Category Archives: Music

How Bon Jovi Says Good-bye

Was a more perfect end-of-high-school song ever written? If so, I haven’t heard it. (And don’t throw that ‘Theme from Ice Castles’ bullshit this way…) This is ‘Never Say Good-bye’ by Bon Jovi. It was not my theme from high school graduation, as I was not quite graduating from elementary school when this song came out. Instead, it reminds me of someone else, and of a summer day when we were still too young to shine.

Remember when we used to talk about busting out
We’d break their hearts, together, forever
Never say goodbye, never say goodbye
You and me and my old friends, hoping it would never end
Never say goodbye, never say goodbye
Holdin’ on, we got to try, holdin’ on to never say goodbye

We were hanging out under the picnic table at a high school graduation party for a neighbor. We were young – only ten or eleven, maybe twelve, but old enough to comprehend what was going on. The graduate – God-like, blonde, golden boy – came out of the house looking forlorn. The kids watched him walk by, basking in the glory by proximity, in awe of his ease among adults, wanting only to be older ourselves. He was so cool. One of the other kids said he looked dejected because he was about to break up with his girlfriend.

But they had the whole summer ahead of them, I thought to myself. As if reading my mind, the kid said, “He wants to end it now so it’s easier.” I nodded, taking in this sage bit of wisdom, thinking we were somehow cool for getting it, for feeling it a little bit too.

I watched him put his arms around the girl, marveling at the easy way he did it. I also held the secret we knew inside, emboldened by knowing something that she didn’t quite know yet. Part of me wanted to be there when he told her, to see how something like that worked. Would she take it well? Would she understand? Would she cry? Would she walk away? The scenarios unfurled before my active imagination, and I found myself selfishly, insanely, wishing he would do it soon, while we were still there. It appealed to my soap-operatic love of drama, fed by the likes of ‘Santa Barbara’ and ‘Days of Our Lives’.

The white tablecloth fluttered above our heads as we sat beneath the picnic table. Kids can go unnoticed like that, seeing what goes on, taking it all in, and processing it in our childhood minds. It was another step to adulthood. One day I might have to be the strong one, the person who moved first to end a relationship that would never work out. (In truth, that would prove to be a lesson I would never learn; I could not be the first to end something, as later years would attest.) For now, it was exciting just to be in the atmosphere of someone to whom real things were happening, someone not on a daytime drama, someone we kind of knew and cared about. Someone whose life was just taking off. We had a few more years to go before taking such flight. And we didn’t know how lucky we were.

We never know.

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The Madonna Timeline: Song #89 ~’Intervention’ – Spring 2003

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

I got to save my baby
Because he makes me cry
I got to make him happy
I got to teach him how to fly
I want to take him higher
Way up like a bird in the sky
I got to calm him down now
I want to save his life

In the spring of 2003 I was working at the Thruway Authority, in an office of men, in Construction Management no less (quite a far cry from where I began, and where I am currently – in offices almost entirely stocked with women). It’s not a sexist thing to say that working with women is different than working with men. And I hope you won’t find it sexist of me to say that it’s often easier to work with men than women (because I hear that from women far more than men).

Sometimes it’s such a pleasure
Sometimes I wanna tear it all down
It’s easy to be lazy
And hard to go away from the crowd
I know the road looks lonely
But that’s just Satan’s game
And either way my baby
We’ll never be the same

Operating as the secretary to the Director, it was actually one of the more pleasant working experiences I’ve had, not only because the Director was cool but because there was so much less drama. Guys disagree differently than girls – not necessarily in a better way, just differently. I always knew where I stood with the guys, and though they had their own gossipy cliques and catty comments, if you confronted them they’d usually give you a straight answer. The women I had worked with previously hadn’t done that. They’d smile and pretend to like you and then you’d find out they were talking shit about you ten minutes earlier. That kind of passive-aggressive nonsense I didn’t abide.

In the blink of an eye everything could change
Say hello to your life, now you’re living
This is it from now on
It’s a brand new day
It was time to wake up from this dream (from this dream)

But what does that have to do with ‘Intervention’? I’m not sure. It was just the song that was playing in my car as I remembered switching from an office of women to an office of men. And if there’s one person that always gets me thinking about the differences between men and women, it’s Madonna.

Song #89: ‘Intervention’ – Spring 2003

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The Music of Spring, The Music that Made Me Cry

It was the last ‘Appalachian Spring’ and we were rehearsing Copland in a church as part of my final season in the Empire State Youth Orchestra. I loved the music, but hated the competition and the demands placed on teenagers, the politics, the whole scene. But on this March night in the earliest part of the 90’s, I listened only to the music, I got lost in the notes, and it all made sense as I prepared to say good-bye. I looked around the Shaker-like surroundings. The wooden floors and pews, the grand high windows letting in the white light from outside. There was a stark beauty to it all, a barren, rustic, American beauty. Filled with promise, yet not without regret, I took it in.

The music slowed and quieted, and the heart went along with it. It perked up, it sped along, like a stream bulging with the melted snow of winter, all rivulets running into one great body: all paths lead to God. It was the last concert I would ever play as part of the Empire State Youth Orchestra. No more Melodies of Christmas, no more all-day Play-a-thons at Crossgates or Clifton Country Malls, no more five-hour practice sessions on Tuesday nights. I walked out of that church without looking back. I had done the best I could do. It had not been enough. But the music – the music stayed with me. The might and majesty of a piece like ‘Appalachian Spring’ – the beauty of Aaron Copland’s music, wrought from the inspiration of Martha Graham, of America, of the very beginning of spring – it remained a part of my heart, lodging itself safely within, barricading against the semantics and the technicalities that made the creation and execution of art so difficult.

