Category Archives: Music

Hanging on a Moment of Truth

There ain’t no reason you and me should be alone tonight,
Yeah baby, Tonight, yeah baby…
I’ve got a reason that you’re who should take me home tonight (tonight)
I need a man that makes it right when it’s so wrong,
Tonight, yeah baby ~ Tonight, yeah baby
Right on the limits where we know we both belong tonight…

A song for Spring should have the innocent, hopeful longing of love in it – and the same fluttering excitement of pedaling as fast as you can on your bike and whooshing down a hill on the cusp of night.

Or sitting in the passenger seat as your new boyfriend guns it to 90 and the sunroof is wide open, blowing wind and stars and fairy dust around as you reach a timid, fearless hand out the window to feel the world go by.

It’s hard to feel the rush,
To brush the dangerous
I’m gonna run right to, to the edge with you
Where we can both fall over in love…
I’m on The Edge of Glory,
and I’m hanging on a moment of truth,
Out on The Edge of Glory,
and I’m hanging on a moment with you…

A midnight in Spring, the middle of Copley Square deserted, and you rollerblading with your headphones on, black coat billowing out behind you, and picking up speed until it feels like you’re flying, and Trinity Church rises and falls before you as the Hancock Tower mirrors your ascent into the night.

Another shot, before we kiss the other side tonight,
Yeah baby, Tonight, yeah baby,
I’m on the edge of something final we call life tonight
Alright, alright…
Put on your shades ’cause I’ll be dancing in the flames
Tonight, yeah baby ~ Tonight, yeah baby…

Certain songs propel you along your way, jump-starting a new way of life, opening up another door. They drive you to your next destination, even if you didn’t think you had one, and they create the memories that mark your life. It’s
that moment when your hero reaches out his or her hand and pulls you along for the ride. They beckon with a reassuring smile, and for that one minute you feel like you can conquer the world.

It’s hard to feel the rush,
To brush the dangerous
I’m gonna run right to, to the edge with you
Where we can both fall over in love…
I’m on The Edge of Glory,
and I’m hanging on a moment of truth,
Out on The Edge of Glory,
and I’m hanging on a moment with you…
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The Madonna Timeline: Song #41 – ‘Let It Will Be’ ~ Holidays 2005

{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.}

At the end of 2005, Madonna’s ‘Confessions on a Dancefloor’ was on perpetual play in my car and home, just as I was preparing for our annual Holiday Party. I’ve been throwing parties for years, and at this point they pretty much throw themselves, but there is still an element of production to them, and a certain punch and panache that makes a party memorable. (As this is being written, I have just come up with a concept and name for our Summer party in July, so parties are on my mind.) Since the iPod has selected ‘Let It Will Be’ as the next Madonna timeline song, let’s revisit the party scene in the works when that song was blaring in my shower – the build-up and anticipation, the preparation and planning, and the all-too-brief swell of a gathering of good friends at holiday time.

Now I can tell you about success, about fame,
About the rise and fall of all the stars in the sky
Don’t it make you smile?
Let it will be,
Just let it be,
Won’t you let it be?

Back in 2005 it was The Venetian Vanity Ball ~ and it began with the outfit. A frilly number, with tiers of vermillion tulle, layers of burgundy lace, and a few subtle lines of ostrich and marabou feathers thrown in for delight. Beneath this a pair of burnt-out velvet pants, sheer enough to show just the slightest bit of black Armani underwear, and bottomed off with cuffs of beaded lacing. A scarlet off-set hat accentuated with sequins and some additional plumage (including an actual bird) topped it all off, though I didn’t keep it on for long. And for those moments when I wanted to accompany a smoker or two outside (as any good host would), a red fox fur stole (from a Neiman Marcus clearance event) kept me (and a few others) warm and toasty. Grounding the whole ensemble was a pair of black leather cowboy boots, only the tips of which peeked through the beaded fringe of those velvet pants.

Now I can tell you about the place I belong,
You know it won’t last long,
And all those lights they will come down.

I enjoy dressing up for parties – and there is sometimes a costume change or two (or ten on special years). It’s a labor of love – even if sometimes more labor than love, and some years are more stressful than others. All the food and drinks need to be purchased and prepped, the decorations and musical soundtrack selected, and the lighting and fragrance decided upon and executed, and in the days prior to a party they can all come to a head, and a headache. Whenever the stress creeps up, and Andy and I are snapping at each other, I have to calm down and remember that it’s all supposed to be fun, and if it’s not then we shouldn’t even be doing it anymore. That’s when I think of this song, and in its way it calms me. Let it be.

Let it will be
Oh let it be
Just let it be
Won’t you let it be.

Paradoxically, it also lights a fire under me, providing inspiration to don the feathered angel wings, clamp on the enormous peacock tail, or squeeze into the twenty-pound bejeweled corsets that have made up some of the more outrageous holiday outfits of the past. An enormous amount of energy – physical and mental – is required to wear some of the things I’ve worn. It takes a different mindset, and I have to be in the right headspace to pull it off. So much of fashion is attitude and confidence. If you can wear it as if to the manner born, then it will be a success. If you have the slightest hesitation or trepidation, you’re toast. I don’t wear anything over which I carry the tiniest bit of doubt. If I have to ask an opinion on an outfit, or I’m unsure about something, then I know it’s not going to work.

Now I can see things for what they really are,
I guess I’m not that far
I’m at the point of no return
Just watch me burn…

It takes a lot out of a person, throwing a party. Yet somehow, at the end of the evening, it is always worth it. Eliciting a friend’s smile is worth everything.

Let it will be
Just let it be
Oh let it be…

Even so, I do wonder…

“He sometimes looked back with awe at the carnivals of affection he had given, as a general might gaze upon a massacre he had ordered to satisfy an impersonal blood lust.” – F. Scott Fitzgerald, Tender is the Night

Now I can tell you
The place that I belong
It won’t last long
The lights they will turn down…

Just watch me burn…
Song #41: ‘Let It Will Be’ – Holidays 2005
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The Madonna Timeline: Song #40 – ‘You Must Love Me’ ~ Fall 1996

{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.}

Where do we go from here?
This isn’t where we intended to be.
We had it all – you believed in me.
I believed in you.

I don’t remember the first time I saw him. Is that strange? For someone who supposedly meant so much to me, I don’t recall the first time we were in the same room together. It must have been in the Literary Criticism class that we were both taking – my final requirement for an English degree from Brandeis University. I had tumbled off the commuter rail a bit later than anticipated, and had to rush up all the hills and steps before making it to the humanities building. In a sleeveless gray shirt and tattered jeans, I didn’t care how I looked when the weather still clung to August. I was decidedly not dressed to impress, not that first day. (It was a bit of an anomaly, as every day thereafter I would wear a different outfit, as impressive as I could muster, for the remainder of the semester.)

Sitting here racking my brain for our first moment of interaction, I still cannot come up with anything. In a way it makes sense, I never shit where I eat – so when on campus I was never looking for love, or even open to any bit of flirtation. It was probably what got me through college. I saved my obsessions for city folk, for unattainable real estate agents, would-be actor-waiters or gone-in-a-flash T-riders. At school, I was all business, and that Literary Criticism course was the last one I would have to take seriously.

The summer lingered on a bit. I always forgot how hot the start of the Fall semester could be. Above, the sun hovered, slowly traversing the sky over the duration of those September days. There were blue skies then – the gray of November was a distant impossibility.

The first bit of interaction with him that I can recall was a simple exchanging of glances in a second floor hallway. I was sitting on a couch waiting for my next class to begin, and he was headed in the other direction. My eyes followed and caught him turning around as he went down the stairs. From that moment onward I noticed him. He was usually smiling or laughing, entertaining a giggling gaggle of girls, and across the room in our literature class he occasionally smiled at me, raising his eyebrows in question or acknowledgment or invitation.

