Shangri La

Despite my propensity for silk robes, leisurely activity, and bar lounging, I am, at heart, an adventure-seeking boy. It explains my unlikely love for the ‘Lord of the Rings’ trilogy, ‘Adventures in Babysitting’, ‘The Goonies’, and anything involving a journey of some kind. It’s also the main reason for the restlessness of my heart. Satisfying all those terms is the book I’m currently reading, ‘The Heart of the World’ by Ian Baker. Detailing the search for the magical Shangri-La of Tibet – a storied waterfall region that promises both physical and mental transcendence – it is also a spiritual journey, steeped in Buddhism and grounded by adventure.

So far, it is pure escapism – the perfect antidote for the previous few days of stalled spring. A lit candle, a comfortable conversation couch, a free hour or two – luxuries all, and the greatest luxury in the world – a good book.

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A Dream Press Release

What terrors lurk on the border between sleep and wake? What wonders exist on the plane of that netherworld? It is initially a place of peace and repose, but it can turn quickly into a hostile landscape, filled with terror and troubled by the most fantastical and grotesque distortions of what once felt real. From this surreal abyss, Alan Bennett Ilagan draws the inspiration for his latest project ~  BARDO: The DREAM SURREAL.

Bardo: The Dream Surreal marks the first proper projectby Ilagan since 2009’s ‘FireWater’. (Not taking into account photo exhibitions, tours, and a wedding.) And it is a full-fledged project, with words and pictures, images and writing. It’s got the rough assemblage of his earlier work – raw and unpolished in spots, as in the days before it all got so digitally perfect – yet it has the heft and substance of something deeper than the fluff he sometimes favors. Bardo: The Dream Surreal is a bit of a dream treatise, exploring the cloudy realm of the in-between, stretching the limits of what is real, and confounding the expectations of anyone that thought they knew all the tricks of the artist.

It is abstract, and much of it remains almost frustratingly unexplained. Ilagan has never been this obscure or hidden, and while parts of it feel like an inside joke, the very disorientation it provides is a perfect metaphor for the dream world the project inhabits. Despite its abstraction, the project feels more vivid than some of Ilagan’s recent work. Bardo is a Tibetan phrase that translates to ‘in-between’ and was originally used to describe the immediate state between life and death. Since that time, it has come to mean any state of in-between – most commonly the state of dreaming.

Rather than going the analytical route so common with dreams, Bardo: The Dream Surreal takes an earnestly surreal approach, not bothering to explain anything away or offer deeper meaning. For many, even the most delightful and happy of dreams carry with them a certain tension – and this “surreality” can be both wondrous and frightening.

A few of the images here are disturbing – most convincingly in what they leave unseen (a broken robin’s egg, a pile of feathers from a dead bird) – and some of the written passages are filled with subtle dread and underlying tension (the idea of a creature – unnamed – lurking in the water of a pool, or the notion of a television stuck in repeating time), and this is where the project is at its best. Ilagan displays a deft touch in bringing such dread just to the surface without being heavy-handed about it, and there it lingers, sinister and devious, silently staring you in the face.

Balancing the darkness and the menace is the light-hearted whimsy that once made some of his less-serious projectssuch a joy to behold. The imagesof a scarf in a weeping larch, a sweater at the bottom of a pool, and Ilagan himself as a merman are as fanciful as they are compelling. What’s more interesting is how subliminally his own persona is buried within the project. Aside from the merman passage and a few early pool shots, there is little of Ilagan himself here. And yet we seem to be entirely engulfed in his own dream, which manages to be both gloriously limitless and fatally claustrophobic.

 

Not unlike most of our dreams, there is a bit of a nightmarish quality to the whole scene, but Ilagan wisely underplays the darker tones. It’s as if he has sounded a low-toned bell and simply let it ring out, with wavering repercussions, and an alternately growing and fading anxiety.

