kitchen_kink: (Default)
I'm going through stuff in my study and I found an unmarked CD. It turns out that on it are studio recordings of all the pieces the little wedding choir I put together did for [livejournal.com profile] imlad and my wedding. Beautiful little recordings of "The Heart's Cry" by Anuna, "To Be Sung of a Summer Night by the Water" by Frederick Delius, and of course the original masterpiece "love is the every only god" by our own [livejournal.com profile] sen_no_ongaku.

And. AND.

What I'd almost forgotten about, which is a bonus track of that final piece, sung entirely on kazoo.

I'm grateful for that kind of laughter that dissolves into tears, and vice versa.
kitchen_kink: (Default)
[livejournal.com profile] wurmwyd, I know you thought you were my first love. I love you, and I'm so sorry to disappoint you, but I have to confess: before you, there was Michael Jackson.

Thriller came out when I was about seven years old. It was the first record album I ever owned, but I was not to possess it until the ripe old age of eight. I remember long hours staring at the beautiful young man inside the cover, which I don't think I've actually seen in years, but which I recall vividly: Michael, his hair kinky and falling in short curls around his perfect face, lounging in a pinup position in a white suit. I think there was a tiger involved as well.

I played that album over and over. Yes, even "The Girl is Mine." I was one of those who stayed up late to watch the premiere of the "Thriller" video - fifteen minutes of pure genius. (It was scary. I couldn't watch the part where he turned into a werewolf.)

Even before this I'd been dancing to Off The Wall in the family room of the shabby ranch house we shared with another family, and I remember wondering idly about that Michael Jackson, the one with the afro and the wide nose. I didn't think that picture was as cute as the one for Thriller, which I suppose made me a kind of tiny racist. But such niceties were very unclear to me at the time. All I knew was that my mother would never buy me the "Beat It" jacket.

When I first learned how to drum, my cousin taught me that if you can do the beat of "Billie Jean," you can play the drums. If you can't, well, you're kind of doomed. Tap your right foot to every quarter note; strike the table with your left hand on two and four; tap the air with an imaginary drum stick in your right hand, crossed over your left to hit the imaginary hi-hat, to the eighth notes. I would never learn how to moonwalk, but I could drum.

As Michael got older and weirdly whiter and less human-seeming, as his music diminished in funk and quality and became tepid pop as sung by highly compassionate aliens, I lost interest in him, but still felt defensive when he was accused of child abuse. When I got the news last night I hadn't really thought about him in years, but his sudden death struck me strongly nonetheless. I know that the blogosphere will be riddled with jokes, and I've been avoiding it until I could write this: a pure, simple memorial for the man who first made me feel something like lust, something like idol-worship. A man that a truckload of boy bands can never replace.

Sleep well, King.
kitchen_kink: (Default)
I went to YouTube and watched some Robin Cousins, some Torvill and Dean (go watch their Bolero, I mean, right now), and some Scott Hamilton. Man, the sport has come leaps and bounds, athletically speaking, in less than 30 years. In 1978, when Cousins and Hamilton were head to head at the Worlds, the men were doing single axels, and the triple lutz was the big-deal difficult jump to land. In a '94 performance of Hamilton's I just watched, where he was 36, there was commentary to the effect that he hadn't quite gotten the triple axel yet, but was hoping to become the oldest man ever to land one. By the early 90's, a few women were trying triple axels in competition, and near the turn of the century, men started landing quadruple toe loops. Watching the 2006 mens' competition, the top skaters all have quads in their programs - in combination with triples! It's completely insane. No wonder I've been feeling like there are far more falls in skating these days than there used to be - I've no doubt there are, with all of those crazy jumps. And now, with the new scoring system, scores are cumulative, so everybody's going for as many tricks as they can get. What this means is that most programs look a lot alike, and that a lot of artistry has been lost, except by the truly top people.