The trumpets sound, the traditional Shaker tune races to its climax, and the stately finale dissolves into delicate grandeur, like the last mound of dirty snow, rejoining the land, nourishing the roots, coming down from such lofty and dangerous heights. The final notes dissipate almost silently into the air. There is a moment of grace in this church. My eyes suddenly fill with tears, and I wipe them quickly away. It is one of the first pieces of music that makes me cry. All the years of practice, of hard work, of mistakes and failings – they are worth it for this one window of time.

‘Tis the gift to be simple, ’tis the gift to be free,
‘Tis the gift to come down where we ought to be,
And when we find ourselves in the place just right,
‘Twill be in the valley of love and delight.
When true simplicity is gain’d,
To bow and to bend we shan’t be asham’d,
To turn, turn will be our delight
‘Till by turning, turning we come round right.
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A Lover of Attention

Twenty years ago James released what I humbly consider to be their best album, ‘Laid’. Contained within were some of their most moving, diverse, and brilliant songs, including this one, ‘P.S.’ At the time, the album was a lifesaver for a college freshman just trying to survive. But deeper and more disturbing than that, this particular song was a finger pointed directly at me, an inescapable indictment of all that I would ever do – a warning that would go both heralded and unheeded – a catastrophe, a triumph, a failing, and an accusation. In the loneliest nights, the words haunted me, the melody taunted me, the undertow pulling everything down with it ~ and I let it happen, I let myself be pulled. It was easier to give in, to give up.

You’re a weapon of devotion
Keep the faithful entertained
You’re a lover of attention
Found a way to pawn the soul
Disposition may be fetching
But the world moves on and leaves you far behind

What had ever come of my love? Nothing good, nothing lasting. Nothing but mistrust, blame, anger, fear – and that’s not even touching on the romantic stuff yet. Family and friends were more than enough to throw any love back in my face, to make me wonder at my worth. It would never be enough. And why should it? Love should be limitless, unconditional, unwavering and unquestionable. It should be. It absolutely should be. But it’s not.

I hear you, I hear you, whispering such gorgeous stories
I see you, I see you, trying to break free
You liar, you liar, you can’t live the dreams you’re spinning
You liar, love to be deceived

They speak of me. When they think I don’t notice, I do. I am used to it. You learn to decipher whispers when they follow you from an early age. You know when they’re vicious, when they’re harmless, when they’re flattering, and when they’re horrid. You can tell the kind whispers from the cruel ones, the taunting from the admiring – but at their heart they’re all the same: whispers. Never meant to be heard by their subject.

Maybe I’m being paranoid. Or self-obsessed. Accustomed to both charges, I let them they roll off the armor of my outfits. I duck behind the gauntlets of Jean Paul Gaultier, I hide within the folds of Ralph Lauren, I defy in the crispness of Calvin Klein. Around my person an impenetrable and invisible shield of cologne waits to release its dangerous invitation. A pocket of Prada proves protection enough. And you – you see right through it.

You’re falling, you’re falling, falling from your god-like distance
You’re fashion, just fashion, fashion doesn’t keep
You’re sour, so sour, all is hope and trust is misplaced
You’re sour, now you are alone

In the last days of a winter that felt unending, my bed remained unmade. An absent roommate who had already found puppy love with a girl across campus left me alone, and gratefully so. I could thrash in solitude through the nights, tear-stained moments of terror ripping me violently from any hope of sleep, and unseen by prying eyes. If you don’t know what it is like to be alone…

Walking on fire, feel the way the world’s inclining
Walking on fire, hate to deceive
Walking on fire, now the world will keep its distance
Walking on fire, you rather than me

My pretty clothes hung in the thin closet. My outfit for the next day hung on the back of the desk chair. My daily organizer was open to the next list of what I had to do on the next morning. Everything was ordered, everything was set, everything was next. It was never now. It was only the reach for what lay ahead.

My son says, dear father, what did you do when the world turned over
Keep spinning, keep spinning, send us off to sleep
You liar, you liar, all your words are just dust in moonshine
You liar, love to be deceived

One night the winter just walked away. Left me there. I made the bed. Vacuumed the floor. Opened the window a crack. A pine tree waved in the wind. An unseen bird cried in the distance. The earth heaved in its thaw, releasing itself in a torrent of icy tears. I felt nothing.

Armed with the sustenance of my solitude – and you will never have that sort of power if you have never been alone – I walked out of the dorm and into the outside air. Saying hello to a few passing students, I mustered my smile. It was easier that way. It ended things faster. It caused less trouble. Less consternation. Less… discomfort. Because that’s what we’re supposed to do, right?

Walking on fire, found a place away from humans
Walking on fire, hate to deceive
Walking on fire, now the world will keep its distance
Walking on fire, you rather than me…
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I’ll Be There For You

It seems strange when I think back on it, but I guess Bon Jovi played a bigger part in the soundtrack to my youth than I realized. Chalk it up to the fact that one of my best friends, Ann, was in love with Jon, so by proxy a little of that love rubbed off on me. Lord knows when I was in 9th grade I was far from understanding the angst and heartache that resonates in a song like ‘I’ll Be There For You’, but if I was far from understanding what it was to love like that, I knew what it was like to have a friend like Ann. Friendship – not romantic love – was the first meaningful connection I made in life.

I’ll be there for you
These five words I swear to you
When you breathe I want to be the air for you
I’ll be there for you
I’d live and I’d die for you
I’d steal the sun from the sky for you
Words can’t say what love can do
I’ll be there for you
I know you know we’ve had some good times
Now they have their own hiding place
Well I can promise you tomorrow
But I can’t buy back yesterday

Back then I had a fairly close circle of friends. I was not popular, I was not loved by the masses, but I was adored by a small number of people who were like family to me. To this day, I maintain that small circle of friends, courting the love of a select few in preference to all else. In the final breath of winter, when the season verges on the next, and the cusp of spring is in the air even with the imminent threat of another storm, I am reminded of the ties of friendship, and those early days of a burgeoning friendship, when you could stay on the phone with a friend for hours, talking and laughing and thinking this was the most important conversation of your life.

