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Key Quotes from the ether wall

  • C.S. Lewis: "The Weight of Glory"

    C.S. Lewis: "The Weight of Glory"
    "I am trying to rip open THE INCONSOLABLE SECRET in each one of you -- the secret which hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence."

My Photo

J'adore

  • Wee Piggy and Superhero Tazzy
    Bless their poofy hearts.
  • Survivor Toyland
    Very bent, VERY funny! I always thought there was something a little off about G.I. Joe. With links to other toy hijinks.
  • Stuff On My Cat
    just plain silly
  • Custom Altered Books
    These make great wedding gifts or scrapbooks.
  • Project Rungay
    Two fabulously glamorous fags ripping the show they L-O-V-E to watch. Project Runway from a VERY gay perspective.
  • Jafa Girls
    These girls rock! Altered art, assemblage, found art, lots more.
  • Dr. Gloria Brame
    Thoughts and resources for those interested in consensual adult sexuality. Who isn't?
  • Rianna
    A professional woman of eclectic tastes. Laugh-out- loud funny and intelligent. Recipes too!
  • Altered Art
    Unique and custom altered art direct from artist.
  • Everything in Moderation, Including Moderation
    Pop Culture, Food and Chicago -- with a twist.
  • Everybody Knows
    Enjoy her daily reflections. Formerly Freshman 44.
  • Houston Bridges
    Just another pilgrim trying to make some progress. [his self-description. I'd say he's the big brother I had to wait 34 years to find.]
  • SF Mike
    Great photos and stories about San Francisco: its arts, politics and characters (the author among them). It makes me homesick.
  • Bats Left Throws Right
    Best blog I read.
  • Appetites
    A discriminating palate from New Orleans muses on food, recipies and restaurants.
  • Blondesense
    Beauty, brains, boobs . . . and a great sense of humor.
  • A Winding Road In An Urban Area
    smart, smart, smart, and oh, did I say smart?

The Fragile Industries Manifesto

  • Hammers
    Why the hammer logo? "Hammers" was my maternal grandmother's maiden name, and I like the matrilineal symbolism. My great-grandfather was a blacksmith, so there's that family history as well. I consider myself ready to undertake the Fragile Industry of rebuilding my life with that hammer. Rebuilding the Insconsolable Secret “that hurts so much that you take your revenge on it by calling it names like Nostalgia and Romanticism and Adolescence.” (C.S. Lewis.) In taking up this blog I raise the powerful tool of language, of exchanged ideas, of humor. I am readying other devices from my toolbox, rusty, disused. The hammer is an ironic symbol of freedom and new life, of encouragement to me. Take it up if you dare.

Important Stuff I Think You Should Know

Click Me

Currently Featured On The Nightstand

  • Leonard J. Arrington: Brigham Young: American Moses

    Leonard J. Arrington: Brigham Young: American Moses
    I keep tossing this aside and coming back to it. I have several reading itches I need to scratch, like good plague and virus reading (I love a fun germ) and my trash thriller/mysteries, and 19th Century fiction, and historical accounts of Latter-Day Saints. I must clarify, I am an unafilliated Christian, neither Mormon-basher nor true believer. I find the fundamentals of Morman faith utterly unbelievable, not to say laughable, but my interest in religious history in general brings me back to Mormon studies again and again because it is historically accessible, unlike mainstream Christianity or Islam, the sources of which are lost in time. Brigham Young is the second-most influential figure in Mormon history next to Joseph Smith, the founder of the faith. I can turn to multiple sources for a historically-defensible biograph of Joseph Smith or the very origins of the LDS church. This book is the closest thing to an accurate history of Young, yet it was written by a devout Mormon. I feel great portions of Young's life in this work have been, if not whitewashed, at least granted enormous charitable impulse. Yet other works are so anti-Mormon in bias, such an obvious axe to grind, that I cannot believe them either. It's time for an outsider without agenda to write this biography. In the meantime, I continue to muddle through.

  • Tami Hoag: Kill the Messenger

    Tami Hoag: Kill the Messenger
    OK, so I need some trash reading, and I like mysteries and thrillers to cleanse the palate between Deep Works. I have my favorites, like Michael Connelly, who has never written a bad book. Tami Hoag, judging by this, one of her latest, may become another. Like Connelly, she writes a completely undemanding page turner that is more than a dumb police procedural or woman-in-peril formula. It ain't literature, but this was fun.

  • Chris Ware: Jimmy Corrigan: The Smartest Kid on Earth

    Chris Ware: Jimmy Corrigan: The Smartest Kid on Earth
    A perennial favorite, and one I re-read every year or so. This incredible, multilayered, seemingly inscrutable yet abundantly accessible work changed my mind about the graphic novel. This is a story that could not be told in words alone. His artwork is not standard overblown comic book fare at all; it is precise and architectural. Ware's artistry is not only visual, it is historical, narrative, deeply psychological and completely unique. He plays on the tropes of the old "comix" and the hyperbole of the back-page ads for X-Ray Specs, blends that with the voice of innocence and amazement of the Chicago Exposition of 1893, and then, in a perfect hat trick, adds our current post-modern nihilist, isolated and lonely existence of the 21st century to bring it home. I cannot describe the plot, because the plot, as cathartic as it is, is only one vehicle for what you experience. Be prepared to be confused and overwhelmed and moved to tears in this journey from son to father to generations past.

  • Dorothy Dunnett: The Game of Kings (Lymond Chronicles, 1)

    Dorothy Dunnett: The Game of Kings (Lymond Chronicles, 1)
    It's about time for me to begin my decennial re-reading of the Lymond Chronicles. I've actually read this, the first volume of the six, so many times that I've worn out two paperback versions. I make it all the way through all six every ten years at least. This series is a splendid addition to any Desert Island Reading List. If you like your heroes tortured, your buckles swashed with erudition, romances long on intellect yet short on the formulaic ripping of bodices, and sagas so sweeping all beaches would be free of sand, this is your meat. Recommended companion: The Dorothy Dunnet Companion Vol. I & II -- a concordance for this and Niccolo, her other series, which I find less compelling. Yes, she's such a reference-intense, not to say dense, writer that two volumes of clarification ARE necessary.

