it all would have driven my father’s perfectionist Virgo side nuts.)
But even though the actual, physical process of doing so felt anything but mystical or holy, I knew that, with time, the experience of very deliberately scattering his ashes in three specific places where his biography overlapped meaningfully with that particular bit of landscape would reveal itself as a course correction, a healing on my family line, and most of all, a magical spell to release him back to his own selfhood.
Late in the summer of 2010, I found myself participating in a two-day silent Zen meditation retreat.
The temple that I belong to periodically hosts silent retreats of varying length—typically either two-day shorties or five-day intensives. This was one of the shorties, and I’d signed up to attend, thinking that it would be a decent way to refresh my practice in the midst of all the other things I had going on in my life at that point. There was my 40-hour-a-week day job, a new band, and a burgeoning interest in developing, beyond mere meditation, my psychic abilities.
I’d recently just completed a five-week course where I learned some basic techniques for psychic development. These techniques included getting energetically grounded, clearing out the layers of my aura, understanding and working with my chakras, creating and destroying energetic constructs, and—the one that everyone in my class was most excited about—manifesting objects and circumstances in my life.
So, though I’d been regularly sitting in meditation since 2007 and had even taken formal precepts as a Zen Buddhist practitioner in the summer of 2009, I now had this host of other techniques I was learning to work with. The two approaches didn’t necessarily conflict, but they didn’t necessarily 100% synch up with each other either.
Zen meditation retreats can be brutal. Not in the sense of Zen masters beating you with sticks or depriving you of food and water and sleep or anything like that. Just in the sense that…you’re left alone with your own mind for hours and hours at a time. The lack of distraction can be really beautiful when you’re able to sink into it, but it can also be really punishing if you find yourself in a negative mind loop for any reason. The weekend of that retreat, I happened to trip into a negative mind loop and just couldn’t get myself out of it.
Armed with my new roster of psychic meditation techniques, though, I thought I might as well try to switch my approach. I figured if I was going to be stuck sitting in lotus position on my mat and cushion anyway, at least I could use all that quiet time to try to transform the thoughts that were making me feel bad about myself. So I thought, hmm, let me try one of these manifestation techniques I just learned about.
And so I walked myself through the steps of creating a thoughtform that I would release with the intention that that thoughtform would eventually come back to me (hopefully) as an actual, physical object in the real world. One of the many things that often made me feel down on myself was my lack of skill with money, and my tendency to carry more credit card debt than I would have liked. So, I began to think, how can I create a thoughtform for enough money to pay off the remaining debt that was sitting on my credit card?
And in the process of creating the thoughtform, I realized I had to ask myself, if I had the money to cover that debt, would I actually give it to myself? Like, if I, as some hypothetical third-person construct, were to ask myself—the true me, the inner me—for that specific sum of money, would I be willing and able to give myself, with kindness and generosity, the amount of money that I needed? And I realized that, sadly, no, I wouldn’t. Through whatever trip of bad self-esteem I was on, I was convinced that I wouldn’t have enough compassion to get my own self out of debt if I somehow actually had the immediate means to do so.
Obviously, this left me feeling profoundly bad! And once I started feeling bad, self-flagellating over my perceived lack of money sense, it wasn’t long before I started to feel like a straight-up bad person on top of it, thinking about how much, under my perky exterior, I secretly loathed myself, how despite all my highfalutin ideas about being a virtuous meditator and whatnot, I was actually a crummy person full of self-hatred. And if I hated myself that much, then, hoo boy, my logic went, I was probably not a very nice person to everyone around me as well. Shit upon shit!
So, after quite some time dragging myself mentally and emotionally through the mud (while outwardly sitting quietly in lotus posture, ostensibly tracking my ingoing and outgoing breaths over the course of several 30-minute sessions), I thought, OK, let’s back this up and try again with something easier, something that won’t make me feel so completely horrible about myself. So I thought, when I get out of this retreat and head home at the end of the weekend, I just want a cupcake. Pulling a little bit of sugary comfort out of thin air felt both achievable and necessary. Crucially, however, since I am an absurd overachiever in all things, as I was going through the mental/energetic techniques to create the thoughtform, I processed it with the intention that I would manifest “the perfect cupcake.”
In my innocence, I was simply conceiving of the perfect cupcake aesthetically. I wanted a cupcake that would be gorgeously crafted, with the ideal proportions of frosting to cake, in an inventive flavor combination, decorated beautifully and lovingly, like something out of a Zooey Deschanel movie.
And so, that’s where I left it. The retreat eventually ended, and though I didn’t feel that much better about myself at its conclusion, at least I was free to go home and zone out a bit.
But first! The bass player/principal songwriter/covocalist in my band had wanted to meet up with me after the retreat to hand off a burned CD with some new demos on it.
Even though I was fairly exhausted and wasn’t in the best mood of all time, thanks to all the self-flagellation I’d been putting myself through over the past few days, I showed up at the restaurant we’d chosen, which was about halfway between the temple and my apartment.
I remember sitting down at the table and saying something to the effect of, “I don’t even know why I’m here right now.” Which probably sounded rude and dismissive, when in fact it was an expression of self-hatred. As in, “why would you need to see me right now, don’t you know that I am garbage, why am I even in the band, who would ever need or want my horrible, ill-informed opinions about anything, much less anything as sacred and important as music?”
He just kindly told me about the handful of new songs that he’d recorded at home with his four-track Fostex, described how he thought I could fill them out with some backing vocals and/or harmony lines in a couple places, and told me he’d e-mail me the lyric sheets subsequently.
I went on my not-so-merry way back to my apartment. No cupcakes fell out of the sky that day, or that week, or that month. Stupid manifestation technique. I couldn’t even seem to get that right.
Time passed. My attitude regained equilibrium. Life was good. Over the course of the next few months I took a trip to Spokane to visit some dear friends who’d just had their first child. I got on an Edith Wharton kick after reading The House of Mirth for the first time. I signed up for a yearlong training program to formally develop my own clairvoyance at the school where I’d taken my first psychic meditation class. I reached the end of my second year as a volunteer on the advisory committee at the Buddhist temple. The band continued to play gigs, including a monthly residency at a tiny club in a slightly out-of-the-way part of Chicago, and we decided to self-record and self-release a full-length album.
I’d wanted to be in a band for so long. I grew up enthralled with my dad’s life as a musician and desperately missed that world. For better or worse, my father always basically treated me like an adult, even when I was very small, and there was nothing I loved more than being allowed to hang out with him and his musician friends while they talked shop, rehearsed, or listened to music together. I struggled for years to find my own musical comrades, and I was overjoyed when I met the bass player through a mutual friend and he told me that he’d been wanting to add female harmonies to his songs and wondered if I might want to join the new band that he was putting together.
And though I struggled with low self-esteem about it, perversely feeling like this was maybe too good to be true and living in fear that he and the guitar player and drummer would all soon realize what a horrible mistake it was to have invited me to be in the band, at the bottom of it all, I was thrilled to be back among what I felt were my people—the show folk. Playing music was a big part of it, sure, of course, but it was also the kinship, the agreed-upon acknowledgment that we were all chasing a lifestyle at odds with regular, respectable society (what with all the rehearsals and gigs in crummy shitholes, the specialized vocabulary, the time sacrificed on nights and weekends when other people are usually hanging out and relaxing).
And so, sitting in the car for hours after rehearsal with the bass player, talking about music and books and anything and everything else, felt like this huge, triumphant validation that I’d finally ended up in the kind of place, in the kind of life, I’d so desperately been looking for. Not only was I finally in a great-sounding rock band after years of failing to get any traction in other musical scenes in the city, but I’d also made the kind of forever-friend I hadn’t made since my days performing in musical theater as a teenager.
But in the same way that, during the previous year’s meditation retreat, I was so distracted by my inner monologue that I was incapable of enjoying what was happening right in front of me—namely, an opportunity to commune in silence with my fellow practitioners in a peaceful, supportive urban Zen temple—I was so myopically focused on my own agenda for joining the band that I didn’t realize that, over the course of the past year, the bass player had fallen in love with me. And whoops, whaddya know, I’d actually fallen in love with him too.
After we played an eerily perfectly timed mini-tour as a duo in Lawrence, Kansas, we realized we were going to have to contend with our obvious attraction to each other. It wasn’t long after that that the truth finally had to come out. Feelings were aired, declarations were made. Chronologies were compared: “When did you know?” “When did you know?” Life felt like it jumped onto a new and exciting track.
Our band’s next gig was actually the final date of our monthly residency. We’d had the third Thursday time slot for about a year and a half, and it was time to move on. I had nothing but gratitude for the bar’s gracious hospitality for our weird little band and our weird little group of fans. Month after month, it had been a reliable place for me to regain my confidence as a performer.
The night of that final show, I’d had to race to the bar from an event at my psychic school, and I rolled up in a cab, beaming, in love with my crazy life, ready to sound check. The rest of the guys had set up their gear, and the bass player was waiting near the stage for me. “Oh, I got this for you,” he said casually, pulling a small plastic container out of his bag. It was a vegan, gluten-free cupcake that he’d picked up at Whole Foods on his way to the show that night.
And in that context—newly in love, celebrating the end of a great residency with a great band, sparkling with the hard-won ability to start to see things psychically rather than just focusing on the darkness inside my own headspace—I’d finally manifested the perfect cupcake.
