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Monthly Archives: November 2008


(with apologies to the ghosts of Mallory and Chretien de Troyes, and definitely the 21st-century inspiration, too!)

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In the bad old days when men were manly, armor clanked and metal was considered a blacksmith’s prerogative, there lived a lady Guinevere. Guinevere had been brought up to believe that if she could master the art of armor-cleaning and castle sweeping, then she, too could find a knight to call her own forevermore, and the Saxon hordes would always, but always, go find some other places to loot that had much better weather and more willing women to ravage.

So Guinevere’s father waded his way through an army of suitors for her flower-like hand. Then, the perfect prospect came along. He was young, he was a king, no less, he was noble, chivalrous, and rather hot, in a high-minded, kingly way. His name was Arthur, but Guinevere’s father wasn’t going to hold that against him.

Nor was Guinevere. She packed her trousseau and set off for Camelot, fully expecting her Arthur the perfect to deliver the perfect Happily-Ever-After. And for the longest time, Arthur did. She was treated like the queen he had made her from the minute she woke up until she sank into the swan’s down bed at night with a sigh, and not even Arthur dreamed of complaining. He had gotten what he wanted. His armor never clanked or chinked, the castle courtyard was flawlessly kept and strewn with flowers every morning, and everyone, down to the lowliest stableboy apprenctices, loved Guinevere. Guinevere was lovely to look at, lively to listen to, and kind. She really did care about her subjects, and her subjects responded in kind whenever she walked by wafting perfume and promises of sunshine and happiness.

Then, one day, Arthur barged in on her in the bath, all excited, just not where Guinevere felt it mattered.

“He’s coming! He’s coming!” he cried. “My best friend and loyal knight Lancelot is returning from Joyous Garde! He’ll be here tomorrow – bettter go tell the cook and the baker and the candlestick maker-” he stopped in mid-sentence, distracted by the sight of Guinevere’s D-cups clothed in lily-scented bath bubbles.

“Well…” he swallowed hard and blinked, for there was no time for dallying if Lancelot was coming. “I’d better…
go. We shall have a party, yessirree, and Merlin to do the fireworks and where is that dastardly magician anyway, I haven’t seen him in days…” And so distracted, Arthur left the bathroom. Being chivalrous, however, he did remember to close the door behind him, to keeo out the draught.

Guinevere sank further down in the steamy water and considered painting her toes, if only for a change.

After all, Lancelot was coming. Whoever he was.

What he was – was a good deal of everything Arthur never was, she discovered. Lancelot and Arthur were like night and day – literally. Arthur lived his life and his emotions right out in the open – on his face and in his moods. So noble were his moods, so kingly was his face, that noone would ever doubt who and what he was.

But Lancelot. But Lancelot…

Lancelot carried himself with the air of someone who knew far more than he would ever tell, and would only tell what he thought you needed to know, which was never what you wanted to hear. He was as dark as Arthur was fair. He also, she noticed, had a very nice pair of legs, especially in black leather riding trews.

That night at the party, Guinevere toyed with her wine and thought distinctly un-queenly, unseemly thoughts. She noticed his impact on her ladies. They were simpering and smiling and flirting and sighing. Each of them were quite obviously hoping that he would pick her to haul off into the stables and the hayloft, since he might be rough and obviously knew how to tumble.

Lancelot never noticed. He seemed moody and preoccupied at a feast in his honor, and refused to tell even Arthur why.

Guinevere was why. He saw the way her hair curved up and out over her shoulders, he breathed in the heady scent of myrrh and Thracian roses, he could almost feel the lines of her neck where it met her shoulders in one delicious, creamy curve. And he noticed that she was amazingly easy to talk to.

So they did. And as time went on, they talked. He knew things she did not, such as how to slay dragons, how to hatch them, and even, he told her one night when the wine had hit him hard, how to make them from scratch and dust and air and fire. Those, he told Guinevere, were the most dangerous of all, the dragons of your own making.

“Because…” he fixed his eyes on hers, and his were the very blue of lost hopes and drowned dreams, “those are the dragons that are hardest to kill.”

Guinevere looked right back, trying not to drown. For the first time in her life, she had met someone she could have entire conversations with, just by gazing into his eyes, and without a word being spoken. He knew what she meant, and she knew what he said, and not one word had been uttered.

He did other things to surprise her, He would hunt wild boars and bring them back to Camelot. He brought back new and strange minstrels from Joyous Garde, who sang dark, intriguing tales of mayhem and madness and the blackest of lusts and passions that ate you. Alive.

