Oh what a show!
It’s quite a Sunset…
But who is this Santa Evita?
Why all this howling, hysterical sorrow?
What kind of Goddess has lived among us?
February 2013
Oh what a show!
It’s quite a Sunset…
But who is this Santa Evita?
Why all this howling, hysterical sorrow?
What kind of Goddess has lived among us?
The year was 1987.
The hair was big.
The jeans were ripped.
And we were all just living on a prayer.
The Ilagan household had just gotten their first taste of cable on a television that you didn’t need to change channels manually (about five years after all the other kids had it). Say what you will about being the son of a doctor – there were hardships and lessons too. As kids, we didn’t always notice this, but the absence of MTV was a social stigma, leaving us to pretend we knew what everyone at school was talking about, faking our way through the minefields of peer-pressure and not wanting to be left out of the loop. I was pretty upfront about my ignorance, rapping along with the kids who sang Run DMC, only I was saying, “You be L.A.” instead of “You be illin’.” No one seemed to notice. That’s the thing about pretending – sometimes, if you’re really good at it, it becomes truth, and the knowledge that you never had, but that they think you possess, turns into currency, and respect. Even if it’s built on a lie, on a fucked-up lyric taken as slang.
We’ve got to hold on to what we’ve got
‘Cause it doesn’t make a difference
If we make it or not
We’ve got each other and that’s a lot
For love – we’ll give it a shot
This was the time of the school year when the kids started getting crazy with homebound restlessness, and my squirrelly self was no exception. I watched this video with rapt wonder – not exactly a fan of the style (frizzed-out perms were never for me, nor should they be for anyone) – but more for the anthemic quality of wanting to fly beyond the small-town childhood so many of us longed to leave, soaring above like Jon did on stage. I wanted to take flight in such a manner, lift off the ground, see it grow small beneath my weightless feet. Propelled by a wish and a prayer…
“The body in the mirror forces me to turn and face it. And I look at my body, which is under sentence of death. It is lean, hard, and cold, the incarnation of a mystery. And I do not know what moves in this body, what this body is searching. It is trapped in my mirror as it is trapped in time and it hurries toward revelation….” ~ James Baldwin, Giovanni’s Room
“I long to make this prophecy come true. I long to crack that mirror and be free. I look at my sex, my troubling sex, and wonder how it can be redeemed, how I can save it from the knife. The journey to the grave is already begun, the journey to corruption is, always, already, half over. Yet, the key to my salvation, which cannot save my body, is hidden in my flesh.” ~ James Baldwin, Giovanni’s Room
“Then the door is before him. There is darkness all around him, there is silence in him. Then the door opens and he stands alone, the whole world falling away from him. And the brief corner of the sky seems to be shrieking, though he does not hear a sound. Then the earth tilts, he is thrown forward on his face in darkness, and his journey begins.” ~ James Baldwin, Giovanni’s Room
“I move at last from the mirror and begin to cover that nakedness which I must hold sacred, though it be ever so vile, which must be scoured perpetually with the salt of my life. I must believe, I must believe, that the heavy grace of God, which has brought me to this place, is all that can carry me out of it.” ~ James Baldwin, Giovanni’s Room
“For I am – or I was – one of those people who pride themselves on their willpower, on their ability to make a decision and carry it through. This virtue, like most virtues, is ambiguity itself. People who believe that they are strong-willed and the masters of their destiny can only continue to believe this by becoming specialists in self-deception. Their decisions are not really decisions at all – a real decision makes one humble, one knows that it is at the mercy of more things than can be named – but elaborate systems of evasion, of illusion, designed to make themselves and the world appear to be what they and the world are not.” ~ James Baldwin, Giovanni’s Room
“What happened was that, all unconscious of what this ennui meant, I wearied of the motion, wearied of the joyless seas of alcohol, wearied of the blunt, bluff, hearty, and totally meaningless friendships, wearied of wandering through the forests of desperate women, wearied of the work, which fed me only in the most brutally literal sense. Perhaps, as we say in America, I wanted to find myself. This is an interesting phrase, not current as far as I know in the language of any other people, which certainly does not mean what it says but betrays a nagging suspicion that something has been misplaced. I think now that if I had had any intimation that the self I was going to find would turn out to be only the same self from which I had spent so much time in flight, I would have stayed at home. But, again, I think I knew, at the very bottom of my heart, exactly what I was doing…” ~ James Baldwin, Giovanni’s Room