  • Bill Bryson: A Short History of Nearly Everything

    Bill Bryson: A Short History of Nearly Everything
    I'm working my way through this slowly, no reflection on my fascination with the scientific subject matter or my perennial delight with the author's superb diction. My pace is restrained only because I want to enjoy this at length. Bryson is one of my favorite wordsmiths, but in this new context, he not only entertains but enlightens. I'm a closet science geek, but some areas have escaped my enthusiasm until this book. I mean, geology, really. Now it's sexy.

  • Charlotte Brontë: Jane Eyre (Penguin Classics)

    Charlotte Brontë: Jane Eyre (Penguin Classics)
    This has a post all its own. A brilliant, courageous work, shamefully relegated to the "gothic" or "romantic" pile. This is the work that started a thousand imitators, all of which pale in comparison to the language, the intelligence, and the iconoclastic bravery of the original.

Introducing: Friday Opera Corner

100_0775 And now, a new, semi-regular, half-baked, mostly humorous feature for FI Devoted Readers:

FRIDAY OPERA CORNER

Do you want to be an Opera Snob like me, but don't have the money for the tickets and fancy dresses?  Don't own a tuxedo?  Most of all, you can't stay awake through the overture, much less 4 agonizing hours waiting for the soprano to die?  Learn the classics the EZ Way, without the fuss, muss, and heartbreak of an aching butt!

Each week, I will bring you an Unbreakable Opera Rule, a cute factoid to drop into conversation that will earn you the appreciative smiles of other Opera Snobs.  This week, courtesy of Bill B, this observation:

Carmen is the only decent opera by Bizet.

Now, I'll show you how to use it:

"He's such a fool.  After he saw Carmen, he ran out and bought all the other Bizet operas!" (pause for laughter)

"I saw a new title in the catalogue, "Bizet's Great Operas!"  (pause for queries, raised eybrows) "It only had one disc!"

... and so on.  No, it's not funny to you and me, but Opera Snobs don't get a lot of humor, so they'll eat this stuff up.  Trust me, it's funnier than watching 300 pounds of singer take 348 minutes to die, singing lustily the entire time.

Finally, I offer an entertaining opera clip, which you can watch from the comfort of your own home, while wearing whatever you want (or not wearing what you don't want).  Feel free to get up and move, cough, sing along, or rustle noisy food wrappers -- because any one of these actions during a live performance would garner Glares Of Death from stuffy Opera House patrons.

Without Further Ado: Victor Borge, A Mozart Opera.  A classic bit from a loveable musical teacher.  This will introduce you to the primary operatic traditions.  When I get the bugs out of my blog/youtube interface, I can bring it to you directly.  I've spent 90 minutes trying to figure it out and the hell with it.  You'll just have to click the link below.  It's not like it costs you anything, unlike a Real Opera Experience.  Oh, and this clip is in English, unlike most operas, yet is subtitled in Danish for no discernible reason.  No one knows but Mozart, and he's dead.

http://youtube.com/watch?v=KZ4ZNbiO15M

 

 

Merry Whatever, and an invitation to you, and my Whole Fucking Life Story In Music

A year ago, a Brit jackanapes posed a question on Yahoo Answers:

What is the soundtrack to your life story?

Answering this will take a little thought.

They are making a film of your life from birth to the present. You have been asked to select twelve songs that make up the soundtrack to your life. This is not necessarily your favourite songs, just those that mean something.
.
I answered:
.
In order:
.
1) Sail Baby Sail (folk lullabye)
2) If Mamma Got Married (soundtrack - Gypsy)
3) Another Pleasant Valley Sunday (Monkees)
4) 12:30 / Young Girls are Coming To The Canyon (Mamas and Papas)
5) Cracked Actor (David Bowie)
6) She's Leaving Home (The Beatles)
7) Going To The Chapel (Bette Midler)
8) I Am Woman (Helen Reddy)
9) Wasted Time (The Eagles)
10) If You're Going To San Francisco (Scott McKenzie)
11) La Boheme [entire -- only opera can capture the over-emotional drama of this time] (Giacomo Puccini)
12) Since U Been Gone (Kelly Clarkson)
.
And he chose my answer as best, although out of about 20 answers, mine was one of only a few that answered fully.  We've had some fun emails since, and he turns out to be a totally shameless Brit flirt and fellow attorney, stranger than fiction. 
.
Here's the challenge, in case anyone's read this far (and Merry Christmas to me, I really have to go to bed to do the Happy Present Opening in the am):
.
They are making a film of your life from birth to the present. You have been asked to select twelve songs that make up the soundtrack to your life. This is not necessarily your favourite songs, just those that mean something.
.
12 songs.  What would they be, no explanation needed?

Dies Irae, Part Two

So, last Sunday, Verdi's Requiem.  Robert arrived 5 minutes early.  I am usually within at least a minute of being punctual, but tend to use every last millisecond to get ready.  On his knock, I was perfectly coiffed and made up, but stark naked, so poor Mom had to huff and puff to get the door.  On the stroke of the appointed hour, though, I was out the door, properly dressed and equipped with cigarettes, reading glasses, car snacks and all other essentials.

Robert had kept his promise and arrived bearing a massive display of gorgeous dahlias, yellow and cerise and maroon, all different kinds, several as big as dinner plates.   He was agreeably fussy over Mom, folding her into her seat and buckling her belt as tenderly as a new father with a newborn.  We sped towards LA, again feeling like divas.  It's distressing how easily I slip into Pampered Princess mode.  Mom is equally at home with luxury, and I can see her eyes light up with good-looking male attention.  It is SO politically incorrect -- I can hear my Bay Area friends tut-tut -- but it feels SO good when we treat ourselves.

