I absolutely loved Claire North’s, The First Fifteen Lives of Harry August. Like I said in my review, once I realized what I was reading, I wasn’t sure that I would like it, but even when it made me feel a little dumb, I enjoyed it. Harry is just an incredibly interesting narrator to hang around with, both because of what he is and also because of the dry way he relays his observations of the world around him. Though he’s never effusive, you can feel these wonderful tremors of joy and anxiety and fear and possibility with just the subtlest change to the narrative voice. Wonderful writing and world-building and a great, simmering queer subtext, and the wonderful line, “He enjoyed toying with me, and, in my way, I enjoyed being toyed with.†— one of the absolutely horniest things I’ve ever read.
I’ve been listening to Phantom Planet’s “BALISONG” and Big Data’s “Put Me to Work” on repeat a LOT all month long. “BALISONG” has this great chugging rhythm and Alex Greenwald’s hypnotic voice rising and falling in all kinds of interesting ways and it’s got me extremely hyped for a full-scale comeback. “Put Me to Work” is fucking great, extremely dance-y and perfectly current while also feeling a little flashback-y like all good synth music. Also, who doesn’t love a shout-y sing-a-long chorus?
I waited a long time to watch Call Me By Your Name because despite my Genuine! Best! Efforts! I am a jerk who sometimes ends up turned off of things because the hype has overwhelmed me! I don’t think it was necessary this time, but man, was it worth the wait anyway. What a lovely piece of moviemaking and storytelling. I’ve been trying to articulate a lot of things about it both as a movie I liked and as a Piece of Queer Media (especially a compare and contrast with Brokeback Mountain, oh man. There are even shirt parallels!) but mostly I keep being grateful (which says something really fucking shameful about pop culture) that this felt like a movie about a gay relationship that I was just able to enjoy as a romance because no one died a horrible death and the heartbreak was just nice regular heartbreak. Progress!?!??! Also, what a lovely story about family, too. (Shoutout to Reid, the tattoo artist I saw a couple of weeks ago who said it “really fucked him up” because I hadn’t seen it yet and couldn’t have a conversation about it, but you know what? Fucking same, dude.)
Today is six months since Crystal and I got hitched!
I am still honestly amazed by how much I L-O-V-E-D getting married. A group of forty people I really love who all showed up in the same place at the same time to stare at and listen to me talk? What a fucking dream!
I honestly don’t know how I got lucky enough to not only find a woman who has loved and adored me for more than eight years (and finally got her shit together and figured out she was actually in love with me eight years ago this month!) but also agreed to stand up and declare her love for me in front of a big group of people and then also promised to stay with me forever? When she hates public speaking and attention focused on her? What a champ, what a gift, what a wife.
And forty people who showed up to Las Vegas on a Friday the 13th for a 7pm wedding to cheer us on and throw confetti and get drunk and eat mad delicious burgers with us until midnight? I’m drowning in heroes over here.
The year of planning up to the wedding was mostly fun, but also torture. I learned a lot of stuff in that year, most of which can be summed up with: shit happens. And all those things that seemed huge and difficult at the time ended up either working out fine or not mattering at all in the end. EVERYTHING IS GOING TO BE OKAY.
If you’re planning a wedding I have only one piece of advice: ELOPE. J/K. Mostly. Fuck it, nail it! It’s something I saw on a wedding blog (A Practical Wedding, probably) and immediately wrote on a post-it note I stuck to my computer where it still lives. It’s sort of become my life mantra, tbh. Need to make a decision? Say “fuck it” and nail it down.
And if you’ve found your person and you want to marry them? Do it!
PS: I uploaded a million more pictures and planned to make a way longer post with vendor info and all that jazz and I will (truly!) but we’re house-hunting right now and it makes me wish I lived in a cave with wifi, so you’ll have to forgive the continued delay! plz&ty you are the best
Let’s talk about how I am really excited about this movie! And not just because I love everyone in it!
It’s pretty uncharacteristic of me — I like movies where things (literally) blow up and where there are fart jokes and dick jokes and violence and blood and sex and stuff. I love comedies, but not generally ones that are about chicks or relationships. Not that there are a lot of comedies about chicks! WHICH IS WHY I AM SO EXCITED ABOUT THIS MOVIE!
If a man tells someone that he likes comedy movies, they think about stuff like The Hangover (which I love) or Clerks (which I love) or maybe animated movies like Shrek or Toy Story or Groundhog Day or Hot Fuzz or Ghostbusters or The 40 Year Old Virgin or American Pie or Tropic Thunder or Animal House a ton of other movies that I DO in fact love.
If a woman tells someone that she like comedies, they think about stuff like Love, Actually or The Bounty Hunter or Moonstruck or Sleepless in Seattle or You’ve Got Mail or Splash or 27 Dresses or a million others JUST LIKE THOSE.