Oh sure, I pay lip service to the importance of process, to letting life and art and healing unfold in their own magical timing. But like so many things I believe in and recommend to other people, I feel somehow exempt from allowing that truth into my own life.
I want the learning experience behind me, the knowledge and growth safely implanted in my head. I want my artwork to be finished, polished, and ready to share with the world. I want my challenges accomplished, the stories of their unfolding ready to turn into pithy anecdotes.
I’m very good at starting things, pretty good at ending them, but squirrely, angry, and itchy about their middles.
Just about the only place where I can embrace being in the middle of anything, actually, is when I’m physically in motion—most especially in a car.
My family never flew anywhere when we went on vacation. There was no reason for it. We couldn’t afford expensive or luxurious trips to exotic places (like, say, the East or West Coasts), and anyway, why would we need to go anywhere so far away? Where, outside the Midwest, would my dad even want to take us?
A deeply sentimental man, he was capable of feeling nostalgic about something he may have done that morning before breakfast, so unsurprisingly he invested the locations of our previous vacations with a nearly mystical reverence. Their repetition always had something of a fated quality. “Let’s do the things we used to do. Let’s go to the places we used to go to.” The highways of Indiana, lower Michigan, and western Ohio became a rosary that we would make endless loops around, their deeply ingrained familiarity a comfort to me even now so many years later.
In the late ’70s and early ’80s, we traveled in a brown, boxy full-sized van that my dad also used to haul his musical equipment to gigs in. It had a driver’s seat and a passenger’s seat up front, a U-shaped bench seat in the back, and a seemingly cavernous expanse between them. When not filled with his PA system and other gear, that’s where we’d throw our duffel bags and ancillary belongings before we hit the road.
There was also a square plank of wood that could be inserted into the cut-out portion of the U bench, with two rectangular cushions to cover it, to make a flat bed—a convenience for traveling with small children who needed to nap or have their diapers changed.
This plank also, inadvertently, created a small cave underneath. At some point my dad realized this and learned to tuck a lightweight blanket at the end of the makeshift bed, creating an incredibly enticing hiding space for little bodies to curl up inside.
So, as a small child, for vast portions of our road trips, I would crawl into this cave and lay my head against the pungent rubber of the floor and listen to the hum of the road underneath us, feeling the soothing vibrations of the chassis flying along at top speed down the highway.
Lulled by the steady rumble of the road, I was left to bask in my own interiority. What did I think about or dream about or conceive of while I was in my little hermit’s cave? I don’t really remember. But what I do recall is the desire to return—the excitement that would bubble up inside me when we were leaving on another trip and I knew I’d get the chance to disappear into my favorite little place again.
In later years, I of course not only physically outgrew the ability to fit in that small space but also outgrew the child’s privilege of not having to give a fuck about anybody’s happiness but my own. After my mother died, there was an unspoken understanding that I was expected to take her place as my father’s confidante and copilot. My siblings and I argued about who would get to sit in the front seat, like all siblings do, but it defaulted to me more often than not. (I was kind of snotty enough to assume I just inherently deserved it since, after all, I was now saddled with so much unwanted emotional responsibility. Like any asshole first child, I can get very rigid about pecking-order dynamics, especially when they’re set up to work in my favor.) The front seat brought pleasures of its own—watching the world fly by through the front windows, listening to and talking about music with my dad, kicking my feet up on the dashboard, being the first to see what was coming at us around the next bend in the road.
It was from that vantage point that I learned to love the small, temporary societies that emerged within the confines of a moving vehicle. I saw that it was possible for a whole world to be created in a car when you were settled in for a drive of any significant length. A cozy, often mute togetherness would descend, uniting the travelers, even when already genetically related, in a bond of deep care.
And it was more than just an acknowledgement that, yes, we’re all stuck here together until we get where we’re going. Despite the fact that we were very visibly traveling through a specific landscape, making progress that could be tracked on a map, there was also a feeling, oddly, of stasis. Being confined to the car, especially in those days before smart phones and GPS, actually kind of paradoxically made the world disappear. It was like the weird emotional truth of disaster movies—the people you were stuck with in these small spaces became your allies in a deeper, more intimate way than you usually had access to during the humdrum routines of everyday life.
Handing a bottle of water or a granola bar across the length of the vehicle to one of your fellow travelers took on a delicate intimacy that felt more like true generosity, honoring someone’s very human, immediate hunger or thirst. Because, after all, when are you ever more conscious of other people’s bodies in space and time than when you’re stuck in a somewhat cramped space with them? I think that’s part of what also makes a road trip feel like this tribal journey; you’re all literally, physically heading in the same direction, as a unit, everyone privy to each individual’s snores and farts and motion sickness and smelly feet as part of your unignorable collective experience.
I got my own driver’s license pretty much the moment I turned sixteen. The logic was that it would eliminate the need for me to beg rides home from friends’ parents after all my extracurricular activities, as well as allow me to run to the grocery store and help out with other chores that my dad otherwise couldn’t take care of until he was able to commute home from his job in downtown Chicago. And, yes, of course, being dutiful and obsequious to a fault (as I learned to be as a survival tactic in my family system), I ran plenty of errands and drove my siblings to and from their own extracurricular activities. But I was also suddenly…free. Free to exhale all the parts of my personality that I otherwise felt like I had to repress in order to make myself the model student, the model daughter. I now had the means to call the shots, and to build my own little motley society in the car with me.
Between the ages of 16 and 18, and even after that when I was home from college for summer and winter breaks, that car felt like my everything. It was the place where I listened to my favorite music (and sang along to it, loudly), exchanged heartfelt confidences with my dearest friends, made out for hours with my boyfriend, and wolfed down fast food on my way home from late-night theater rehearsals.
With gas prices still being relatively reasonable in the mid/late ’90s, I would often also just drive for the sake of driving.
I’d pick an arbitrary destination (often just some wide-open stretch along southbound Route 41 where it was easy to do a U-turn and head back home again), and I’d revel in the sense of purposeful aimlessness. I’d listen to music and allow my brain to simmer down from whatever full-throttle obsession it might have gotten stuck in, whether related to friends or family or school or my seemingly unreachable general ambitions. In these days before I’d developed a more formalized meditation practice, driving was the surest way I knew to connect with an expansive grace and a neutral yet observant regard for the world around me.
I lived with my maternal grandmother for about six months right after I graduated from college (which you can read more about in my brand-new zine, Loose Ends and Loneliness), and in the last hasty update to her will that she made right before she died, she left me her burgundy Cadillac Eldorado. It was a hell of a gorgeous car that made old men weak in the knees whenever they saw me in it on the street. I dutifully registered it with the city of Chicago when I finally, officially moved here on September 2, 2002. It mostly sat, though, undriven, in the space I paid for behind my first apartment near the corner of Chicago & Damen. I found that the CTA was easier to negotiate on a daily basis and that it offered, actually, more opportunity to develop that empty-minded meditative expansiveness than the stresses of city driving did. So, I eventually had to admit it was wisest to pass the car along to my brother, who needed a more reliable set of wheels for himself at that point anyway.
Thus my mobile meditations were then transferred to the trains and busses of the city, as well as my favorite paths to walk through the neighborhoods where I lived, worked, and explored.
But I still get a surge of excitement once I’m in a car on the open road—whether that’s a simple spin down Lake Shore Drive headed to Hyde Park for the day, or a longer trek outside the city for one reason or another. On especially gorgeous evenings, when the sky is full of pink clouds and the music on the stereo sounds just right and the miles are uninterrupted by gridlocked traffic, my love of the road will get the better of me, and I’ll shriek impulsively to my boyfriend, “let’s gooooooo! Let’s drive to Milwaukee!!”
We, um, don’t, what with cats to attend to and more rigidly booked schedules to maintain and astronomical gas prices to be mindful of. But like anyone with a lapsed religious practice, my early, formative experiences of life on the road continue to color the ways that I most intimately understand myself, moving me forward even when I’m sometimes, often, not exactly sure where I’m going.
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For a long time, beginning in my teens, my signature smell was vanilla.
I’d read The Heart Is a Lonely Hunter for school and became obsessed with the detail that Mick Kelly would wear “a drop of vanilla” so that she would smell good in case she happened to run into John Singer. I resolved to adopt this strategy immediately; lucky for me, vanilla perfumes had already started gaining popularity then in the early/mid-’90s, so I wouldn’t have to sneak into my family’s spice cabinet. In some way I’d hoped that the thick, rich, ambery scent of vanilla would advertise my cuteness, my sweetness, my fundamental harmlessness, while still conveying an indefinable allure. I wanted desperately to be loved and admired, without having to ask for it.
After a dalliance with the omnipresent Vanilla Fields, I became devoted to Victoria’s Secret Vanilla Lace scented body lotion. I wore the scent for years, until it was discontinued. The company briefly resuscitated it, after customer outcry, I believe, and though I tried to go back to it, the moment was over. I lived scentless for a little while, save for maybe a highly scented shower gel here or there.