The courtyard of the Music Center was entirely walled off and tented with tarps and ivy-covered trellises for this weekend's gala opening celebrations of the new season.  As a result, the entering crowds were bunched into snaking lines around the sides.  Fortunately, Robert dropped us virtually at our seats (I think if the big black boat could have fit through the lobby, he would have) and we were early enough that there was a minimum of inconvenience to Mom, who really cannot stand or walk for long.  We again had great seats, center orchestra, and fought our way in once the doors opened.

Parenthetical rant: for the life of me I cannot understand why the Pavilion orchestra has NO aisles.  Well, yes, I do understand the fiscal reasons -- center aisles would eliminate the best seats and side aisles ghetto-ize the far right and left seats, in addition to eliminating revenue-producing seating.  However, it really penalizes any one less than fully able.  The completely disabled are relegated to horrible sight lines at the far sides, and those with canes (or oxygen tanks) or whatever who want center seating must bumble through a wide sea of legs and feet in a mincing side-step, apologizing the entire way -- past 30 or more patrons if one is in the center.  Like boarding a plane, there should be an early seating opportunity for those who need it when a public theater insists on configuring seating in this way.  We were there early enough (before the house doors opened) to have taken advantage of this courtesy, had it been offered. Also, there are no rest rooms on the main floor, requiring an elevator trip and long walk around the building for those who cannot climb stairs.  Disabled access is becoming quite a peeve for me now that I can see its effects close to home.  I have taken to scrawling nasty notes and tucking them under windshields when I see cars without placards or special plates in the handicapped spaces.  Mom is reluctant enough about leaving the house without being impeded by the thoughtless. Humph!

Back to our regularly scheduled programming: In a word, it was glorious.  Verdi's Requiem has an interesting history,  Verdi was not at all religious, and had little use for liturgical music.  He was first and foremost an opera composer.  When Rossini died in 1868, however, Verdi and several other of his contemporary composers were suitably moved to work on a Requiem in his memory together, patchwork-quilt style.   Verdi, ever the egoist, kept the best and last movement for himself, the passionate "Libera me."  The joint effort for Rossini never took off, however.  Five years later, poet and political firebrand Alessandro Manzoni died -- a hero to all of Italy and Verdi especially, whose works echoed Manzoni's nationalism.  Verdi went back to his Requiem fragment and composed an entire work in Manzoni's memory from the end to the beginning, a topsy-turvy method that succeeded brilliantly.  Verdi's lack of religious fervor is replaced by an Everyman's rage against death.  Somehow, it makes the traditional mass timeless and ecumenical.

The Requiem is arguably Mom's favorite musical work.  I know I've heard it since birth on records (remember records?) alongside the continuous household fare of Broadway musicals, Streisand, Garland, and Sutherland's Lucia di Lammermoor.  (Is it any wonder I grew up queer?)  This was the first live performance of the Requiem for both of us, and we picked a good one.  There is no way to reproduce the dynamics of the piece in a recording.  This isn't easy listening, soundbite classical.  It is an emotional hurricane, from devastation to calm eye of the storm and back again.  The Requiem roars from its signature romper-stomper "Dies Irae" ("The Day of Wrath") -- double chorus and kettledrums raging at top volume, fluttering in the listener's diaphragm.  Then it executes a pirouette into pianissimo awe, barely perceptible trembles of melody in the face of the Almighty, in some of the following passages, interrupted by reprises of the furious "Dies Irae" motif.  Four soloists, a soprano, mezzo, tenor and bass, sing alone and in various combinations with one another and the chorus, for a dizzying array of effects.  It is as if the opera composer in Verdi knew that, as a purely concert piece, without staging, the music alone had to produce the shock and awe to equal his big-ass operas such as Aida, with pyramids, wild animals and triumphal processions.

And he made it work. 

I'm an easy crier for live music, and predictably, I did so, but towards the end I was beyond tears, limp yet enlivened by the sounds pouring through me.  The soprano and tenor (he was a last-minute substitute) were adequate, but the low voices were exceptional.  I was prepared to dislike the mezzo, Stephanie Blythe before she opened her mouth for the petty reason that she wore a blue gown while every single other human -- chorus, orchestra, soloist and conductor alike -- wore black.  It seemed to me to be a Bette Davis move (remember the red dress in Jezebel?).  I forgave any past and future divatude on her part when I heard her.  Her warmth, richness and modulation is equal to or better than my previous favorite mezzo, Olga Borodina, and I hope she comes back to LA frequently.  The bass, Rene Pape, is of course everyone's favorite "low man" -- he is so bloody elegant, and brings intelligence along with a magnificent voice.  While everyone else sat like mannequins when not actively performing, I could see on his face a restrained, yet visible response to every note.  Although standing perfectly still during his solos (none of the florid theatrics of, say, Pavarotti's concert work), deep thought was evident in his vocalization. It was a quality I remember from his role in Meistersinger in 2000 or 2001 with the San Francisco Opera. 

Side note: Along with a bazillion other supernumeraries, I had great fun in that behemoth production, a brutal 5-hour marathon that needed an abundance of happy, goofy peasants.  In one scene, the peasants swarm the stage in their nightgowns after various witching hour alarums, and the director kept asking for bigger loopiness from us.  I was (not by accident, mind you) the last to make the harum-scarum dash from the stage and practically crippled myself with rubber-legged, arm-waving abandon.  The director stopped the rehearsal and called everyone back and asked me to repeat myself.  I was sure I had gone too far for even opera, where the motto for supers is usually 'bigger is better," but, red-faced, again executed a near-epileptic run that would embarrass Jerry Lewis.  The director then told everyone that my excess was just barely enough.  I usually got a laugh from the audience, one of the few Wagnerian opportunities for a giggle.  It's one of my favorite moments from supering, a rare time when being noticeable was a good thing.

