Category Archives: General

Zac Efron’s Wet Tighty Whities

From Mr. Efron’s next movie, something about a Paper Boy. Zac Efron in underwear AND Nicole Kidman? I may be sold… 
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A Naked Olympian: Danell Leyva

Per request, this is US Olympic gymnast Danell Leyva, performing his pommel horse routine (snicker, snicker) with nary a stitch of clothing. Surely this is an invitation for some seriously dangerous chafing.
There are supposedly some sexty shots of Mr. Leyva going around the internet as well, that he had sent to some admirers, but this is not the place for such smut. Let’s lift it.
 
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Changing of the Gallery Guard

Four years ago, in the winter of 2008, I started volunteering at the Romaine Brooks Gallery of the Capital Pride Center. Under the auspices of the masterful Michael Weidrich, I learned all about Albany’s 1st Friday events, and by September of 2008 I was ready for my own show (a solo exhibition – ‘The Eye of the Ego’) and to assume the role of Gallery Manager.

Since that time it has been a joy and a privilege to host 1st Friday at the Romaine Brooks Gallery, to book shows and artists, and to meet the people of the community who make every 1st Friday such a fun time. One of the most startling aspects of hosting at the Pride Center was the diversity and richness of those seeking out art and culture in Albany. I thought I’d get to know everyone in a few months or so, but even after four years of standing there for four hours every month, there are still new faces coming up those stairs, gazing with wonder, admiration, and, as often as not, confusion, when they enter the room. If there’s one thing I’ll take with me, it’s the wonderful sense of community found both at 1st Friday, and at the Capital Pride Center.

Four years is a decent stretch for anything, especially when one is dealing with artistic temperaments. Artists can be an infuriating, frustrating, and fickle bunch, and, speaking as one myself, I understand that there’s a different mindset to many of us, one that doesn’t always handle schedules or structure well. (I’m sure that my ability to organize and meet deadlines is directly proportional to my lack of God-given talent, but never let it be said that I didn’t try.)

Still, we don’t create or display our work because we want glory or accolades or money – we do it because we need to do it – something impels us to write or draw or paint or take photos, and it’s this passion that has always enabled me to overlook someone’s tardiness or missed deadline. I have yet to meet an artist who doesn’t have heart.

It’s a bittersweet departure – saying good-bye is not my strong-suit – but one that is due. It’s always nice to leave on your own volition, when things are going well, and it feels like it’s time. The gallery needs someone new, someone who is excited about taking over and bringing a new dose of energy and ideas, and we’ve found the perfect person in Lyle Houston. He already has plans for updating the third floor space, and I can’t wait to see where he brings the gallery next. If I had any reservations about leaving the gallery in less-than-capable hands, he more than set my mind at ease.

The one minor drawback of hosting 1st Friday all these years is that I never got to attend the other 1st Friday events. It’s different when you go to all the places the next day – the energy and excitement is missing, the electricity in the air has dissipated, the communal sense of participating in something together is gone when strolling solitarily through spaces that are often closed anyway. I miss going out and peeking at all the other venues. Now, I’ll get to enjoy 1st Friday as a spectator (and have dinner in between gallery stops).

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Tom Daley Busting Out of His Speedo

To all you guys who ever described yourselves as having a swimmer’s build, you can take it back now.

This is Britain’s Tom Daley, and this is how it’s done.

Now if you’ll excuse, I have some three-month-fasting to do, with a side of manorexia.

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The Madonna Timeline: Song #73 – ‘Turn Up the Radio’ ~ Summer 2012

{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.}

Looks like I jumped the gun on this one by talking about it a few days in advance, but I had no way of knowing that the next random selection of the iPod would be the one I just referenced a week or two ago. This is a historic occasion, as it marks the first time the Madonna Timeline selection lines up perfectly with the current Madonna single. It’s a testament to her endurance, and a fantastic selection for a summer anthem.

When the world starts to get you down,
And nothing seems to go your way,
And the noise from the maddening crowd
Makes you feel like you’re going to go insane
There’s a glow of a distant light
Calling you to come outside
To feel the wind in your face and your skin
And it’s here I begin my story…

This is, at first glance, classic carefree Madonna at her dance-poppy best – a return to her ‘Holiday’ roots, where it all began some 30 odd years ago. (For those who doubt her legendary status, think about this: it just entered the Billboard Dance chart as her 60th entry there. That’s right, 60.)