Certainties disappear,
What do we do for our dream to survive?
How do we keep all our passions alive,
As we used to do?

Dappled sunlight beneath a fiery grove of maple trees. A Nathaniel Hawthorne day in New England. The smell of warm leaves, the whisper of copper-colored pine needles. He sat on a rock, thumbing through a notebook. I stopped and said hello. I mentioned his Structure sweater, explaining that I worked there and could spot them a mile away. He told me he liked them, but all his sweaters ended up unraveling at the end of the sleeve – “something I must be doing with my hand” – and I let the entendre go by without a wink or a saucy word. My nervousness rendered me quiet and submissive around him – an incongruity to what made me fun to be around, and perhaps the fatal flaw in my ultimately winning over those who most impressed me. I left him there, beneath the trees, amused at my own ‘discombobulation’ as Suzie would call it, and wondering at what was going through his head.

A few days later, we got our first set of papers back. After a stern lecture on how this first batch had disappointed him, and how they weren’t at the level we should be at, the professor gave a lovely build-up to what I assumed was a disastrous grade. He went on to say, in one of those dastardly frightening professor moments, that he would leave them on the table and then leave the room, as he didn’t want to see the looks on our faces when we saw the grades. (Still a bit lighter than the sign next to one professor’s office hours that read, ‘Professional Slaughtering’.)

There was a mad rush for the papers, but I didn’t bother. No sense is hastening the arrival of bad news. I slowly got up and saw my name, but couldn’t quite get to it. He then reached over the other students to grab my paper along with his, and handed it to me. I think I fell in love with him at that moment. That he knew my name, that he struggled against the others to find mine, or that I got a B+ – I don’t know what made me feel happier. Who can say why we fall when we do?

We continued to see each other around campus – he would always seem to be where and whenever I least expected him, and I was continually caught off guard -“ the way my whole experience with him threw me off guard. And I couldn’t entirely be fabricating that there was something on his end too, could I? Certainly, I had lived out further-fetched fantasies of love and affection before him (wait until ‘You’ll See’ hits the timeline), was this just another etching solely in my mind?

At work, I confided to my manager who said I should just ask him out. I balked at the idea. I couldn’t, and that would never be my style. Even if I could, what would I say? “Do you want to go out sometime?” I would feel ridiculous. I was too shy for that. I liked to play it off as aloof and nonchalant, but it was simply me being shy, and an acutely killing form of shyness that I was nowhere near ready to combat at that moment.

Deep in my heart I’m concealing
Things that I’m longing to say
Scared to confess what I’m feeling
Frightened you’ll slip away,
You must love me,
You must love me.

A few days later, I thought I might be ready. In the cafeteria of Usdan Center, I saw him arrive at his lunch table. He was alone. My heart was pounding. I picked up the nearby pay phone (yes, there were such things back then) and dialed my store manager and friend John for one last bit of encouragement. He told me to just do it. Thanks, Nike. But it was enough. I marched quickly over to his table, and in what can only be the quickest blurting out of a pathetic pick-up line, said, “I was just wondering if you wanted to hang out sometime.” He smiled and said sure, he’d like to, and he gave me his phone number. It would be one of the only times in my entire life that I asked a guy out.

That was it. I smiled, said hello to the friend who had just joined him, and then said goodbye. If only we could have left it there – when there was nothing but possibility ahead. If only I could have kept it all in my head, living on the remote chance of all the what-ifs my racing brain could giddily conjure. If only… I hadn’t been so lonely. But I couldn’t see that then. All I knew was that he said yes.

I almost danced out of the student center, taking steps two at a time, bouncing off the walls in gleeful celebration. The boy I liked said yes! He said yes! And I was off – literally, figuratively, mentally, you name it – off on a thrilling one-man race that had but one inevitably sad destination. I did not know that yet, and for all the happiness and hope I felt, there was the one nagging worry – what if he didn’t like me the way I liked him? I put my faith in Madonna, and her latest ‘Vanity Fair’ cover story, where she quoted from ‘The Alchemist’:

If you want something bad enough, the whole world conspires to help you get it.

How I wished and prayed that was the case. How my heart yearned for it to be true. There was another quote that haunted me from that Madonna article though, and they were her words directly. It stayed in the back of my mind no matter how hard I tried to dislodge it:

Power is being told you are not loved, and not being destroyed by it.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

We shared a few late-night phone talks. I was in my bedroom in Boston – lying in bed looking up at the ceiling, then sitting on the cool hardwood floor, staring out the window, then back beneath the covers – warmed by his words, enthralled by his high school stories, and touched by the recitation of some of his writing. Maybe that was the moment I fell in love with him. This once-overweight kid, out of place, hurt by his family – my heart ached for him and his childhood, and for the fact that I could easily have been one of his torturers. (That’s just the kind of mean kid I was.) I wanted to hold him and make it all better. A surprise to myself, this fierce shard of protective instinct, this desire to shield him from the worries of the world, when so often I assumed it was me who needed to be protected.

We talked of silly and frivolous matters too, Broadway musicals and Madonna, and I ended up giving him a copy of Madonna’s latest single, ‘You Must Love Me’, hoping he would read into it all that I intended. There was shared laughter over the phone, and once there was a crash and he admitted he had fallen off the chair. It didn’t necessarily mean anything – all college kids are prone to romantic delusions during late-night phone conversations. The deciding moments would be determined during the day.

He sat next to me when we had class again. It was jarring, and strange, since most of us didn’t shift our seats much – not from one side of the room to the other – yet it was intoxicating to be so singled-out. As uncomfortable as I felt, as much as I was sure that all eyes were on us (and as sure as I am today that they were not), it was another little gesture that stirred the dormant heart.

Being close to him left me dizzy with nerves, erasing my wit and replacing it with a silence that could only be read as disinterest, or, worse, haughty superiority. Yet I couldn’t be myself around him, not with so much at stake. I couldn’t believe that I was someone to be loved, even if it was all I wanted him to see.

Why are you at my side?
How can I be any use to you now?
Give me a chance and I’ll let you see how
Nothing has changed.

I think we shared a book in our next class together, and it was easier being near him. Maybe we wrote a few quick words to one another, as if we were two silly kids in high school, sharing a secret moment of fun amid the criticism of Kant. On one of our phone talks I asked him if he wanted to attend ‘Master Class’ with me – I had just gotten two tickets. Suzie and Anu were coming into town for the weekend, and if he couldn’t make it, I reasoned, I could go with one of them. He accepted, and we agreed to meet up at Copley, have dinner with the girls, then go to the show. It would be, unsaid and unacknowledged, our first official date.

I wore a red velvet vest, and I greeted him as he rode up on the escalator. We walked quickly over the glossy stone floor of Copley Place – me pushing us faster so we wouldn’t be late. I was too nervous to talk much, and the rest of the evening those nerves wreaked uncomfortable havoc with any of us having a particularly good time. After the show, I walked him to his car. We paused in front of 500 Boylston, and he said it was one of his favorite buildings in Boston.

I looked back at the Courtyard in front of the building. It suddenly felt cold. And then it was over. We either hugged or shook hands as we said goodbye, but we did not kiss, and somehow, as I walked home alone, I knew. We would never kiss.

I left a series of phone messages the next few days, and he didn’t call back. Yet I didn’t give up. Oh boy, did I not give up.