The commonality between these two groups is that most of those movies have predominantly male leads. The ones that have a female lead are usually the “romantic comedies.” As if women are unable to laugh except when the jokes come between bouts of relationship drama. Female-starring comedies, straight-up comedies that are NOT primarily about a relationship, just don’t exist. Off of the top of my head, I can honestly not think of a single one. NOT ONE.
SO I DON’T LIKE ROMANTIC COMEDIES. Generally. I don’t like them because the women are USUALLY: weak, boring, self-involved, only concerned about the men in their lives, insecure, unstable, vengeful, bitter, catty, stereotypical, anti-women, anti-man, anti-human, baby-crazy, often in competition with one another, and rarely fleshed out as anything other than half of the relationship dynamic.
I’m not saying that romantic comedies don’t exist where this isn’t the case — though it isn’t perfect, I actually think the women of Love, Actually are pretty well done — it’s just incredibly unusual.
This is where You Again comes in. Based on the trailer: There are women! LOTS OF THEM. And they’re not competing for a man! Or worried primarily about the romantic pleasure of a man! They are successful! And driven! And smart!
Granted, it’s still women: in competition, being catty, man-oriented (even if it’s family), petty, and stereotypical, but it looks like they learn a decent lesson about being human, forgiveness, all that great stuff.
So I remain cautiously optimistic and hope that maybe, just maybe, studios will learn that female-driven movies don’t all have to be Eat, Pray, Love or Bride Wars because there is an eager audience just waiting for them to do it right.
Inspired by this nostalgic-seizure inducing post by the oft-hilarious Kevin Babbles, I am compelled to talk about the ridiculous summer playlist I put together this year.
It’s like… 70% flashback 90s/00s music (mostly rap, hip hop, and pop), 10% awful dance music, 10% indie bullshit, and 10% newer but still outdated rap and hip hop.
A sample of the randomized, 467 song playlist:
Some of my favorites:
L’Trimm, “Cars with the Boom” — 1. I love how similar this video is to JJ Fad’s, “Supersonic” and how fucking awful and great they both are. I have way too many memories of hearing this song blasting from my sister’s bedroom growing up and hearing her and her friends laughing and talking about dudes and generally allowing me to grow into a hateful, resentment-filled pain in the ass. Bitches.
Vengaboys, “Boom Boom Boom Boom” — What horrifies me about this song is that I have this really distinct memory of singing and dancing to it at a slumber party at my house and I always though, “LOL SIXTH GRADE” until I looked it up and this didn’t come out until June of 1999. I was FOURTEEN. What the hell? My shame, let me show you it. Second, what the actual fuck is happening in this video, man? Gay cowboy! Blue lipstick! All those horrible outfits! Titties everywhere! Drunk bros! Ejaculatory champagne! Rampant lesbianism!
Come to think of it, that explains a lot about why I would have been into it at fourteen.
Sarai, “Ladies” — This is the EMBODIMENT of my trip to Las Vegas after high school graduation. I still remember rolling down the strip in my BFF’s dad’s Explorer Sport Trac SCREAMING this song at everyone on the street.
Like this.
Oh, to be eighteen. Additionally, watching this, I do not understand how I didn’t figure out I was a lesbot earlier. I MEAN, COME ON. Also, watching Sarai rap is like watching my BFF talk. We call her DJ Xis.
Khia, “K-Wang” — THIS WAS THE DANCE. I remember watching one of my BFFs (Bryce) teaching DJ Xis how to do this shit in front of the big screen TV in my living room. Their dance was closer to this version (although people are CRAZY adamant that this is NOT THE RIGHT DANCE in the comments) but they disabled embedding because the world hates me. Better version of this TERRIBLE SONG here.
Mr. C, “Cha Cha Slide” — I wasn’t going to embed this one because, seriously, line dance hip hop is so god damn terrible, but this is every dance I went to in high school. Gym full of uncoordinated white kids being led by all the black kids. Diversity at work, y’all. And the video is just spectacular.
Edvard Grieg, “In the Hall of the Mountain King (Techno Remix)” — Also a high school dance thing. Just a representative of the terrible, terrible techno remixes that plagues the late 90s/early 00s. See also: Tetris Techno Remix, Super Mario Bros. Theme Techno Remix (not the one of my youth, but close). I listened to a lot of god awful techno in the early days of mp3.com, OKAY. Don’t judge me.
Monifah, “Touch It” — Bringing the troops joy since 1998, girl.
Eminem, “Role Model” — Every white person I am friends with knows every word to this song. I don’t know what that means, but it’s nice to roll down all four windows of my 2010 Honda Insight and blare this motherfucker with a bunch of white girls in the car. Oh wait, awkward, I meant awkward.