For a variety of reasons, I managed not to date much throughout my twenties, but at a certain point I finally determined to have a bit of a spree to make up for lost time. The relationships, if you can call them that, were mostly light and short-term, though I eventually fell harder than expected for a long-haired artist named Jake. Most likely sensing my insta-intensity, he of course broke up with me after a little over a month. I was more crushed about it than I should have been; unreasonable expectations will do that. Knowing I could easily spiral into a dark, obsessive depression about it, I vowed to try to do something constructive with my mourning. I signed up for six weeks of sessions with a personal trainer, whom I ended up despising, and then also became obsessed with perfume. Specifically, at first, with Black Phoenix Alchemy Lab’s oils.
In the beginning of my new infatuation, simply reading about their scent descriptions and reviews was enough. (BPAL’s online catalog is extremely extensive and borderline confusing for a newcomer; it actually kind of invites a lot of reading/research to even understand what you’re getting into.) Then, of course, I wanted to try a few samples, telling myself I mostly wanted to find a substitute vanilla scent, one that would hopefully be a little more mature but still warm and sweet and sultry. I wanted to recapture the certainty that came with slathering myself in a signature scent every morning, while imperceptibly inching toward a more refined version of myself that I felt like I’d earned by becoming a Responsible Adult with a Grown-Up Job in a Big City. Even though nothing hit the exact spot I thought I was looking for, I was kind of surprised that it ended up not mattering. I loved ordering samples and playing around with the temporary personas I felt I magically inherited with each new fragrance.
For a long time, despite my scented attempts to tell a story about who I really was, I never actually felt like a solid person. I always was sort of waiting to connect with something external that would somehow solve the problem of my personhood for me. (In a recent reading with her, the wonderful astrologer Aeolian Heart chalked this up to my sun sign being in Aquarius on the cusp of Pisces, an astrological placement that she says is considered weak in terms of its ability to fully express an ego identity, but not in its abilities to study, contemplate, meditate, and investigate Mysteries.) A new activity or interest was always redolent with the promise that maybe some latent part of me would be activated in a way that would draw together the disparate parts of my life into a suddenly unified, cohesive whole that finally made sense.
This is partly, of course, the seduction of consumer capitalism, but I think it was also just an extension of the way I’d always felt obliged to make other people happy, always contorting myself into shapes that were meant to gain approval and approbation; if I was responsible for other people’s happiness, safety, and well-being, then surely someone or something was responsible for mine, right? No one ever really pointed out to me that there was maybe an overlap between the two—that it was possible to self-actualize in ways that would connect with and inspire other people’s own self-actualization in ways that weren’t so co-dependent.
At any rate, as I experimented with the temporary personas that arose from my smelling like, say, graveyard dirt, a burnt-out candle, a jewel-toned vase full of rotting flowers, or a strong cup of tea surrounded by sugar cookies, I realized I was also developing the more long-term persona of a Perfume Person. The message board connected to the main Black Phoenix Alchemy Lab site was frequented by other smell obsessives, and though I never developed the kind of deep friendships through that space that I know plenty of other people have, I enjoyed lurking and eavesdropping, especially on reviews of new scents that I hadn’t had a chance to try yet. The written descriptions of how strong the notes were, what emotions and flights of fancy they inspired, and how they were similar (or not) to other scents delighted my imagination and often evoked my writer’s envy.
If I really became enamored of a particular scent, I would likely upgrade from a 1 ml decant to a 3 or 5 ml. But I instinctively shied away from full-bottle purchases. Full bottles were far too expensive, especially given that I knew my tastes would continue to be promiscuous and that I’d inevitably get bored before I had a chance to drain any of them. I was also suddenly scared of being tied down to one idea of myself. I wanted the permission to change who I was at the drop of the hat, as easily as I could spray on a new perfume every morning.
But even though the idea of finding a replacement signature scent had definitely fallen by the wayside, I found myself circling certain scent categories again and again—sweet scents of course, but also vetivers, cologne-y citruses, leathers, musks, incenses, and what I thought of as “grown-up lady” florals (the apotheosis of which, for me, was Neela Vermeire’s heavenly rose perfume Mohur . . . which is actually more of a gourmand scent anyway).
But then one category I would have never expected started dominating my preferences without my consciously realizing it: wet wood.
Yes, specifically wet-smelling wood scents.
I’m not joking—dry woods were often too screechy on me, and anything just straight-up aquatic was, of course, anathema after my teenage memories of the Cool Water and Aqua di Gio overdoses of the ’90s. But somehow the exact combination of wet wood drew me back to certain perfumes over and over again: Profumi del Forte’s Tirrenico, Byredo’s Encens Chembur, and Comme des Garcon’s Hinoki.
Hinoki was a recent find, so I feel like I know it the least well at this point. It’s fairly light, the way so many of the Comme des Garcons scents are on me, but surprisingly tenacious. It smells, not unpleasantly, of an unmistakably musty humidity, like it’s a stormy midsummer day and you’ve just come home to an un-air-conditioned house and made your way directly to the basement, where condensation is lightly stippling the grey-painted concrete walls and the wooden beams of the ceiling swell and creak with all the moisture in the air, where maybe the dusty old couch that’s been sitting down there forever exhales a cloud of sweet dust whenever anyone sinks into the cushions. I’m making it sound horribly creepy and claustrophobic and dank, but it’s incredibly light and comforting to me.
Encens Chembur, on the other hand, is much more spacious. Perfumer Ben Gorham’s ostensible inspiration for the scent was a park in India near where his mother grew up, and I’ve willingly let that description affect my perception of it. There is of course incense in it, but not in an overpowering way, like gales of smoke. It’s more like the ambient sweet spiciness that infuses the walls of your standard Indian buffet restaurant. Here the wet wood aspect is sweeter and warmer, like a sun-warmed dock extending out into a small lake, its continually soaked planks exhaling fresh dampness as the sun hits them, almost shaking the fragrance out of its very grain like an enthusiastic dog. For all its spaciousness and exuberance, though, it’s a soft scent on me that stays quietly close to my skin.
Tirrenico, though, is my absolute favorite. I first discovered it thanks to my subscription to beloved monthly perfume sample service Olfactif. I savored the small sample that came to me in the summer of 2014, and ordered a second smaller sample from Lucky Scent some time later, and then finally ponied up for a full bottle once it seemed like it was becoming more difficult to find online, for fear of its being discontinued and disappearing entirely. The initial blast is a bitter exhalation of licorice (or, if you really scrutinize it, more likely fennel). As the scent begins to evolve on my skin, it becomes downright briny—like oily, washed-up seaweed curlicuing along a desolate stretch of sandy beach. The bitterness eventually fades back enough to reveal, as befitting the scene, a creamy, bleached-out driftwood, as if the stumps are dotting the shoreline like wise old troll spirits, while salty mist dances fairy-like above it all. It’s the strongest of the three scents, with the most shifts and surprises. It’s an almost entirely different perfume by the end of the day, when the strong, dark chewiness of the opening is a distant memory and all I can smell are the fresh, open spaces between mineral-heavy stony cliffs.
I grew up a land-locked Midwesterner and have little to no experience with coastal life. But, I did spend many happy summers at my great-aunt and -uncle’s lake house in Michigan, and as a teenager I of course spent more than enough time in various musty basements of my various dirtbag friends, so I feel like my emotional entry point into these perfumes is mostly private, rather than performative.
It’s somewhat of a cliché these days to say, “I wear make-up for me!” or “I dress this way because I like it; I don’t care what other people think!” but perfume actually is one of the few areas of my life where I feel like I can get away with this kind of attitude. (People, I’ve worn Absolue Pour le Soir to my day job before. Not the best idea I’ve ever had in my life, but still—my perfume really and truly is for me.)
So I guess it only makes sense that I would gravitate so readily to these odd, atmospheric scents, as I continue to investigate the Mystery of my own selfhood, in true Aquarian fashion. In so many unexpected ways, I find that they in fact allow me access to the memories and emotions of the person I actually was during all those years I was attempting to hide my own odd, atmospheric weirdness in a cloud of misguidedly benign vanilla sweetness.
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OK, wow, my extreme, deep, immediate love for this video of the band White Denim playing a cover of the Steely Dan song “Peg” puts me right at the center of a Venn diagram that I previously wouldn’t have ever considered I’d need to talk about. Where do I even start to connect the dots?
I’ve written a bit before about how during the bulk of my 20s when I wasn’t, for various reasons, making that much of my own music, I compensated for that lack by listening to and exploring a ton of other artists’ stuff—mostly new, mostly “indie.” I wrote about the music I was hearing and the concerts I was attending a lot on my old blog and at some point parlayed that into a brief stint reviewing albums and live shows for Daytrotter.
I am a terrible, terrible journalistic writer—I have no head for, like, narrative or facts, just wild associations and strongly voiced opinions—so this was really mostly a way for me to try to get my writing in front of more eyeballs and to maybe get into some shows I wouldn’t have been able to otherwise. (For a stretch of time when I was single in my late 20s, I used a similar, in-through-the-side-door approach to look for tickets to sold-out or expensive shows on Craigslist—instead of checking the for-sale section, I would comb through the M4F dating sections, looking for guys who had optimistically bought two tickets and turned out not to have found anyone else who wanted to go to the show with them. I went to a handful of concerts and even one opera, for free, that way.) Anyway, one of the best events I attended while I was writing for Daytrotter was the two or three day stretch of the Tomorrow Never Knows festival when it was still being booked solely at Schubas.