It will be most interesting to see where the artist goes from here. Like many of his projects, Bardo: The Dream Surreal is unlike anything he has done before, a characteristically-uncharacteristic artistic turn, and if it’s far less revealing than some of his work, it also shows marked artistic evolution. In some ways, this project feels like one ominous, extended preamble to something larger, a grand set-up for the next stage of the journey. As such, it’s both a tease and an end unto itself, not unlike a dream.

 

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Disrobing for a Day Nap

Our place in Boston is a second-story floor-through – meaning it has windows in both the front (living room and kitchen) and back (bedroom and bathroom). As such, we are fortunate to have a bay window that lets afternoon sunlight into the bedroom, flooding the space with light. This is one of my favorite places to take an afternoon nap. After a few minutes of reading, I find it easy to slip into snooze-mode for a couple of hours, even in the bright sunlight.

 

It is quiet here, too, despite being in the middle of the city. When I worked for John Hancock I sometimes made it home for lunch, luxuriating in the mid-day quiet, pausing in the brief respite of peace. It was – and remains – a restorative moment and place. (These days I wouldn’t make it one-sixth of the way to Boston on my lunch half-hour, but on long weekends it’s a manageable, easy trek.)

Sleeping in a bed bathed in sunlight is its own priceless excursion. In the simple there is so often the sublime, and I didn’t even have to leave my bedroom to find it.

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You Saw Me Standing Alone

We first caught a glimpse of it as it began its ascent. We were returning from dinner, and to the left it hung behind the houses and buildings along the way, slipping behind a bank of clouds by the time we returned home. A little while later it appeared again, and I grabbed the camera and the tripod and went out into the front yard.

It was cold, but not unbearably so. Wrapped in scarves, bundled up to the ears, I stood on the porch looking up into the sky. There, behind the bare branches and emerging from the clouds, came the moon. Rising slowly above the horizon, it lit up the night. I snapped a few photos, but the moon stayed obscured behind the branches. I went back inside and waited for it to fly a bit higher.

Half an hour later, I went back outside. There she was, clear of the trees, and teased by clouds on either side of her. She looked magnificent, resplendent in her super-closeness. I stared up at her and focused on her face. It seemed as if the moon was pulsating, beaming light in waves, or my eyes were adjusting and readjusting to it – I could not tell which, but beneath the wavering light everything fell away.

I wanted to make a wish, I wanted to ask a question, but all that came to my mouth, almost inaudibly, was “Moon…” More of a whimper, the whisper of a plea, and then it was gone. Still I stared at the glowing orb above, soon to be shrouded in clouds, and my doubts and worries did not go away. Yet there, in the moonlight, in that moment, it was all right.

Tonight, we make our Spring wishes…

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The Madonna Timeline: Song #35 – ‘Amazing’ – Fall 2000

{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.}

You took a pretty picture and you smashed it into bits,
Sank me into blackness, and you sealed it with a kiss.
If only I could let you go, why do I need you so?

Neatly dove-tailing with the latest news that William Orbit has scored the soundtrack for her next directorial effort, workingly titled W., ‘Amazing’ is one of the last collaborations Madonna shared with Mr. Orbit. From 2000’s Music, it was one of the only two cuts they produced together for that album.
While the worst of his work with her is treacly and uninspired (‘Time Stood Still’ and ‘Runaway Lover’ for example), the best of it shimmers and soars (‘Frozen’, ‘Ray of Light’ – hell, the entire Ray of Light album).

It’s amazing what a boy can do,
I cannot stop myself.
Wish I didn’t want you like I do
Want you and no one else…

A movie score could be the perfect bit of alchemy to set his ambient sonic moodscapes to flight, doing for W. what Trent Reznor did for The Social Network. Of course, this is all guesswork and speculation at this point – Madonna has been characteristically quiet during her creative mode. (Though I wish she would get back into the studio and make some new music.)

You took a poison arrow and you aimed it at my heart,
It’s heavy and it’s bitter and it’s tearing me apart.
If only I could set you free,
You worked your way inside of me.