You must love me…

There I was, trying desperately to turn this treacly little love song from a command to a realization, and failing at every turn. Who knows why we fall in love? Maybe it’s the turn of someone’s step, or the little smile that seeing you elicits, or maybe the simple act of grabbing the paper you couldn’t reach – of seeking out your name, or just knowing it. A midnight phone conversation that you don’t want to end, and when it finally is over the inability to sleep for all that hope and happiness. What do you do with that? And what if it meant more to you than it ever would to him?

Like most of the major mistakes I made in life, my honesty was to blame for setting me up for the most embarrassing form of getting rejected I could have ever crafted. I couldn’t be left in the dark, not knowing whether he felt the same, or if he wanted to go out again, and I just had to know. I did what I would do time and time again, with equally disastrous results: I wrote him a letter. (God only knows what that says about my writing ability.) Laying it all on the line, my feelings about what I thought we could have together, how much I liked him already, and all the things you are never, ever supposed to tell another person until the day after your wedding, I wrote down everything. I did everything ‘The Rules’ said not to do. I even gave him an easy out (well, easy for him). I said that if he didn’t feel the same way about me, to simply not sit next to me in class the next day. [Pause for reasonable absorption of The Worst Idea in the World, culled from the annals of teenage nonsense.] So certain was I that he liked me too, it never occurred to me what I might feel or do if he declined. That wasn’t a possibility in my mind, that wasn’t an option.

I gave him the letter the next time we met, along with a mix tape (it was still the 90’s, and I was apparently still trying to live the teenage dream), and then it was up to him. When our next class rolled around I was a nervous mess, and rightfully so. No matter how it ended up, it would be awkward – whether sweetly or disastrously so, it would be awkward. A tinge of regret already loomed over the overcast morning.

I still remember the shirt I wore that day – a loose black Nehru-collared number with grommets that laced up the top half. Part peasant, part pirate, part tragic historical figure – I loved that shirt. And I would never wear it again.

Sitting down in class, I took a deep breath and waited. Students started coming in, taking their seats, and I took out a book to appear busy and uninterested in whatever the outcome might be. On a blank page, I started writing – well, drawing – fake lines of non-existent words, intended to look like writing – anything to distract. Out of the corner of my eye, I saw him walk into the room with one or two other classmates. He crossed to the other side of the room to his old seat. The one beside me remained empty.

I looked up, pretending to notice him for the first time. He gave a faint smile and a conciliatory shrug. Smiling my own ‘that’s that’ type of smile, I looked down and pretended to be engrossed in my notebook. I began writing so I wouldn’t have to see him again, and this time words came out. Simple words of simple instruction that I implored, willed, forced my physical being to focus on and accomplish.

He did not sit next to me. He did not sit next to me and I will have to get up and walk out of this room when the class is over.”

It was a tiny act of survival, and the written words made it both real and palpable, designing a way of dealing with the situation I created, starting with the simple act of standing up and walking. When the interminable hour was up, I hurried out of class, not looking back. I made it down the steps of the building before he caught up to me.

He was kind. Most of the men I’ve liked have, in their way, been kind. He explained that he felt like I was running, going too fast, and he just wasn’t ready. It was as good an excuse as any, surely better than, ‘I just don’t like you that way’, even if the latter may have been more honest, and heartbreaking. Blame the intensity, blame my neuroses – just don’t let it be something intrinsic to my being, don’t let it be… me. Even if it was.

Before we separated, he said he liked my shirt, and that it was his favorite so far. I thanked him for that. If I had nothing else to offer the world, I would always have style. It was a sad recompense.

I did not cry. I would never cry in front of him. I would save it until I made it to the very edge of campus, ducking into a small building and finding an empty bathroom, then letting it all out in heaves and gasps. No one noticed my red and swollen eyes on the commuter rail. I slumped into the window, watching but not seeing the barren landscape rushing by. This was the fall. We were well into November, and in a few days I would board the ‘Don’t Cry For Me Argentina’ plane bound for San Diego and a family wedding, at which I would come out to my brother as a gay man and tell the sad tale of this recent heartbreak to little if any consolation.

Deep in my heart I’m concealing
Things that I’m longing to say
Scared to confess what I’m feeling
Frightened you’ll slip away,
You must love me,
You must love me.

Back from California, there were just a few more class days left of my last semester at Brandeis. Having spurred my coming out to my brother, my grief then prompted me to tell the story to my friend Danielle. We walked along toward the bottom of campus on a cold December day – and I simply said I loved someone and he didn’t love me back. I still remember our hug at the end of that walk, and how soft her hair felt. I wondered if those hugs could be enough to sustain someone throughout life, or if they were only there to catch us when we fell out of love.

Near the end of the month, with the semester finished, and my final papers completed and submitted, I was standing near the ATM when he came around the corner. Though the afternoon was young, the light had gone, and in the dim shadows of an early dusk we said a quick hello, and then it was done. My time at Brandeis was over. My memories of him, once emblazoned upon my heart and head, would only fade, lacking nourishment, first from him and then, months, maybe a year later, from me.

But at the end of 1996 I only had Madonna to snap me out of it. She triumphantly returned with her star-turn in ‘Evita’, attending the premiere in this gorgeous Galliano ensemble (he was okay then), and for me it was a welcome distraction to the tumultuous turbulence of an insatiable heart.

In the darkness of that December, I made the determination to never be ignored. No matter what it took, no matter how outlandish I ended up, I would make myself into the brightest ball on the fucking Christmas tree. If he couldn’t see that, if he couldn’t realize how wonderful it could be, how wonderful I could be, then I would make the rest of the world see it and know, and when they were all pointing at me, when they were all whispering, and his was the last head that turned to look, I wouldn’t even care.

There was rage, there was want, there was hurt and pain and tears like I’d never shed before. All for a boy – a silly boy who didn’t sit next to me in class.

If anything, I learned a lot from that last semester. I learned that those games were played for a reason. I learned the unattractiveness of wanting something so badly. And I learned to hold back, to hesitate, to hold my heart in check. I learned to not feel, to harden myself off to people. It was a reluctant lesson, one that I fought against until I could not fight anymore. And it was, I am foolishly happy to report, something I would forget when the next cute boy showed me the least bit of interest. My heart would not be tamed so easily, even if my head knew better.

Years later, I would wonder at the craziness of my behavior at the time, at the strange fixation I had on someone I hardly knew. I would wonder whatever came of all the intense, seemingly-insurmountable feelings I harbored for this man. On the few surreal moments where we randomly encountered one another in later years (the first being a Madonna concert) the magic and enchantment that once held sway over me in regards to him had dissipated, not even the merest wisp of longing or desire remained. In its place was a strange sort of war-torn affection, a feeling that we had been through something important together, and a realization that it was mostly one-sided. I would always wonder what, if any, effect I had on him, if he remembered me fondly, if he remembered me at all. And after all the time that had passed, and the way our lives had gone, all I seemed able to muster was a befuddled amusement at the whole thing, a sheepish bit of foolish pride in how ridiculous I once acted, and the reluctant admission that I would do it all again if given the chance.

Post Script: Both the-boy-that-got-away and I ended up getting married- to different, and wonderful, men. I remained in sporadic touch with him, at strange and fortuitously key moments in our lives, but that’s another story for a ‘Celebration’. (And rest assured it has a much happier ending.)

You must love me.

Song #40: ‘You Must Love Me’ ~ Fall 1996

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The Madonna Timeline: Song #39 ~ Erotica~ October 1992

{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.}

Erotica,
Romance…
My name is Dita,
I’ll be your mistress tonight.

This was almost the beginning of the end, and to anyone other than Madonna, the one-two punch of the ‘Sex’ book and the ‘Erotica’ album would probably have proved an insurmountable career finisher. Madonna herself has said she divides her career pre and post ‘Sex’ book, so when the iPod chose ‘Erotica’ as the next selection, I took a deep breath and went back to October 1992.