Say what you will about me, my loyalty to my friends has never wavered… and it never will.

 

I guess this time you’re really leaving
I heard your suitcase say goodbye
Well as my broken heart lies bleeding
you say true love is suicide
You say you’ve cried a thousand rivers
And now you’re swimming for the shore
You left me drowning in my tears
And you won’t save me anymore…

 

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Sweet Dreams Are Made of This

My pal Parley pointed out that today marks the anniversary of the death of Patsy Cline, a favorite around these parts (and the closest I’ll get to appreciating country music, I’m afraid). Ms. Cline sang of heartache and heartbreak better than just about anyone else – it’s there in her words, there in her voice, there in the longing expressed by her heart. Certain singers have an intrinsic loneliness to their work – Judy Garland, Annie Lennox, and even Madonna (listen to ‘I Want You‘ or ‘You’ll See‘ – hell, the whole ‘Something to Remember’ album) – and I tend to gravitate toward them because of it. Not that they haven’t had a lot of love or romance in their lives, but because they somehow felt the heartbreak more acutely, or at least managed to translate that pain into song. A sad torch song or a bluesy siren’s cry will always trump a dance-pop tune for me, especially at night. I’m melancholy that way, even if laughing with friends beats crying with lovers.

Sweet dreams of you
Every night I go through
Why can’t I forget you and start loving someone new
Instead of having sweet dreams about you?
You don’t love me,
It’s plain I should know,
I’ll never wear your ring
I should hate you the whole night through
Instead of having sweet dreams about you.
Sweet dreams of you
Things I know can’t come true
Why can’t I forget the past, and start my life anew
Instead of having sweet dreams about you…?
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Fifteen Years of Light

No famous faces, far-off places, trinkets I can buy
No handsome stranger, heady danger, drug that I can try
No ferris wheel, no heart to steal, no laughter in the dark
No one-night-stand, no far-off land, no fire that I can spark…

The incantation came three-quarters of the way into the opening track of Madonna’s ‘Ray of Light’ album, celebrating its 15th anniversary today. As I listen to the song now, it resonates differently than it did then, in ways both wonderful and wistful. On this day, Spring seems light years away, as snow falls down coating the outside world in white. Back in 1998, the season of rebirth was in the air at the midnight hour of ‘Ray of Light’s release.

That enchanting evening, rife with mystical magic and musical majesty, has been well-documented in this space numerous times. Today, I listen to the album from start to finish as Andy sleeps and snow falls. It is, literally and figuratively, the morning to 1998’s night. The wondrous thing about the album is that it works so brilliantly in both.

It seems that everyone – even non-hard-core-Madonna fans – has a ‘Ray of Light’ memory. It is, far more than any other period in her career, the one moment when the world collectively came together in love and support of the Queen. Critical notices were glowing, sales were stellar (in spite of the fact that the album failed to reach #1, held down to the #2 spot not by that “damn Bodyguard soundtrack”, but by another cultural phenomenon, ‘Titanic’), and Madonna was back in vogue, ending the tumultuous 90’s as she began it: on top.

This was, even more-so than the glorious ‘Like A Prayer’, the album that solidified Madonna’s musical legacy, defining her once and for all as a serious artist, with a lasting body of work. Listening to the album now, it sounds as classic and pure as it did fifteen years ago, with nary a notion of nostalgia or dated-ness. In fact, ‘Ray of Light’ may be the most timeless of Madonna’s albums, thanks in no small part to its marriage of guitars and electronica, the latter of which might have worked against it, had electronica not been around since the 70’s.

The album also found Madonna at her most melancholy and contemplative, which is where I’ve always felt most connected to her. Sure, there were racing highlights like the title track, and the classic-Madonna-backed-by-Niki-and-Donna dance of ‘Nothing Really Matters’, but at its heart, this was a dark, moody, moving album – less concerned with getting people on their feet, and more intent on getting into their hearts.

It was a spiritual journey, which sounds a lot more lugubrious than the melodies would have you believe, and it’s a testament to the alchemy between Madonna and William Orbit that it worked so well. With its extreme themes of love, death, fame, desire, heartbreak, childhood, and even sanskrit, it’s amazing how cohesive the roller-coaster of emotions ends up being, but Madonna’s voice encapsulates it all, backed by the guitar-based delicacies of Orbit’s music.

For me, the lightning and thunder will always be found in the first track, ‘Drowned World: Substitute for Love.’ Nowhere else has Madonna sounded more genuine, more heartfelt, more emotionally open than on this song. For anyone who has ever searched for purpose in love, or who has been left unloved or unwanted and tried to fill that emptiness with something else, this is the song that should matter most.

The entire album is a movement of meditation. It can be as light and airy as an ambient breeze, or as heavy and rich as a centuries-old tapestry of woven filaments of valuable metals. It opens up to you when you are ready to receive it, changing and evolving with the years, minding your shifting consciousness, touching you in new ways upon every listen. Many of us have that one artist we love more than all others – the one who speaks to you in ways that no one else ever could – whether it’s Bach or Beethoven, the Beatles or Bon Jovi, Billie Holiday or Britney Spears – for me, that artist has always been Madonna, and ‘Ray of Light’ was the record that confirmed it.

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The Madonna Timeline: Song #88 ~ ‘Ray of Light’ ~ Spring 1998

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

Copley Square, Boston, MA ~ On a beautiful Spring night, the very start of the season, he glides in front of Trinity Church. A flowing black coat billows behind him, and it makes him look like a night creature soaring forth from some Frozen video. The throbbing bass pumps through the headphones on his ears, and he cannot hear the drone of blades upon pavement. He flies in front of the statue of Phillips Brooks, taking sharp turns among the rockier cobblestone, then gaining speed as the space opens up before the square. Whizzing by some late-night straggler, he cuts a wide curve, approaching midnight and the expansive green that leads to the library. In the night sky, clouds hover between earth and stars, and the mottled glow of the moon peeks through the wispy blanket. A gentle wind from the West lifts him, and he is flying…

Zephyr in the sky at night I wonder
 

 

Do my tears of mourning sink beneath the sun?
 