‘Amazing’ is one of the brighter, poppier moments of the Music album, but like most Madonna songs it has an ambivalence that runs throughout it. She was about to marry Guy Ritchie at the time, but based on this song (and the eventual outcome of the marriage) things were not completely smooth-sailing. No one captures that push-and-pull better than Madonna.

It’s amazing… Love you and no one else…
Song #35: ‘Amazing’ – Fall 2000
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And At The Break of Day

About the only thing I can control in life is my artistic output (and what I wear). This is somewhat infuriating, as I tend to need control to feel safe and secure. Without that control, I often have to rely on others who are usually not as dependable as me. Sorry, but the truth is the truth, and one of my greatest strengths is my dependability and sustenance. (You don’t keep a website going with daily posts for eight-plus years, or hold down a job for almost ten if you are inconsistent or unreliable.)

That said, it’s not always fun to find the control, (and even those enterprises over which I have complete autonomy aren’t entirely joyful all of the time). This passage, another from John Tarrant’s Bring Me the Rhinoceros, has been teaching me to let go. It’s been a revelation – and a rather freeing one at that:

Maybe nothing will change and the uncertainty will continue. What has changed is that he doesn’t torment himself with his thoughts. He has breakfast, goes to work, comes home, has dinner, plays with the children, reads a novel. He lives. He does not require the moment to be different in order to be happy. He is happy…

The Buddha doesn’t say that nothing happened, that someone didn’t beat you, that no pain was caused. He is not encouraging you to pretend you are a robot, to go into denial, or to take up positive thinking. He just says that feeding the story of suffering makes you suffer. And he doesn’t say that not feeding the story of suffering will make you happy. His words are a koan; they take away the story about suffering. How happiness appears is your business.

This koan raises the idea that freedom might be freedom from your own stories about life and who you are and who you should be. When you first see that you suffer from your thoughts, you might want to get rid of the difficult, painful thoughts and put good ones in their place. This is not the koan approach. What might it be like if you got rid of the painful thoughts and didn’t put anything in their place? Then you might not be struggling to make the world fit your fiction. You wouldn’t suffer from bad art…

When the Buddha made his discoveries, he said, “I have found the builder, and I will not build the house of pain again.” Without your fictions, life has a simplicity that is full of beauty.

There is nothing I dislike.

~ John Tarrant, Bring Me The Rhinoceros

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How to Smudge a Home

My husband Andy has been a big proponent of smudging since I met him. He’s probably the more spiritual of the two of us (I grew up in the land of the religious/superstitious). However, over the years we have each integrated practices of the other into our lives, and the art of smudging is something I attempted this past Friday.

It is, from what I’ve read and what he’s said, a Native American practice used to purify places and objects by removing negative energy and spirits. I imagine there are similarities in the incense used in other religious ceremonies. Personally, Andy and I have been in an end-of-winter funk, so anything that might drive bad feelings and energy away is fine by me.

Andy’s smudge wand of choice is made of white sage (Salvia apiana). A dried bunch of leaves and stems are tied tightly together, the end of which is lit and then blown out. The idea is that the smoke produced will drive any evil spirits or bad energy from the area – in this case, our home.

 

I started by opening all the doors of the house. (There has to be somewhere for the negative energy to escape.) The icy winter chill had just begun to dissipate, the snow outside was melting, and birds chirped in the backyard. Once the doors were propped open, I started in the attic. Lighting the end of the sage smudge in the darkened unused end of our attic was a moment of reflection in itself. Once lit, the aroma filled the space. It was part herbal cigarette, part incense, and part holiday turkey dinner. All in all not a bad fragrance – it was the scent of the hearth, the scent of centuries.

I carried the burning bundle of sage in a sea shell, to catch the ash, but it smoldered slowly, and was not in the least bit messy. The plumes of heavy smoke I envisioned clouding my vision and nose were mere wisps of fragrant air, wafting in my wake and purifying the surroundings.