If I take you from behind,
Push myself into your mind,
When you least expect it,
Will you try to reject it?
If I’m in charge,
And I treat you like a child,
Will you let yourself go wild?
Let my mouth go where it wants to?

My fandom was probably at its first orgasmic crescendo, and Madonna was wielding her whip as Dita Parlo. It was all about sex, even if I wasn’t having any – at the start of my senior year of school, all that was yet to come, literally. The scratchy grooves of an old-school record signal the raw, gritty edge of the ‘Erotica’ single, then that devious and delicious bass-line kicks in, and before you know it the ‘Aural Sex’ catch-phrase of the promotional ads has delivered its promise in the five minutes of the song.

Give it up, Do as I say,
Give it up and let me have my way
I’ll give you love, I’ll hit you like a truck,
I’ll give you love, I’ll teach you how to… uhhhh…

To be honest, I think ‘Erotica’ is one of the weaker songs on the album, I don’t like speak-singing as a rule, and this follows on the same whispered tendencies of ‘Justify My Love’ – I didn’t like it then either. But at least there’s a better beat, and more of a melody, even if it is a dark one.

I’d like to put you in a trance – all over…

The ‘Erotica’ single, as well as the album, will always be remembered as the soundtrack to Madonna’s ‘Sex’ book, and rightfully so. Taken together, they formed a multi-media project ~ a prototype for selling wares with an artistic slant ~ this time an album and a book ~ and the singular, sensational theme only served to wet tongues, nether regions and wallets.

Erotic, erotic, put your hands all over my body,
Erotic, erotic, put your hands all over my body…
Erotic, erotic, put your hands all over my body,
Erotic, erotic, put your hands all over my body…
All over me…

There was something comical to sex too – both the first furtive fumblings with my own, as well as the humorous tone of much of the book (and the way I procured my copy). My friend Ann’s mother, Gin-Gin, bought the Sex book for me at the bookstore in Rotterdam Square Mall. I think it was 20% off the $49.95 selling price, and I told her to keep the change from a fifty for her troubles. The idea of the three of us executing this ‘Sex’ book mission in the middle of Rotterdam Mall always tickles me – and if you’ve ever met Ann you’re probably smiling at the notion too. She is one of the funniest people I know, and was my best friend at that tumultuous time. I picked up the album at the same time, in the music store next door – CD and cassette tape versions – and we listened to it on the ride home.

Once you put your hand in the flame, it can never be the same.
There’s a certain satisfaction in a little bit of pain.
I can see you understand me, tell me you’re the same,
If you’re afraid we’ll rise above, I only hurt the ones I love.

Once home, I brought the book into the basement, opened it up, and slowly began to turn the pages. With photographs by Steven Meisel, and Madonna in all sorts of nakedness, it was a feast for an adolescent’s eyes, even if mine were more drawn to the men than the Mistress of Ceremonies. It touched a deeper chord in me as well – one that resonated with my artistic yearnings, and inspired a creative drive to do my own thing no matter what anyone else thought. It may be the single most important lesson Madonna has taught me over the years. If nothing else, ‘Sex’ served as artistic inspiration. From its industrial (if slightly faulty) aluminum binding to its mirror-like Mylar sleeve, it was an exercise in how to execute a project, and the promotional hoopla that surrounded it taught me the importance of making a scene and marketing oneself.

Collectively, the whole experience made the music and the book just that: an Experience. It was more than just a record and a few pictures, it was a form of art, a positing of scandalous behavior by a woman taking her clothes off and forcing us to examine our own feelings on sex and nudity. In the most damning reviews (and there were many) was the essence of artistic controversy. Coupled with the sell-out success of the book’s first printing, it was a smash, albeit a detrimental exercise in go-for-broke shock de-value.

To launch the book and the album, Madonna had a Sex Party, to which she arrived dolled up as a Swiss Miss Milking Maiden, breasts pushed up to high heaven, blonde hair pulled into a double bun, and a stuffed lamb in her arms. God knows I love a party costume.

Give it up, Do as I say,
Give it up and let me have my way
I’ll give you love, I’ll hit you like a truck,
I’ll give you love, I’ll teach you how to… uhhhh…
I’d like to put you in a trance… all over…
Erotic, erotic, put your hands all over my body,
Erotic, erotic, put your hands all over my body…
All over me…

Oh, there was a video too. It was only shown after midnight on MTV, a quaint sign of the changing times, and was a grainy compilation of Super-8 footage taken on the ‘Sex’ photo shoots. It is, like the book and the album, a little piece of pop art, Warholian in aim and intent, as stylized and sleek as it is raw and nervy. A masked Madonna in a severe white collar and sheer, bosom-enhancing blouse, bends a whip and flashes Dita’s gold tooth. A bit spooky, a bit sexy, and, thanks to a cheeky smile or two, a bit silly.

The humor of the video, and the project as a whole, was largely lost on the public, who finally seemed to turn on her, and if ‘Sex’ and ‘Erotica’ were technically commercially successful efforts, the damage it inflicted on her career – and where she went from here – was almost irreparable. But that fall-out would come slightly later. For now she was still the Queen of the World, riding high on her fame and power, and taking the ultimate artistic risk by taking her clothes off for all the world to see. And see we did, watching with rapt eyes and dropped-jaws, still transfixed by this cheeky vixen, and waiting to see what she would do next.

I don’t think you know what pain is,
I don’t think you’ve gone that way,
I could bring you so much pleasure,
I’ll come to you when you say.
I know you want me
I’m not gonna hurt you,
Just close your eyes…
Erotic, erotic, erotic, erotic
Just close your eyes…

As for me, the whole ‘Erotica’ time period was fraught with suicidal adolescent angst. The darker tones of the album bled seamlessly into the dangerous undercurrents raging beneath my straight-A existence. Madonna’s rebellion was a pre-cursor to mine, a grand fuck-you to the establishment, and an almost transparent plea from a hurt little girl, that only a hurt little boy could ever understand.

Only the one that hurts you can make you feel better.
Only the one that inflicts the pain can take it away…
Erotic… A.

Song #39: ‘Erotica’ ~ October 1992

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The Madonna Timeline: Song #38 ~ ‘La Isla Bonita ~ 1987 – and about every year since

{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.}

Oh Madonna, I know you must love this song from 1986’s ‘True Blue’ opus, but I have to tell you, I’ve had a love-hate relationship with it over the years, and it’s partly because you favor it so.

Last night I dreamt of San Pedro,
Just like I’d never gone,
I knew the song,
Young girl with eyes like the desert,
It all seems like yesterday not far away…

When it first came out, yes, I adored it – a beautiful bit of escapist pop perfection – and a throw-away from Michael Jackson’s reject pile – yet you absolutely made it your own, and dedicated it as a ‘tribute to the beauty of the Latin people’. Sure, what the fuck ever – it had a decent tune, and was a twinge of Latin-pop long before Ricky Martin was a twink in anyone’s eye. But really, isn’t that where it should have ended? I thought you felt the same, particularly when you omitted it from your Blonde Ambition tour set list. All the other hits were there, except for this, and you were right to excise it to ‘Angel’ territory.

Tropical the island breeze,
All of nature wild and free,
This is where I long to be,
La isla bonita.
And when the samba played,
The sun would set so high
Ring through my ears and sting my eyes
Your Spanish lullaby…

In ’86 it was breezy and wonderful – if a bit hazy for my own memory – I vaguely remember the video – the perfect precursor for her next proper studio album ‘Like A Prayer’ flirting with religious imagery, albeit safer and far more palatable for the mainstream than that incendiary bit of brilliance to come. Yet did I think the song would stick? Absolutely not.