The songs those minstrels sang kept Guinevere awake at night. or else it was wondering, what it would be like, to be eaten alive by a passion. Or by Lancelot. Once that heretical thought had popped into her head, it refused to leave, no matter how many baths she had. She was being foolish and stupid. She was far too old for this sort of thing. He had no shortage of those who were younger, and lovelier, and they came, and they came and they were sent away again, and Lancelot went back to seek out Guinevere, for Guinevere, unlike the young lovelies, was never, ever boring.

And all the while, their friendship grew and flourished, and while they talked of everyday things and places they had seen and things they had done. But their real relationship existed not in the words of what they said, but in the silent spaces in between, in a glance that passed and was gone in an instant, except it wasn’t.

Guinevere’s skin began to crawl. If she couldn’t, if she didn’t, just once, just to get it and get him out of her head and out from under her skin and her fevered imagination, then she would wither away like a frost-blighted flower, and never, ever, know about passions that were black.

That was one thought that made her want to cry.

(to be continued…)

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Originally posted as a “review” – of sorts – on an online writing community. Part rant, part rhetoric – and all heart!

The Aural Anaconda

-a review of ”Bloody Kisses”

It’s time…for a change. It’s time to get my head either out of my ass or out of Roman Britain, or just plain…out, somewhere – elsewhere, or else wear out what’s left of my synapses. They’ve been buried, unfortunately not fatally, in dense archaeological tomes of academe. A woman can only take so many Sub-strata B earthworks variations (early first to third-century CE), before having an overwhelming urge to cause a good few third millennium earthquakes of her own.

To that end, I take a deep breath in front of my CD collection. I shall pretend that I have never heard the contents of any of these glossy acrylic cases before. This will not be hard to do. I shall shut off my superego at its main power supply and up the volume on my id, who is only too happy to oblige. Any excuse, right? So, deep breath. Close eyes. Trail fingers over cases. Back and forth several times and…there! A snag, a slight tug and pull, and out comes…

“Bloody Kisses”, by Type O Negative.

Wow. This should be fun. A lesbian love fest is in full swing on the cover, and I haven’t even put in the CD yet! Damn it, I wasn’t even invited! My id is already happy-dancing. My inner six-year-old wiener wants to know where their hands are, but the outer 44-year-old takes one look at those faces and – knows.

On the back, four funereal dudes are wondering why they’ve been caught grave-robbing, but then, I happen to blink, and there he is, Poe’s poison-green Imp of the Perverse, jumping on a tombstone and somersaulting out over the trees decked out in winter drab. I blink again, and he’s gone, but I saw him, I swear I did. The underpaid morticians on the back cover never noticed. They’re checking out the real estate, thinking “development opportunity”.

I have been warned. This is, in other words, to be taken at face value – at my peril.

Few opening tracks in the history of music recording have been so aptly named as “Machine Screw”. The title alone says it all, and whatever’s left over will clear any earwax your Q-Tips might have missed. Be careful, though. Prolonged exposure might take your brain with it.

Just before my disappointment reaches epic levels, an eerie, creepy keyboard line insinuates itself into my now immaculate auricles and I’m well away, borne on a twisting sinuous tide into “Christian Woman”, and…Holy Catechism! I totally get it! It’s Bernini’s “The Ecstasy of St. Theresa” in music.

Now, this is a statue that has been known to make even hardened Catholics smirk. They nod, they walk around this epic poem in marble in awe, and then – they smirk. Religious ecstasy, sure it is. Her toes are furling, her fingers curling, and as for that expression on her face, well! Obviously, those smirks seem to say, religious ecstasy has something to recommend it, doesn’t it? One and a half billion Catholics can’t be wrong. This statue is what all those millions of Catholic women are hoping for.

Evidently, these women have never read Origen, Tertullian or St. Augustine. Maybe they should listen to this.