 

She’s got herself a universe gone quickly,
 

 

For the call of thunder threatens everyone.

Standing in the midnight release line at Tower Records on Newbury Street a few minutes before the calendar marked March 3, 1998, I listen as her voice fills the space. From the opening of ‘Drowned World: Substitute for Love‘ to the undulating guitar currents of ‘Swim’, this is the premiere of Madonna’s new album, ‘Ray of Light’ ~ her first since the vocal calisthenics of ‘Evita’, and a bit of a proper pop comeback. (‘Bedtime Stories’ had gone some way toward mending the implosion of ‘Erotica‘ and the ‘Sex‘ years, as did her turn in ‘Evita’, but it was ‘Ray of Light’ that would bring her back to the pinnacle of critical and commercial success to which she was rightfully accustomed.)

Along with a growing group of Madonna fans running around the perimeter of the store, I am giddily awaiting to get my hands on her first original studio album in four years. Advance word was that this record was brilliant, and as I listened to her crystal-clear tone, it felt like she had just returned home, to the place where we’ve always wanted her to be: in the music.

And I feel like I just got home
And I feel…
And I feel like I just got home
And I feel…

At that point, working in retail and living in Boston, I was still not sure of where my own home might be. It certainly felt like Boston, but it also felt like Amsterdam, or Rochester, or wherever I found my suitcase and my friends. Sometimes I felt most at home in a strange land, an unremarkable hotel room, an airport gate, or a pair of empty train seats. At other moments I felt home was in the arms of a stranger, a nameless body and a handsome face, a nightly delight of transitory in-between states, both the people and my mind. The ‘Ray of Light’ album informed this period of my life, becoming the soundtrack to one of the most soul-evolving transitions in my life.

Up until that album, I’d made a mess of things in every romantic endeavor I attempted, falling for guys who weren’t interested in me, or acting a fool with those who were. Romance was a scene of repetitive trauma, where the same obsessive mistakes and ill-fitting acts went on, without resolution or improvement, where I poured my heart again and again into situations that today I would balk at, or at the very least laugh. Back then it all seemed so serious, and I was too young to be such an earnest individual. When the opening guitar chords of ‘Ray of Light’ rang out over the speakers at Tower Records, I felt my heart on the verge of bursting ~ for regret, for hunger, for happiness and for hope. It was the moment of an audible shift in perspective. There, in that song, was an instant of sheer joy, as the bass pounded and the beat kicked in, rendering and revealing the moment as both the miniscule role we play in the bigger picture, as well as a representation of the immensity of our place in it. Suddenly it all clicked, and those years of hurt and frustration were left in the dust. I could cry over the sorrows of the past, dwell on the shame and embarrassment, and wallow in the pain of everything I could not control, but the only person who was harmed in all of that was me. In the words of another wise woman, “Ain’t nobody got time for that!”

 
 
Faster than the speeding light she’s flying

 

Trying to remember where it all began.

 

She’s got herself a little piece of heaven

 

Waiting for the time when Earth shall be as one.

 

It was a turning point in the way I saw life. The enjoyment of the present moment could now be seen as a flower in full bloom ~ tomorrow it might fade and fall apart, but that was no excuse not to enjoy today ~ in fact, all the more reason to make the most of it. Romance, once the heavy stuff of dusty Victorian novels, the impossible-not-to-be-dashed hopes of ill-fated suitors, was rechristened into something lighter, far more fun, and thrilling in a giddy way. Men ~ those strange, wondrous, enchanting figures that drifted so dreamily across my mind ~ lost a bit of their hold over my sway. And the moment you stop the search, the moment you really and truly come into your own, when you realize that you don’t need anyone to be all right, is the moment you become tantalizing to others. No one liked a cry baby, and no one wanted a wimp. All those years of moping around and going on about losing out on love were seen at last as a foolish waste ~ the indulgent sort of pain that those in true peril instantly dismiss.

It didn’t happen over the course of this one song ~ though it played a helpful part. It played out over the Spring and Summer of that year ~ and the next time I entertained a relationship would end up being one of the great loves of my life. For now, though, for the summer of ‘Ray of Light’, I was light-hearted and happy and fulfilled by some light play, some unexpected cuddling, and some sexy, sultry nights. It was an awakening.

 

 
 
And I feel like I just got home
And I feel…
And I feel like I just got home
And I feel…
Quicker than a ray of light…
Quicker than a ray of light…
Quicker than a ray of light…

Far more than romance, it also affected my friendships, and, more importantly, my ability to make friends. All my life I’d been almost painfully shy, even as I pretended otherwise. My barriers were always up, emotional weapons ever at the ready, for self-preservation and protection more than anything else, but the end result was the same ~ impenetrable coldness. The inaccessibility of the unloved, and the self-defeating/self-fulfilling whirlpool of swallowed feelings, of a perpetually downward spiral… well, at its most basic, I didn’t want to make a fool of myself. I didn’t want to be less-than-perfect. And perfection is both icy and wearying. It’s hard to love a perfectionist, and even harder to know what, if anything, about a perfectionist is real ~ because perfect people simply don’t exist. Once I stopped pretending, once I revealed my foibles and stumbles, admitted my ignorance, and loosened up on the hair product, I was much better company.