Turn up the radio
Turn up the radio
Don’t ask me where I wanna go
We gotta turn up the radio

Madonna has never been one to look back – it’s one of her most admirable qualities, and the very thing that has kept her forward-moving career on that one singular track. A lot of her fans would have her simply repeat former-glories, but that’s never been her way. Even if she winks back at what she’s done (as she does both in this song and its accompanying video), she’s never been about the past.

It was time that I opened my eyes
I’m leaving the past behind
Nothing’s ever what it seems
Including this time and this crazy dream.

She’s also been about the power of a pop song to transcend its limited boundaries, becoming an epiphany unto itself – the very act of escapism as its own goal – and ‘Turn Up the Radio’ re-asserts her mastery of the genre. I’m not going to claim there’s anything ground-breaking here, and those who have never been under her spell may cry banality (like they always do when dissecting her lyrics), but the glorious majesty of a catchy melody wins out. Score one for ear candy over lyrical dinner. And yet there may be something deeper here…

I’m stuck like a moth to a flame
I’m so tired of playing this game
I don’t know how I got to this stage
Let me out of my cage cause I’m dying
Turn up the radio
Turn up the radio
Don’t ask me where I wanna go
We gotta turn up the radio

At first I thought this was going to be a straight-forward reading of a perfectly-crafted summer pop ditty. The infectiousness is there, the timeliness is present, the video is a slightly nostalgic reminder of the simple premise of having a good time, but the last few times I was listening to this (in the shower, of course, and in the car), a new reading struck me.

I just wanna get in my car
I wanna go fast and I gotta go far
Don’t ask me to explain how I feel
‘Cause I don’t want to say where I’m going…

Maybe it was the rocky start to this season, and the resulting melancholy (the nightmare of jury duty still haunts me), but it suddenly seemed that this song wasn’t just about having a good time, it was about insisting upon it – begging, pleading, and crying for it. This wasn’t a simple ode to a joyful moment. This was a desperate cry for escape and deliverance.

It brought to mind Adrienne Rich’s poem ‘The Ninth Symphony of Beethoven Understood At Last As a Sexual Message’ in which the poet turns the ‘Ode of Joy’ by Beethoven into a harrowing description of rage and anger. This was what I was thinking about when trying desperately to get back into the song, to find the joy again. I found myself singing, and then screaming, along with these very lyrics, this part right here, and I couldn’t tell the tears from the shower water or the rain, I just pounded wet fists against whatever would withstand them.

Turn down the noise and turn up the volume
Don’t have a choice cause the temperature’s pounding

As the percussion trampled with its stomping beat and the music raced to its inevitable release, I tried tearing a hole in my despondence, ripping away at the heart that gave both light and darkness, inconceivable happiness and inconsolable sorrow, in a dance of desperation ~ a dance to the death of something.

If leaving this place is the last thing I do,
Then I want to escape with a person just like you

The torrents fall down, the world crashes around, and like flotsam I feel like I’m floating in the lost abyss of an open sea, drifting and flailing and powerless to the ebb and flow of a life swirled beyond my control.

Bopping around like a moth to a flame,
I’m so sick and tired of playing this game

And I cling desperately onto the silly things that once mattered, that once seemed to make all the difference, and nothing seems to help. It is all so pointless, so futile, so damning – and so we fight for the fun and escape, for the way out of our miserable little lives, for the only way we know how.

We gotta have fun, if that’s all that we do
Gotta shake up the system
And break all the rules,
Gotta turn up the radio until the speakers blow.

Song #73: ‘Turn Up the Radio’ – Summer 2012

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The Best Sandwich in the World

The Victory Café in Albany has never disappointed me – in all the years of work parties and get-togethers, bridal showers, baby showers, golden showers – I’ve always enjoyed the food and the friendly staff. However, once in a great while they go above and beyond their normal standard of deliciousness, and that is when they serve the following:

24 Karat Pulled Pork Melt on Jalapeno Corn Bread with Bacon, Caramelized Onions, and Pepper Jack Cheese Served with Potato Salad

Now, take a moment for that to sink in. Imagine, if you will, the singular taste sensation that results when these ingredients are put together, smoldering and melting into one another ~ the spicy heat of the jalapeno corn bread and pepper jack cheese, the sultry sweetness of the caramelized onions, the jaunty textural spike of crisp bacon, and that savory, smoky melt-in-your-mouth richness of 24 karat pulled pork. Its golden moniker is no accident, and it more than lives up to the billing.