If first impressions are important, then one of the first things you are going to notice is that Peter Steele can sing. Love it or loathe it, you can’t get around it. By donning a black-clad, neo-Goth Orpheus persona, his voice also has a strange effect on just about every female I’ve ever introduced to the band. All male rock’n’roll singers are testaments of testosterone, one way or another. Put a guy with an attitude in front of a microphone stand and a band, and he becomes a singing, breathing projection screen for every female fantasy a woman can throw at it. By welding his bleeding heart right out in the open onto his cast-iron shirtsleeve, Steele just might have an edge on all those other guys, who would never dare. His voice has been slaying ladies in the aisles and everywhere else ever since.
So, for the sake of argument and my fragile sanity, he shall hereafter be referred to as That Voice. It’s a voice that can and all too often does most peculiar things to women in particular, making them do things like lose all reason, buy CDs, black corsets, Type O concert tickets…Trust me. I’ve introduced every girlfriend I have to that voice, and the same thing inevitably happens. They really, truly lose it. They seriously discuss the virtues of Catholicism. They develop an insatiable craving for black Valenciennes lace. You’ve heard of those voices who could read phone books and you’d swoon, but this is ridiculous. It spans a range in one song that goes from upper baritone to basso profundo, which is nearly as low as a human being’s vocal chords can go. The only thing That Guy has to do is…breathe, and there we stupid susceptible, suggestible females would be, “before him begging to serve or please, on our backs or knees”. Oh, yes, we would. Not in a New York minute, but a Brooklyn second!
And right before we feckless females are about to enter St. Theresa mode, borne off on a relentless tide of musical bliss both harrowing and sublime – the arrow! The arrow – please, right this effing second, I am so…ready! – comes the punch line, carried by a raunchy, leering guitar and a hard beat, and the imp comes out again. “Jesus Christ looks like me!” Well, blow my mind! Here I thought he’d be a swarthy, hirsute Levantine! Silly me. When I should have been looking for a nice Brooklyn boy of Northern European extraction. Catholic, of course. A godless Lutheran could never have written this.

Then, a riff of the Munsters theme brings me back to Earth, sort of, and an ominous growl pronounces: “I went looking for trouble. And boy, I found her…” “Black no. 1” is a brilliant satire of that nemesis you used to hate, back when Goth was cool the first time around, back when Ian Curtis was a (recently dead) genius and I wanted to marry Robert Smith when I grew up. If he wasn’t available, then Andrew Eldritch would do. Ian Astbury, in a pinch. Indulge my severe fit of nostalgia for a moment. In those days, I did my level best to exude my own unique brand of 5’2” fabulousness. Black wardrobe? Check. Snow-white tan? Check. Too much makeup? Check. A haunting telltale trail of Eau de Sarcophage? Caron’s “Narcisse Noir”, purloined from my mother, who never did forgive me. Prerequisite over-sized boyfriend? Double-check. I had two at the same time – one 6’4” Henry Miller look-alike, one 6’8” curly-haired grizzly bear. We scavenged our wardrobes and our furniture from the Soviet Army “surplus store” dumpster-diving outside the Soviet Embassy in Copenhagen at 3 AM. And meanwhile, right when I really thought I was too cool and too Goth for pre-20th-century words, there was another girl, who somehow managed to be several degrees more sepulchral than even I could manage. She was tall, she was thin, she was lethally gorgeous, and I hated her on sight. We all did. This song was written for her, I swear on my first edition of “Fleurs du Mal”. This is what happened when the Christian Woman gave up holy orders, decided that the Jesus Christ-a-like from Brooklyn wasn’t satanic enough for her, and dumped him. He went looking for revenge – and boy, he found it! If only all revenge was this hilarious. “Loving you was like loving the dead.” One thing none of my former boyfriends ever complained about.

Before I’m completely carried away by a tidal wave of nostalgia, a tribal chant marks the return of the Imp, and the second practical joke of this album, “Fay Wray Come Out and Play”. Please, Fay, do. King Kong is waiting, and the natives are…restless. So is King Kong. And you look so beautiful when you scream.

Are you dying for a chance to stomp the imbedded cat fleas in your carpet into submission? Do you want them to beg for mercy on their tiny knees and make you swear on your old copies of Green Egg that you will never do that again? Would that be too cruel for your eco-friendly sensitivities? Then, practical joke number three is not for you.

If, however, you don’t give a flying about those poor dying fleas in your fifth-hand rug, and you can be found in your off moments playing air guitar with a hairbrush in your skivvies to Pantera (guilty!), then “Kill All the White People” is for you. Try headbanging to this with the nearest available three-year-old, and he will, if he knows what’s good for him, love you forever for it. He might even join you. He won’t get the joke, but you will. If, on the other hand, you don’t, then you don’t deserve this album. May I commiserate. Not.

A very long time ago, there was such a thing as eight-track cassettes. A.M. radio was huge, because that’s where all the hits of the time were played. One cheesy bit of dandelion fluff was a monster hit on A.M. radio in those days. It was called “Summer Breeze”, by Seals and Croft. I lived through those days, and I remember the song well. Catchy. Cheesy. More or less instantly forgettable, even with hippy-dippy harmonics. Not likely to be induced into the Rock’n’Roll Hall of Fame anytime soon.
Try to get this particular version of it out of your brain, and you are in mortal danger of never hearing it any other way again. Ever. All D-tuned strings, distortion, doom-laden drums, keyboards proclaiming the coming Apocalypse and vocals by Beelzebub, giving a throwaway hit some sinister, serial-killer punch it certainly never had before and likely will never have again. You can just see Ted Bundy, coming through the door and across the floor, wielding a bloody axe to this, blowing through the jasmine in his mind. My awfully wedded shall never forgive me for playing this version for him and ruining the original forever. Not to mention screwing up his happy childhood memories. This is evil, evil genius.