Overall, I have to say that in the 2006 competition, there wasn't a lot that excited me. None of the gold medalists really blew me away, and they all won because they were athletic, had decent artistry, and could skate a clean program. People like Sasha Cohen and Matt Savoie did stunning things, but these days the artistic elements count for almost nothing, and missing or falling on technical elements carries such severe penalties that there's almost no room for beauty anymore.

It's a damn shame. For a remedy, check out this.
kitchen_kink: (Default)
One thing I kind of hate about moving is the way it brings up old stuff, all the memorabilia I'd shoved into drawers, old love letters and cards, sentiments no longer true but so true once, once.

By some brilliant stroke of irony I also dug the below poem out of my desk drawer in the course of packing, and it seemed appropriate to reproduce it here.


MAY DAY

I've decided to waste my life again,
Like I used to: get drunk
On the light in the leaves, find a wall
Against which something can happen,

Whatever may have happened
Long ago - let a bullet hole echoing
The will of an executioner, a crevice
In which a note was hidden,

Be a crag where a struggling tendril
Utters a few spare syllables at dawn.
I've decided to waste my life
In a new way, to forget whoever

Touched a hair on my head, because
It doesn't matter what came to pass,
Only that it passed, because we repeat
Ourselves, we repeat ourselves.

I've decided to walk a long way
Out of the way, to allow something
Dreaded to waken for no good reason,
Let it go without saying,

Let it go as it will to the place
It will go without saying: a wall
Against which a body was pressed
For no good reason, other than this.


-Phillis Levin
kitchen_kink: (Default)
I'm not familiar with Frank Miller's comic series, but I'm familiar enough with the genre to know that the film adaptation is a shockingly beautiful rendition of the dark graphic novel form to the screen. It certainly blows From Hell and any number of other attempts out of the water in terms of its stylization, daring use of black and white and color, noir sensibilities, and appropriately inflated and cartoonish acting style.

Without having read the comic, I could still strongly sense each frame being carefully crafted to reflect a shot from the book, each character striving for vocal delivery that would bring their particular speech styles to life, each splash of color (I use the word "splash" quite literally here; most of the color choices involve blood) serving to further cartoonize the incredible violence being depicted. In the end, the whole film hangs together like a perfect piece of music, the flap of the cast's bevy of flowing coats forming a crescendo in the artificial wind of the eternal, artificial night of Miller's urban nightmare.

So why did I leave it feeling like I was going to vomit?

Contains spoilers, but mostly a philosophical discussion. Also, kinda gross. )
kitchen_kink: (Default)
If menstruating grosses you out or strikes you as improper LJ discussion, feel free to read no further. However, I hope that this will actually bring some cheer to people, particularly the ladies on my friends list.

I woke up in a terrible mood and without energy, due to it being the first day of my period. (My only reward for this event, monthly, is that my pants fit again after a week of awful bloating.)

I decided that the best way to deal with my resultant homicidal desires was to write poetry about them. Therefore I give you several angry period haiku. )
kitchen_kink: (Default)
After a couple of months training in Krav Maga, I finally got in early enough yesterday to have the instructor show me how to wrap my hands. I almost always hurt my wrists in this class; punching and taking hits while holding pads jars them terribly, and they're rather delicate given the size of my hands.

I wrapped them up in red bandages, the sweet stink of use rising from them. Krav requires that you always keep your hands near your face; the smell is like nothing I can describe: rotting lettuce soaked in sweat? Rancid sweet butter? I began warmups with the group, all male today except for me. I felt the warmups, and the drills, getting easier with time and increased fitness. It's a thrill to feel my body respond.

We partnered up and practiced front kick to the groin, then a combination: front kick, straight punch, elbow, knee.

Holding the pad to my body I took the knees from a man about my size. He grabbed me by one shoulder and one trapezius muscle, yanking me down hard to knee me in the stomach. I'm a little taller than he is, and have the advantage of leverage. Bending me over that far is tricky for him, but the knees hit their target, and even with the pads, I felt it penetrate my gut.

The first night I tried this, I felt exhilarated afterwards, powerful and free, pumped with endorphins. I felt like nobody better mess with me. I felt like whatever else happened, if it came to it I could lay the smackdown.