My editor put my name on the guest list and I did my due diligence in the days leading up to the festival, trying to listen to as many of the new-to-me bands as I could, so I could at least feign some sort of awareness of these acts before I started attempting to evaluate what they were doing live. I was introduced to so much incredible music in that short stretch of time: Baby Teeth, White Rabbits, Illinois, the Redwalls, Bon Iver (!), and White Denim.
I believe you can still read some of my original write-ups of this festival via the sidebar of my old blog (in the event that the URLs are still even active), and I could of course go on at length about my memories of all this. 2008 doesn’t feel that long ago to me, yet I know it sorta is at this point.
Anyway, I pretty instantly fell in love with White Denim, both thanks to their chaotic, frenetic EP Let’s Talk About It and subsequently their funny, ferocious live set.
Side note on funny bands—god bless ’em. I will always have a soft spot for a funny band. Not like a ha-ha-funny jokey novelty band, but a band full of performers who have a sense of humor about themselves, life, and the whole endeavor of being in a rock band. This is what initially drew me to Baby Teeth, and I’ve always held that Dan Bejar/Destroyer is WAY funnier than anyone gives him credit for being. It’s a rare, underappreciated skill.
Because of the way that I grew up around musicians, I’ve always been pretty fearless about marching up to them after shows to at least say “good set,” no matter how nervous or excited I might be about it on the inside. Musician to musician, that’s just what you do, even though of course these random bands would have no idea that I played and sang too (especially in those days when I was actively doing neither). But to me, at some level it was a participation in the wider project of honoring music itself, of paying obeisance to the greater spirit of the thing that we were all, ultimately, in service to. I can’t remember anymore which of the guys from White Denim I happened to run into that night, while the club was still, frankly, kinda empty, but I raved “GREAT SET!” emphatically at him in passing, trying not to seem awkward or pushy while still conveying my sincere enthusiasm. He responded, “yeah, I could see you grinnin’ out there!” which made me feel like a total Band-Aid in the best way possible. It was a perfectly heart-swelling Almost Famous moment of the purest reciprocity one could hope for in that specific environment.
At the end of that year, I put “Mess Your Hair Up” on my Best of 2008 mix, citing its “itchy post-punk pleasure that surprises and delights me every moment that it doesn’t just completely fall apart.” (Dear Lord, save me from the acute pain of reading through my own archives.) As I recall, it was kind of hard to find their subsequent full-length releases, and since this was in that weird window of time when artists weren’t required to have quite as strong a presence on social media, I kind of lost track of them for a while, though I did finally hunt down a digital copy of their album Exposion.
Just before my current boyfriend and I started officially dating, I made him a mix CD with “Migration Wind” on it, and I was thrilled when he told me that it was one of his favorite tracks on there, especially since that song seemed like such a departure from what I’d loved about the EP, and in some ways, an even bolder stylistic choice for the band. The band was confident enough in itself to say, “yep, we’re going to hit you with some Doobie Brothers-level AM radio gold right now.” Since I’d become sort of ashamed of my true tastes and preferences, and was in the process of easing myself out of a phase of chronically attempting to present myself as somehow cooler or into more edgy art than I actually was, this felt like an extremely, attractively radical stance.
And, that was it for a while. I clung to that small batch of songs and stopped tracking new music as avidly while I got back into making more of my own.
Until, I guess, late 2013 when my boyfriend told me about this great new song that he’d heard on the radio, which the DJ announced was by White Denim, the same band, he realized, that had done that song “Migration Wind.” I got super excited when I realized the band was still together, and got even more excited when I finally heard “Pretty Green,” the first single off their album Corsicana Lemonade.
They’d apparently gone even further down the choogle hole in the intervening years and had reemerged as this incredibly tight, incredibly skilled yet still incredibly fun and funny band, with James Petralli ultimately becoming the most charismatic frontman I’d heard in ages.
The album has not, I think, left my iPhone in the last two and a half years. It’s become one of the rare albums that I don’t have to be in a specific mood to listen to. It’s not bound to a season or a state of mind, the way that, say, The National’s Alligator and The Clientele’s Strange Geometry will always feel like wintertime albums to me, or Animal Collective’s Sung Tongs and Duncan Sheik’s Humming are usually my go-tos in early spring. It just makes me happy whenever I hear it. The musicianship is impeccable, each song is killer, and there’s absolutely no dead weight. Pretty much the highest compliment I can pay to an album these days is if it’s something I would actively rather listen to straight through instead of just putting a playlist on shuffle.
Part of the reason I love that album and love them as a band so much is that their goodness is legible to me. By which I mean, I love what they do because I respect what they’re doing because I understand the mechanics by which they’re doing it. I hear these tricky guitar lines and hooky melodies and propulsive song structures and recognize the perfectly balanced combination of chops and smarts, and it feels relatable to me. Like, I recognize how good they are because I recognize that their skills are in line with what I also aim to do musically. It’s just that they’re a couple notches away as far as how deeply and thoroughly they’ve been able to accomplish this. I say this neither to be self-aggrandizing nor self-deprecating; I’m just saying I recognize the continuum they’re on because in some ways it’s the same one that I’m on. Like, for as much as I love and respect, say, Iggy Pop, I have no access to the continuum he’s on. I recognize his genius, but I don’t relate to it, as such. It doesn’t feel “close” to what I know how to do musically.
But anyway, the closeness I feel to White Denim’s music also feels something like having bet on the right horse. Having so embraced their early stuff, and then coming back around after a bit of a gap in time to see their subsequent progress and expanded prowess feels like seeing the compound interest in my 401k starting to accrue. Like, I made a good decision by being at the right place at the right time, having a bit of taste and a bit of luck, and now it’s paying off. Lots of the bands I first saw at that Tomorrow Never Knows festival have since split up or disappeared or become uninteresting to me for whatever reason, so it just feels really satisfying to know that White Denim are not only still around but are also at the top of their game. I freaked out when I realized that they were going to be releasing a new album this spring, Stiff, and to a certain degree, I feel like it even has surpassed what they achieved with Corsicana Lemonade. It’s more soulful and more confident in ways that I’m still getting to know, but impossible not to be instantly moved and excited by.
My love for Steely Dan, then, is both incredibly prosaic and incredibly specific. It’s prosaic in the sense that they’re hugely famous and successful; their talent is obvious and unsurprising. That I enjoy their music so much is in no way special or unique. But, my window onto their work, specifically Aja, feels really bound to that mode of online music criticism that I was steeped in from about 2004 to 2009.
As I started consuming more of that kind of writing on Pitchfork and Stereogum and a variety of music blogs, it was impossible to ignore many of these (mostly dude) writers’ attitudes toward Steely Dan. The attitude was simultaneously reverent, in-jokey, holier-than-thou, and deeply nerdy. I mean, the very nature of the band itself basically invites that kind of conflicted response, but for a time, loving Steely Dan in a very specifically bloggy way felt very secret-handshakey. And, more than anything else, it really revolved around the cult of “Peg.”
But, as I said above, and as I’ve written about in other posts here, that period of music consumption, while extremely fun and informative and fulfilling in many ways, was also pretty deeply marked by shame for me.
I was ashamed that I no longer felt like a real musician. I was ashamed that though I’d auditioned for a handful of bands after moving to Chicago, none of them seemed to want me to sing with them. I was ashamed that those rejections led me to rack up a chunk of credit card debt as I shelled out money I didn’t really have for a series of classes and lessons I couldn’t really afford because I couldn’t otherwise figure out how to be actively involved in making music on a semi-regular basis.
I was ashamed of my self-described “barfy” taste in popular music. (Guys, I own several Dave Matthews Band CDs. My justification for liking them because I respected their musicianship always reminds me of that Patton Oswalt bit about Phil Collins’s No Jacket Required being “pretty fuckin’ dark!” [Even though, let me not hesitate to remind everyone, I love Phil Collins.]) I was ashamed of the way that not only did I not know anything about cool current music, I also didn’t know anything about the reference points these reviewers had to cool music of the recent past, so I, filled with the shame of my ignorance, rushed to fill the gaps in my knowledge of Pixies, Pavement, The Smiths, and a bunch of others. (Real talk now, OK? I hate Pixies, Pavement, and The Smiths. I mean, sure, there’s a handful of their songs that I genuinely enjoy, and I get why they’re popular and beloved. They’re just mostly not for me, and it was starting to get exhausting to pretend otherwise.)
And so, I tried to navigate this new world of music nerdery, which seemed like it should have been similar to the way I grew up loving and learning about music from my dad and his fellow musician friends. But instead, it just made me feel like I had to abdicate anything I actually knew or liked from those first two decades of my life because it didn’t fit the mode of discourse that was deemed acceptable. Thus, Steely Dan felt extremely confusing to me. Like, here was this band that I could recognize as being “good” on a continuum that I inherently understood (jazz chords! literate lyrics!) that was also somehow acceptable under the terms of this rockist worldview I was straining myself to adopt.
So, I think I dove into proclaiming my love for Steely Dan as something of a talisman to protect myself against any hypothetical, imaginary charges that I didn’t know what I was talking about, that I didn’t belong at the cool kids’ table. It was like I’d found a wormhole that allowed me to slip into this other dimension that I’d been trying to get myself into with varying degrees of prior success. But, I don’t think I really even wanted to be at the cool kids’ table because I actually cared about being cool; it was just the only space I could see at the time that felt like it connected to my passion for music. It was less that I wanted to be cool for the sake of being cool; I mostly just wanted to feel like I had the permission to openly express my tastes, to have a legitimated platform for spouting off about the stuff that I so deeply cared about. Which was music. Appreciating it, getting inside of it, living with it, connecting to grace through it.