It is, quite simply, the best sandwich in the world. I don’t use that term lightly, and I don’t use it often, so you know I mean business. I only wish they had it more often – I wait and wait and wait and it only shows up once every few months. (Which, given its likely caloric make-up, is probably best for my pants.) That also might be the reason for its goodness – the fleeting always tastes better.

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The Madonna Timeline: Song #72 – ‘I Want You’ ~ Fall 1995

{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.}

I want you the right way
I want you, but I want you to want me too
Want you to want me baby
Just like I want you…

The Fall of 1995 marked a transition period for Madonna. After the chilly years following the Erotica/Sex furor, she had rebounded slightly and was on the precipice of making one of her signature transformations (into Eva Peron). In preparation for that, she released a collection of her ballads, entitled ‘Something to Remember’. Personally, I’ve felt the key to Madonna has always been hidden within her slow songs, when lyrically she gets to be a little more introspective, and sonically we hear the strain and heartache in her voice.

As with her other best-of collections, there were a few new tracks, and the album kicks off with one of them, ‘I Want You’ – a slowed-down trippy take on Marvin Gaye’s soulful classic. Given the Massive Attack treatment, it picks up where ‘Bedtime Stories’ left off – in that sizzling electro-fizzing soundscape that is both intimate and distant. In her great pantheon of moody music, this may be one of her moodiest. As such, it was one of my favorites at the time it came out, though the ensuing years have lessened its scope and power.

I’ll give you all the love I want in return
But half a love is all I feel, sweet darling
It’s too bad, it’s just too sad
You don’t want me no more
But I’m gonna change your mind
Some way, somehow…

There will always be something beautiful about solitude for those of us who have had to endure it. It’s not always pretty, it’s not always easy, it’s not always fun, but it carries its own beauty. The beauty of longing.

Most of us have had those moments, waiting for the phone to ring when it never does, yearning and hoping and fighting the hopeless battle to fight all those feelings, giving in and giving up, crying to yourself, and crying into your pillow, and draining your body of tears and fluid and the ability to feel.

How much have I wanted, how much have I yearned, and how much was ever returned? That kind of deficit can never be made up, no matter how many people come to love you. A whole world of love can never fill that emptiness, and when someone tries, when someone starts to love you back, you’re never entirely sure what to do with it.

One way love is just a fantasy
To share is precious, pure and fair
Don’t play with something you should cherish for life
Oh baby, don’t you wanna care?
Ain’t it lonely out there?

I don’t recognize that person anymore. Vestiges certainly remain, after-effects linger, but for the most part he is gone. Practicality, maturity, or simple exhaustion wore out those charged emotional fields years ago. Overwhelmingly, this has been a good thing. At odd times, I miss it. I miss him. I miss the ability to access that kind of ferocious pain, those nights of endless want, these moments of heightened feeling. I miss the sense of being alive… I miss the sense of want.

From our earliest cognition, it is what most of us have done: we want. Whether love or material possessions or understanding or compassion or comfort or happiness, it has always come down to want. Selfish, demanding, all-encompassing want – for him, for her, for those, for that, for more and more and ever more – for life. At the risk of all, I want for everything. It is the human condition. It will never be enough.

I want you, the right way
Want me, baby
Don’t play with something
You should cherish for life.
Song #72 – ‘I Want You’ ~ Fall 1995
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Shuck Me Good, I Just Had a Corngasm

When the tiny two-table farmer’s market was selling sweet corn last week, I jumped at the chance to pick up a few ears and grill them. I’d talked to a few people who did it, and they said it was something to be tasted. Now, I’m not a big fan of the traditional grilled taste. I’ll never understand the appeal of eating charred, carbon-coated burned victims, but our new grill has been doing a nice job of cooking things perfectly without that off-putting aspect.

For the corn, I was advised to soak the entire ear – husk and silk and all intact – for at least an hour, then grill it on a medium setting for twenty minutes, turning once or twice. That’s the kind of simple instruction I can get on board with, and after the twenty minutes was up, I started to shuck the corn and check out the results.