Right before a fatal descent into the maelstrom, you are brought back from the brink by “Set me on Fire” and a bright burst of keyboard masquerading as cathedral Bach, where the Dybbuk-in-Disguise has ditched the Devil, left the building and headed straight for the choir of Silly Seraphim. It’s the perfect antidote for serial killer schmaltz, if only because this song – with lyrics consisting of seven words – goes on for over three minutes, and lo and behold!, you can even dance to it. It is bouncy and silly and stupid and beautiful all in one, and if it can make a nearly middle-aged woman feel all of 16 at 9 AM on a dreary rain-soaked Tuesday, then it can’t possibly be bad.

This is an album recorded by four incorrigible practical jokers, and the Imp makes yet another appearance, before I self-asphyxiate in warm, fuzzy 16-year-old thoughts. First, we have “Dark Side of the Womb”, and I can’t quite decide if this is what really happens to Rosemary’s Baby once the camera stopped rolling, or if this is what I wanted to happen three years ago when I gave birth to Damien, the Sequel. The blood of a newborn child. Oh, the possibilities!

There’s more flea murder and dust-bunny decimation to come in “We Hate Everyone”. In fact, it might be fair to say that it takes hardcore to a whole new level. My downstairs neighbors never breathed a word of complaint over Pantera. But they complained about this one, and they have a point. Even the jaded three-year-old didn’t like it much. As a motivational track for housecleaning however, this has its uses. It even beats my perennial favorite the Sex Pistols into shame. My toilet bowl underwent a cathartic experience from which it has never quite recovered. Methinks, however, the gentlemen doth complain a tad too much.

I have days like that, too. It’s called PMS. At least I have that excuse.

From extending a middle finger to the rest of the world to bombastic blood-chilling…suicide? We’re back in penny dreadful novel territory with “Bloody Kisses” (A Death in the Family). I don’t mean that in a bad way. The band throws every single death-and-despair cliché at the unsuspecting listener, and then milks all of them dry for all they’re worth. Ah, this is heart-breakingly depressing. And heart-stopping beautiful. I award it five Victorian mourning hankies. I may cry. You’ll have to excuse me. I have to swoon now. Ah, they’re dead! Alas, they’re dead! And now I have no hankies left to mop up those salty tears. Just loosen my stays. Or else I’ll have to swoon again. All that wailbone is killing me.

By now, I think I’m suffering from a mild case of musically induced schizophrenic personality disorder. “Too Late/Frozen” begins with a screw-up intro, someone calling “Fourths, dude!”, then…we’re back on familiar ground here. Or are we?
What’s really disturbing is the way the opening piece reminds me of a catchy early-Seventies commercial jingle. “It’s too la-a-a-a-a-ate!” coos the chorus like blissed-out pigeons on Prozac, and suddenly I catch myself thinking that chorus would be perfect for a car commercial. Just have them sing “Chev-ro-le-e-e-e-et!”
“So you call to say you’re very sorry/Won’t happen again – forgive me?/Time will not heal these wounds/And I’m bleeding/Because of you” croons That Guy again, and within seconds, this hapless female has forgiven him not just that Beelzebub impersonation, but – everything! Only to be dropped off a cliff at a vertiginous height, and the only way to go is…down and down and down.
You’ve heard of raining on someone’s parade. This is the equivalent of a monsoon downpour on the Fourth of July. What I really love/hate/loathe/adore is that I’ve woken up at 4 AM with this song on constant replay in my head. So catchy, it’s driving me crazy, and I already have plenty of reasons to be lured over the brink, thanks. There should be a health warning on this CD. “Listening to this will be hazardous to your health.”

More hazard lurks ahead in “Blood and Fire”. One-two-three-four, here we go again. “No more nights of blood and fire/with no warning/you were gone/And I still don’t know what went wrong” warbles the black-clad Orpheus with all the heartfelt sincerity of the thoroughly beaten dog you’re convinced he is, and like any human hound who ever lived, breathed and wagged his tail alluringly, he goes on…”You don’t know what I’ve been through/Just want to put my love in yo-ooooooo-o-ooooooooou”.

Uh huh. Sure you do. That’s where the trouble starts, right? Exit sanity, enter libido, begin heartache. And other aches and itches and twitches for which all guys think they know the cure. And they wonder why we leave.

