Category: Music


Another song post.

(photo by Ingrid Tayler, CC-BY)

Ever since I first laid eyes on it, I have been in love with San Francisco’s city hall building. There aren’t many other places in the world that I’ve been to that would rank as more romantic. Ever since I saw all the pictures of gays and lesbians marrying their partners when gay marriage was newly legalized in California (prior to Prop 8), I’ve felt this way. Seeing “Milk” and watching Harvey dance up the big atrium staircase to his new office after being elected to the city council only further reinforced it in my mind: the association between this building and people who fight for love. I don’t think I’ll ever get hitched here, but still: when I bike past it I kind of have to fight the urge to grab a random dude or lady and elope.

(this is relevant, I swear)

There is a song on my computer that is practically ungoogleable. The lyrics aren’t listed anywhere; I’ve only ever found one mention evidencing that it does, in fact, exist. I’m not even sure how it got on my hard drive. But when it came up on shuffle last year, I actually noticed what the words were saying and I fell in deep. The song is “Halfway There” by West of Eden, and if I ever get married, gosh darnit, this song will be at the wedding.

Go listen. Here’s the chorus (hand-transcribed, thanks to previously-mentioned googlefail):

So take my hand, and we shall commit a sin irreversible
Baby I’m tellin’ you, we’re halfway there to be labeled socially unapproachable
Oh, let ‘em roll, ’cause I’d rather have you than be clean, cool, and respectable
So we’re goin’ to hell, but tell me baby, who cares–we’re already halfway there.

The vocal parts move from whispery and sweet to sassy and snarling and back again throughout. It’s only two ladies and an acoustic guitar, yet it’s not just soft and folky — there’s real passion in the later choruses. And I love the harmony.

The lyrics aren’t a be-all and end-all — while spontaneous road trips and “sleep[ing] till noon” and telling haters to screw off are certainly things I want in a relationship, I do too want to be a responsible adult sometimes. I want a solid, ridiculously joy-filled “world of two” but I still want to be part of the wider world; as much as I am in love with being in love, having other friends and other goals is very important to me. Everything in moderation, excepting moderation, amirite?

But the song does get at something key. The couple in the song exists outside of other people’s expectations and norms for what their relationship should look like. Given the chorus, and the two women singing, I like to think it’s about two lesbians in love, but it doesn’t have to be for the point to be the same. The idea of deliberately, powerfully passionately choosing one another outside of anybody else’s narrative, and defining for each other what that choice means–what does it mean to be a wife? to have a wife, when you are yourself a woman?–these are all ideas that the increased visibility of queer relationships and the advent of gay marriage have brought to the fore. Even straight couples ought to ask, and are asking, these kinds of questions. Just as Western gender roles have changed and expanded, there are fewer and fewer set expectations for how romantic partnerships are going to work anymore–or at least there should be. Even if you want a stereotypical white middle-class 1950s relationship, you sure as hell had better make that clear from the get-go!

If I get married, I want a marriage that very explicitly doesn’t happen by default, which relies on inertia as little as possible. Where nothing is assumed up front, roles are discussed and negotiated and baggage is examined and at the end of it all we yell “Fuck yeah I do! I choose you, Pikachu!” and start making out wildly in front of everybody. And I want this song there.

You can make them like you.

I’m gonna write a bit on a song I’ve always liked, but more so in the last several months: “You Can Make Him Like You” by the Hold Steady. Go listen, if you haven’t heard the song before.

The chorus is short and goes like this:

There’s always other boys, there’s always other boyfriends

There’s always other boys, and you can make them like you.

It might be a rather empowering thing to sing to a girl, or as a girl, if it weren’t for the rest of the song…

The song lists a bunch of things the girl doesn’t have to do for herself because her boyfriend does them for her: talk to dealers, know the way home, go to the right schools, and so on. It’s great, all the effort and annoyance that his presence spares her. “It only gets inconvenient” when she wants to do things by herself.