Moving methodically throughout the house, careful to turn off lights and shut doors behind me, I envisioned the path being cleared before me. The stale spirits of negative feelings, the residual winter blahs, and the wilted memories of sadness were being swept up and driven out by the smoking smudge. It was an act of symbolism, an act honoring winter, but politely letting her know it’s time to go. It was also an act of rebirth and renewal.

While I’m not about to run out and become a shaman, there is something to be said for the spiritual practice of smudging, especially when it’s about to be spring. It’s about letting go, and moving forward. Whether or not there are evil spirits rushing forth from our house and screaming from the smoke of sage, is debatable, but the peace of mind it brings, the idea of a new start – those are very real, and very reassuring.

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Boston Reunion

This guy has been asking me for change since 1994. That’s almost seventeen years of panhandling dedication. He can usually be found early in the day around Boylston Street, near Finagle-A-Bagel (best bagels in Boston) and across the street at Five Hundred Boylston. The first time I saw him was in May of 1994. I was just finishing up my Freshman year at Brandeis and was elated that the summer was still ahead of me. It was a glorious sunny day in Boston – actually, it was hot – one of those freak May days in the 80’s, when you try to order an Air Conditioner at midnight because you can’t take it anymore at such an early date. I digress…

 

I was in the midst of taking photos of the street scene, well, mostly myself amid the street scene, and I thought that with all the photos of me posing with friends, it would be neat to include one of this stranger and myself posing like we knew each other. He was shirtless, so I didn’t get too close, and had a floppy hat on, but I told him I’d give him a dollar if I could snap our photo together. He happily obliged. Back then he was younger, and seemed happier, if such a thing can be discerned from a two minute meeting on the street. I still have that photo somewhere – someday I’ll dig it out to compare, but I can see it clearly in my mind, and I recall the broad smiles we mustered for the camera.

Since that first meeting, I’ve seen him countless times in the same vicinity, at all times of the year. Once he was screaming and swearing, so loudly and vehemently that I crossed the street to avoid him. Mostly though, he was quiet and considerate and accepted a simple, “I’m sorry” if you didn’t have any change to spare.

The last time I was in Boston he was back in front of the bagel place, sitting as you see him here. I had my camera with me and said I’d give him a dollar if he would let me take a picture. He gave a slightly quizzical smile and said, “A dollar for a picture? Sure.” I explained that I had taken his photo many years ago, and he just nodded, clearly not remembering. His life was no doubt filled with more interesting and adventurous moments than mine, and there’s no way I would expect him to remember a college kid snapping a quick pic.

There’s something both sad and reassuring about his “work”, and the difference at what I captured then versus now. Back in 1994 it was spring, the world was sunny, and we each had a long life ahead of us. Now, it is winter, the world is windy, and we’ve each spent a good portion of our lives living in what I’m guessing are wildly disparate ways. I don’t dare venture a guess as to who’s had it tougher, or who has found the most meaning in existence, or even who is better off now than then. Those types of answers can never be completely answered. And to be honest, there are many May days when I’d like nothing better than slumming around blissfully on Boylston Street, taking in the height of a Boston Spring, and living off the kindness and generosity of strangers.

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The Madonna Timeline: Song #34 ~ ‘Angel’ – 1985

{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.}

The iPod has picked 1985’s ‘Angel’ for the next timeline song – I was ten when it came out. I don’t remember much about when I was ten, except for a handful of Madonna songs. Like most of the ‘Like A Virgin’ cuts, this reminds me of driving in the car with my Mom and my brother – it was his cassette tape, and it was on perpetual play.

Why am I standing on a cloud, every time you’re around?
And the sadness disappears, every time you are near…
You must be an angel, I can see it in your eyes,
Full of wonder and surprise,
And just now I realize…

It is a quintessentially-80’s trifle, all synths and breathy echoes, and Madonna’s delicious laughter. Easy on the ears and the mind, but the perfect microcosmic emoting of the wonder and joy of infatuation.