They were better than expected. The grilled (or “charred”) bits were shucked off and thrown away, and what was left was a juicy corn cob, not watered down, and with none of the flavor leached out. It was so much better than the boiled version I had known all my life. It’s a good moment when you try something new and it turns out to be such an improvement.

After posting a pic on FaceBook a few people said the next thing to try was to partially husk it, slather with flavored butter, then wrap it back up and grill from there. That does sound good, but might be one step too far. It’s always better to keep things simple, especially in the summer.

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If You Could Read My Mind

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. 
– James Baldwin, Giovanni’s Room

A good book is a treasure, a sanctuary from an often-cruel world. It softens the blows and eases the soul. At my darkest moments, I always found solace in a book. I remember a stretch of lonely nights back when I lived in Boston. I was just starting to find my way, but I hadn’t made any serious friends, and I certainly didn’t have a boyfriend. After a day at work and an evening jog, I’d return to an empty room, and panic with nothing to do. The idea of wasted time scared me. The notion of moments spent waiting, of unproductive minutes lost and never to be regained, repulsed me. Reading a book was never a waste. Reading was a worthwhile endeavor. No matter how meaningless or superficial the latest copy of ‘Vanity Fair’ was, no matter how insignificant or outdated a Broadway Playbill became, there was always something worthwhile to be found in the way other people used words. And books – those that withstood the test of time – were an entry into a world of beauty.

Those that spoke to me early on – Edith Wharton, F. Scott Fitzgerald – would become old friends. Not a year goes by that I don’t find myself re-reading The Great Gatsby (usually just as Spring is about to arrive) like some tried and true reference to life. My latest find is Giovanni’s Room by James Baldwin, and just a few pages in I realized this was destined to be another classic. Only halfway through it, I’ve already earmarked a dozen pages, underlining as many passages, and re-reading choice bits because there is so much to elicit a rare spark of understanding – the thrill of recognition.

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. – James Baldwin, Giovanni’s Room

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Sometimes I Feel Shy

There was a great article in the New York Times this past Sunday on shyness. In it, the author discovers a number of outwardly outgoing people (Chris Rock included) who have been crippled with debilitating bouts of shyness. I read it and found myself saying “Yes! Yes! Yes!” throughout the whole thing. (I don’t usually respond to inert newsprint, so this was big.)

Given what I put up here, most people assume I’m a show-off and an extrovert. When I go out I try my best to live up to that, but going out takes a great deal of energy and preparation – more than anyone will ever know. I was reminded of Judy Garland, and what she used to do to prepare for a show. In one of her biographies it was reported that before she took to the stage, she would pump her fists, physically and mentally gearing herself up for the task at hand. It’s not easy to seduce the public. For some of us, it takes quite a lot.

The article delves into the interesting rise of the internet and the shy exhibitionist. How can someone so seemingly comfortable revealing everything – literally and figuratively – be all that shy in person? I can only speak for myself, and in my case it’s a simple matter of living my life, and having a creative outlet, with or without an audience. It may be difficult for some to believe, but I would do all that I do without any onlookers, and I’ve been doing it since 1993 to back that up.

Consider this: I started doing “projects”, taking photos and writing way back in 1993. The internet as we know it today, with all its personal blogging websites and social networks, did not become what it would until the late 90’s. I started all this insanity in the era of 35 mm film, Word Processors, and stamps that cost 29 cents. I didn’t start my website until 2003 – so for six years I did all that you see here on my own, with just a few friends that were subjected to the “wind of banners that passes through my life”.

I never had to do it for an audience, and I never had to do it in public – and if I had, I wouldn’t have had the ability. I can see where the reality would not meet up to the perception of the person some might glean from the ramblings and the photos posted here. But that doesn’t mean I’m not shy.
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The Madonna Timeline: Song #71 ~ ‘What It Feels Like For a Girl’ – Late 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.}

Girls can wear jeans, cut their hair short, wear shirts and boots, cause it’s okay to look like a boy. But for a boy to look like a girl is degrading, because you think that being a girl is degrading. But secretly, you’d love to know what it’s like, wouldn’t you? What it feels like for a girl…

So quotes Madonna in the intro for her 2001 single ‘What It Feels Like For A Girl’, from the autumnal ‘Music’ album. It’s an excerpt from ‘The Cement Garden’ and it’s brilliant, throwing a defiantly-feminist slant into the whole equation, and investing the proceedings with more than a dollop of serious intent.