That being said, none of that at all diminishes how much I do genuinely love Aja! I remember, when I first started really getting into it, the brown line stop at Rockwell nearest my apartment was closed for construction, so I had an extra seven-to-nine-minute walk to the next one at Western on my way to work in the morning, which got me through “Black Cow” and a chunk of the title track. I can remember standing at the Western station waiting for the train to pull in and just totally nerding out on that ending freakout of “Aja.” And then, once I was eventually on the train, by the time we were pulling into Belmont, I was usually toward the middle or end of “Peg,” just inwardly losing my shit over, of all things, the elegance of Rick Marotta’s ride cymbal work as the song plays and fades out.
I love the album’s elegantly knowing cynicism the way I love the hyper-intelligent, intricately wrought, stylish nihilism of Kubrick’s films. Any music that so instantly and intensely conveys that level of louche exasperation with, you know, the business of being alive at the same time that it revels in the exactitude of its own artifice is just infinitely OK by me.
My friend Ben and I will still occasionally text each other if we’re out and about and happen to hear “Deacon Blues” playing on the sound system of a restaurant or store. It’s one of those friendship shorthands that has long since lost its original reference point but still remains an active, potent way of conveying “I love you and I’m thinking about you.” I hope to eventually have a chance to see Steely Dan in concert before they stop touring so I can add them to my list of beloved classic artists I can say I’ve seen perform live at least once. I will sometimes say “they never knew it went down! They never knew it,” a la Chuck Rainey, when I feel like I’m getting away with a bit of benign mischief.
My boyfriend and I will go through phases of listening to Steely Dan’s greatest hits CD Showbiz Kids every once in a while, and I have a handful of their other proper albums in my collection, but honestly nothing of theirs has ever captured my brain and heart and ears the way that Aja did that spring a decade ago. So I just allow myself to be open to loving “Peg” whenever I hear it, which is fairly often given its massive, continued popular success (as well as its prominence as a five-starred song in my iTunes library), hoping in some indefinable way that the music’s own paradoxes will give me the courage to stand firm in my own.
“Holy shit!! The harmonies aren’t really all the way there (you can’t step to McDonald), but White Denim just did a super, super, super respectable job covering ‘Peg.’ Bold move, guys!!!”
This is what I e-mailed my boyfriend, with the link to the YouTube video, immediately after I saw the White Denim Facebook fan page mention that it had been posted. This was the only way that my brain could manage, in the heat of the moment, with the implied weight of everything I’ve been discussing above, to convey my excitement about what had just unfolded in front of me like some kind of hyper-personalized cosmic gift.
In 2013 and 2014, my band participated in a year-end holiday fundraiser event (at Schubas, appropriately enough) called Covers for Cover. The concept is that bands play cover songs to raise money for various shelters in the area (ie, for cover). The first year we played all animal-themed songs (to connect with our band’s name, Pet Theories) and the second year we did a set as The Police.
None of us are the types of musicians who would insist on getting these covers too “right” in the sense of note-for-note accuracy or anything like that. As long as the song was mostly recognizable, we felt comfortable adapting the arrangements so that they were more “us.” Not quite as far afield as something like a punk band doing a cover of “The Rainbow Connection,” but also not, y’know, at the level of The Fab Faux or one of those bands that specifically exists in order to present itself as as close to the real deal as you’re gonna get.
Anyway, my whole point is that I’ve had a little experience recently in learning to play cover songs, so I can appreciate the thought process that must have gone into White Denim deciding they were gonna bust out a cover of “Peg.” There’s this delicate nexus of “shit, can we pull this off?” / “what’s something recognizable but not too overdone?” / “what’s something that sounds a bit like us without being too obvious as a reference point?” / “what’s a song we love enough to deconstruct that we won’t subsequently ruin for ourselves through repetition?” The fact that any band would spit “Peg” out at the end of this chain of questioning is so incredibly ballsy that, truly, the only proper response is to laugh with utterly delighted incredulity the way that you can hear Petralli doing just before the camera cuts away to commercial. It’s the laugh of, “yep, we really did just do that; can you believe it? Wasn’t it absurd? And wasn’t it awesome?”
Because, playing a cover of “Peg” is in no way, of course, just playing a cover of “Peg.” It’s referencing all that deep music-nerd knowledge of Steely Dan as these legendarily exacting players. It’s having the chops to actually pull it off. It’s gesturing toward the music people who will get the reference and understand the complexity of the choice and be duly surprised and impressed by it. It’s having a solid enough identity as a band that the song comes off as affectionate rather than ironic. It’s operating at a level of success where all these factors add up to, like, just a fun thing to try to do if you happen to be touring behind a new album anyway.
And, holy crap, it works! I mean, for me, given all of the above, it so works.
I have STRONG feelings about Petralli honestly being one of the best rock vocalists working right now. On White Denim’s proper recordings, he simultaneously manages to have great intonation and soulfulness while pushing the emotional content of his singing beyond just, I dunno, the standard romantic angst or exhaustingly hip self-regard. One of my favorite moments of any rock song in recent memory is toward the middle of “Let It Feel Good (My Eagles)” on Corsicana Lemonade where he laughs a little bit at the end of a phrase and then his articulation changes because you can actually hear him still smiling on the other end of the microphone. Like, the honesty, intimacy, vulnerability, and generosity of allowing that take to stay on the track just astounds me.
You definitely get some of that quality in this live version of “Peg” too. I mean, I have similarly strong feelings about the glorious sneering irony of Donald Fagen’s vocals on the original (if you don’t believe in the singularity of Fagen’s voice, just listen to David Palmer’s lamely vanilla singing on Steely Dan’s “Dirty Work” and tell me he in any way advances the band’s sensibility), and it’s a testament to his musical intelligence that Petralli manages not to make me miss Fagen at all, through either imitation or by somehow misguidedly trying to outdo him.
My dad was a legendarily excitable guy. People used to dryly poke fun at him, “gee, Terry, don’t you ever get excited about anything?” when he’d be shouting and getting red in the face about some new thing that had caught his fancy. I’ve definitely inherited this tendency and often find myself trying to temper my enthusiasm, assuming that, I dunno, if everything is so exciting then maybe nothing is? But, I don’t know how much I actually believe that. The obsessive excitement itself may be fleeting, but to me, it always points to a richer story, with far deeper roots, in a specific context, that’s trying to be told. Thanks for sitting with me while I got excited enough to tell this one.
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I can’t remember when I first started dreaming about architecture.
Was it as early as middle school? Later in high school or even college? Regardless, I’ve always been intensely interested in my dreams, and at some point I made the connection that the closest I ever got to having recurring dreams was the fact that place was usually the most vivid aspect of them. (This was even something “quirky” about me that I highlighted in the bio section of my first blog.) Sometimes I would dream about specific places that I’d end up seeing later in my waking life, but more often it was just a strong sense that I’d very clearly visited a very particular location and had soaked up a ton of information about its layout, floor plan, expansiveness, the way it smelled, etc. It was the first and earliest way I developed an inkling that my psychic perception was tuned perhaps just a bit higher than the average person’s.
(Funny story—a few years ago, when I was formally studying my ability to work with and in my dreams in a class on astral body healing, I had a dream that I was watching a coworker and his husband hang a large piece of art in their home, which I’ve never been to or seen pictures of. The next day at work, I told my extremely logical, agnostic/atheist coworker friend about this, mostly as a joke, and he sort of softly blanched and told me they actually had been hanging up a new piece of artwork the night before. I brushed it off in the moment with him as a funny coincidence but howled with laughter about it later with my psychic classmates, wondering, self-deprecatingly, why I apparently didn’t have anything better to do in the vastness of my dreamworld than fucking watch people redecorate.)
I have very little interest in actually studying architecture, so I’ve never felt like this was some kind of latent hobby trying to express itself through my dreams. The importance of it as a pattern for me was more in the way it provided a container through which I could receive a lot of sensory information, almost like the memory palace mnemonic device in reverse.
This ability to describe the details of these kinds of elaborately rendered mental images ended up being a boon to the eventual conscious development of my psychic abilities when I was repeatedly exhorted by my teachers to just describe whatever pictures came to mind when I was in psychic meditation or giving a clairvoyant reading. I took to the technique quickly and easily, not because I’m so extra magical, but just because it felt similar to the highly detailed dream recall that I’d already been doing for myself for years.
A new friend recently asked me what it’s like to be psychic, and I verbally swam around and around in circles, flailing through anecdotes and explanations, not really knowing how to most simply and effectively get to the bottom of how utterly non-special the whole thing is. Well, non-special to me, inside my own brain, that is. I’ve given enough successful readings by now to know that they can be profoundly moving and touching for people who are being read by me, and I’ve of course received my own share of magical, transformative, right-on-the-money readings from other psychics and healers. But, much in the same way that it can be super boring to hear the details of someone else’s dream, I feel like it can be super boring for me to try to describe, rationally or intellectually, what getting, or giving, a psychic reading is like. It’s best to just experience one.