Walking down a crowded avenue
All the faces seem like nothing next to you
And I can’t hear the traffic rushing by,
Just the pounding of the heart and that’s why…

No one captures the exuberance, and, I would argue, the innocence, of the beginnings of love better than Madonna. Especially at this stage of her career, when all was still shiny and new – she had the perfect grasp of a pop song – centered around romance, founded on a wish and a prayer, and wedded to a catchy melody and driving beat.

Now I believe that dreams come true,
Cause you came when I wished for you.
This just can’t be coincidence,
The only way that this makes sense is that,
Ooh, you’re an angel…
Clouds just disappear…
Song #34: ‘Angel’ – 1985
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Taking It All Off

It begins, as so many things do, with a change in wardrobe. Style often leads substance ~ testing the winds, paving the way, setting the journey. This time, this day in fact, feels different. It begins with a shedding – of skin, of hair, of chrysalis, of excess. A metamorphosis – an evolution – the way around the world. And all from a simple change of clothing.

There is power in what we wear. Like it or not, it matters – appearance matters. You can pretend it’s what’s on the inside that counts, and you can tell that to your kids and students, but there are truths to this world that they will discover regardless of your best intentions.

I’m jumping ahead, when really this is still the early stages of the beginning – and it starts with what you decide to put on your back in the morning. For the end of winter, a toned-down palette, a less-fitted silhouette, and a simpler way that approaches minimalism.

There may be peace found in neutral tones- cream, beige, slate, charcoal, gray, and black. Perhaps a dash of some tan, maybe a somber bit of olive green or the formerly dreadful navy – but all subdued, all designed specifically to not stand out – the focus turning to the head, the hands, the skin.

And then, slowly, and almost imperceptibly, the focus moves inward. It’s a new thing to have fashion begin the search for the soul, but how could it have happened any other way?

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Riding Over Charles

On my last morning in Boston, the sun had started to come out. The cost? About twenty degrees, leaving the walk decidedly chilly, and the lanes icy. My quest was for a vial of patchouli oil for an upcoming project, as well as a stop at a Tibetan store. I can’t help where the muses lead, and I’m an utter failure at refusal. To their credit, they have yet to let me down, and that’s not something you can say about many people who happen to be so disappointingly real.

That morning they led me over the Charles River and into Cambridge. During my years at Brandeis I spent a great deal of time in Cambridge – scouring Harvard Square for music and books, making regular trips to Pearl Art Supplies at Central Square, and scoping out the paper and pagan stores in Porter. All three locations have changed immensely since those mid 90’s days – some for the better, some for the worse.

It’s always reassuring to see a bevy of bookstores – especially with the decline of so many other individual establishments – and even Borders. A bookstore is one of the happiest places on earth – filled with the hopes and dreams of possibility. My yearning for other lands and new adventures can almost always be quelled, or at least subdued, by a few hours in a bookstore.

My reasons for seeking out a Tibetan store are less clear. I only know that it is the path I’m currently on – and the signposts, like the one above, are leading me where I’m supposed to go. This particular store is one I had visited a few times before – and the gentleman who runs it has always been kind.

He’s one of those calm and centered people that I often assume knows the secret to life, but keeps it hidden happily inside his head – and I’ve always been afraid to blurt out such a silly, all-encompassing question. Instead, I observe, secretly hoping to suss out some little kernel of wisdom to take with me, furtively gaining some access to a higher plane. As I arrive, he is hanging a few items of clothing outside, despite the brutal cold. Somehow, within the store and immediately without, the chill has dissipated.

The colors are riotous, but instead of inspiring restlessness and collision, they come together and work to calm the nerves with a sweetness of vision and incongruent harmony. I thumb through a few racks of clothing, beaded and embroidered with metallic thread, shot through with jewel-like tones, both wispy of silk and heavy of wool. Various Buddhas and sun gods watch over the store, a thousand eyes upon me, yet I do not feel my customary discomfort at being watched.