When it was included on her 1993 Girlie Show Tour, I considered it a blip, but it was a triumph, and this is the key to Madonna’s genius as far as her fan base goes. As much as I may be bored by ‘La Isla Bonita’, as much as it may be a lackluster song for some, whenever she performs it live she transforms it into something else – in 1993 it was a full-out Busby Berkeley by way of Carmen Miranda extravaganza, and a highlight of that show. But I honestly felt it would be the last we would see of the song. Not so… she would return to the beautiful island on her very next (if eight years later) outing, 2001’s Drowned World Tour.

I fell in love with San Pedro,
Warm wind carried on the sea called to me
Te dijo, te amo,
I prayed that the days would last,
They went so fast…

Out of all the old songs to perform for that tour (and there were a scant, casual-fan-criticized few), to select ‘La Isla Bonita’ was an incomprehensible move. A die-hard fan like myself loved the Drowned World Tour (and as my first live Madonna experience, it will always be my favorite), as it incorporated the bulk of the ‘Ray of Light’ album, and much of the album-of-the-moment, ‘Music’. Yet most of us yearned for some classics, and to be appeased with ‘La Isla’ was, on paper, a let-down. But once again, Madonna astounded and surpassed expectations.

Turning it into a rollicking acoustic moment, with her own hands strumming guitar for the song, she made ‘La Isla Bonita’ a genuine jewel of musical artistry, reducing the song to its basic melody and a sing-along moment of transcendence. What a perfect way to end her performances of this song, right? Wrong.

Tropical the island breeze,
All of nature wild and free,
This is where I long to be,
La isla bonita.
And when the samba played,
The sun would set so high
Ring through my ears and sting my eyes
Your Spanish lullaby…

Just a few years later, there it was again, on the Confessions Tour, tacked on in some Abba-inspired dance version with cheesy island graphics backing the whole mad scene. A lackluster song in a lackluster performance, surely this was the final nail in the ‘Bonita’ coffin. And once again, no.

When I heard she was performing this on the 2007 Live Earth special -“ one of only a few songs she was doing that day – I just did not understand. Enough woman! We had been beaten down by this song for four of her first six tours – I think only ‘Holiday’ had been performed more at that point. So it was with wary eyes and not-so-baited breath that I watched as she brought Gogol Bordello onto the stage with her and donned a fedora to the opening beat of ‘Bonita’. This, again, was something new, and as she segued seamlessly into the gypsy tune ‘Lela Pale Tute’ a broad smile formed on my face – in the way that only Madonna can conjure. The mash-up was brilliant, and her joy at joining the Bordello was apparent in her exuberance and happiness. 

Somehow she once again brought the world to its feet, in one of her finest, fiercest performances of the song, over twenty years after its debut. For all those who dismissed her music, it’s remarkable that most of her songs still resonate to this day, even one I’ve repeatedly felt was less-than-her-best.

If I was bowled over by that one, and I was, it was just the run-through for the full-on gypsy treatment given ‘La Isla’ in the 2008/2009 Sticky Sweet Tour. There it found its pinnacle, and for once the song was the one I looked forward to the most. Vibrant, escapist, an amalgamation of past, present, and future, marrying Romany gypsy culture with Latin America, and resulting in one of the richest theatrical productions she has ever crafted.

It was transporting and mesmerizing, returning to the elemental message of the song. It took us away to another land, and another time, subtly tinged with longing and touching lightly on the romantic. In the way of any decent pop song, it could be read and re-read countless ways, and despite my occasional grumbling, Madonna has almost always managed to pull off a killer live performance of it. And so, at last, I find myself giving in to the idea of the beautiful island, and the pleasant idea of a tropical paradise, all found in the delightful few minutes of a Madonna song.

Song #38: ‘La Isla Bonita’ ~ 1987 and about every year since
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The Madonna Timeline: Song #37 ~ ‘Hanky Panky’ – Summer 1990

{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.}

Come over here…
Some girls they like candy,
Others they like to grind,
I’ll settle for the back of your hand
Somewhere on my behind
Treat me like I’m a bad girl
Even when I’m being good to you,
I don’t want you to thank me,
You can just… spank me! Ooh…

And oww! Here we are, back in the summer of 1990 – arguably the peak of Madonna’s power and fame, and many fans’ favorite era – for the next song in the Madonna Timeline. ‘Hanky Panky’, off ‘I’m Breathless: Music from and Inspired by the Film Dick Tracy’, couples racy lyrics with the quasi-period music from the movie. As such, some of the edge gets lost from the words, which are actually a bit saucier than the delivery – a rarity for many of Madonna’s songs.

Some guys like to sweet talk
Others they like to tease
Tie my hands behind my back
And, ooh, I’m in ecstasy.
Don’t stuff me with kisses,
I can get that from my sisters
Before I get too cranky,
You better like hanky panky…
Nothing like a good spanky,
Don’t take out your handkerchief,
I don’t want a cry, I just want a hanky panky guy.

Without a video, or much airplay, the song doesn’t bring a specific moment in time to life for me. The hazy, hot, and humid spells of summer, when the hollyhocks were high, come vaguely to mind, as do a few night-time drives when this was on the stereo, but that’s about it. My days of getting spanked were far in the future, so lyrically it was all a silly bunch of untried peccadilloes. Even today, it feels less dirty than flirty – a harmless bit of fun, and a nostalgic nod to a lost era of by-gone innocence.

Please don’t call the doctor,
Cause there’s nothing wrong with me
I just like things a little rough
And you better not disagree.
I don’t like a big softie, no!
I like someone mean and bossy,
Let me speak to you frankly,
You better like hanky panky…
Nothing like a good spanky,
Don’t take out your handkerchief,
I don’t want a cry, I just want a hanky panky
Like hanky panky,
Nothing like a good spanky,
Don’t take out your handkerchief,
I don’t want a cry, I just want a hanky panky guy…
Oooh, yeah!

(For the record, Madonna performed this song on two tours (Blonde Ambition and Reinvention) – which was one too many in my opinion. If anything, it would have fit in much better on The Girlie Show, but I have yet to be consulted on a set-list, so we’re left with what we’ve had.)

Dick, that’s an interesting name…
My bottom hurts just thinking about it…
Song #37: ‘Hanky Panky’ ~ Summer 1990
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The Madonna Timeline: Song #36 ‘ ‘Don’t Tell Me’ ~“ Winter 2001

{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.}

Don’t tell me to stop,
Tell the rain not to drop,
Tell the wind not to blow
Cause you said so…
Tell the sun not to shine,
Not to get up this time, no, no,
Let it all by the way,
But don’t leave me where I lay down.

This takes me back to the end of 2000 and the start of 2001. Madonna, and the hoe-down country image of the Music era, had almost turned me onto country cowboy duds – I distinctly recall trying desperately to find a fitted plaid cowboy shirt, distressed jeans, and, gasp, cowboy boots (even if the lady herself once proclaimed she would never go out with guys who wear them).

Tell me love isn’t true
It’s just something that we do
Tell me everything I’m not but
Please don’t tell me to stop.
Tell the leaves not to turn
But don’t ever tell me I’ll learn, no, no,
Take the black off a crow,
But don’t tell me I have to go…

The video for ‘Don’t Tell Me’, directed by Jean Baptiste Mondino (who also did the far more brilliant ‘Open Your Heart’ and ‘Justify My Love’), is a passable bit of start-stop studio magic, notable for Madonna’s whole-hearted embrace of the country look and a bit of line-dancing that she was about to take on the road for her Drowned World Tour later that year. As for the song, it melds the techno-blips and dry vocal style of the Mirwais years with a vaguely country-ish tune written by Madonna’s own brother-in-law Joe Henry.