I’ve recently been revisiting the writings of one of my favorite mystics, Simone Weil, and was totally tripping out on the brilliance of her “Spiritual Autobiography,” and especially loved this bit:
“[T]here are two languages that are quite distinct although made up of the same words; there is the collective language and there is the individual one. The Comforter whom Christ sends us, the Spirit of truth, speaks one or other of these languages, whichever circumstances demand, and by a necessity of their nature there is not agreement between them.”
By necessity of their nature there is not agreement between them. I feel like this sums up so much about the way I communicate, and so much of what was at the heart of my difficulty describing how I give a psychic reading.
I used to have this whole elaborate theory about what I would tell different people when they asked me what my favorite movie was—to a little kid I’d say Toy Story 2 whereas I might say Back to the Future to one of my dad’s friends or Eyes Wide Shut to a particular kind of film-nerd peer. But, I recently read a short blog post saying that you shouldn’t temper your responses to different audiences because it marks you as an annoyingly inconsistent people-pleaser, that you should give people the chance to experience “the real you” and be OK with not being liked by everyone.
And I felt ashamed of myself when I read that, since I so admittedly do have people-pleasing tendencies that stem from growing up in an emotionally abusive household where it was easier to agree with the existing power structure in order to remain safe rather than risk a controversial statement that would result in my getting screamed at. Now, long since removed from the source of and reason for that defense mechanism, I know that I can still default to giving people the answers they want to hear, just because the energy of disagreement is still so exhausting to me, even though my safety is not necessarily in question. I often feel guilty about not standing up for my own likes, preferences, and opinions more avidly, since I feel like it’s a sign of weakness and lack of character, and that blog post certainly played right into all those fears I have about myself.
But the more I continued to consider it, the more I couldn’t convince myself that I’m actually wrong about it at all. There’s some kind of highly conceptual and philosophical interplay between the Buddhist ideas of emptiness and non-self and this Christian mystical idea of the fundamental incompatibility of public versus private language at play for me here. My people-pleasing habits notwithstanding, I am a different person around different people. Certain aspects of my likes and preferences do feel stronger around different people (I’m not wholesale lying about liking any of those movies). The way that I portray myself in the context of a group is of course different from the way I operate in an intimate conversation with one or two other people, which is of course also different from the way I communicate with myself inside my own head.
So anyway, this is kind of a long, digressive way of getting myself OK with the fact that even though I’ve been wanting to write more about my psychic services and psychic experiences, I’ve been running into trouble figuring out how to split the difference between the private revelations that happen during these magical conversations (and that includes the magic of dreamtime) and the publicly straightforward and expressive way I always try to write here on my blog. (My Gemini Rising in my astrological chart certainly both helps and hinders me here as well—it makes me want to communicate all the time, but I also, always, perpetually see all the different angles, often to the detriment of my ability to squeak anything meaningful out onto the page without completely torturing myself, and my loved ones, about it.)
I love to write! And I also love to talk. I’m incredibly glad that you’ve spent time with me here on my blog, and I would also be happy to talk to you in the context of a psychic reading or healing some time. My Mercurial zippiness is really only sated and balanced when I’m doing both.
After I’d been living in Chicago long enough to see, with my own eyes, the neighborhoods start changing due to new construction (and, yes, gentrification), I started to realize that though we tend to think of cities as being unchanging and solid, they’re actually completely mutable. (Which is why we marvel at these kinds of before-and-now photo essays, right?) Such is the preciousness of our dreams as well. So seemingly solid in so many ways, but also so ephemeral, charged only with the meanings and memories we choose to assign them.
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listen, as you know, i rarely succumb to catastrophic thinking out loud, i’m a person who believes you have to Act like things aren’t hopeless whether they are or not, you have to behave like a person who believes in the future, but the fact is that in 36 hours donald shithole trump and his apocalypse band of Ballsack Demons will be in charge of America eight blocks from my apartment and i would like to know, haha, guys, i would tRULY love to know how to stop screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming and screaming AND SCREAMING!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
“Keiler Roberts’ autobiographical graphic memoir captures the feeling of being a parent as well as an artist and writer better than any book I’ve ever read. There are no cliffhangers or life lessons. It’s more about the texture of being alive: the melancholy, the unexpected small delights, and its unavoidable sense of aloneness. This book is written with insight, intelligence, and a deadpan sense of humor. I loved it.” — Roz Chast
Keiler Roberts’ Sunburning coming this May.
Keiler’s the best!! So excited about her new book!!
Here’s a MLK quote I’d love to see white people share.
“Whites, it must frankly be said, are not putting in a similar mass effort to reeducate themselves out of their racial ignorance. It is an aspect of their sense of superiority that the white people of America believe they have so little to learn.”
– Dr. Martin Luther King, Jr.
You should not fuck with Representative John Lewis. You should not even begin to contemplate the process of how you might fuck with Representative John Lewis. He is the admiral of Not Today, Satan. He is the general of Not Fucking Having It.
GQ: Your name seems more temporary than your talent, though. It’s too silly, in a way. Do you ever think about changing it or just going by Chance?
Chance the Rapper: Yeah. I think it’s everything that you’re saying, but going in the opposite direction. My dad used to always say, “You need to change your name to Chance the Artist. This song, this is different.” I remember one day I was with Justin—my best friend, who has always been really good at school, really smart, really good at speaking to people. I remember my dad would introduce us to folks and they would ask, “What’re you going to be when you grow up?” Justin’s fucking 7 years old talking about, “I’m going to be a biomedical engineer.” You know, he’s just that guy. And I remember they asked me, and I said a rapper. And my dad laughed it off, like, “No, he doesn’t…” You know?
And I remember that shit used to bother the fuck out of me, because I thought Kanye West was the smartest man in the world. The best poet in the world. The freshest-dressed in the world. That’s what a rapper was to me, and I wanted everybody to feel that way about the word “rapper.” And “rapper,” to me, is pretty much synonymous with the word “black.” It’s a stigma where it’s like, “Damn, I heard Chance the Rapper. I didn’t think he was going to sound like that.” I hate that when you introduce yourself, and you’re a rapper, sometimes you gotta say, “I’m a musician.” Or, “I’m an artist.” “I’m a recording artist.” “I’m a vocalist.”
GQ: You should be proud to say: I’m a rapper.
Chance the Rapper: I’m a rapper! You should be able to say that shit and, like, make someone scared in a good way. Like, “Oh shit, you might know the president!” It should feel that way.
It’s hard to quantify the message this sent, particularly to men and boys around the country who are socialized from a young age to keep a stiff upper lip and shake off their sorrows, that the most powerful man in the world would be vulnerable enough to cry in front of everyone; that he didn’t buy into the belief that being stoic makes you strong; that there is actually power in his tears. Only a secure and confident man can stand up while the world watches and tearfully thank his wife for her friendship, love, support, and independent achievements the way Obama did last night.
Generally my feeling is towards less: less shopping, less eating, less drinking, less wasting, less playing by the rules and recipes. All of that I want in favour of more thinking on the feet, more improvising, more surprises, more laughs.
[On why she wrote Silver Springs and what she wanted to say to Lindsey] ‘I’m so angry with you. You will listen to me on the radio for the rest of your life, and it will bug you. I hope it bugs you.’ ~Stevie Nicks, Arizona Republic, August 12, 1997
In Productivity in Terrible Times, Eileen Webb writes about the challenges of getting things done in the face of uncertain and worrisome times and offers some strategies that might help.
When your heart is worried for your Muslim friends, and deep in your bones you’re terrified about losing access to healthcare, it’s very hard to respond graciously to an email inquiring about the latest microsite analytics numbers. “THE WORLD IS BURNING. I will have those content model updates ready by Thursday. Sincerely, and with abject terror, Eileen.”
It is not tenable to quit my job and hie off to Planned Parenthood HQ and wait for them to make use of my superior content organizing skills. It is not a good idea for you to resign from stable work that supports your family and community because you’re no longer satisfied by SQL queries.
I don’t know about you, but I have been struggling mightily with this very thing. I’ve always had difficulty believing that the work I do here is in some way important to the world and since the election, that feeling has blossomed into a profound guilt-ridden anxiety monster. I mean, who in the actual fuck cares about the new Blade Runner movie or how stamps are designed (or Jesus, the blurry ham) when our government is poised for a turn towards corruption and authoritarianism?
I have come up with some reasons why my work here does matter, at least to me, but I’m not sure they’re good ones. In the meantime, I’m pressing on because my family and I rely on my efforts here and because I hope that in some small way my work, as Webb writes, “is capable of enabling righteous acts”.
Since you mention it, I think I will start that race war.
I could’ve swung either way? But now I’m definitely spending
the next 4 years converting your daughters to lesbianism;
I’m gonna eat all your guns. Swallow them lock stock and barrel
and spit bullet casings onto the dinner table;
I’ll give birth to an army of mixed-race babies.
With fathers from every continent and genders to outnumber the stars,
my legion of multiracial babies will be intersectional as fuck
and your swastikas will not be enough to save you,
because real talk, you didn’t stop the future from coming.
You just delayed our coronation.