“He made me think of home – perhaps home is not a place but simply an irrevocable condition.” ~ James Baldwin, Giovanni’s Room
The scarcity of narrative forces the viewer to fill-in-the-blanks. Like a Choose-Your-Own-Adventure story (which I always hated – why make the reader write the book? And which ending is the definitive ending? What really happened??) in its infuriatingly obtuse and abstract construct, it offers hints and nudges, but no real directive. If you’re looking for answers here, you will come away disappointed. The essence of tease and release, the game at its most obstinate and inane. I would feel worse about it were there not other demons with which to duel. Confined by the frames and threatened ever by the cropping, it is a claustrophobic place to reside. It is, by my own design, a trap. A cage with the illusion of freedom, and plumage that grows more faded with the passing of time. This story is yours. Write it as you would have it written. Or better yet, listen to the words of James Baldwin:
“Now, from this night, from this coming morning, no matter how many beds I find myself in between now and my final bed, I shall never be able to have any more of those boyish, zestful affairs – which are, really, when one thinks of it, a kind of higher, or, anyway, more pretentious masturbation. People are too various to be treated so lightly. I am too various to be trusted.”
“Then, perhaps, life only offers the choice of remembering the garden or forgetting it. Either, or: it takes strength to remember, it takes another kind of strength to forget, it takes a hero to do both. People who remember court madness through pain, the pain of the perpetually recurring death of their innocence; people who forget court another kind of madness, the madness of the denial of pain and the hatred of innocence; and the world is mostly divided between madmen who remember and madmen who forget. Heroes are rare.”
“Confusion is a luxury which only the very, very young can possibly afford and you are not that young anymore.”
“He looked at me and I saw in his face again something which I have fleetingly seen there during these hours: under his beauty and his bravado, terror, and a terrible desire to please; dreadfully, dreadfully moving, and it made me want, in anguish, to reach out and comfort him.”
Waiting for a furniture delivery is, strangely enough, one of my favorite things to do. It sounds odd, as waiting is, for most people, an annoyance. In the same way I enjoy waiting around an airport, or waiting for the arrival of an old friend, I find comfort in the anticipation, in the hours before. It’s also the only way to get me to stay put for any duration of time, and unlike, say, my brother, I don’t have a problem with sitting still. For our recent bed delivery to Boston, I was given a window from 12 to 4 PM on a Friday afternoon. I arrived by eleven, stripped the bed, did some dusting, and was ready by 11:07, well before the first possible moment they might even arrive. But no matter, as there was half a book left to read, two stories to finish writing, and a new television with a DVD player on which to watch movies (I could not, nor did I care to, figure out how to connect the cable). My only regret was that it was a sunny, gorgeous day outside (which I would miss for the rest of the weekend) but at the time it seemed like it would go on and on, and I simply enjoyed the sun inside the condo, like a cat on a sun-drenched carpet.
I made myself an egg sandwich, and put on a pot of tea ~ Spicy Ginger. I measured some of the walls in the bathroom for new mirrors. There are always improvements to be made, but we are much further along than we were when I allowed my parents to take over the bulk of decorating (sorry, Mom). It will soon be time to paint the bedroom and replace the dated blinds, but for now this will suffice. I toyed with the idea of turning on some music, and half-heartedly flipped through a few radio stations, but soon shut it off. The quiet of solitude is a luxury I’m not often afforded. I wanted to enjoy this.
At noon, I laid down on the couch, returning to where I left off in ‘The Marriage Plot’ by Jeffrey Eugenides. The previous week of running around caught up with me quickly, and after only a few more pages I slipped into a nap, which only lasted about twenty minutes. It would be too good to be true to have them deliver this early in the allotted time-frame, but I still hoped, pacing the floor and periodically looking down the street for a delivery truck. The next three hours passed in much the same unremarkable manner, the sun slowly shifting through the bedroom window, lengthening along the hardwood floor.