I am currently formulating a brilliant, serious post about how the JJ Abrams Star Trek reboot and The Big Bang Theory have somehow convinced me to watch Star Trek: The Next Generation and how I am spending scorching days in bed, blazing through the discs like FIRE and complaining that they’re not on Netflix Instant (UNACCEPTABLE) and shouting about what a MASSIVE BAG OF DOUCHE Picard is and how the internet has not yet brought forth PICARDICKERY.COM.
But whatever, it is 92F (33.3 C) outside and I am not mentally capable of putting together a string of coherent sentences because my BRAIN IS MELTING, so instead I am going to talk [AND LITERALLY RIGHT THIS SECOND THE POWER WENT OUT UGGGGGGGGGGGGGGH, SOUTHERN CALIFORNIA SUCKS. ALSO, IT WAS OUT FOR ELEVEN HOURS. ELEVEN HOURS. FUCK YOU, SOCAL EDISON, FUCK YOU IN THE ASS WITH A BARBED WIRE WRAPPED BASEBALL BAT.] about how Geordi La Forge is a gaymo and I LOVE IT SO MUCH.
Or, okay, I am going to show you a whopping three screencaps from an early season one episode since that’s as far as I’ve gotten.
So in the episode “Hide and Q”, Q, the first and most obnoxious villain introduced in TNG appears to mess with the crew of the Enterprise and then gives Riker all of his powers. He can control time and space and bring back the dead and change all kinds of shit. And he promises Picard that he will never use his powers again (after saving the whole bridge crew) except for how he and Q come in and Riker’s like, “Heeeeeeeey, I’m gonna grant ALL YOUR DEEPEST WISHES” and everyone is like, “NO DON’T DO IT” basically.
So Riker chooses young Ensign Wesley Crusher as his first victim/recipient and he’s like, “I KNOW WHAT YOU WANT” and Wesley makes the same hapless, joyful face he makes 90% of the time and his mom is like, “NOOOOOOOOOOOOOOOOO!” but then it’s like this:
And then:
And everyone is AGHAST because Wesley is ten years older oh noes! WESLEY JUST WANTS TO BE A GROWN-UP OKAY. And Riker smiles rakishly and is delighted and then Geordi La Forge is all, “Hey, Wes, not bad” and makes this lecherous face:
And I was all, YEEEEAAAAH, Geordi La Forge, YEEEEEEEEEEEEEEEEEEEEEEAH.
And yeah, so, I love this awful, wonderful television show. I’ve only watched the first three discs of episodes and the whole time I’m doing it I keep thinking, “I should be doing something with this. I could be doing something hilarious. COME UP WITH SOMETHING BRILLIANT” and then I write a post like this and realize that anything I came up with would just be me screaming, “GAYMO LA FORGE, WESLEY CRUSHAAAAH, RAKISH RIKAH” over and over again and for real, no one wants that.
I absolutely loved Claire North’s, The First Fifteen Lives of Harry August. Like I said in my review, once I realized what I was reading, I wasn’t sure that I would like it, but even when it made me feel a little dumb, I enjoyed it. Harry is just an incredibly interesting narrator to hang around with, both because of what he is and also because of the dry way he relays his observations of the world around him. Though he’s never effusive, you can feel these wonderful tremors of joy and anxiety and fear and possibility with just the subtlest change to the narrative voice. Wonderful writing and world-building and a great, simmering queer subtext, and the wonderful line, “He enjoyed toying with me, and, in my way, I enjoyed being toyed with.†— one of the absolutely horniest things I’ve ever read.
I’ve been listening to Phantom Planet’s “BALISONG” and Big Data’s “Put Me to Work” on repeat a LOT all month long. “BALISONG” has this great chugging rhythm and Alex Greenwald’s hypnotic voice rising and falling in all kinds of interesting ways and it’s got me extremely hyped for a full-scale comeback. “Put Me to Work” is fucking great, extremely dance-y and perfectly current while also feeling a little flashback-y like all good synth music. Also, who doesn’t love a shout-y sing-a-long chorus?
I waited a long time to watch Call Me By Your Name because despite my Genuine! Best! Efforts! I am a jerk who sometimes ends up turned off of things because the hype has overwhelmed me! I don’t think it was necessary this time, but man, was it worth the wait anyway. What a lovely piece of moviemaking and storytelling. I’ve been trying to articulate a lot of things about it both as a movie I liked and as a Piece of Queer Media (especially a compare and contrast with Brokeback Mountain, oh man. There are even shirt parallels!) but mostly I keep being grateful (which says something really fucking shameful about pop culture) that this felt like a movie about a gay relationship that I was just able to enjoy as a romance because no one died a horrible death and the heartbreak was just nice regular heartbreak. Progress!?!??! Also, what a lovely story about family, too. (Shoutout to Reid, the tattoo artist I saw a couple of weeks ago who said it “really fucked him up” because I hadn’t seen it yet and couldn’t have a conversation about it, but you know what? Fucking same, dude.)