I like the song, but it makes me angry, too. Maybe I like it because it makes me angry, because it reminds me of lessons I had better not forget. The song reminds me too much of my relationship with N, at least in the early years. Minus the drug usage, it hits a little close to comfort. Especially this stanza:

You don’t have to know the inspiring people.

Let your boyfriend know the inspiring people.

You can hang in the kitchen,

Talk about the stars of the upcoming sequel.

When N and I got together, in the early days of my involvement with the free culture movement, I didn’t feel like I had the experience or expertise to have anything important to say. So I, fairly consciously, hid behind N, who seemed to know what he was doing. N was friends with all the cool people, the free culture warriors and scholars. I met them and admired them from a distance, but it didn’t even occur to me that I could or needed to become friends with them in my own right. So I didn’t. I have one or two friends today that I wouldn’t've had if I hadn’t been involved in SFC, and my free culture involvement let me do a few crazy things like visit Croatia, but I feel I wasted most of that opportunity.

I’ve never forgotten an evening towards the end of the first summer N and I spent together. L came over for dinner, bursting with ideas for rebooting SFC. I slipped into the kitchen to make dinner while he and N talked. When we were eating, L said that he was aware of how Marxists and other organizers would (intentionally or unintentionally) exclude women from the strategy and debates by fobbing scut work onto them and that he didn’t want that to happen here; he promised to do his share. By the end of the meal, though, he’d forgotten, and I washed the dishes while L and N planned and plotted.

I’m ashamed to say, I was mostly comfortable with that role. It was easy to justify—N was outgoing, I wasn’t, so of course he could take care of talking and networking and social organizing for the both of us. Just as I made up for his weaknesses in other areas. Being young, I couldn’t tell that our arrangement was codependent, not interdependent. It’s still difficult for me to tell the two apart.

For all of my time in free culture, and most of my time on the East Coast, I let myself be in the background. I let myself be just “N’s girl”. I didn’t push myself outside my comfort zone and try to connect with people I didn’t know well. I didn’t assert opinions that I wasn’t confident of. It was only later, when I had more confidence in my knowledge of the org and held passionately-held opinions to match, that it mattered that I was nothing but “N’s girl” to the rest of SFC. Then no one took me seriously.

Something that often keeps women in unbalanced or unhealthy relationships is the fear of being single. As the song goes, “They say you don’t have a problem, until you start sleeping alone.” But it’s clear—in the song and in life—that that’s not the real problem. Yes, women should be confident that they’ll have other partners; it’s generally the case. But the problem is unless something fundamental changes, they’ll let their new relationship be as unbalanced as their old one. A broken record; change without progress.

I do want to someday be with someone who knows what they want, who has their life mostly sorted, who has their own set of “inspiring people.” I want to date people who are impressive in one manner or another—who doesn’t? But what’s more important than that is I want to be one of those impressive, inspiring people in my own right. I have to promise myself that I will never again hide behind a boyfriend (or anyone else for that matter), never let someone make up for my weaknesses instead of working on them myself. It pisses me off to no end to think of how I shrank back in the past—all the *more* infuriating because of how comfortable and natural it felt to me at the time. That’s why the song makes me mad. It reminds me of how not-myself I let myself become. Whatever else I am, I am no shrinking violet.

I thought about grad school during my lunch break today and got extremely nervous. It’s not a feeling I’m used to; I’ve never had nerves about big events or impending school years or even the transition from high school to college. My course of study was always mostly the same liberal arts dreck, mostly things I was already good at, so I never doubted I would do well. But this fall in my graduate program, much of the curriculum will focus on things I’ve either never done before or have tried in the past and have found difficult. The part of the program I am already familiar with—information law and policy, from my time in the free culture movement—is explicitly what I do not want to concentrate in. Thus, my confidence in my success is much weaker than usual. So much, too, is riding on the next two years. I won’t have the financial wherewithal to fumble around any further and I’ll die before I ever live with my parents again. I *must* find a place for my career to seriously get started when this degree is complete. So, although it’s out of character, I worry.