Silky smooth
Lips as sweet as candy, baby
Tight blue jeans
Skin that shows in patches
Strong inside but you don’t know it
Good little girls they never show it
When you open up your mouth to speak
Could you be a little weak?
Do you know what it feels like for a girl?
Do you know what it feels like in this world, for a girl?

Above gently-percolating beats, and the fluid, musical techno-wizardry of Guy Sigsworth, the melody is a loose and light one, almost at odds with the rage boiling just under the surface of the words at play. It is a plaintive cry for understanding, coupled with the realization that there may never be understanding – the conundrum of being a girl in today’s world – and, perhaps, yesterday’s world- expressed through the words and music of a woman who’s been every girl: Material Girl, Bad Girl, Mer Girl, and Girl Gone Wild.

The way Madonna conveys that ache and yearning is the hallmark of what makes her so amazing, not just as a woman, but as an artist. Within this song is both an admittance of vulnerability and a beacon of self-sufficiency – the power and the weakness of being a girl.

Hair that twirls on finger tips so gently, baby
Hands that rest on jutting hips repenting…
Hurt that’s not supposed to show
And tears that fall when no one knows
When you’re trying hard to be your best
Could you be a little less?
Do you know what it feels like for a girl?
Do you know what it feels like in this world
What it feels like for a girl?

She has said she wrote it while pregnant with her first son and thinking of her first daughter, wondering how it must be for a girl growing up in this world ~ how hard, how beautiful, how sad. As she matures into her mid-fifties, no one knows that difficult journey better than Madonna. Now, as attacks come based solely on her age, and the fact that she’s a female (how else to explain the cruelty of jabs about her arms, her body, her refusal to go away?) the song has an even deeper meaning. This is one of the great, and often over-looked, strengths of a Madonna song – they evolve through the years, taking on different meanings, and revealing nuances that grow and bloom as time unfurls.

To controversially accompany the song, Madonna filmed a gritty Guy Ritchie-directed video, set rather sorely to a harder-edged remix, which works in one way, but might have been much more powerful with the gorgeousness of the original track as its backing. Juxtaposed with all the intense imagery, the beats become the focus, and the lyrics are shamefully lost. Still, it’s a wild, entertaining ride, with numerous little dirty winks at the audience, and it demands repeat viewings to get it all in.

Strong inside but you don’t know it
Good little girls they never show it
When you open up your mouth to speak
Could you be a little weak?

The song was released in the late winter of 2001, just before Madonna was set to embark on her first tour in eight years, ‘The Drowned World Tour‘. In that pocket of time just before spring arrives, heartache resonates a little more, and the hopeless/hopeful push and pull of this song, and its shuffling undertones of melancholy, may be more deeply felt.

Do you know what it feels like for a girl?
Do you know what it feels like in this world… for a girl?

Song #71: ‘What It Feels Like For a Girl’ ~ Late Winter 2001
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Rob Gronkowski Naked, As Promised

As promised, the Gronk, starkers. Not sure that ESPN was the ideal magazine cover to make (do straight sports-lovers really want to see their players naked? I’m asking…) Regardless, hats off (literally) to Mr. Gronkowski for having the balls to do this.

He loses a few points for being so disturbingly hairless, but beggars can’t be choosers.
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The Bitch at the Bar

I’m sipping a vodka stinger, enjoying a quiet moment at the bar, when this asshole from Arizona walks in, high on his haunches, and acting like he’s so above it all. (I know that stance, I’ve walked it before. I did not, however, keep my sunglasses on as he does.) He makes a pitch for his band to play at the bar, but the bartender says he’ll need to speak to the owner. It turns the guy off, and he goes into further douche-like behavior, acting like it’s so absurd that anyone would turn his band down.

He comes from Phoenix, but is stationed in Gloversville and Johnstown, and he plays at the Coffee beanery in Amsterdam, NY. Yes, that is indeed the big-time, so when he starts slagging off Albany and Washington Park and the parking issue, it’s all I can do not to go ballistic.

Now, admittedly, I’m the last person to call anyone out on haughty behavior, but there’s a way to do it with charm, and there’s a way to do it with condescension. One is pretty and the other is not. The way he talks to bartender is despicable, and I see no reason for such attitude. His suit and tie date back to the 80’s, and not in any sort of self-aware retro way either – I honestly think he was wearing it back then. The sunglasses remain perched on his nose, and the fact that it’s happening in a darkened bar just makes him look more ridiculous.