The owner does not hover like most storekeepers. He continues in his task of hanging clothing, once in a great while coming in to ask if I am finding everything all right. “It’s a lot to see,” he says with a smile. I agree.

The objects are enchanting – there are rows of jewelry, shelves of scarves and blankets, piles of bags and pouches, bowls of felt flowers and woolen crafts, boxes of incense, and elaborate deities scattered throughout. At one point he returns, lighting a stick of incense, and as the smoke fills the small space, I am transported to another place. A scarf that I had passed by at least twice suddenly opened up to me, its colors perfectly complementing the Jack Spade bag I just got. A pair of flowing pants in light purple and beige – a color combination I had long admired – peeked out from one of the racks. All the treasures to which I had previously been blind suddenly appeared before me. Simple stuff, superficial stuff to be sure, but something clicked in a deeper way. And all the while the shopkeeper smiled. When I was ready to go, he handed me my bag, and asked me to wait while he came around from behind the counter.

Eyeing the limp scarf hanging lifelessly around my neck, he said, “Let me teach you how to tie it – may I?”

The Best-Dressed-Man in me wanted to scoff and laugh, but the polite gentleman my parents raised kept me silent. I expected him to go through some elaborate motion just to show me how to slip a simple European knot into it, and that’s how it began. But then he injected a twist – literally and figuratively – and it made all the difference.

“This is better – it keeps your chest warmer,” he said, patting himself right above his heart. It was the best kind of secret, one that I hadn’t even thought to ask, and one that I needed most to know.

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The Madonna Timeline: Song #33 ~ ‘Sooner or Later’ – Summer 1990

{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.}

Sooner or later you’re gonna be mine,
Sooner or later you’re gonna be fine,
Baby it’s time that you faced it
I always get my man.

It is the ultimate call of the siren. A prediction, a demand, a hope ~ all in the subtle jazz shadings of a Sondheim song. ‘Sooner or Later’ is the next iPod selection, seductively vamping along from its opening coos to its climaxing almost-growls, and Madonna delivers a sparkling aural gem. Restrained, yet powerful, her slightly-girlish vocals belie a steely strength. That confidence, that determination, that unfailing belief in her own prowess and power of attraction ~ that was something I never had. Certainly not in 1990.

To be honest, the hunt for a man was the last thing on my fourteen-year-old mind. I was too consumed with the drama of my friends, trying to fit in to my first year of high school. The one thing the song did lend me was a belief in oneself ~ and if Madonna could will her want into being simply by using a few declarative come-ons, surely I could put one of Mr. Rosmarino’s math proofs on the chalkboard and talk my way through it.

I didn’t have a goal at the time ~ it was enough just to make it through an average school day ~ but songs like this, and most of them by Madonna, gave me a bit of purpose. It marked the beginning of a drive and ambition to not be ignored.

Sooner or later you’re gonna decide,
Sooner or later there’s nowhere to hide,
Baby it’s time so why waste it in chatter?
Let’s settle the matter,
Baby you’re mine on a platter
I always get my man.

‘Sooner or Later’ was also nominated for a Best Song Oscar (fortuitous timing today), which it won ~ and more importantly which meant that Madonna would perform the song on the Oscar telecast. I missed the show that year (see, I wasn’t always that gay), but made sure to see it a few years later when my Madonna obsession began to rage. (Most of the performance was captured on a VHS Oscar Retrospective.) Of course it’s now on YouTube, and we get to see the telescopic opening, as well as the very best ending and exit vamp in Oscar history.

Early on, the camera goes in for a tight close-up as Madonna’s gloved hand trembles in the spotlight ~ one of the first glimpses we get of her nervousness for some performances, and a compelling peek of her as a mortal being. It is an endearing moment: here is the woman who at that point was one of the most famous and successful of all time, at arguably the height of her power and adulation ~ playing to a house of jaded actors who had little to no respect for her, and she went for it. That takes balls. That takes determination. That takes a belief in oneself and a disregard for the opinions of those who would never like her. In my Freshman year of high school, those were attributes that I sorely lacked.