On a Spring night a few days after ‘Ray of Light’ was released, I had my friend Simon over for drinks. He was a straight guy ~ one of the few who worked at Structure at the time ~ and we shared a cocktail or two before heading out into the night. I asked if he wanted to come along while I tried out a pair of rollerblades (proof that I truly no longer minded making a fool of myself in front of people). I donned a ridiculously dramatic black coat that fluttered behind me in the breeze. I went slowly at first, as he was on foot, circling around as we chatted about work and other nonsense. This, then, was what others did ~ they talked with co-workers, they shared silliness, they slowed and accelerated to keep up with friends. We neared Copley Square, where Simon would get on the T, and I’d get to go as fast as I could in the open expanse of the space in front of Trinity Church. I turned my headphones up, and as the high-pitched scream near the end of the song sounded, I joined Madonna in falsetto-bitch madness, screaming at the top of my lungs. I couldn’t hear myself with the headphones on, but I saw Simon turn around, look at me like I was crazy, then bust out laughing.

Zephyr in the sky at night I wonder
Do my tears of mourning sink beneath the sun?
She’s got herself a universe gone quickly,
For the call of thunder threatens everyone.

I returned to my parents’ home in upstate New York for some of that summer, and Madonna was on the Oprah Winfrey show, where she performed ‘Ray of Light’ live for the first time. She looked radiant, relaxed, and gleeful. There had been tornado warnings that week, and thunderstorms stalked the area (there was even a Storm Watch warning that got recorded during the show, somewhere on that long-lost VHS tape), but at the end of the tumultuousness came the sun. That season of ‘Ray of Light’ found me having fun in Rochester, and Albany, and even Amsterdam. I bounced around to several places, taking Madonna’s cue for a more relaxed and less severe stance on life. I wore the remnants of some old beads I’d had from the ‘Like A Prayer’ days, lined my arms with ratty hemp bracelets, flirting with the ease of faded denim and hippy accents like a re-born flower child. And I found a glimpse of love here and there, not allowing myself to get bogged down with it, not allowing myself to stay anywhere for too long, but just enough to sustain the heart. In that way, I learned not to settle, even if not settling had its price too.

A few weeks later, I found myself walking along the tracks of a train terminal, coming or going from Boston, with this song running through my head. Luggage weighed down both my hands, but the sun shone brilliantly amid the departing and arriving trains, and my heart was light as the day. Perhaps this was my home ~ this perpetual state of journeying, this place of transitory transit ~ and perhaps home wasn’t a place, but a frame of mind. If that proved to be true, then maybe we’ve always been home all along, we just didn’t know it. It may not erase the terrors of the past ~ and that Wizard-of-Oz-like journey will never be completely forgotten ~ but it makes the way of the future a little easier to bear.

And I feel…
Quicker than a ray of light
Then gone for
Someone else will be there
Through the endless years
She’s got herself a universe
She’s got herself a universe
She’s got herself a universe

As a song, ‘Ray of Light’ was a momentous milestone in Madonna’s creative trajectory. It was an instant classic, and a high-point on her greatest studio album to date. While live performances have occasionally been spotty (a wretched VMA’s that year, and a dismal high note at a Live Aid event), she’s performed it admirably on a number of tours ~ perhaps too many, as its overexposure by the time ‘Sticky and Sweet’ came around almost made it feel like filler. I still think her straightforward reading of it (without playing guitar) on the Drowned World Tour was my favorite.

The video is a hyper-kinetic sped-up view of a day in the world, the first of a relatively long line to be directed by Jonas Akerlund. For some reason, this effort always felt a bit hollow, especially for the title track of such an epic album. Madonna is almost a supporting player in the tapestry of life that moves at break-neck pace across the screen, but it works in showing that she’s just a bit player in the universe too, so I guess I’m just being selfish in wanting to see more of her.

And I feel
And I feel
And I feel like I just got home
And I feel…

As for me, ‘Ray of Light’ will always be remembered as the song of the summer in which I learned to let the past go, and to love and laugh and live in the moment. It will always be one of Madonna’s greatest lessons ~ finding the simple joy in music ~ and whenever I find myself bogged down by dismal dwelling or onerous worries of future events, I think of this song, it takes me away, and together we soar.

Quicker than a ray of light she’s flying…
Quicker than a ray of light I’m flying…
Song #88: ‘Ray of Light’ ~Spring 1998
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Take My Hand, We’ll Make It I Swear

The year was 1987.

The hair was big.

The jeans were ripped.

And we were all just living on a prayer.

The Ilagan household had just gotten their first taste of cable on a television that you didn’t need to change channels manually (about five years after all the other kids had it). Say what you will about being the son of a doctor – there were hardships and lessons too. As kids, we didn’t always notice this, but the absence of MTV was a social stigma, leaving us to pretend we knew what everyone at school was talking about, faking our way through the minefields of peer-pressure and not wanting to be left out of the loop. I was pretty upfront about my ignorance, rapping along with the kids who sang Run DMC, only I was saying, “You be L.A.” instead of “You be illin’.” No one seemed to notice. That’s the thing about pretending – sometimes, if you’re really good at it, it becomes truth, and the knowledge that you never had, but that they think you possess, turns into currency, and respect. Even if it’s built on a lie, on a fucked-up lyric taken as slang.

We’ve got to hold on to what we’ve got
‘Cause it doesn’t make a difference
If we make it or not
We’ve got each other and that’s a lot
For love – we’ll give it a shot

   Whoah, we’re half way there
   Livin’ on a prayer
   Take my hand and we’ll make it – I swear
   Livin’ on a prayer

This was the time of the school year when the kids started getting crazy with homebound restlessness, and my squirrelly self was no exception. I watched this video with rapt wonder – not exactly a fan of the style (frizzed-out perms were never for me, nor should they be for anyone) – but more for the anthemic quality of wanting to fly beyond the small-town childhood so many of us longed to leave, soaring above like Jon did on stage. I wanted to take flight in such a manner, lift off the ground, see it grow small beneath my weightless feet. Propelled by a wish and a prayer…

 

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A Song for Travel

In the midnight hour of my last night in Boston – a night I was never intending to spend in that fine city – a song is played, and it’s the perfect song portending travel. It is a song from my childhood (I was raised on Peter, Paul, and Mary – and they would be the first band whose concerts I would attend, thanks to my Mom.) It’s ‘Leaving on a Jet Plane’, the meaning, scope, and emotion of which I could not access as a kid, so it didn’t become a favorite until many years later, when I was old enough to appreciate, to know, to understand. Part of me wishes I didn’t like it so well, that I didn’t know so much, but there’s no way to unlearn heartache. Besides, the beauty of this song more than makes up for it.