Back to Verdi and LA: Before the performance, Domingo gave a brief speech dedicating the work to his late production partner at the LA Opera, which had been planned for months.  Pavarotti's passing last week gave another dimension to the Requiem, Domingo said, and the performance was dedicated to his old friend as well.  I think Placido would have been well pleased.  The audience certainly was, another standing O, and I gladly joined them, wincing when all around me shouted "Bravo" as the soprano and mezzo took their "Brava"-worthy bows.  I heard a new one from behind me during the frenzy: "Bravito!"  What's up with that, a little tiny triumph?  Oh well, bravi al tutti.

Celeb sighting: William Devane, sitting directly in front of us.  He still looks just like JFK, but after all these years, what JFK would look like today if he had stayed home from Dallas in '63.  And (this always surprises me) shorter than expected.

So, another wonderful venture into LA, air-conditioned and effortless.  I'd like to do this again -- weekly would suit me just fine, but, realistically, twice a year seems like a good compromise.  Some good stuff is coming to the theaters this next year, so I'm going to work on Mom like water on a stone over the coming months.  What made this excursion perfect for Mom was the sight of her ex-husband passing our limo in his flashy Corvette.  We both waved regally, employing the old "unscrewing a big light bulb" trick of the royals, but behind the limo's tinted glass our exercise was lost to him.  Still, it made her day.

Dies Irae, Part One

This afternoon,  Mom and I had another adventure into the wilds of LA, courtesy of Robert, "our" driver, to take in Verdi's Requiem, by the LA Opera.  But first, a backflash:

Last June we finally realized my 50th birthday present, nearly a year late.  Mom offered me my choice of LA Opera performances in July '06.  It was a sorry season.  All the good operas had bad casts, and the good casts were in questionable material.  I'd never been to the LA Opera but have been starved for a fix since I moved here.  We settled on a semi-opera nearly a year in the future: Luisa Fernanda,  a zarzuela -- Spanish operetta that was very much a family affair: starring Placido Domingo, singing a role his father had performed many times in Mexico, and with his granddaughter as a darling supernumerary.  We bought tickets far in advance and had excellent seats, and after debating the pros and cons of getting to and from LA at night in a stress free way (a hotel? not enough portable oxygen and Mom hates overnight travel -- me driving my Beetle?  the claustrophobia scares Mom into hyperventilation, not good on oxygen -- me driving Mom's Town Car? her posessive back seat driving of her car drives me to hyperventilation).  Settled on renting a Town Car and driver, a luxe addition to the birthday present that makes us both feel like the divas we are.   For an excellent summary/review of the performance, see: http://www.operawarhorses.com/2007/07/05/los-angeles-opera-brings-zarzuela-back-home-luisa-fernanda/ .

I would add my personal observations: this first offering by LA Opera of zarzuela  to all of LA, which is now majority Latino, primarily Mexican, is long overdue, and was visibly and (at the final curtain) audibly embraced by the audience, with a five-minute, whooping, hollering standing ovation.

LA audiences are notorious for granting the big standing O.  It's been said that a melodious fart will bring an LA audience to its feet.  SF, where I got my musical chops -- I was a theater buff on arrival from LA to SF, but opera unfolded for me in SF -- is much more restrained.  We were all far too cool in the foggy City by the Bay to show deep appreciation unless the earth moved.  Which it did, one April morning in 1906, and Caruso was in town, having performed in Carmen the night before.  He never returned, terrified by The Big One.  During my tenure, a good performance at SF Opera got a good hand and several curtain calls, but only a few opera queens and hayseeds stood.  In ten years onstage and off I could count the full audience standing ovations on one foot.  However, we in the audience did know the difference between shouting "Bravo!" (male artist), "Brava!" (female artist), and "Bravi!" (collective).  (Backstage note: we in the wings also knew to say "Break a leg" only for theater, "Merde" for ballet, and "Toi, toi, toi" for opera.)

But in LA, I was amazed and moved by the reaction to Luisa Fernanda -- a slight bit of musical theater, though brilliantly staged and performed.  The audience was largely Latin.  I mingled more than Mom, who, immobilized with oxygen tank, stayed in her center orchestra seat.  My mobility and gregariousness pre-curtain and intermission was largely motivated by the fact that I'd forgotten to put cigarettes in my evening bag and had to bum smokes from the very few other smokers.  Before curtain, I met Pablo, from Peru, and his boyfriend.  At intermission, I was drawn, partly by the scent of burning nicotine and partly by his absolute talldarkhandsome gorgeousness, to a nameless young man immaculately dressed in a hand tailored (had to be) suit, cornflower shirt with white collar and to-die-for silk tie (Sulka?) who graciously opened his silver case and handed me a Dunhillls, lighting it with his silver Zippo-style lighter.  I wanted to lick him, anywhere.  He made Antonio Banderas look ugly.  An Arrow Collar ad for Spain.

LA has a Latin elite, and they were all there yelling their heads off when the curtain fell, shouting all sorts of things, including "Bravo."  The gratitude for bringing this cultural treat back home for the first time in a century was palpable.  Parents brought perfectly-dressed and behaved youngsters to appreciate the form.  I was more touched by this enthusiasm and support than even the wonderful performance.  I finally knew that LA, contrary to all expectation, does have a cultural future, especially if it moves to include the new audiences along with the WASP bluehairs.  Well done, Placido.

Another personal note: I was blown away by the direction -- Luisa Fernanda was entirely staged in black and white, with grace notes of red (a single balloon, an invisibly suspended rose) quite minimally, with inventive uses of scrims, sheer curtains, and a rear-projection screen/box that framed the action beautifully.  Once home, I read the program (I had also forgotten to pack reading glasses) and discovered it was directed by my Most Loathed Opera Director Of All Time: Emilio Sagi.  Mr. Sagi directed Don Carlo in SF, and he was a weird and evil little critter.  Small, not English-speaking, and given to rubbing his hands together frantically while intensely watching rehearsals for the smallest misstep.  I was quite given to missteps in Act II, in my role as one of the queen's ladies-in-waiting.  In the processional, four of us were to carry the canopy over the queen, rehearsing with what was essentially a muslin sheet tied at the corners to bamboo poles.  This was a rehearsal canopy, but Mr. Sagi demanded that it be perfectly taut and that we remain in lockstep, even as we turned corners, which required some fancy footwork, arcs being what they are.