In this class, for some reason, somewhere in the middle of drills I felt on the edge of tears. It felt as if the knees in the stomach had hit some emotional centers, opening me up in ways I didn't want to be in this circumstance. All at once I didn't want to hit as hard, didn't want to continue the drills, didn't feel the thrill that I usually get, and in fact, felt that doing so and feeling so was somehow wrong.

I kept on, resisting my impulse to step outside the class for a few minutes and either calm down or give vent to my feelings. As I continued, the feeling faded somewhat, but thoughts raced in my head until the end of class.

In this class I feel rage. I feel power. I feel power directed at me, and I take it. And over and over again, I think about what I would do if someone attacked me this way, that way, another way. How do I throw someone off-balance so that I can control their movement? How do I get out of a choke hold? What do I do if someone comes at me with a knife?

How do I stop this person as quickly as possible? How do I hurt them? How do I kill them if I have to?

I had a conversation with [livejournal.com profile] pir back in December about Krav versus Aikido, which he takes. He's a big man, for those of you who don't know him: about six foot four and fairly solid muscle. I told him that I liked Krav because it made me feel that I could defend myself, that if someone attacked me I could actually hurt them and stop them. He told me that he hardly remembered a time in his life when he couldn't hurt, or even kill, someone. He takes Aikido because it teaches him how to stop somebody from hurting you while doing minimal damage to them. I take Krav because I need to learn the power in my hands first.

But I'm passing through a critical point.

This is the point at which I have learned two things, and those two things scare me and keep me on edge. One is the knowledge that I have this violence inside of me, that it is possible for me to exercise and channel my rage in order to hurt or kill someone. This is frightening, as I have pretty much always considered myself a pacifist. At the same time, it's empowering: I think of the bullies from my school days and what might have been different if I'd been able to fight them. Not that they ordinarily threatened me physically. But that power in my body might have given me just enough confidence to keep from being tortured.

The second thing is that practicing this form, which focuses almost exclusively on fighting and real-life situations, keeps the knowledge of people who want to hurt me ever at the front of my mind. The world becomes a place where muggers and rapists and murderers are around every corner, and where I am slowly being prepared to face them.

I wonder about the effects, on me and on the world, of this lethality building within me, and of a worldview informed by danger. I believe that the way we approach the world shapes the world, and I enjoy approaching the world in a somewhat trusting, open fashion. I'm careful, especially at night, but I try to inhabit my world with good thoughts and goodwill - to assume the best of people rather than the worst. Now, when I walk, I often look at people in terms how how likely they are to be a threat to me; think of what I would do if someone attacked me. I go through the motions in my head of kicking, punching, kneeing. Exploding into action as soon as I'm threatened, as Krav teaches. My fondest hope is that just the fact of my fighting back would be enough to scare most attackers away.

In this inbetween space of learning, on the path of the student, I am both incredibly frightened by thinking about such things, and uncertain as to whether I am yet trained enough to survive should I meet it today. Taking self-defense makes me hyper-aware of dangers that ordinarily, I don't want to think about, because I don't know what I would do if I met them. Not taking self-defense classes, in some sense, is like not going to the doctor. Something could be wrong, but because you don't get checked out, not only aren't you aware of it, you don't ever have to think about it.

Until it comes out of nowhere and kills you.

So I continue. Because I want to know how to face it if I meet it. But right around now, I'm thinking about forms I can take that aren't quite so rage-fuelled and violent. Krav Maga is the fastest fighting form to learn and the one that most effectively uses your natural instincts and body movements. But once I gain a certain proficiency, I might switch to something that has more art to it, something with a more philosophical base.

I know that this feeling won't last forever; that I'm in a passage between an essentially defenseless self and a powerful self. That passage is painful, like any kind of growing. Thinking about those who might wish to hurt me is scary; thinking about myself emerging as a worthy opponent is perhaps scarier. But I think of Asian masters of martial arts who are calm and centered in their approach to the world, and whose philosophy demands that they never hurt another soul.