All my bags are packed I’m ready to go
I’m standin’ here outside your door
I hate to wake you up to say goodbye
But the dawn is breakin’ it’s early morn
The taxi’s waitin’ he’s blowin’ his horn
Already I’m so lonesome I could cry…
So kiss me and smile for me
Tell me that you’ll wait for me
Hold me like you’ll never let me go
Cause I’m leavin’ on a jet plane
Don’t know when I’ll be back again
Oh babe, I hate to go…

Most people, myself included, don’t enjoy saying good-bye. Mine are usually curt and quick, and it’s one of the only times when I’m truly glad to give a hug. You never know. You just never know… I try not to look back, I hate the good-bye wave, and if I could get away without saying anything and seeming rude, I would attempt it. Why prolong the sadness?

There’s so many times I’ve let you down
So many times I’ve played around
I tell you now, they don’t mean a thing
Every place I go, I’ll think of you
Every song I sing, I’ll sing for you
When I come back, I’ll wear your wedding ring
So kiss me and smile for me
Tell me that you’ll wait for me
Hold me like you’ll never let me go
Cause I’m leavin’ on a jet plane
Don’t know when I’ll be back again
Oh babe, I hate to go…

Oddly enough, I don’t recall this song playing a part whenever I left a paramour. It only resonated with friends and family, the people who have remained in my life through the years, and in leaving them I left the ones who knew me best, who knew me at all, and perhaps that’s why it was always sadder.

Now the time has come to leave you
One more time let me kiss you
Close your eyes I’ll be on my way
Dream about the days to come
When I won’t have to leave alone
About the time, I won’t have to say
So kiss me and smile for me
Tell me that you’ll wait for me
Hold me like you’ll never let me go
Cause I’m leavin’ on a jet plane
Don’t know when I’ll be back again
Oh baby, I hate to go…
Cause I’m leavin’ on a jet plane
Don’t know when I’ll be back again
Oh babe, I hate to go.

 

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The Madonna Timeline: Song #87 ~ ‘Beautiful Killer’ – Spring 2012

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.} 

Dark eyes on a dangerous face you are a beautiful killer
We pass by the same old place you are a (beautiful killer)
You don’t have a life, you have blood on your hands
You can sleep at night and I don’t understand
I don’t know much about you are a wanted man…

Driving along a Massachusetts highway, the dirty piles of sand and salt at the end of winter lining the barren road, I turn the bonus tracks of MDNA up a little bit louder. Sometimes good music needs to be racked up a few notches to get the best effect. I’m speeding along to pick up a friend. There is business that needs to be finished. Plans to be finalized. A job to complete. And this one I cannot do alone.

You can call my name and I’ll be around
Maybe I’ll let you shoot me down
Cause you’re a beautiful killer, with a beautiful face
A beautiful killer and you won’t leave a trace

Black leather gloves grip the steering wheel. Aviators shade the eyes. A bag sits in the passenger seat – a bag that I will carefully move when I pick her up. The contents are precious, maybe only to me, but that’s the most kind of precious there is, for any of us. She’ll understand. She’ll know. She’ll go along with what needs to be done.

Do you know the reasons why you are a beautiful killer?
Hurt yourself but you never die, you are a beautiful killer…
I like your silhouette when you stand on the streets
Like a samurai you can handle the heat
Makes me wanna pray for a haunted man…

You can call my name and I’ll be around
Maybe I’ll let you shoot me down
Cause you’re a beautiful killer with a beautiful face
A beautiful killer and you won’t leave a trace
Can’t really talk with a gun in my mouth
Maybe that’s what you’ve been dreaming about
Cause you’re a beautiful killer with beautiful eyes
A beautiful killer and I love your disguise…

I turn off the highway, drive through a quaint-enough town, and find her street. I’m a little early. The text arrives that she is almost there. I wait in front of her house. There is time to go through the bag one last time. Everything is in order. I zip it up and place it in the back seat. The sun is beginning to go down, slivers of an almost-crimson last gasp of daylight splinter through the windshield. Beauty can be broken glass framed in blood, but I’m wearing gloves, and I’m not afraid.

You changed the past
Good guys always finish last
What happens now?
I need to know how the story goes
Are we together?
I love you forever…

Another text. She is near. Soon she will round the corner. She’ll take the kids inside, and then she’ll open the car door, and we will be off. In killer boots and tight black pants, short-cropped hair and nothing to lose, she’ll swing her bag into the back-seat next to mine. Back on the highway, the city just ahead of us, we will finalize the last steps we need to take.The steady strumming of an electric guitar pushes us along. Buildings rise out of the sudden darkness. A mini string battle comes after the bridge, the song breaking up for a moment before the beat comes back in, hand claps offering some seemingly harmless relief, but we know better. We know there is always something more to come, something more dangerous, more sinister. I grip the steering wheel tighter as we reach the site of the rendezvous.

You can call my name and I’ll be around
Maybe I’ll let you shoot me down
Cause you’re a beautiful killer with a beautiful face
A beautiful killer and you won’t leave a trace…

We unload the car quickly in the cloak of night, furtively hurrying up unlit staircases, depositing supplies, then locking the doors behind us as we park a few blocks away. There is time for one last dinner- just the two of us – before our work begins. We relax a little, even laughing a bit. Scoping out the restaurant, our agreement goes unsaid. A shot of tequila, then the salty rim of a margarita. A sangria for the lady. Nothing too strong to dull the senses, just something to take the edge off the anticipation.