I’m also starting this chapter in my life truly single and alone for the first time in four years. I’m completely free to determine my fate—and completely responsible for it. (But I repeat myself.) In three months I have to go do awesome things, meet awesome people, and find awesome projects, all on my own. I’m going to have to develop a mostly-new circle of friends, despite the fact that I hate talking to people I don’t know. The possibilities are endless, sure—and it scares me witless. It’s completely terrifying to be wholly responsible for your own life. There’s just no way around that existential truth. But I have promised myself to face up to it. I know now that dependence and bad faith are even worse. So I’ll have to do my best to live for myself as I try to live up to my eternally unrealistically perfectionist expectations.

And, sure, there may be other boys, but I sure as hell had better not make them like me. At least for now.

Mandelbrot Set…

Mandelbrot Set, you’re a Rorschach test on fire

You’re a Day-Glo pterodactyl

You’re a heart-shaped box of springs and wire

You’re one badass fucking fractal

The above is the best quatrain, in my opinion, in Jonathan Coulton‘s ample music catalog. Thus, I made this:

and submitted it to TopatoCo’s Jonathan Coulton-themed t-shirt design contest. I would totally wear it. Hell, I’d make four shirts, one for each line of the chorus, if they’d let me. And wear ‘em all at once.

V-day playlist

I’ve always felt that Valentine’s Day was a stupid crock, but this is the first year I’ve actually hated it. Here’s a playlist for the broken-up.

“God Damn Valentine’s Day” (zip)

1. The Swell Season – “The Rain”
2. Death Cab for Cutie – “Tiny Vessels”
3. The Hold Steady – “You Can Make Him Like You”
4. Pedro the Lion – “Options”
5. Pete Yorn – “Lose You”
6. Say Hi to Your Mom – “Let’s Talk About Spaceships”
7. Cloud Cult – “It’s What You Need”
8. The Mountain Goats – “No Children”
9. The Magnetic Fields – “Epitaph For My Heart”
10. Cake – “Friend Is a Four-Letter Word”
11. The Dandy Warhols – “You Were the Last High”
12. Speechwriters LLC – “Blood on the Frets”
13. Ice Palace – “Slow Motion Fall”
14. Mumford & Sons – “Little Lion Man”
15. Tegan & Sara – “The Cure”
16. Susan Tedeschi – “Don’t Think Twice, It’s All Right”
17. Iron & Wine – “Boy With a Coin”
18. Stars – “In Our Bedoom After the War”
19. Archer Prewitt – “The Race”

After two years of long-distance musicianship, Nelson’s band, Wrong Side of Dawn, has finally finished mixing the tracks and has put out its first EP. You can listen on the band’s Facebook page and (soon) buy on CD Baby and iTunes.

Mostly, though, this post is an excuse to post the cover art I drew for them.

Wrong Side of Dawn EP

Yay pretty things!

In the last three days, I have written an all-nighter-enhanced 12-page paper about sweding, studied for and took a two-part Civil Liberties final, recorded two new acapella songs (“When My Boy Walks Down the Street” by Magnetic Fields and “Sumer Is Icumen In,” an Old English semi-pagan song we learned in choir), held two Free Culture 5C events (a showing of “Freedom of Expression” and a music mixtrade), and performed in my last Chamber Choir concert ever.

Today senior grades were due. My undergraduate education is complete. Holy crap.

Not to say that there ain’t things left to do. My room desperately needs cleaning, I need to pack stuff to ship home, and I continue to search for gainful employment. There’s about a billion todos and personal projects that I put on hold while finishing up my academic work. I expect many raucous, amusing exploits between now and graduation with my fellow seniors, and Nelson once he’s here.

But it’s really over. I’m no longer a college student. I just haven’t realized it yet.

Ho-ly crap.