Once we began stage rehearsals with the real canopy in costume, the real fun began.  Our costumes were corseted, Elizabethan-collared gowns with two-foot trains.  The queen wore an even more elaborate gown with a four-foot train.  The canopy weighed approximately 300 metric tons and was about four feet by three feet.  Stationary, we were a puddle of slippery overlapping satin, both hands clutching the poles and no hands available to finesse the drape and drag of our trains.  Moving, none of us could maneuver without seriously injuring one another, including the queen (the lead soprano), while staring straight ahead as directed.  To top it off, the now rigid structure of the real canopy was wider than our entrance aperature onto the stage and would not permit us to flex it inwards for our passage.  I was front and downstage and supposed to be the lead mule for our little group.  Mr. Sagi had a meltdown hissy fit and hurled abuse in mixed Spanish and some very idiomatic Anglo-Saxon at me, running down the aisle from his director's chair onto the stage and into my face.  No one seemed able to translate the physical impossibility of the task.  I burst into tears and the Chorus, gathered onstage for this processional, rose as one and defended me, one motherly mezzo clutching me to her ample and protective bosom.

Finally, several stagehands demonstrated the problem somehow and at the next rehearsal, the archway was wider, but our trains were never adjusted.  Every performance was a tightrope walk, and more than once one of us, including the queen, executed a graceless backwards lurch as we stepped on each other's skirts.  I cursed Mr. Sagi's name every time.

However, I forgave him everything when I saw Luisa Fernandez.  I must admit that his vision is brilliant.

Robert, our driver, a man who surely isn't much older than me if at all, fell madly in love with Mom.  He's driven Everyone who is Everyone in LA and entertained us on the way to LA with tales of bad behavior.  Rod Stewart, for example, has a lot to learn about parenting.  Judge Judy is a terrible backseat driver (no surprise there, either).  But he was Jennifer Jones's personal driver for years, and obviously worshipped her.  No dirt about Jennifer.  As we made the 2-hour rush-hour drive, a little of our Hollywood past slipped out, and Robert became convinced we too were royalty.  He fluttered about offering supporting arms and assistance in and out, brought chilled water and snacks for our return.  On the way home, I asked him to stop at the closest 7-11 or whatever for a pack of my own goddamn smokes.  He kept me company outside the car as I hoovered down on a refreshing cigarette to last the rest of the evening (non-smoking car, Mom on oxygen, etc.) while Mom stayed inside.  He kept saying, "Your mother is a beautiful woman.  No, really, really beautiful."  He asked her favorite color flowers and correctly guessed it -- the same as Jennifer Jones, yellow.  He promised to bring a bouquet of home-grown dahlias (he seems to be an obsessive gardener) for her next time.  Once home, Mom was endearingly touched by my telling of his devotion.  We had to have Robert again for this trip.

OK, flashforward to today:  Our second venture to the LA Opera.  Part II tomorrow, I'm falling asleep at the keyboard.

Toi, toi, toi . . .

That's the opera equivalent of "break a leg", the pre-show good luck wish.  It's to represent spitting, and properly done, it is said over the left shoulder of the recipient of the wishes.

Newcomers to the site may not know that when I lived in San Francisco, until I moved to My Little Town two years ago, one of my grand passions was opera.  More specifically, I had a hobby as a stage extra (non-singing) with the SF Opera, and occasionally the SF Ballet as well.  We are technically known as "supernumeraries," more commonly called "spear carriers" -- with no modesty, we called ourselves "supers."  The supers were almost uniformly a great bunch, we were very social and it was a bit like high school -- glory, humiliation, gossip, rumors, cliques, jealousy, intrigue -- but any group endeavor turns out to be like high school.  I ADORED every minute, have a rich stock of stories, and miss it most of all the things I loved about SF. 

My favorite role was in Madama Butterfly.  I was in every mounting of the production -- three or four, I think -- and as one of six veiled onstage characters during the final suicide scene, wept through at least 50 performaces.  Good thing there was a veil.  Such a gorgeous opera.

So imagine my amazement when Houston sent me this link with the teasing message line, "Someone else has your role."  The pertinent info is a little ways down, but it is a perfect description of the experience of supering in that very production, now featuring Patricia Racette who, I hear, is glorious.  I don't know the author -- but I know everyone else in the pictures.  Almost eerie to see.  I'm delighted (and only a tiny bit jealous) that someone is enjoying it as much as I did.

Bravo, bravo, bravo bravissimo!

P.S. Shameless Self Promotion Department -- there's a photo album on the left sidebar with some shots from different roles with the opera under "My time on the broads, er, boards."

Father's Day

My ex, about whom I have written with affection and bitterness, in equal measure, is dealing with his father's impending death.  He's going to go visit him during his final days.  This merely seems like common filial duty, but it involves a long trip to a foreign hellhole, and a ton of emotional baggage that must be checked at the gate, so to speak.  My thoughts are with him.  He never had a father figure in his life.  Life dealt me a different hand.  I had an overabundance of fathers.

I've posted a lot about my dad Tony.  I don't want to slight him today.  However, he's passed on for nearly six years, and wouldn't mind if I spent a little time talking about this guy.  Tony loved him too.

Smaller_blog_10_png Uncle Hal

This is going to be an unapologetic paean of love.  The man had his faults and weaknesses, he was human, but not in my eyes as a child.  Even as an adult, looking at him with as unbiased a view as I can muster, given my adoration, I can't say that his sins were ever those that harmed anyone but himself.  That alone sets him apart from anyone I've ever met.