Can’t really talk with a gun in my mouth
Maybe that’s what you’ve been dreaming about
Cause you’re a beautiful killer with beautiful eyes
A beautiful killer and I love your disguise…

We are in the city to prepare for a friend’s 40th birthday. It will be held at the condo the next day. The supplies – the bag – all filled with party preparations. The restaurant – a test for a possible post-party gathering. The partner-in-crime – my friend Kira, who is helping me throw the party. The song – ‘Beautiful Killer’ – the one that was playing as I made my way to her home to pick her up. The party – a killer success.

You’re a beautiful killer, but you’ll never be Alain Delon. 

Song #87: ‘Beautiful Killer’ – Spring 2012
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Bringing It On Home

The house where I grew up is filled with four people on this Friday night – the same number that filled it when I was a child – only tonight, while my parents are in Boston for the weekend, I am babysitting with my brother, and his two kids have finally drifted off to sleep. The snow is now falling steadily – the thrust of Nemo, in the limited capacity it brought to upstate New York. Still, we don’t yet know when it will stop, so there is a slight sense of tension, the possibility of being snowed in.

https://www.youtube.com/watch?v=Dl5usKhGz60

We watched ‘Adventures in Babysitting’ earlier in the evening, and this Sam Cooke tune is stuck in my head – ‘Bring It On Home to Me’ – not quite the ‘Babysitting Blues’, but it will do. Incidentally, the soundtrack to this movie is criminally under-rated – not just for The Crystals and ‘Then He Kissed Me’ – but also for this gorgeous bluesy tune. It puts one in the mind of the past, of lost regrets come home to remembrance. Not only about a lost romance, but about a lost love, or the ache of loving someone who simply isn’t able to return that love, not in the same way, not in any fulfilling way – and having to give it up and let it go; it’s how we learn to grow up, even if we’re in the middle of our thirties. That piano, that violin, and the longing in that man’s voice. How we beg for what is just beyond our grasp… and for what has already gone away.

My brother turns off the television and heads upstairs. I turn the switch to the last lamp and allow my eyes to adjust to the darkness. The comforting glow from the street lamps and the snow spills in from outside. It is quiet, except for the echoes of Mr. Cooke’s pleading in my head. In this house where we spent our childhoods, the Brothers Ilagan trudge upstairs, putting the place to bed until the morning.

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The Madonna Timeline: Song #86 – ‘I’d Be Surprisingly Good For You’ – Late Fall 1996

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

It seems crazy but you must believe
There’s nothing calculated, nothing planned
Please forgive me if I seem naive
I would never want to force your hand
But please understand, I’d be good for you
I don’t always rush in like this
Twenty seconds after saying hello
Telling strangers I’m too good to miss
If I’m wrong I hope you’ll tell me so
But you really should know, I’d be good for you
I’d be surprisingly good for you…

The tedium of the fall of ‘Evita’ has been well-documented on the Madonna Timeline, so for this one, which is really an after-thought after such monstrosities, I have nothing but one tiny memory of waiting in the basement of one of the Brandeis buildings, and hoping with all my might that the object of my affection would find his way downstairs to use the restroom, and then planting a kiss on him out of the blue.

It was, thank God, one of the few bad ideas that I didn’t follow through on. Every once in a while, I have an ounce of sense that bubbles to the surface, breaks, and saves me from inestimable embarrassment. Not often, but once in a while…

I won’t go on if I’m boring you
But do you understand my point of view?
Do you like what you hear, what you see
And would you be, good for me too?
I’m not talking of a hurried night
A frantic tumble then a shy goodbye
Creeping home before it gets too light
That’s not the reason that I caught your eye
Which has to imply, I’d be good for you
I’d be surprisingly good for you.
Song #86 – ‘I’d Be Surprisingly Good For You’ – Late Fall 1996
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The Madonna Timeline: Song #85 ~ ‘Gang Bang’ – Spring 2012

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

Like a bitch out of order,
Like a bat out of hell
Like a fish out of water
I’m scared, can’t you tell?
Bang bang.
Bang bang.

Some songs make you want to do bad things. Very bad things. A sinister bass line, a blast of guitar, a vicious whisper – all add up to the daring drama of ‘Gang Bang’ -the next selection for the Madonna Timeline. From her latest (and sorely under-rated) ‘MDNA’ album, this is Madonna’s return to controversial form. Many fans have likened the song to a throwback from her dark ‘Erotica‘ opus, but this goes a bit further, and finds our maiden/mistress at her angriest. ‘Gang Bang’ is fully loaded, and aimed squarely at the heart of the one who has done her wrong. (In this instance, coming in the aftermath of her divorce from Guy Ritchie, it’s hard to read anything other than a savage revenge play made against her ex-husband.)

I thought you were good,
But you painted me bad.
Compared to the others,
You’re the best thing I had.
Bang Bang, shot you dead.
Bang Bang, shot you dead.

The thing that has always struck me about Madonna, and a fact that many of her detractors have a hard time believing, is that most of her anger and acting out is a rather transparent display of hidden hurt and buried heartache. It’s hard to get truly mad at someone who comes from a place of sadness and loss, even if they do their best to turn it into something bitter and defiant.

I thought it was you,
And I loved you the most.
But I was just keeping
My enemies close.
I made a decision,
I would never look back.
So how did you end up
With all my jack?
Bang Bang, shot you dead.
Bang Bang, shot you dead
in the head.

Her performance of this song on the MDNA Tour was filled with guns and violence, and even in a pre-Sandy Hook world this was tough to watch. I’m not going to get into a gun-control debate here, though. It’s a Madonna song. You read into it what you want, and I’m not going to argue about it.