We have the same deviant haircuts we had yesterday;
we are still getting gay-married like nobody’s business
because it’s still nobody’s business;
there’s a Muslim kid in Kansas who has already written the schematic
for the robot that will steal your job in manufacturing,
and that robot? Will also be gay, so get used to it:
we didn’t manifest the mountain by speaking its name,
the buildings here are not on your side just because
you make them spray-painted accomplices.
These walls do not have genders and they all think you suck.
Even the earth found common cause with us
the way you trample us both,
oh yeah: there will be signs, and rainbow-colored drum circles,
and folks arguing ideology until even I want to punch them
but I won’t, because they’re my family,
in that blood-of-the-covenant sense.
If you’ve never loved someone like that
you cannot outwaltz us, we have all the good dancers anyway.
I’ll confess I don’t know if I’m alive right now;
I haven’t heard my heart beat in days,
I keep holding my breath for the moment the plane goes down
and I have to save enough oxygen to get my friends through.
But I finally found the argument against suicide and it’s us.
We’re the effigies that haunt America’s nights harder
the longer they spend burning us,
we are scaring the shit out of people by spreading,
by refusing to die: what are we but a fire?
We know everything we do is so the kids after us
will be able to follow something towards safety;
what can I call us but lighthouse,
of course I’m terrified. Of course I’m a shroud.
And of course it’s not fair but rest assured,
anxious America, you brought your fists to a glitter fight.
This is a taco truck rally and all you have is cole slaw.
You cannot deport our minds; we won’t
hold funerals for our potential. We have always been
what makes America great.
Design is available here! Just print out on 8.5x11″ paper, cut along the gray lines, paint the back of the paper with craft glue (i used Mod Podge) and wrap it around a plain glass pillar candle. Voila: your very own secular and/or idolatrous Space Mom candle! Please remember that Carrie Fisher’s dad was Jewish every time you look at it, cause, you know. He was.
“How do I become ugly to these people?” Davies asks. I’ve found my own way to accomplish this end, and it demands the embrace of feminine EXTRA. The more fucking femme you are, the more macho, in my book. Society DESPISES the embrace of obvious decorative effort, on the whole. The Cool Girl is “natural.” The woman covered in glitter and rhinestones is far more difficult to embrace! And such an open and declarative display of femininity, in this misogynistic culture, is a blatant statement of abjection, almost. It’s an armor that some men like to look at, but few dare to touch. I have found it very difficult to make myself ugly, on the whole (and apologize for the sheer assiness of that statement, but women? Y’all get it). I find it much easier to make myself repulsive through beauty. Repulsive and perhaps more importantly, FRIGHTENING to those who still dare to desire. No one approaches me casually when I’m fucking head-to-toe glitter. It works!!!
Today on Queen of Peaches, I reflect on my favorite film moments of the year, like this bit from
the Werner Herzog documentary Lo and Behold: Reveries of the Connected
“But the moment I find myself replaying in my mind again
and again is when notorious hacker Kevin Mitnick is concluding his
story about worming his way into a major communications company,
basically just by making a series of exceedingly polite telephone
calls. Herzog asks him something to the effect of, ‘why did you do
this? For malicious reasons?’ And Mitnick instantly shouts back, 'No!
For sport!’ with a passionate purity that totally knocked me out. That,
to me, is on a par with Philippe Petit walking between the towers of the
World Trade Center on a high wire, just for the useless beauty of it,
just because he, alone, could.”
I got a free sample of this at Sephora recently, and no wonder I like it so much–I just read that the perfumer is Ralf Schwieger, who did two other scents I adore: the Greg Lauren perfume made for Barneys New York and Etat Libre d'Orange’s “Fils de Dieu.”
Actually, I don’t want you to like me so much as be the greatest person you ever met. I want to explode in the night sky of your approval.
RIP! I’m not much of a Star Wars person, tbh, but I read this in a short blog post of hers a few years ago and honestly think about it probably once a month. Thanks for calling me out on my life, Carrie Fisher.
Secretly anxious, grumpy people-pleasers have it bad. We don’t really want to get it up to leave the house, because once we’re out there, we have to make sure that everyone around us is happy. We have to keep the conversation going. We have to ask questions and listen and make sure everyone is having fun. Sometimes someone like me says yes to a plan even though I know that, given the people involved and the activity involved, I’m going to do a ton of heavy lifting with not much to show for it. Then at midnight, I’m in a bar I fucking hate asking myself, ‘What crazy twist of fate brought me to this terrible place? I’m too old for this shit.’
This is the philosophy that’s getting me through the day, now and in the past. Each person should use their own individual personalities and capabilities to be of service to other people and the world. I know a lot of artists feel like what they do is insignificant at times like these, but art can be emotionally very soothing or cathartic. We all need health care, but we all need art (all the arts) too. Many years ago I became vegetarian in order to help the environment. It’s not a big sacrifice for me to do that, but it would be for other people. I would not give up caffeine, even if it were for a noble cause. If people have enough money, they should donate it. It they don’t, they should feel ok that they’re not in the position to do that. I won’t go to a rally because I’m afraid of crowds, and having a panic attack is not going to help any cause. The good things we do shouldn’t deplete us. –Keiler Roberts
I just found out that my boyfriend went to college with David Harbour? And worked sound for some of the theater productions that he appeared in? So I feel like this GIF set is giving me a weird window into what those experimental mid-’90s shows probably looked like.
I used to have a really good memory for these kinds of things, but
alas, at this point, I can no longer remember where I first became truly
AWARE-aware of Leon Russell. It was either the first time I saw the Mad
Dogs and Englishmen concert doc, or when I was working on the copyedit
of Cherry Vanilla’s deliciously naughty memoir, Lick Me. Regardless, I
became pretty instantly smitten.
It was his effortlessness that made him so compelling to me, especially in the film. Look, yes, of course Joe Cocker is utterly hypnotic in
his complete insanity. But Leon is hypnotic in the opposite direction,
because he got out of everyone’s way. A totally Taoist
leading-from-behind kind of move. I’m always entranced by anyone who
does this successfully because it’s so foreign to the way I personally
Let’s just say, if left to my
own devices, I’m a Joe Cocker. I am all about the bigness, the
loudness, the spotlight. I want to dazzle you, and I want you to KNOW
you’ve been dazzled after I’ve done so. But I so wish I had more of that quiet intensity thing. My
boyfriend has it, which I guess makes us a good pair. I’m always
screaming about how great he is to anyone who’ll listen; he reminds me
that quietly doing the work is its own pleasure, reward, and
responsibility, and that anyone who will truly resonate with the work will find it eventually.
anyway, Leon. I love watching musicians watch each other. That wordless
communication between two or more people functioning together as a unit
is pure bliss. It’s one of the most obvious manifestations of
Matthew 18:20 that I know of–“For where two or three are gathered in my name, there am I in
the midst of them.” A force of something transcendent emerges when a
band is really cooking, when they’re making noise for us as an audience
but are internally keeping quiet for the sake of having a mind-meld with
each other. He even says it himself in this great old interview with
Ben Fong-Torres in Rolling Stone: “The magic takes place any time that
you have a group of people that are together every day and that share a
common frame of reference.”
is ALL eyes. He throws his gaze effortlessly across the stage to signal a
cutoff or dynamic shift. Or, going in the opposite direction, he
RECEIVES a vast download of information in a moment, reading the room,
his fellow musicians, where the song has been and where it needs to go
next. Not for nothing did they call him the Master of Time and Space. He somehow managed to see past and through whatever was happening on stage in the moment straight through to its essence, and almost beyond that into its potential energy. As it says on the poster, the show included “All Elements of the Truth,” and Leon’s whole way of performing and operating, I think, was a big part of why.
March 7, 1971, NYC—I slept with John Gallie last night, but we didn’t have sex. John was sharing his room with Leon [Russell]… yes Leon!!! … and he was afraid we might disturb him. John said that singers especially need to get their sleep, and Leon, of course, is John’s boss. Lying in John’s bed all night, just a few feet from Leon, was torture, but I managed to endure it. And this morning I was karmically rewarded with a whole different kind of thrill, being there when Leon called Bob Dylan to discuss a joint recording session. That was musical history in the making! And I was there! Leon’s showing that kind of trust in me, to do it right in front of me like that, must mean he’s accepted me as family. And that’s what I’ve always wanted, even more than the sex, I think. It’s just that life is so short and sex seems to be the quickest way of getting there.
In a way, it’s appropriate that Leonard Cohen’s death will be subsumed by one of the biggest news events of the past 20 years. If there were ever an artist who wants to be loved, not mourned, it is Cohen. And it’s not like the subject of Leonard Cohen and death isn’t well-trod ground. Cohen often sounded like a wise, sexy ghost, one who had come back from the other side with a welcome perspective on what really is and isn’t important in human affairs.
This wasn’t to say only the eternal verities mattered. In the Cohen song I’ve been listening to the most over the past month, “There is a War,” Cohen acknowledges that the struggle for justice is a hard one to get involved in because we have our everyday lives to attend to - “Well I live here with a woman and a child / The situation makes me kind of nervous” - and caring so much seems embarrassing. But in his dry way, he encourages us to get involved anyway, singing “Why don’t you come on back to the war” and adding a litany of exhortations: “don’t be a tourist” and “pick up your tiny burden” and “let’s all get even.”