Career_shots_all_the_scifi_movies Professional history, with varying degrees of accuracy and detail: link #1 , link #2 , link #3, link #4, link # 5 , link #6 (and note that omitted from the list of cast members with whom he worked in that cinematic masterpiece "Crash Landing" is Nancy Davis, aka Nancy Reagan -- who at the time of filming, 1958 or so, was still widely known as "The Best Blow Job In Hollywood") , link #7 (which proves his international appeal) . . . etc. etc.  I've made my point. (Photo gallery to right courtesy of Spookytoms, with much gratitude.)

Uncle_hal_at_christening_jpg I've said it before, I come from a family of Z-List actors.  My parents, Hal, and his wife Ruth, toiled together in little theater years before I was born.  They eventually became best friends.  Childless, Ruth and Hal (when a toddler, I had a blanket name for them both: "Uncarootenhal") were anointed as my godparents, and took the job seriously. They were primary residents of the village that it took to raise this child.  After my parents divorced when I was quite young, Hal took it upon himself to visit me weekly, even after my mother remarried.  He never talked down to me, was never "too grown up" to happily join in whatever I wanted to do, was probably the only person whose love for me I never doubted, and vice versa. I learned more from him in an offhand way than nearly anyone else in my life.  There's too much for me to say about what he meant to me, and this isn't about me (well, of course it is, it is ALL about me, 24/7, it's my damn blog).

Smaller_blog_5_jpg Hal was born in the piney woods of some backwater town in Georgia.  He got out early.  He was handsome as hell, tall, powerful, and was drawn to acting, after some stints as a boxer and, rumor has it, a moonshine runner.  He had a perfect deep baritone actor's voice, and lost the Georgia accent quickly (although he dipped into it when telling a joke or when he patiently read all the Brer Rabbit stories to me, with a different voice for each character.)  After his time in community theater, he did get some film and TV roles in the late 50's-early 60's.  Mostly in the rash of sci-fi-horror films of the time -- giant bugs, space invaders, zombies, you name it.  He was a good enough actor for classic theater (and I'm sure he would have preferred it), but he viewed his career with philosophical good humor.  Actors take what they can get. (That's Hal as lead zombie towards the bottom of the poster to the left.)

One acting story: he was on the studio lot for one of these roles at the same time Elvis was making a movie.  Hal's path to the parking lot at the end of the day took him past Elvis's trailer, and the King was leaning against it, bored.  Elvis called out a greeting, and Hal replied, lapsing back into a semi-Southern accent, instinctively, I suppose.  Recognizing another good old boy, Elvis invited him into the trailer for a conversation that lasted for nearly an hour, full of humor, memories of the South, and love of music (Hal played a passable guitar, Carl Perkins as a favorite).  Hal said there was no pretension to the man, in fact he seemed to genuinely appreciate Hal's own friendly, unpretentious nature.  They were two of a kind.  Elvis could have used a Hal in his life.

Smaller_blog_4_png He was a wonderful, wise witty gentleman of the old school. Everyone, and I mean everyone, loved him from the moment they met him.  Even people who generally disliked all of humanity made exceptions for Hal.  Like many actors, he was secretly very shy, self-effacing, and more than a little insecure, I realize now.  But he was so charming and entertaining, both one-on-one or at parties, that everyone else in the room receded into the background.  His secret was how special he made you feel, which is the key to true charm.  (Hal is to the left, and my father to the right, of some actress in the photo to the right.)

Smaller_blog_15_jpg Hal never went to college (a very poor background), but he was brilliant.  His favorite reading, which he would try to explain to me even as a child, was Civil War history and quite advanced works on physics, cosmology, and the higher reaches of mathematics.  I understood a little more as time went on, but when he got to theories of relativity and the search for the Unified Theory, he lost me.  When I was about 10, I had to write a science report on a topic of my choosing to read aloud to the class.  My first choice, "color" was rejected, which demonstrates my limited grasp of even what science was.  The only source available was Hal, and I remembered him talking about relativity, so I asked him to tell me about it.  As beads of sweat formed on his brow from the impossibility of the task, he essentially dictated a child-accessible description of Einstein, relativity, its proofs and effects.  I took it down verbatim, and actually understood it in a dim way at the time.  When I read it to the class, the silence was deafening.  Everyone, including the teacher, had the glazed-eyed expression that told me that I had just recited Swahili.  I got an A, I suspect because of its incomprehensibility to any layman, anyone not actually hearing Hal's version. ("Uncarootenhal" to the left.)

Smaller_blog_jpg_2 He was intensely loyal.  As I said, until I became a blase teenager, he visited me weekly (always greeting me by pressing his face to mine, nose to nose, eyes open, and exclaiming, "We're stuck!")  Some jokes are funny once.  Some are funny every time, and if it came from Hal, its humor was inexhaustible.  So we had an entire catalog of shared rituals, stories, jokes.   Even when I was in my impossible teens and despised all adults, his regular visits -- no longer overtly to spend time with me, but just a family visit -- I found a reason to hang out, casually, pretending to ignore everyone, but hanging on his every word.Smaller_blog_8_png

I'm not revealing anything here by saying he adored my mother.  Their completely platonic love affair lasted nearly 50 years.  No one ever talked about it, but it was the world's most poorly kept secret.  Every childhood visit to me was concluded with several hours, and many drinks, with my mom.  They'd laugh, and drink and smoke and simply bask in their affection for each other.  None of their spouses were threatened.  It was chaste and pure and perfect.  It formed an ideal for me, and I think I have something similar with another friend, or I hope it can become an approximation. (Mom and Hal onstage during their theater days together to left and below right.)Smaller_blog_9_png

He even tried to create with my little brother (half-brother, technically, my mother and her second husband's son) the same kind of relationship as he and I shared.  He largely succeeded, as Steven loved him with the same intensity I did, and to this day cannot talk about him without a crack of loss in his voice.  Steven chose a different path for his life, and I can't say what lessons he learned from Hal.  Still, I'm grateful for Hal's efforts with Steven.