Bang Bang, shot you dead, shot my lover in the head
Bang Bang, shot you dead and I have no regrets
Bang Bang, shot you dead in the head
Bang Bang, shot you dead, shot my lover in the head.

All I can do is remember what it made me feel. This is one of those driving songs, the soundtrack to those times when you simply get in the car and drive with no destination in mind – you just want to get out of the house, away from your husband, and away from a life that sometimes seems at odds with everything you once dreamed. It’s the ultimate lashing out of anger, the purging of pent-up emotions, and, if you’re careful, a safe release of the madness that lurks somewhere in the midst of the happiest marriage.

And then I discovered
It couldn’t get worse
You were building my coffin
You were driving my hearse
Bang Bang, shot you dead
Bang Bang, in the head.

A confessional piece of pop art like this song can sometimes afford an easy reconciliation. Listening to it may quell the stupid fights, the ones over the small things. It’s no substitute for communication and figuring the big issues out, but I’m the first to admit that most of our fights (and not just between Andy and myself, but most of us) are over the small stuff.

I thought it was you
And I loved you the most
But I was just keeping
My enemies close
I made a decision,
I would never look back
So how did you end up
With all of my jack?
Bang Bang, shot you dead, in the head.

Every once in a while, though, I’ll get in the car, and there is no relief. There’s nothing left to be reconciled, there’s nothing left to alleviate, and there’s nothing left in me to forgive, and that’s when the song turns just the slightest bit dangerous. We all have our breaking points. We all have the capacity to hurt, and to get hurt. And in the end, we all bleed.

Bang Bang, shot you dead, shot my lover in the head
Bang Bang, shot you dead and I have no regrets
Bang Bang, shot you dead, in the head
Bang Bang, shot you dead, shot my lover in the head
You had to die for me baby
How could I move on with my life
If you didn’t die for me baby?
If you didn’t die for me baby?
I need you to die for me baby…

How far removed are we from the murderers and killers? How far apart are we from the person who, for that one moment, snaps and cracks and pops one in the head of the one who hurt them? We all like to think it’s so unfathomable, so far from who we think we are, from what we think we could do. But until you’re there, until you’re the one getting that shit heaped upon you, you’ll never know.

Bang Bang, shot you dead, shot my lover in the head
Bang Bang, shot you dead, shot my lover in the head
Bang Bang, shot you dead, shot my lover in the head
Now my lover is dead, and I have no regrets.
He deserved it.
And I’m going straight to hell
And I’ve got a lot of friends there
And if I see that bitch in hell
I’m gonna shoot him in the head again
Cause I wanna see him die
Over and over
And over, and over, and over, and over, and over, and over…

To be honest, it’s not my favorite song from the album, despite how much many other fans seem to love it. (It was instantly heralded as one of her best, and the end result didn’t live up to the hype in my head.) I do think it would have made a killer video, and Madonna did put out feelers for Quentin Tarantino to direct it (oh how I wish that had come to fruition), but as of this writing it hasn’t panned out. For now, it’s a nifty vessel for channeling the rage we usually feel at one point or another, and every once in a while I’ll turn it up, back the car out, and drive.

Now drive bitch!
I said drive bitch!
And while you’re at it, die bitch!
That’s right drive bitch.
Now if you’re gonna act like a bitch,
Then you’re gonna die like a bitch.

Song #85: ‘Gang Bang’ – Spring 2012

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Someone to Watch Over Me

There’s a saying old, says that love is blind,
Still we’re often told, “Seek and ye shall find.”
So I’m going to seek a certain lad I’ve had in mind…

It’s the sort of co-dependent anthem we’re not supposed to like – the sad, pathetic admission that all we want may just be for someone to take care of us. It’s not something that those who didn’t know me would ever accuse me of being, but those who did know – the few who saw through to my heart – knew it well. I was, and would always be, a reluctant romantic – try as I might to pretend otherwise. You only get burned so many times before you turn those romantic overtures down, but you’re never able to completely rid them from your most secret wants and yearnings. I’ve held onto mine all this time.

There’s a somebody I’m longin’ to see
I hope that he, turns out to be
Someone who’ll watch over me

I’m a little lamb who’s lost in the wood
I know I could, always be good
To one who’ll watch over me

This is not a post for those just stepping into a new relationship. No, this is the kind of kiss of death that you don’t impart until you’re married. The games we’ve been trained to play when it comes to love don’t allow you to be so bold, so brazen, so frighteningly raw. No, young lovers, hide your heart and bury your longing – at least if you want to hang onto the one you love. Is there anything so strange that we humans do as pretending to not be as interested as we really are? I wasn’t good at hiding that sort of thing. And guys weren’t good at dealing with someone who didn’t bother hiding it. So I danced alone for a long time, swaying in dim empty rooms whenever a song like this came on, rocking in solitude to lyrics that pierced my heart for lack of understanding, lack of experience, lack of love.

Although he may not be the man some
Girls think of as handsome
To my heart he carries the key

Won’t you tell him please to put on some speed
Follow my lead, oh, how I need
Someone to watch over me

And I waited, and wondered, and hoped, and prayed. And waited, and cried, and loved. And there were lovers fair, and lovers cruel, lovers who cared enough to leave, and lovers who didn’t care enough to stay. And even though I’ve been with my husband for over a dozen years, love is still a tricky thing, seeping into the darkest corners to let in a little light, or pouring over the burning ache of hurts newly raw. I don’t always understand it, I don’t know how it comes to be, and perhaps that’s best. It’s not something you can corner or trap, not something you can control or cajole, but when you’re ready – when you’re really ready to be loved – someone will be there. And then the wanting will be okay.

Won’t you tell him please to put on some speed
Follow my lead, oh, how I need
Someone to watch over me...

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