It’s both puzzling and fitting that this song was written by someone other than Madonna herself; it seems tailor-made for her in the message department, but the abstract lyrics are almost a bit too obtuse for her usual pop poetry. Still, she makes it her own (and almost unrecognizable from its original incarnation as ‘Stop’ performed by Mr. Henry himself).

Tell the bed not to lay
Like an open mouth of a grave,
Not to stare up at me
Like a calf down on its knees.
Tell me love isn’t true
It’s just something that we do
Tell me everything I’m not but
Please don’t tell me to stop.
Tell the leaves not to turn
But don’t ever tell me I’ll learn, no, no,
Take the black off a crow,
But don’t tell me I have to go…

It’s a sweetly-stubborn refusal to never stop loving someone, a gentle but determined statement of affection even in the face of rejection – both romantically and in a broader sense. Featuring her tell-tale trademark defiance, a hallmark of any pop performer who manages to last beyond what was then almost two decades, it was, and remains, a shining moment from the ‘Music’ era.

In addition, ‘Don’t Tell Me’, and Madonna’s performance of it on the David Letterman show, marked her first moment of public guitar playing. Her skills on the instrument grew quickly after that first shaky song, but kudos to her for being brave enough to do it.

Don’t you ever
please don’t, please don’t,
please don’t tell me to stop
Don’t you ever tell me (don’t you), ever
Don’t ever tell me to stop.
Song #36: ‘Don’t Tell Me’ ~ Winter 2001
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The Madonna Timeline: Song #35 – ‘Amazing’ – Fall 2000

{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.}

You took a pretty picture and you smashed it into bits,
Sank me into blackness, and you sealed it with a kiss.
If only I could let you go, why do I need you so?

Neatly dove-tailing with the latest news that William Orbit has scored the soundtrack for her next directorial effort, workingly titled W., ‘Amazing’ is one of the last collaborations Madonna shared with Mr. Orbit. From 2000’s Music, it was one of the only two cuts they produced together for that album.
While the worst of his work with her is treacly and uninspired (‘Time Stood Still’ and ‘Runaway Lover’ for example), the best of it shimmers and soars (‘Frozen’, ‘Ray of Light’ – hell, the entire Ray of Light album).

It’s amazing what a boy can do,
I cannot stop myself.
Wish I didn’t want you like I do
Want you and no one else…

A movie score could be the perfect bit of alchemy to set his ambient sonic moodscapes to flight, doing for W. what Trent Reznor did for The Social Network. Of course, this is all guesswork and speculation at this point – Madonna has been characteristically quiet during her creative mode. (Though I wish she would get back into the studio and make some new music.)

You took a poison arrow and you aimed it at my heart,
It’s heavy and it’s bitter and it’s tearing me apart.
If only I could set you free,
You worked your way inside of me.

‘Amazing’ is one of the brighter, poppier moments of the Music album, but like most Madonna songs it has an ambivalence that runs throughout it. She was about to marry Guy Ritchie at the time, but based on this song (and the eventual outcome of the marriage) things were not completely smooth-sailing. No one captures that push-and-pull better than Madonna.

It’s amazing… Love you and no one else…
Song #35: ‘Amazing’ – Fall 2000
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The Madonna Timeline: Song #34 ~ ‘Angel’ – 1985

{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.}

The iPod has picked 1985’s ‘Angel’ for the next timeline song – I was ten when it came out. I don’t remember much about when I was ten, except for a handful of Madonna songs. Like most of the ‘Like A Virgin’ cuts, this reminds me of driving in the car with my Mom and my brother – it was his cassette tape, and it was on perpetual play.

Why am I standing on a cloud, every time you’re around?
And the sadness disappears, every time you are near…
You must be an angel, I can see it in your eyes,
Full of wonder and surprise,
And just now I realize…

It is a quintessentially-80’s trifle, all synths and breathy echoes, and Madonna’s delicious laughter. Easy on the ears and the mind, but the perfect microcosmic emoting of the wonder and joy of infatuation.

Walking down a crowded avenue
All the faces seem like nothing next to you
And I can’t hear the traffic rushing by,
Just the pounding of the heart and that’s why…

No one captures the exuberance, and, I would argue, the innocence, of the beginnings of love better than Madonna. Especially at this stage of her career, when all was still shiny and new – she had the perfect grasp of a pop song – centered around romance, founded on a wish and a prayer, and wedded to a catchy melody and driving beat.

Now I believe that dreams come true,
Cause you came when I wished for you.
This just can’t be coincidence,
The only way that this makes sense is that,
Ooh, you’re an angel…
Clouds just disappear…
Song #34: ‘Angel’ – 1985
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The Madonna Timeline: Song #33 ~ ‘Sooner or Later’ – Summer 1990

{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.}

Sooner or later you’re gonna be mine,
Sooner or later you’re gonna be fine,
Baby it’s time that you faced it
I always get my man.

It is the ultimate call of the siren. A prediction, a demand, a hope ~ all in the subtle jazz shadings of a Sondheim song. ‘Sooner or Later’ is the next iPod selection, seductively vamping along from its opening coos to its climaxing almost-growls, and Madonna delivers a sparkling aural gem. Restrained, yet powerful, her slightly-girlish vocals belie a steely strength. That confidence, that determination, that unfailing belief in her own prowess and power of attraction ~ that was something I never had. Certainly not in 1990.

To be honest, the hunt for a man was the last thing on my fourteen-year-old mind. I was too consumed with the drama of my friends, trying to fit in to my first year of high school. The one thing the song did lend me was a belief in oneself ~ and if Madonna could will her want into being simply by using a few declarative come-ons, surely I could put one of Mr. Rosmarino’s math proofs on the chalkboard and talk my way through it.

I didn’t have a goal at the time ~ it was enough just to make it through an average school day ~ but songs like this, and most of them by Madonna, gave me a bit of purpose. It marked the beginning of a drive and ambition to not be ignored.

Sooner or later you’re gonna decide,
Sooner or later there’s nowhere to hide,
Baby it’s time so why waste it in chatter?
Let’s settle the matter,
Baby you’re mine on a platter
I always get my man.

‘Sooner or Later’ was also nominated for a Best Song Oscar (fortuitous timing today), which it won ~ and more importantly which meant that Madonna would perform the song on the Oscar telecast. I missed the show that year (see, I wasn’t always that gay), but made sure to see it a few years later when my Madonna obsession began to rage. (Most of the performance was captured on a VHS Oscar Retrospective.) Of course it’s now on YouTube, and we get to see the telescopic opening, as well as the very best ending and exit vamp in Oscar history.

Early on, the camera goes in for a tight close-up as Madonna’s gloved hand trembles in the spotlight ~ one of the first glimpses we get of her nervousness for some performances, and a compelling peek of her as a mortal being. It is an endearing moment: here is the woman who at that point was one of the most famous and successful of all time, at arguably the height of her power and adulation ~ playing to a house of jaded actors who had little to no respect for her, and she went for it. That takes balls. That takes determination. That takes a belief in oneself and a disregard for the opinions of those who would never like her. In my Freshman year of high school, those were attributes that I sorely lacked.

But if you insist, babe,
The challenge delights me,
The more you resist, babe,
The more it excites me
And no one I’ve kissed babe,
Ever fights me again.

I felt the need to don perfectly preppy garb in an effort to win the affection and approval of my fellow students. I looked interested in what every teacher had to say, finishing all my homework on time and studying for every test in an effort to please all the school faculty. I did everything my parents asked and recommended, starting music lessons and keeping score for the girls basketball team to round out my education with extracurricular activities. I did it all without the inner-confidence that Madonna exuded, shaky hand and all, and I did it well. It just happened that none of it made me particularly happy or content. But that’s another story for another song.