Random memories:  Hal sitting on a tiny chair in my tiny playhouse (he was 6'2" and the ceiling on the playhouse was maybe 5 foot tops) pretending to eat with all due respect something I had concocted from mud, weeds and a few artfully placed pebbles (even before Martha Stewart, I knew presentation was everything).  A Halloween when I dressed up as a Beatle (back when they were cute mop-tops in black suits) and he plucked the Official Beatle Wig from my head and placed it on his own, picked up my play guitar, and sang "Yeah, Yeah, Yeah."  My mother has the photo of this, or it would be here for your enjoyment.  A full hour when we crouched together in the back yard, watching from beginning to end the process of a spider building its web, with his quiet commentary illuminating the remarkable beauty and complexity of nature even in its most common events.  That is possibly my favorite childhood memory.  Hal's tender, abashed, response when I asked him an appalling question.  I went through a period of questioning my paternity in my early 20's.  The most eligible (and hoped for) candidate was Hal.  After liquoring myself up for courage, and him for in vino veritas, I asked him if he was my biological father.  He did not flinch, but blushed, and said softly, "I'm not, honey, but I wish I was."Smaller_blog_3_jpg_1

I filled the role of daughter for him and Ruth; family is largely what we make it.

His last years saw a frightening decline in health.  There's no question that he was an alcoholic (of the kind that simply grew a little quieter and unsteady, never loud, abusive or foolish) all his life.  He constantly smoked unfiltered Chesterfields (but in a rakish holder, one of his few vanities).  By the time he was 65 or so, it caught up with him.  The robust, physically magnetic man shrank, the voice became weak, his mind remained sharp, but his presence was so much smaller, the hidden insecurities and shyness now visible.  It was painful to see.  I was young enough (mid-20's) and callow and stupid enough to avoid him.  It hurt too much and I couldn't muster the decency to push aside my feelings, to stop taking and start giving.  In terms of karma, it worked out.  My shame in deserting Hal gave me the strength to stand by my father during his last years, and his own sad descent into Alzheimer's.Smaller_blog_12_png_1

He eventually developed lung cancer.  I had lived in San Francisco for several years by that time and had seen him rarely during that time.  It was inoperable, terminal, and quick.  My mother called to give me the news, and reported that he wanted no visitors or calls, he wanted to go with dignity and not leave anyone with memories of his difficult end.  I could not let him leave the earth without trying to express what he meant to me.  I wrote a letter, something along the lines of this post, but shorter, more to the point, and full of all those old in-jokes we shared.  Ruth, his widow-to-be, remained at his bedside in the hospital, and a few days before he slipped into a coma, she received the letter.  She read it to him.  He asked it to be repeated several times, and according to Ruth, tears rolled down his cheeks.  He then asked her to put it under his pillow, where it remained until he died shortly thereafter.

Hal, I hope there is a heaven full of wonders for you, spiders building webs, audiences cheering your Shakespearean performances, endless golf games, many children of all ages with whom to share your gifts, large frosty glasses of bourbon and branch that never make you ill, and when it's my time, I hope with all my heart I join you there.

Happy Father's Day.

Sunday Song - Talking Heads - Once In A Lifetime

Although I enjoyed the Talking Heads in the '80's, I thought much of David Byrnes' lyrics (the son of a friend used to call him "That Burn Guy") were posturing, pseudo-existential art school blather.  A few days ago, after dwelling long and hard on my ongoing Mid-Life Crisis -- the rolling sensations of unreality at finding myself suddenly in My Little Town divorced of all I had known before -- this song came into my head unbidden.  I get it now, Burn Guy. This captures it perfectly, and reminds me that despite appearances, I am the same person, "same as it ever was."

Once In A Lifetime

And you may find yourself living in a shotgun shack
And you may find yourself in another part of the world
And you may find yourself behind the wheel of a large automobile
And you may find yourself in a beautiful house, with a beautiful
wife
And you may ask yourself-Well...How did I get here?

Letting the days go by/let the water hold me down
Letting the days go by/water flowing underground
Into the blue again/after the money's gone
Once in a lifetime/water flowing underground.

And you may ask yourself
How do I work this?
And you may ask yourself
Where is that large automobile?
And you may tell yourself
This is not my beautiful house!
And you may tell yourself
This is not my beautiful wife!
Letting the days go by/let the water hold me down
Letting the days go by/water flowing underground
Into the blue again/after the money's gone
Once in a lifetime/water flowing underground.

Same as it ever was...Same as it ever was...Same as it ever was...
Same as it ever was...Same as it ever was...Same as it ever was...
Same as it ever was...Same as it ever was...

Water dissolving...and water removing
There is water at the bottom of the ocean
Carry the water at the bottom of the ocean
Remove the water at the bottom of the ocean!

Letting the days go by/let the water hold me down
Letting the days go by/water flowing underground
Into the blue again/in the silent water
Under the rocks and stones/there is water underground.

Letting the days go by/let the water hold me down
Letting the days go by/water flowing underground
Into the blue again/after the money's gone
Once in a lifetime/water flowing underground.

And you may ask yourself
What is that beautiful house?
And you may ask yourself
Where does that highway go?
And you may ask yourself
Am I right?...Am I wrong?
And you may tell yourself
MY GOD!...WHAT HAVE I DONE?

Letting the days go by/let the water hold me down
Letting the days go by/water flowing underground
Into the blue again/in the silent water
Under the rocks and stones/there is water underground.

Letting the days go by/let the water hold me down
Letting the days go by/water flowing underground
Into the blue again/after the money's gone
Once in a lifetime/water flowing underground.

Same as it ever was...Same as it ever was...Same as it ever was...
Same as it ever was...Same as it ever was...Same as it ever was...
Same as it ever was...Same as it ever was...