I imagine that would work as a title for a majority of my posts…

Anyway, first, a book! Cory Doctorow’s new novel, “Little Brother” (like “Big Brother” from 1984, ha ha), just came out. Like all his other work, Cory’s made it available for free under a Creative Commons license. Though, if you like it, buy a copy for a friend, or for a poor teacher or librarian!

It’s the kind of book I wish I’d had sophomore year of high school. Plenty of characters, including well-meaning ones, espousing the same old passive, scared-as-hell, “the world is different now therefore all rights violations are justified” authoritarian* arguments. It’s a daring portrait of resistance to that worldview and its enforcement. Despite the sci-fi label, virtually all of the tech in the story is current. As is the political climate described…which means it really hits close to home.

I really want to believe the “the answer to all questions is 9/11!!!” meme is waning, what with the dissolution of Giuliani’s campaign. I wish that the country was starting to grow a pair**, defend the Bill of Rights, and weigh the costs and benefits of security policies with the rational awareness that terrorism is a micro-risk among the myriad security problems our country has, like car accidents, identity theft, levees stuffed with newspaper, and basic infrastructure falling down. But I think that’s a bit too optimistic.

So go read.

Second, I just discovered this Minnesota band Cloud Cult thanks to The Current. (Yeah, I know, late to the party.) I’m currently obsessed with the single from their new album, “Everybody Here Is a Cloud.” Here’s the video–shot with random fans in Como Park!

***

* Is there a better term for “anti-civil libertarian”?

** I can’t think of a non-gendered way of putting this idea: “grow some balls”? “man up”? There’s “grow a spine,” but to me that implies standing up for yourself, as opposed to refusing fear in general.

Choir madness!

This weekend was taken up by choir concerts, one Saturday evening and one Sunday afternoon. Lots of standing on risers for eternity on two uncomfortable shoes and one borked hip flexor. The music was lovely, though–as I would hope, for my final Concert Choir show. (I still have one more Chamber Choir concert in two weeks.)

I don’t have any recordings of the Concert repertoire (though I intend to get a copy of the CD) but my lovely former peer mentor Cypress videotaped two of the Chamber songs, The Tree and My Bonny Lass She Smelleth. Quality!

“This Year” by the Mountain Goats: I didn’t know the band was actually from Pitzer until after I’d fallen in love with this song. But it’s no wonder–the street names and setting of the song are clearly Claremont. A surprisingly large number of my friends seem to have this as their theme song recently. Maybe I’ll submit something based on it for Graffiti Wall…not much other than bitterness seems to unite Scripps ’08, after all…

“Sort It Out” by the Caesars

“The Queen of Everything” by Haley Bonar

“Our Life Is Not a Movie Or Maybe” by Okkervil River

“Steak For Chicken” by the Moldy Peaches: “We’re not those kids/Sittin’ on the couch”

“The Man Of Metropolis Steals Our Hearts” by Sufjan Stevens

“Planetary” by Rainer Maria

“Battlescars” by Ozma

“Carry On My Wayward Son” by Kansas: Guitar Hero. Also, awesome.

“Knights of Cydonia” by Muse: Musically I prefer “Supermassive Black Holes,” but this one’s more thematically appropriate, I think…

“Black Heart” by Calexico

“Still Fighting It” by the Ben Folds Five

“Beach Song” by Speechwriters LLC

“The Race” by Archer Prewitt

“Prescilla” by Bat For Lashes: I heard this song a couple times on the Current and thought it was catchy and rhythmic. Turns out it’s scarily personal in a number of respects…not the least of which is the lack of a home. I’m filing four tax returns in three different states this year. It’s messed up. Lyrics below the cut.

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Compare and contrast:

Shudder-inducing Jackson Five ripoff versus sweet speech-based edit job:

Hmmm, this is a toughie…

On a completely unrelated note, I think I may be following this campaign too much. A week ago I had a dream in which Barack Obama danced around in a zoot suit singing this song:

Which in retrospect does make a kind of sense, given his message… Can Obama sing? Can he do this when he wins the nomination? Please please please?

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