If you’re on my list it’s just a question of when,
When I get a yen, then baby amen,
I’m counting to ten, and then…

As far as the Oscar show goes, it is one of her best live performances ever ~ including tours and award shows ~ and she sounds incredible. Not that it was without its quirks and foibles ~ at one point near the end one of her earrings falls off – a cluster of diamonds costing ten times what my house is worth – and gets lodged in a lock of platinum blonde hair. It stays there magically, until she bows her head as the song ends. Plucking it from her tresses, she tosses it into the orchestra pit. That’s star power, that’s grit, that’s Madonna.

I’m gonna love you like nothing you’ve known,
I’m gonna love you when you’re all alone.
Sooner is better than later but lover,
I’ll hover, I’ll plan…

Seriously, watch that Oscar performance ending and tell me you don’t love her.

This time I’m not only getting, I’m holding my man.
Song #33: ‘Sooner or Later’ ~ Summer 1990
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The Madonna Timeline: Song #32 ~ ‘Hollywood’ – Summer 2003

{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.}

Everybody comes to Hollywood,
They want to make it in the neighborhood.
They like the smell of it in Hollywood,
How could it hurt you when it looks so good?
Shine your light now,
This time it’s got to be good,
You’ll get it right now, yeah,
Cause you’re in Hollywood.

It was my summer working at the Thruway Authority – where we had our own parking (30 feet from the building) and I could drive to Delmar while on lunch. Madonna had had a rather dismal lead-off single from her recent American Life album, so she followed up with a paint-by-the-numbers pop-like bore of a safety song. It didn’t matter, I drove around with the windows open, challenging speeding tickets, blaring ‘Hollywood’, and drinking Boston shakes from the local ice cream shack.

Despite that, this remains one of my least favorite songs on that album, an otherwise-under-rated electronic pastoral, with flourishes of folk tempered with flashes of brilliance. Heavily laden with guitars of all sorts, the album got shafted because of the politicized fervor of post-9/11 fear. It’s a shame, but not because of this song.

‘Hollywood’ is another woe-is-life-at-the-top type song that posits the banal question, ‘How could it hurt you when it looks so good?’ Possibly when it sounds this bad. Sorry, I’m just not a big fan of this one. It’s telling that Madonna used an instrumental version of ‘Hollywood’ on the Reinvention tour in support of the American Life album. Or maybe she just found the repetitive yet tricky lyrics too much of a challenge – I recall a few flubs on the mini-promo tour she did for the album.

The video, however, is why I have the song on the iPod. It is classic chameleonic Madonna – highly stylized, filled with iconic images, and an absolute homage to her mode-shifting nature. There’s also a slight ‘All About Eve’ reference that puts Madonna in the glamorous trappings of Margo Channing as a younger maid looks at her longingly. That concept could have been explored a bit more, but any reference is better than none at all.

Most people will remember this song only from its performance at the MTV Music Awards, where Madonna kissed Britney Spears and Christina Aguilera, then danced with Missy Elliott. The night it aired, I was in Ogunquit. Having heard whispers that she might be opening the show, I told Andy to go downstairs and make dinner reservations while I watched to see what might transpire during the opening. The snaky bassline of ‘Like A Virgin’ began and I held my breath. Britney and Christina did their rudimentary run-through of the song, and then there she was, rising from a wedding cake like the very first time, in groom/dominatrix drag, overseeing the proceedings and completely in charge of it all. Twenty years into her career, she was still the most highly-charged performance of the night, and all the world was talking about the next day.

Personally, I enjoyed that rendition of ‘Hollywood’ – and it left no doubt as to who the reigning Queen was, and remains.

Push the button, don’t push the button,
Trip the station, Change the channel.
Music stations always play the same song,
I’m bored with the concept of right and wrong.
Song #32: ‘Hollywood’ – Summer 2003
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The Madonna Timeline: Song #31 – ‘Another Suitcase in Another Hall’ – January 1997

{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.}

Gray shadows, one-night stands, the lost and the lonely, and the sad, unbearable waking of the morn. Such is the selection of the iPod shuffle, which has chosen ‘Another Suitcase in Another Hall’ from Madonna’s film Evita. It was early 1997. I was single and trying valiantly to be fabulous. (Sometimes being fabulous means being kind of slutty.)

I don’t expect my love affairs to last for long,
Never fool myself that my dreams will come true
Being used to trouble I anticipate it,
But all the same I hate it wouldn’t you?

I was on the road with The Royal Rainbow World Tour, and Evita had just opened. Visiting friends in snowy Rochester, New York, I wore a leopard coat and fuschia silk shirt to see the film with a few friends. A little touch of star quality in dismal upstate NY. I was running away from having to start my real life, going on this world-wide jaunt to put off settling down now that I had graduated from Brandeis. Boston was still my home-base, but I preferred the vagabond nomadic excitement of living out of my parents’ Blazer, a rack of fancy frockery in the backseat, a sequin purse of toll coins in the front, and a small collection of necklaces dangling from the rearview mirror. I drove all night just to get away from myself.

So what happens now?
So what happens now?
Where am I going to?
Where am I going to?

In Rochester there was a poster store that carried a nice selection of postcards. A black and white image of a naked man, sitting on the edge of a bed in the morning light. Head down, clothes scattered on the floor, and the rumpled sheets of a duet or solitary struggle. It is hard to tell which is which, and the light of day doesn’t do much to aid in recovery. I had been in that position, had hung my head that low, and I would do so again and again in the years to come.

Time and time again I’ve said that I don’t care,
That I’m immune to gloom, that I’m hard through and through
But every time it matters all my words desert me
So anyone can hurt me and they do.

I preferred to stay in hotels rather than at my friends’ dorm rooms or apartments. Even then solitude was comforting to me, my natural state being one of distance, slight detachment – always separate from the rest of the world, even from my friends and family. And then again… distance lends enchantment

So what happens now?
So what happens now?
Where am I going to?
Where am I going to?

And now the saddest part of the song, the refrain that rang in my head on so many mornings after:

Call in three months’ time and I’ll be fine, I know,
Well maybe not that fine, but I’ll survive anyhow
I won’t recall the names and places of each sad occasion,
But that’s no consolation here and how.

How many times had I calculated the number of months the pain would last? I tried all sorts of equations – usually it was half the length of the relationship, if there even was a relationship. It was more tricky when there were sudden feelings after just a single night. Yes, decidedly more tricky, and somehow inversely more painful. It was the apathy and general disregard that used to hurt the most. I could never understand – not then – how one could not feel anything.

So what happens now?
So what happens now?
Where am I going to?
Where am I going to?
Don’t ask anymore

Song #31: ‘Another Suitcase in Another Hall’ – January 1997

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The Madonna Timeline: Song #30 ~ ‘Incredible’ – September 2008

{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.}

Just one of those things
When everything goes incredible
And all is beautiful
(Can’t get my head around it, I need to think about it)

(Can’t get my head around it, I need to think about it)
 And all of those things
That used to get you down
Now have no effect at all
Cause life is beautiful
(Can’t get my head around it, I need to think about it)

(Can’t get my head around it, I need to think about it)

The day started out in the sunny Mission District of San Francisco, with a breakfast at a corner diner, windows open, the morning walking lazily by. My friend Chris and I were about to hit the road and the long drive South – to the Santa Barbara area. Being a Northeastern boy, I always underestimate distances in other states, particularly those as long as California. I was attending another friend’s wedding, so I asked Chris if he wanted to drive down with me, not realizing exactly how far of a drive it would be, especially when taking the scenic Pacific Coast Highway route.