Sanity, man. We just can’t handle all that rock hard love. It does weird and eerie things to our heads. And other susceptible parts of our delicate feminine anatomy.

Right when I’ve deluded myself into thinking I’m at least semi-sane again, the final coup-de-grace. “Can’t Lose You” should be recommended by the New York Psychiatric Association as aural therapy for libidinally impaired females. Or indeed any females who think they’ve lost their primeval urge and have only menopause to look forward to.
Ladies, listen to this. I dare you. One long, meandering, near-instrumental croon with a sitar, yupp, the Ravi Shankar inciting variety that is the nearest thing to aural sex I’ve ever heard. Somewhere between the sitar, the guitar and oh, geez, that, ahem, Effing Voice again, I’ve totally and utterly lost it. Thankfully, I’m married, which means a dick is never too far away.

This album is a mess. It’s not hard to guess the influences here. Take vintage Black Sabbath, Zeppelin, Deep Purple and a whole army of butt-rock bands large and small, add a healthy dose of the Beatles, along with generous sprinklings of lesser-known bands like the Cocteau Twins, Lush, the Cure, Sisters of Mercy and Fields of the Nephilim, and put them all in a blender. Whatever you do, don’t forget a good, few economy-sized wallops of classic punk and molten-lead metal. Now, add a liberal sense of twisted humor, an amazing keyboard player who spans the range from Bach to Jon Lord to OhmiGawd and far beyond, cackling all the while. Remember a drummer who can actually play drums, believe it or not. Right before you’re about ready to scream, throw in a guitar player who’s been practicing licks and riffs since the womb, I suspect, and is not averse to delivering a few new versions to fully satisfy your curiosity about New Things to Practice on Your Hairbrush In Your Underwear.
Oh, yeah. The bass player. He plays the bass. Most of the time, not badly. He’s also the guy who sings. The combination has been hazardous to my health ever since.
Turn on the blender. Forget the lid. Let’s face it, you’ve always wanted oxblood walls, right? Here’s your excuse.
You might, if you’re very lucky, end up with something like this. The album is now teenaged, in a matter of speaking, but it doesn’t sound dated, doesn’t have that feel that screams “Oh, that sounds so…Nineties!”.
Type O Negative is, shall we say, a definite acquired taste. You either hate the solipsistic/narcissistic bombastic Baroque satirical mess of it all, or you give up, give in and let yourself be swallowed whole by an aural anaconda of an album that won’t let you go. Not now, not tomorrow, not fifteen years from the moment you bought it. Just don’t let the Imp out of your sight. He’s there, all right, and boy, is he perverse!

Speaking of which, you’ll have to excuse me. I’m off to see if a guy can be raped. The sitar made me do it.

You think you’ve landed on one of those useless, time-consuming, time-wasting blogs that are basically just another form of verbal – errr – masturbation. let’s say. You think that with a blog name like this, the owner and creator is either:

a) a 440 lb exceedingly frustrated housewife in a trailer park in AR, who has five snotty kids and a husband who works just over the road in Bentonville, whose name is Dwayne.
b) a 440 lb former biker named Dwayne, NOT in AR
or
c) both of the above, they really are in AR and it’s the inside joke of the week at the local dive.

You would be wrong.

You would, one way or the other, be conforming to the expected stereotype, that there are things someone my age, and my demographic should never, ever do.

Man, I’m so insulted.

For starters – I am not even in AR. Or even the US. I am not 440 lbs, I have not one body modification except for two pierced earlobes, and I own no tatoos. Not one. I have, however, been known to wear black. A lot. You can take a girl out of Goth(am), but you can’t take the Goth out of the girl.

Besides, I’m 5’2″. I need all the help I can get.

I have also been known to puncture holes ihn the minds and egos of those who think that there are certain things women “my age” (I’m 45, and so what, so get over it already!) do not do, and that is have a definite predilection for music, art and other forms of human creative expression that are, well, toward the darker end of the scale.

And lo, and behold – I have discovered to my dismay and seeming disbelief, that the literacy level is either so high you will never, ever get any of the esoteric references that are spewed like forgotten pearls in every other sentence, or else will appeal mainly to troglodytes who communicate only in grunts.

So what’s a woman of literary inclination to do? Where to rhapsodize over the virtues of playing air guitar on your hairbrush in your underwear? The questionable delights of maintaining your tinnitus with liberal doses of Megadeth (before Mustaine was brain-processed by his personal Messiah)? Where can I get enlisted for the Kiss Army?

And where can I dump all political correctness and stereotypes by the wayside when it’s really, honestly, all rock’n’roll to me?

Here.

Reader, beware!