Around 3:30 PM, the call arrived that they were down the street and bringing the bed in. I opened the front door and welcomed the two delivery men. (Any fantasy of hot, sexy, sweaty delivery men marching up to my bedroom was promptly destroyed by the reality of the situation, most notably the smell of the two guys, who certainly had the ‘sweaty’ part covered, but that was about it.) After some hesitation, they managed to maneuver the queen bed up the flight of stairs and around the tricky corner, and removed the old one (minus the frame – does anyone need a full frame? It seems to be welded into one piece, otherwise I’d have dissembled it and brought it home.) It was tough, unenviable work, and I gave them each a $20 bill for their troubles, particularly since I didn’t lift a finger to help (the smell was honestly just too much).
By 4:00 they had finished up. I made the bed, which filled the space perfectly, expanding to encompass the tufted head-board at last. I allowed myself one brief moment on it, wanting to save the big event until the evening. I was due to have dinner with my friend Alissa, so I poured myself a high-ball while savoring the silence.
In the midnight hour of my last night in Boston – a night I was never intending to spend in that fine city – a song is played, and it’s the perfect song portending travel. It is a song from my childhood (I was raised on Peter, Paul, and Mary – and they would be the first band whose concerts I would attend, thanks to my Mom.) It’s ‘Leaving on a Jet Plane’, the meaning, scope, and emotion of which I could not access as a kid, so it didn’t become a favorite until many years later, when I was old enough to appreciate, to know, to understand. Part of me wishes I didn’t like it so well, that I didn’t know so much, but there’s no way to unlearn heartache. Besides, the beauty of this song more than makes up for it.
All my bags are packed I’m ready to go
I’m standin’ here outside your door
I hate to wake you up to say goodbye
But the dawn is breakin’ it’s early morn
The taxi’s waitin’ he’s blowin’ his horn
Already I’m so lonesome I could cry…
So kiss me and smile for me
Tell me that you’ll wait for me
Hold me like you’ll never let me go
Cause I’m leavin’ on a jet plane
Don’t know when I’ll be back again
Oh babe, I hate to go…
Most people, myself included, don’t enjoy saying good-bye. Mine are usually curt and quick, and it’s one of the only times when I’m truly glad to give a hug. You never know. You just never know… I try not to look back, I hate the good-bye wave, and if I could get away without saying anything and seeming rude, I would attempt it. Why prolong the sadness?
Oddly enough, I don’t recall this song playing a part whenever I left a paramour. It only resonated with friends and family, the people who have remained in my life through the years, and in leaving them I left the ones who knew me best, who knew me at all, and perhaps that’s why it was always sadder.
Andy was kind enough to give me the gift of fragrance for Valentine’s Day, and I narrowed my selection down to two of Tom Ford‘s Private Blend scents: Ombre de Hyacinth and Oud Wood. This past weekend in Boston I made the final decision, and chose the Oud Wood, filling in the seasonal fragrance gap I’ve had in Mr. Ford’s line.
Here are the Private Blends I currently have, and when I like to wear them, more or less:
Obviously there is bound to be some overlapping, and these are not strict guidelines, just general ones, as my cologne choices tend to be dictated by weather and season more than name. Additionally, the beauty of the Private Blends is that many are designed to work well in combination with each other, and it is the only cologne line that I’ve found in which this is true. (I’ve never mixed or matched anything else because it gets overpowering – which is sometimes the over-the-top point of Mr. Ford.)
We’ll go back step by step for this latest trip to Boston, beginning with this morning’s departure, as seen below, and the night before, as seen above. You can’t hear the wind that was whipping about in the background here, nor see the curtains billowing from said wind. It was a cold night, but I managed to keep warm.
One of the nice things of staying alone in the condo (or unsettling for those unsettled by silence) is the quiet afforded there. It’s a quiet that can be created almost anywhere, if you know how to silence the distractions. I leave the television and stereo off, and listen to the creaking of the floor, the chiming of a lamp shade pull, the rushing of the wind. A whole other world opens up when you start listening to the quiet.
In the magical time when the sky turns that deep blue at both the beginning and the end of the night, there is a moment of transition ~ the moment of the turn ~ when I look back and ahead. It’s the same sort of thing that happens at the start and finish of a weekend away.