But if you insist, babe,
The challenge delights me,
The more you resist, babe,
The more it excites me
And no one I’ve kissed babe,
Ever fights me again.

I felt the need to don perfectly preppy garb in an effort to win the affection and approval of my fellow students. I looked interested in what every teacher had to say, finishing all my homework on time and studying for every test in an effort to please all the school faculty. I did everything my parents asked and recommended, starting music lessons and keeping score for the girls basketball team to round out my education with extracurricular activities. I did it all without the inner-confidence that Madonna exuded, shaky hand and all, and I did it well. It just happened that none of it made me particularly happy or content. But that’s another story for another song.

If you’re on my list it’s just a question of when,
When I get a yen, then baby amen,
I’m counting to ten, and then…

As far as the Oscar show goes, it is one of her best live performances ever ~ including tours and award shows ~ and she sounds incredible. Not that it was without its quirks and foibles ~ at one point near the end one of her earrings falls off – a cluster of diamonds costing ten times what my house is worth – and gets lodged in a lock of platinum blonde hair. It stays there magically, until she bows her head as the song ends. Plucking it from her tresses, she tosses it into the orchestra pit. That’s star power, that’s grit, that’s Madonna.

I’m gonna love you like nothing you’ve known,
I’m gonna love you when you’re all alone.
Sooner is better than later but lover,
I’ll hover, I’ll plan…

Seriously, watch that Oscar performance ending and tell me you don’t love her.

This time I’m not only getting, I’m holding my man.
Song #33: ‘Sooner or Later’ ~ Summer 1990
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The Madonna Timeline: Song #32 ~ ‘Hollywood’ – Summer 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.}

Everybody comes to Hollywood,
They want to make it in the neighborhood.
They like the smell of it in Hollywood,
How could it hurt you when it looks so good?
Shine your light now,
This time it’s got to be good,
You’ll get it right now, yeah,
Cause you’re in Hollywood.

It was my summer working at the Thruway Authority – where we had our own parking (30 feet from the building) and I could drive to Delmar while on lunch. Madonna had had a rather dismal lead-off single from her recent American Life album, so she followed up with a paint-by-the-numbers pop-like bore of a safety song. It didn’t matter, I drove around with the windows open, challenging speeding tickets, blaring ‘Hollywood’, and drinking Boston shakes from the local ice cream shack.

Despite that, this remains one of my least favorite songs on that album, an otherwise-under-rated electronic pastoral, with flourishes of folk tempered with flashes of brilliance. Heavily laden with guitars of all sorts, the album got shafted because of the politicized fervor of post-9/11 fear. It’s a shame, but not because of this song.

‘Hollywood’ is another woe-is-life-at-the-top type song that posits the banal question, ‘How could it hurt you when it looks so good?’ Possibly when it sounds this bad. Sorry, I’m just not a big fan of this one. It’s telling that Madonna used an instrumental version of ‘Hollywood’ on the Reinvention tour in support of the American Life album. Or maybe she just found the repetitive yet tricky lyrics too much of a challenge – I recall a few flubs on the mini-promo tour she did for the album.

The video, however, is why I have the song on the iPod. It is classic chameleonic Madonna – highly stylized, filled with iconic images, and an absolute homage to her mode-shifting nature. There’s also a slight ‘All About Eve’ reference that puts Madonna in the glamorous trappings of Margo Channing as a younger maid looks at her longingly. That concept could have been explored a bit more, but any reference is better than none at all.

Most people will remember this song only from its performance at the MTV Music Awards, where Madonna kissed Britney Spears and Christina Aguilera, then danced with Missy Elliott. The night it aired, I was in Ogunquit. Having heard whispers that she might be opening the show, I told Andy to go downstairs and make dinner reservations while I watched to see what might transpire during the opening. The snaky bassline of ‘Like A Virgin’ began and I held my breath. Britney and Christina did their rudimentary run-through of the song, and then there she was, rising from a wedding cake like the very first time, in groom/dominatrix drag, overseeing the proceedings and completely in charge of it all. Twenty years into her career, she was still the most highly-charged performance of the night, and all the world was talking about the next day.