Unless they have to.
kitchen_kink: (Default)
"Why is the measure of love loss?....I am thinking of a certain September: Wood pigeon Red Admiral Yellow Harvest Orange Night. You said, 'I love you.' Why is it that the most unoriginal thing we can say to one another is still the thing we long to hear? 'I love you' is always a quotation. You did not say it first
and neither did I, yet when you say it and when I say it we speak like savages who have found three words and worship them...."

-Jeanette Winterson, Written on the Body


I have been on LiveJournal Hiatus for a few days because I have been furiously writing in my paper journal and in impassioned emails. (When did rhapsodic email communication replace the handwritten love letter? With the advent of that level of speed in written communication, do we fall in love faster? Progress the relationship faster?)

Once again those three words have invaded my life: 'I love you.' Each time I say them to someone for the first time, I am forced again to consider what they mean. Why are they so monumental, when they are so overused? Why are they the specific words that press at the back of my lips, bursting to get out, when my feeling for someone becomes overwhelming? And how does it change when it is expressed to more than one lover?

How is it possible, Winterson wonders (as do I), that the same three words can be simultaneously worn-out and fresh, that these words are the only words for that strength of feeling? 'A precise emotion demands a precise expression,' she says, 'and if what I feel is not precise can I call it love?'

To me, and ultimately to her, the very imprecision and yet total individuality of the feeling is what makes it love.

'I love you' is a place-holder, I wrote to both of my loves, a cipher standing inside our language, waiting to be filled with inarticulable feeling. One can say it to a hundred different people and have it mean a hundred different things, but the thing that links them, or should link them, in my view, is that the feelings behind the words are always complex and powerful. [livejournal.com profile] tafkar and I discussed the other night that there should be as many different ways to say 'I love you' as there are Innuit words for snow: 'I love you and you're my best friend.' 'I love you and I want you to be my life partner.' 'I love you, and we can't be together anymore.' 'I love you and if I could fuck you all day and all night I would.'

Yet we use the same words. Is this sheer laziness on our parts? Surely the phrase has suffered from people using it thoughtlessly, distractedly: the sleepwalking sign-off at the end of a telephone conversation. Still others use it to manipulate and abuse: a lame apology for striking your wife in the face, a trump card used to end an argument, like an expensive but meaningless bouquet of words.

But when it is meant and is felt, the words display a complex of emotions, each individual to the person receiving them. A mother might be saying to her son as he goes off to war, 'You are the world to me, I'd die for you, and please be careful.' An old husband might say to his wife of 50 years, 'Your presence in my life gives me comfort, and I'm so proud to have shared this time with you.' New lovers might be saying, 'Your body is like a temple in which I worship, I wish I could consume you, or crawl inside your skin, your touch sears me like a brand.'

But instead they all say, hopefully, tenderly, fiercely, 'I love you.'

I believe that these words are not merely a shorthand but a kind of prayer, an invocation, a phrase of power that calls forth the deepest ways in which we feel for another. Whenever I say it I feel a moment of being lost, as if what I have said has fuzzed over the precise feelings in my head, and a moment of crippling doubt where I wonder if what I have said is truly what I mean. And then I know that I've said exactly the right thing, because it is that sense of danger that accompanies those words that gives them power, the moment where everything I feel for someone distills, without defining and thus diluting itself, into a kind of song.

Fear, when it is named, described, and understood, dissapates, said the author of an erotic story I read recently. So too with love, he fears: when it is pronounced it loses its power. I think not. 'I love you,' said reverently, saves us from that. Not from examining our feelings and desires, which is important, but from trivilizing them by parsing them out: I feel this for you, but not that. I only give you this percentage of my heart, I legislate this love's boundaries. It is an offering, a way of saying, this I give to you freely, and without limit.

What are your thoughts?

Profile

kitchen_kink: (Default)
Oh look, it's Dietrich

2025

S M T W T F S

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jul. 10th, 2025 11:17 pm
Powered by Dreamwidth Studios