The political Cohen song I’ve seen people posting most frequently after his death, though, is “Everybody Knows,” a darker sentiment sung in a darker, older voice. It’s much more of the ironic cynicism and a lot less of the exhortations: “The poor stay poor and the rich stay rich / That’s how it goes / Everybody knows.” It’s a great song, since, like “There is a War,” it doesn’t address justice as an abstract subject, something to be decried and fought as if it were happening outside of us. Cohen sees it as a struggle that happens always through individuals, and sees the self-deceptions that prevent us from getting involved. But in “Everybody Knows,” written some 15 years after “There is a War,” Cohen no longer thinks he can do much do break you out of that.
(It was always a long shot - in “Field Commander Cohen,” off the same album as “War,” he called himself “nothing more / Than just some grateful faithful woman’s favourite singing millionaire / The patron Saint of envy and the grocer of despair.” He always mocked his own sincerity, which made it that much more notable when sincerity broke through, even as it was always begrudging and caveated.)
We’ve been preparing for Leonard Cohen’s death for years now; the great Remnick piece, along with the most recent album, seemed like nothing more than an autoobituary. We’ve had time to come to terms with it. On “You Want it Darker,” he repeatedly sings “Hineni Hineni / I’m ready, my Lord.” He wanted us all to know. He wanted to be present at his own funeral, just as you would expect from an artist whose greatest skill was perhaps piling his own ego in so much glamour that it glowed through all that darkness.
Still though, we are not, as a country, in a place to really give Cohen his due right now. What made Cohen great was just that ability to get across something like the full spectrum of human existence in a similar song - “I am angry about the world” but also “it is an inconvenience to do anything about it” but also “I am scared and embarrassed and want to have sex with my wife” but also “you should do it anyway.” As Suzanne Vega says in the Remnick piece, “Dylan took you to the far ends of the expanding universe, eight minutes of ‘one hand waving free,’ and I loved that, but it didn’t sound like anything I did or was likely to do—it wasn’t very earthly. Leonard’s songs were a combination of very real details and a sense of mystery, like prayers or spells.”
The half of the country that were Cohen’s core audience are not in the mood for ambiguity right now. What always drove me nuts about the covers of “Hallelujah” after Cale’s were the way it stripped out the humor and the sex and the cynicism for just a loose-lipped slump of noble despair: a rich piece of art edited down to an easy shorthand for an emotion that does not exactly lack for unambiguous expressions.
But maybe that’s OK. Maybe if there’s any lesson of the history of “Hallelujah,” and of Cohen’s career - the NYT alert about his death mentioned “Hallelujah,” but if Jeff Buckley never covered it, Cohen’s death still would’ve gotten a push alert, it would just have mentioned “Bird on a Wire” or “Marianne” instead - it’s that there’s a lot there, a lot to work with, a lot for us to discover and to forget. Recently I found a version of “Hallelujah” with the lyrics changed to be about the birth of Jesus. It seemed like an odd curio, but it turned out that two of my co-workers had sung it at church (though one of them said she hadn’t thought about it for at least ten years). That was there in the song too, even if Cohen himself wouldn’t have had much interest in putting it there. Maybe in 20 years Leonard Cohen’s legacy will be a different song entirely, rediscovered and reinvented by another singer with a voice far sweeter than his.
Cohen’s death is ultimately a minor point in our understanding of Cohen the artist, and of Cohen’s art. For Bowie and Prince, their deaths served as occasions to elevate them formally to the canon. Bowie had to make elaborate preparations to fit his death into his own artistic narrative (to wonderful, stunning effect), but Cohen didn’t have to do anything, because death was baked in; it was too much a part of the messy human existence he chronicled not to be. (When I think of his work, I think of bedsheets, and of everything that happens there.) Cohen’s work was always aware of the inevitability of his own death, and so he designed it to endure with or without him. That’s why there are so many covers. That’s why the covers are so good. Cohen put tiny piece of his soul into those songs, and as they circulated, the soul remained intact, undiluted, regardless of the context; these bits of soul may even, in some songs, grown larger the more they were sung. Cohen’s death does nothing to change it. The soul lives on. It’s there for us today, and it will there for us tomorrow. When everything changes, Cohen’s songs will mean something different, but they will always mean something.
Mike Barthel, y'all. There is literally no one’s write-up on Cohen’s passing that I was more eager to read.
This is an illustrated guide I made as part of my co-admining work at The Middle Eastern Feminist on Facebook! It will be published there shortly. The technique that is displayed here is a genuine one used in psychology - I forgot the name and couldn’t find it again so if you know about it, feel free to tell me! Some could say: “Yes but you can use that technique for instances of harassment other than Islamophobic attacks!”, and my reply is: Sure! Please do so, it also works for other “types” of harassment of a lone person in a public space!! However I’m focusing on protecting Muslims here, as they have been very specific targets lately, and as a French Middle Eastern woman, I wanted to try and do something to raise awareness on how to help when such things happen before our eyes - that way one cannot say they “didn’t know what to do”! I’d like to insist on two things: 1) Do not, in any way, interact with the attacker. You must absolutely ignore them and focus entirely on the person being attacked! 2) Please make sure to always respect the wishes of the person you’re helping: whether they want you to leave quickly afterwards, or not! If you’re in a hurry escort them to a place where someone else can take over - call one of their friends, or one of yours, of if they want to, the police. It all depends on how they feel!
For my fellow French-speakers: I will translate it in French and post it on my page as soon as I can :)
Please don’t hesitate to share this guide as it could push a lot of people to overcome bystander syndrome!!
Comic histories can be treasure troves of trivia and tidbits relating to our favourite creators. They can also often feel leaden, or un-insightful.
I feel this is because comics is a medium infused with the experience of nostalgia. Possibly because of the emphasis on it being a child’s past-time.
Now some kinds of books share this – say the works of Enid Blyton for example, or more recently series like The Baby-sitters Club and Goosebumps – but they are introductions to the wider world of reading. Comics contain childhood associations for many people and the attempt to tell the story of the industry and its major players in the conventional historical style can feel like pinning dead insects to cardboard.
Brian Cremins’ book Captain Marvel and the Art of Nostalgia is the exact opposite of this approach.
It is full of insight, warmly written and with a passionate sense of the imagination behind the character of Captain Marvel. Cremins has a sense of his subject that transcends both fannish trivia and overly formal jargon.
The chapter alone on Otto Binder and his use of Mr Tawny is a poignant and beautifully captured reflection.
This is thoughtful, well-researched and compelling writing. Strongly recommended not just for fans of Captain Marvel, but students of comic book history.
Captain Marvel and the Art of Nostalgia can be purchased here.
Trick or treat! This month on my blog, I take a break from writing about
death (and more death) to go a bit lighter, dishing about, frankly,
just a bunch of shit that I like. Consider it my trick or treat offering
to all my favorite ghouls and goblins. Click here to read the post!
And if you sign up for my TinyLetter, you’ll get a short bonus essay about DA CUBS.
A worker at the Roure perfume plant in Grasse, France, scoops up the morning’s rose harvest at the end of May. These rose petals will be processed immediately into an absolute, the aromatic liquid which is the basic component of perfume; photographed by Michael Freeman
Though mainstream awareness of Chicago’s prolific hip hop scene has often focused men like Chance the Rapper, Vic Mensa, and Kanye West, Black women in the city made waves this summer with long-awaited album releases of their own. Noname, a soft-spoken rapper with a background in slam poetry that has glimmered in many a guest verse for the past few years, finally released her solo project Telefone in late July. Jamila Woods, probably best known as the enchanting vocalist on Chance the Rapper and the Social Experiment’s 2015 track “Sunday Candy,” released her debut solo album Heavn just a few weeks before. Together, they trace a path back towards the innocence we miss so much—and help us determine where to go from here.
Todd Burns: Is it important to you to have that lack of complete control in a way?
Tim Hecker: Yeah, I mean, you have to amuse yourself as a sentient being. I don’t want complete control. I want to be challenged by my computer feeding back or seeming like it’s going to crash or not knowing how that happened is kind of like juice you need to drink to be nourished, you know? Yeah, I would say so.
OK, I just finished reading the transcript of this interview and it’s one of the best music-related things I’ve experienced in a long time. Absolutely incredible information, incredibly thoughtful and thought-provoking. I mean, I even just did a Google search for his dissertation! Which I found! And intend to read!
k so i made this new russian friend at school this week and we were talking about memes, you know, as one does, and she was telling me about this underground russian meme where its pics of fish reading and saying shit like “i cant do this” and i thought it was the funniest fucking thing ive ever seen in my life so here u go. in order, theyre saying “help”, “disaster”, “pretty difficult”, and “it’s hard for me”
“As my best friend’s mother, Mrs. B. was primarily known to me as an
ebullient hostess-with-the-mostess, always quick to laugh, gossip, and
revel with friends both dear and recently made, young or mature. But
here I got to experience a new, remarkable side of her personality—her
professional acumen, her sixth sense for when to offer gentle
instruction versus letting me take the lead, her calm certainty in the
face of my own grief and panic. How many deathbeds must she have been at
over the course of her career as a social worker to have been able to
remain compassionate and unphased in the face of this most momentous
transition in a person’s life?”
My annual best-of mix for 2015! Hope you enjoy! You can see the track listing and read more about the creation of this mix here: http://queenofpeaches.com/2016/01/29/finding-my-personal-best-in-my-best-of-mixes/