No matter who you are, there’s never a reason to treat others as if they are beneath you. I’ve always maintained that you can tell what a person is really like in the way they treat wait-staff and retail workers. Having done a tiny bit of the former (bus boy) and a whole lot of the latter (Structure slut), I can say that it’s a pretty good gauge.

(Example: I once tried helping Nancy Kerrigan in the Faneuil Hall Structure store and let’s just say she got what she deserved.)

Bottom-line: I’ll never understand the need some people have to belittle others – and I’ll never get how they don’t understand that it only serves to make them look like the real losers.
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My First Piece of Madonna

This was my very first Madonna poster. It hung in my childhood bedroom in the summer of 1991, so this is sort of a summer memory – the summer I came to love Madonna. It was right around the time when ‘Truth or Dare’ was released, and the movie won me back into the Ciccone fray. Then and there I became a fan for life. True, I had always adored her music – and she was the first artist whose albums I listened to and loved in their entirety – but this was the first piece of pop icon memorabilia that I deigned to put on the wall – as much for its content as for its own artistic merit (how cool is this for a poster?)

It was a good summer, for the most part, one of the last before adolescence got in the way and things really fell apart, and I remember staring up at this poster on my wall late at night, lying on the floor in front of the air conditioning vent, idly reading the immensity of ‘David Copperfield’ and living, in my head, the horrors and fascinations of Dickensian England. Those nights, spent in solitude with the door closed, and the lights on, were both a relief, and a prison. I looked out onto the street, hidden and obscured by the darkness, and the thick leafy expanse of an ancient, thorny hawthorn that rose up to and beyond my second floor window. A street lamp glowed on the island in the middle of the road, throwing its chemical light over the grass and pavement.

The world beyond my window was supposedly a dim and frightening one, but I couldn’t wait to enter it. On some nights I would sneak out the kitchen door, steal into the night, and wander the neighborhood streets. Prowling into the earliest hours of the morning, when most of the houses were already asleep. Once in a while the light of a television would flicker on the ceiling, or someone would be on their front step smoking. We shared the secret chambers of the sleepless. There was a camaraderie among those of us out in the darkness, an unsaid connection between anyone whose province is the night.

Back in my bedroom, Madonna watched over things until my return. I looked up at the glow from my window, wondering what others saw, wondering if anyone noticed.

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The First Days After Jury Duty

For the first two days following the trial, I feel on the very verge of crying. For someone who doesn’t cry that often, being in that state constantly for two days was a shock in itself. Now, on this beautiful sunny Saturday, the guilt has moved in. Not over our decision – as I said, I will always stand behind that – but over the fact that I’m enjoying a life while two boys aren’t. In the darkest and worst way, it’s as if the trial sucked every little joy out of life, because every time I reach towards a moment of fun – a splash in the pool, a Madonna song, a flower in bloom – I check myself with the thought of those boys.

I’ve cancelled two parties, a Gay Pride event and a weekend in Boston and the Cape. My heart is not in it. I’m sure it will be one day – maybe even soon – but not just yet.

There is also a residual emptiness and longing; in some strange, possibly sick way, I mourned because I didn’t want it to be over. I didn’t want to go back to what I knew before. Maybe part of me missed the other jurors. Two weeks was the stuff of summer camp and vacations, a period of time just long enough to make someone matter, then take them away without a scar, but with a memory. But what is a memory if not a scar?

I seek out my favorite person on the jury – a self-professed ‘fruit fly’with a gaggle of gay friends – who just happened to be our foreperson. I feel like she is the only one who might understand what I’m going through. Otherwise, I’m probably going to have to talk to a professional because the darkness from this trial isn’t lifting.

I stop by the bar where she works a shift, but she is on vacation until next week. I make some small talk with the other bartender, but I am still lost, still wishing for a connection with someone who has seen what I have seen. There are so few of us in the world.

In some sad way, the joy of living, as precarious as it always was, has been snuffed out. Slowly, I am getting it back, I feel certain I am on that path, and the laughs will come more readily in the following days, but it will take time.

For now, I have written enough on it. As raw as it remains, it’s time to end this chapter, to put my jury duty behind me and move on. I have let it out and done what I know how to do. The rest is not for paper or documentation. The rest I have to figure out in my head and heart. The rest is the hard part.

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