Most of Madonna’s songs, particularly in latter years, are what I would consider evening songs – moody, dark, and dramatic – perfect for a night out, and doubly good for an evening in – but not many are made for the morning. ‘Incredible’ is one of her morning songs – for greeting the day with promise and excitement, especially when that day is sunny and overflowing with the anticipation of a happy destination and unforgettable journey.

Remembering the very first time
You caught that some one’s special eye
And all of your cares dropped
And all of the world just stopped.
(I hope) I want to go back to then
Got to figure out how, got to remember when
I felt it, it thrilled me
I want it, to fill me

Chris is a good guy, and a lifelong friend, and while he doesn’t hate Madonna, he’s certainly not her biggest fan. But for some reason, he loves this song. And he played it at least twenty five times in a row – no exaggeration. Suddenly I was being paid back by my brother and mother for all the car rides in which I played Madonna relentlessly. And I got it. I got it good. But at the beginning, it was just the California breeze in my hair, the sun up above, and the great Pacific to our right as we wound our way down the coast.

You don’t know what you got ’til it’s gone
And everything in life just goes wrong
Feels like nobody’s listening
And something is missing

Guy bonding is easier than girl bonding somehow – there is less pretense, less preening – and there’s an ease to being with one of my straight guy friends that I haven’t found in straight women or gay men. Maybe it’s the underlying fact that we’re not one another’s competition, theoretically or realistically.

Chris winds us along the Pacific Coast, which is now lined with fog, affording only brief, tantalizing glimpses of the rocky shore and the ocean beyond. We make a few stops – including a break at the naturally majestic Post Ranch Inn (where we could just barely afford an appetizer, much less a night at the Inn – which runs up to $2285 – yes, per night).

When the fog parted, we took a moment to pull off the road before dusk descended. Groups of seals and sea birds huddled on the shore. Sharks inhabited these waters, and as the wind picked up and the light went, I shuddered at the thought of their dark world, equally enthralled and repelled. Then it was back on the road, and the darkening way South.

I remember when
You were the one
You were my friend
You gave me life
You were the sun
You taught me things
I didn’t run
I fell to my knees
I didn’t know why
I started to breathe
I wanted to cry
I need a reminder
So I can relate
I need to go back there
Before it’s too late

After about eight hours of driving (or riding as the case may be), I was over it – the song, the car, the traffic, and even the Madonna Inn, which we passed. We stopped for dinner around San Luis Obispo, recharging for the final stretch, and as we pulled into the hotel, I think we were both a little crazy.

It’s time to get your hands up
It’s time to get your body moving…

Some Madonna songs are great for driving, and while the 50th play of this one pushed it, ‘Incredible’ is the perfect driving song, especially along the shore of California with one of your best friends.

Let’s finish what we started
Incredible
You’re welcome to my party…
I don’t want this to end
I am missing my best friend
It was incredible
There is no reason…
Song #30: ‘Incredible’ – September 2008
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The Madonna Timeline: Song #29 ~ ‘He’s A Man’ – Summer 1990

{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.}

It was the summer of 1990 – the summer of ‘Dick Tracy’, the summer of Blonde Ambition, and the summer of my trip to the then-Soviet Union. It was a summer of intrigue, of mystery, of wooded night walks, whispered secrets, and thick, hot days in which the sun beat down relentlessly and made one wonder whether the cool of night would ever come again.

All work, and no play, makes Dick a dull, dull boy…
Career gets in the way…
Square jaw, such a handsome face,
Why do you have to save the human race?
Life of crime, no it never pays,
Clean up the streets and make your secret-get-away,
All alone, in your room with your radio,
No one to hold you, had to let her go…

At this point, Madonna was still the only artist whose entire albums I learned inside out. ‘He’s A Man’ was the lead track on her ‘I’m Breathless’ album Music from and Inspired by the Film Dick Tracy. It was heavenly. And the album marked the first time she went in a Broadway/show-tune direction. Madonna singing Sondheim? Sign me up, and sign me up fast. I was just becoming a show tune queen, and this certainly helped to cement the deal. Sondheim was a hero to me for ‘Into the Woods’. I know most of his adoring public hearkens back to ‘Sunday in the Park with George’ or ‘Sweeney Todd’, but my first Sondheim experience was ‘Into the Woods’, and I loved it. Follow that with the three songs Madonna did with him on ‘I’m Breathless’, and this album was on non-stop rotation for the entire summer of 1990, much to the chagrin of my brother whenever he was trapped in the car with me.

You’re a man with a gun in your hand,
Waging a war between good and evil can be a bore.
If you don’t take time, it’s not nice,
So here’s my advice,
Take your love on the run,
Oh God let me be the one,
A man with a gun.

‘He’s A Man’ is a seductive, slow-burning introduction to the whole feel of the ‘Dick Tracy’ movie and that entire glamorous/gangster era when everybody was holding out for a hero named after a penis. Myself, I had not yet joined the hunt for Dick, so I watched the adventure from the periphery, all of fourteen years old and not quite ready to give up the childhood ghost. For that moment, listening to Madonna sing about it was all I needed. The rest took place in my head.

All boss and no brains,
Bullies and thugs, they take up all your time in vain.
Can’t let go, someone cries and you hear the call,
Who’s gonna catch you, don’t good guys ever fall?

It had a lounge-like bar feel to it, and though the hard stiff stuff stung my lips and burned my tongue, the atmosphere called to me in the seductive plucking of a bass and the languid runs of a smoke-addled pianist. A jazzy undertone ran throughout the record – and that summer – and in the midnight talks of adolescence, in the longing and the confusing want, Madonna sang her siren songs for a Dick, and I listened and pined along with her.

All alone, in your room with your radio,
No one to hold you, I would never let you go…

Song #29: ‘He’s A Man’ ~ Summer 1990

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The Madonna Timeline: Song #28 – ‘Give It 2 Me’ ~ Summer 2008

{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.}

There are some Madonna songs that are so fun and catchy they stand alone, not needful of any backstory, (and certainly not crying out for my own silly attachment to it). Being that I don’t have any distinctive memory attached to it, we’re going to let ‘Give It 2 Me’ run its own bass-pumping course.

What are you waiting for?
Nobody’s gonna show you how.
Why wait for someone else to do what you can do right now?
Got no boundaries and no limits,
If there’s excitement put me in it,
If it’s against the law arrest me,
If you can handle it undress me.

Sometimes a good Madonna song is all you need to dance in front of a mirror, in your underwear, throwing a party for one and having the time of your life.

[Insert cute picture of me dancing in my underwear in front of the mirror if it were possible to take a picture of myself while dancing in front of a mirror and looking cute in my underwear.]

Don’t stop me now
Don’t need to catch my breath
I can go on and on and on…
When the lights go down
And there’s no one left
I can go on and on and on…
Give it 2 me!
Yeah!
No one’s gonna show me how.
Give it 2 me!
Yeah!
No one’s gonna stop me now.

A brief interruption: How cool is it that Pharrell Williams features his gorgeous purple Hermes Birkin in the original video?

They say that a good thing never lasts and that it has to fall
Those are the people that did not amount to much at all.
Give me a bassline,
I’ll shake it,
Give me a record,
I’ll break it.
There’s no beginning, and no ending,
Give me a chance to go and I’ll take it…
Get stupid
Get stupid
Get stupid
Don’t stop me…
Don’t stop me now
Don’t need to catch my breath
I can go on and on and on…
When the lights go down
And there’s no one left
I can go on and on and on…
Give it 2 me!
Yeah!
No one’s gonna show me how.
Give it 2 me!
Yeah!
No one’s gonna stop me now.
You’re only here to win, get what they say,
You’re only here to win, get what they do
They’d do it too, if they were you,
You’ve done it all before, ain’t nothing new.
Song #28: ‘Give It 2 Me’ ~ Summer 2008

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