The tenth anniversary celebration of this website continues, with a spotlight on the 2010 Project ‘A 21st Century Renaissance: The Resurrection Tour‘. The delusional flights of fancy that constitute this penultimate tour of mine (the next one, in 2015, will be my last) found fruition in this collection of photographs and writing. The plot, what there was of it, loosely used a renaissance and blending of the arts, religion, and science (I even did up a Periodic Table of Emotions). It was inspired by the elements, the earth, and the spirit, and I very much wanted the feel to be epic – in the expansive depths of the ocean, the limitless rise of the sky, the impenetrable plane of the bedrock. It was a re-connection to nature in many ways, both subtle and extreme, and I’ve always found my greatest inspiration in the sea, the flowers, and the light. Accents of religion dot the landscape as well ~ the stained-glass windows of churches, the collection of crucifixes, the parchment background and the floating cherubs of the title pages.
This was mostly a visual endeavor, with the power and potency of the proceedings coming directly from the photography. There really is no plot, no narrative drive of something like ‘The Circus Project‘, and no single-note theme like ‘StoneLight‘. Instead, it’s a rather eclectic mix of images, some jarring, some soft, some just right.
If all goes according to delayed schedule and changed plan, the new bed should have been delivered to Boston as of this writing. Whether or not this actually comes to fruition, I’ll be there, sleeping on an old bed or a new one, but glad to be in Boston no matter what.
{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.}
Driving along a Massachusetts highway, the dirty piles of sand and salt at the end of winter lining the barren road, I turn the bonus tracks of MDNA up a little bit louder. Sometimes good music needs to be racked up a few notches to get the best effect. I’m speeding along to pick up a friend. There is business that needs to be finished. Plans to be finalized. A job to complete. And this one I cannot do alone.
Black leather gloves grip the steering wheel. Aviators shade the eyes. A bag sits in the passenger seat – a bag that I will carefully move when I pick her up. The contents are precious, maybe only to me, but that’s the most kind of precious there is, for any of us. She’ll understand. She’ll know. She’ll go along with what needs to be done.
Do you know the reasons why you are a beautiful killer?
Hurt yourself but you never die, you are a beautiful killer…
I like your silhouette when you stand on the streets
Like a samurai you can handle the heat
Makes me wanna pray for a haunted man…
I turn off the highway, drive through a quaint-enough town, and find her street. I’m a little early. The text arrives that she is almost there. I wait in front of her house. There is time to go through the bag one last time. Everything is in order. I zip it up and place it in the back seat. The sun is beginning to go down, slivers of an almost-crimson last gasp of daylight splinter through the windshield. Beauty can be broken glass framed in blood, but I’m wearing gloves, and I’m not afraid.
Another text. She is near. Soon she will round the corner. She’ll take the kids inside, and then she’ll open the car door, and we will be off. In killer boots and tight black pants, short-cropped hair and nothing to lose, she’ll swing her bag into the back-seat next to mine. Back on the highway, the city just ahead of us, we will finalize the last steps we need to take.The steady strumming of an electric guitar pushes us along. Buildings rise out of the sudden darkness. A mini string battle comes after the bridge, the song breaking up for a moment before the beat comes back in, hand claps offering some seemingly harmless relief, but we know better. We know there is always something more to come, something more dangerous, more sinister. I grip the steering wheel tighter as we reach the site of the rendezvous.
We unload the car quickly in the cloak of night, furtively hurrying up unlit staircases, depositing supplies, then locking the doors behind us as we park a few blocks away. There is time for one last dinner- just the two of us – before our work begins. We relax a little, even laughing a bit. Scoping out the restaurant, our agreement goes unsaid. A shot of tequila, then the salty rim of a margarita. A sangria for the lady. Nothing too strong to dull the senses, just something to take the edge off the anticipation.
We are in the city to prepare for a friend’s 40th birthday. It will be held at the condo the next day. The supplies – the bag – all filled with party preparations. The restaurant – a test for a possible post-party gathering. The partner-in-crime – my friend Kira, who is helping me throw the party. The song – ‘Beautiful Killer’ – the one that was playing as I made my way to her home to pick her up. The party – a killer success.
You’re a beautiful killer, but you’ll never be Alain Delon.