Personally, I enjoyed that rendition of ‘Hollywood’ – and it left no doubt as to who the reigning Queen was, and remains.

Push the button, don’t push the button,
Trip the station, Change the channel.
Music stations always play the same song,
I’m bored with the concept of right and wrong.
Song #32: ‘Hollywood’ – Summer 2003
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The Madonna Timeline: Song #31 – ‘Another Suitcase in Another Hall’ – January 1997

{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.}

Gray shadows, one-night stands, the lost and the lonely, and the sad, unbearable waking of the morn. Such is the selection of the iPod shuffle, which has chosen ‘Another Suitcase in Another Hall’ from Madonna’s film Evita. It was early 1997. I was single and trying valiantly to be fabulous. (Sometimes being fabulous means being kind of slutty.)

I don’t expect my love affairs to last for long,
Never fool myself that my dreams will come true
Being used to trouble I anticipate it,
But all the same I hate it wouldn’t you?

I was on the road with The Royal Rainbow World Tour, and Evita had just opened. Visiting friends in snowy Rochester, New York, I wore a leopard coat and fuschia silk shirt to see the film with a few friends. A little touch of star quality in dismal upstate NY. I was running away from having to start my real life, going on this world-wide jaunt to put off settling down now that I had graduated from Brandeis. Boston was still my home-base, but I preferred the vagabond nomadic excitement of living out of my parents’ Blazer, a rack of fancy frockery in the backseat, a sequin purse of toll coins in the front, and a small collection of necklaces dangling from the rearview mirror. I drove all night just to get away from myself.

So what happens now?
So what happens now?
Where am I going to?
Where am I going to?

In Rochester there was a poster store that carried a nice selection of postcards. A black and white image of a naked man, sitting on the edge of a bed in the morning light. Head down, clothes scattered on the floor, and the rumpled sheets of a duet or solitary struggle. It is hard to tell which is which, and the light of day doesn’t do much to aid in recovery. I had been in that position, had hung my head that low, and I would do so again and again in the years to come.

Time and time again I’ve said that I don’t care,
That I’m immune to gloom, that I’m hard through and through
But every time it matters all my words desert me
So anyone can hurt me and they do.

I preferred to stay in hotels rather than at my friends’ dorm rooms or apartments. Even then solitude was comforting to me, my natural state being one of distance, slight detachment – always separate from the rest of the world, even from my friends and family. And then again… distance lends enchantment

So what happens now?
So what happens now?
Where am I going to?
Where am I going to?

And now the saddest part of the song, the refrain that rang in my head on so many mornings after:

Call in three months’ time and I’ll be fine, I know,
Well maybe not that fine, but I’ll survive anyhow
I won’t recall the names and places of each sad occasion,
But that’s no consolation here and how.

How many times had I calculated the number of months the pain would last? I tried all sorts of equations – usually it was half the length of the relationship, if there even was a relationship. It was more tricky when there were sudden feelings after just a single night. Yes, decidedly more tricky, and somehow inversely more painful. It was the apathy and general disregard that used to hurt the most. I could never understand – not then – how one could not feel anything.

So what happens now?
So what happens now?
Where am I going to?
Where am I going to?
Don’t ask anymore

Song #31: ‘Another Suitcase in Another Hall’ – January 1997

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Novak Djokovic Strips to his Underwear

This is Novak Djokovic on some Montreal runway. He is a tennis player, I believe, from Serbia. Personally, I’ve had a thing against tennis ever since Wimbledon pre-empted ‘Days of Our Lives’ one summer. I also have a thing against short robes on men. Luckily Mr. Djokovic didn’t keep this one on for long. The black briefs are much better.

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