By Talking Heads
Music and lyrics by Brian Peter George Eno, Christopher Frantz, David Byrne, Jerry Harrison, Martina Weymouth

On audio album Remain in Light (1980)

Back to Bakersfield-By-The-Sea

Got back to My Little Town late Tuesday night from a longish trip to the Bay Area, where I lived from 1986 until I was run out of town on a rail in 2004.  No, if I am going to be held to the standard that recovering substances abusers are supposed to uphold, apparently (ahem), I was not literally tied to a rail, tarred and feathered.  Leaving SF for My Little Town in 2004 was, however, a condition placed by the court on dropping the pending charges against me, without prejudice for further prosecution of said charges should I come back and raise more hell.  And that's, as Lily Tomlin would say, the truth.

Figuring that the statute had run and my hell-raising capabilities have been downsized, I have returned twice to SF.  My trip last spring functioned as a belated farewell to the City, to relinquish it as my home town, since my departure in 2004, unplanned and unceremonious, allowed little time for leave-taking.  Last spring's visit was bittersweet,  as I still felt hopeless about the future.  This time, it was a joyous return as a tourist to a city I have loved, lost, and know where to get a good burrito.

While there, I was shown amazing hospitality and slept on the most comfortable sofa in the Greater Bay Area.  No kidding.  I want to trade in my queen size bed for that divan. Great_patriotic_war_1 I stayed with Houston, who had given me the best Christmas present I could imagine: tickets to a concert by Dmitri Hvorostovsky, a baritone I stalk in a minor way.  Great seats.  Dmitri could have spat on me, should that have rung his chimes.  Apparently not, but I am such a wanton fanatic that I probably would have enjoyed his Siberian cooties. Instead, I merely luxuriated in his "warm, resplendent and sumptuously textured" (according to the usually acidic reviewer in the SF Chronicle) voice. Not to mention his incredible good looks and charisma.    A spectacular event -- Russian opera, Russian songs from "The Great Patriotic War" (pictured at left), and every Russian expat in SF.  I was in a special lather of excitement because Dmitri was scheduled to sign CDs in the lobby after the concert.  I purchased his most recent -- "Moscow Nights", a collection of popular Russian songs -- at the Symphony gift shop and waited in a very long  line, primping and rehearsing my spontaneous remarks, for an audience with the Great Man himself.  Houston had his camera-phone with him and filmed two twenty-second clips: 1. Me waiting in line, tossing my hair for that casual, just-out-of-bed look; and 2. Dimitri's face and my shoulder (I forgot to cheat towards the camera once I came face-to-face with my idol) as we chatted.  I mentioned that we had appeared on stage together in Don Giovanni a few years ago across the street in the opera house -- I purposely did not mention in what capacity, I was a mere extra playing a maid, let him think I'm a diva.  He looked at me closely and claimed to remember me.  It's possible.  I had spoken to him several times during the run, trying out my Russian, which I hoped translated in part as "I'm very pleased to meet you," and not "there is a penguin in my shorts."  This time, I wanted to learn "I'm a tramp and we don't have much time," but could only find it online in Cyrillic ("Я - неряха, и мы не имеем большого количества времени", for those interested in including it in mash notes), no transliteration available.  It all looks like "Kaopectate"; I don't know how to pronounce it.  So he remembered me, that's my story and I'm sticking to it.  Oh, and he clasped my hand as it rested on the table.  My knees literally went weak.  Embarrassing video proof here (Download you_look_like_a_movie_star.zip) and here (Download dmitri_hvorostovsky.zip).

I can't believe I can still be in blushing puppy love at my age.

Had a great time with Houston.  He is my long-lost spiritual brother.  That's not too far from the truth (newly mandated memoir disclaimer: to my knowledge, we are not in fact siblings, don't sue me) because we were both raised by Dorothies.  I needed a little fairy dust in my life, a substance in very short supply in Bakersfield-by-the-sea.  Rumor has it that there is a gay bar in town, but no one knows where.  And it is generally believed here that lesbians are a myth.  The two things I miss most about SF is the gay community and opera accesible by public transit.  You find one in the other, frequently.

Mike Other events: took care of old business (closed dormant bank accounts), shopped for art supplies at Flax (my favorite art store), visited the new De Young Museum (smashing), saw Brokeback Mountain (after reading the short story, on Houston's advice, powerful), attended a sponsor's gala for The Young People's Teen Musical Theater Company by happy accident (thought I was going to a screening for Art and Film Club For Teens, where Houston's roommate Huntley is a bigwig, got stranded at the wrong venue, and stayed for a memorable performance of musical numbers from Most Happy Fella by some very talented kids), went off my NutraSystem diet for fabulous food (a Mission burrito, excellent sushi, lunch at Chow, and Houston's delicious cooking -- mushroom risotto, eggs with bacon and grits, beet salad with smoked trout, to name a few great meals), visited with friends (Anna, my fellow opera extra, Adrianne, Karen), and, movingly, the memorial service at Laguna Honda hospice for my late friend Michael (his son designed commemorative T-shirts for all in attendance, shown at left).

The most healing event, and that for which I am most grateful (even more than the "Dmitri moment") grew out of Michael's memorial.  One of those attending was Karen, a woman I admire for her honesty and integrity and have known for about 15 years.  As a result of my bad behavior before I left SF in 2004, Karen did not speak to me for nearly two years.  I felt her snub keenly.  No one blamed me more for my indiscretions than I did, but the loss of her friendship seemed to affirm that I was a Rotten Person.  I've been trying to mend my ways, and no longer feel like such a failure, but I still ached to think of Karen.  This was the first time we'd seen each other since I moved to My Little Town.  When I saw her at the memorial service, I hoped it wouldn't be awkward, and I thought I would try again to talk to her.  She spotted me, smiled through her tears, and the moment the service ended, rushed to my arms.  It got pretty girly.  Tears, apologies, and promises.  Karen said, "there's nothing like tragedy to give you a new perspective."  All is forgiven.  I had nothing to forgive; I was never angry with Karen -- I agreed with her judgment.  We spent most of the my last day in town together.  I met her incredible dog, Turtle, "70 pounds of muscle and two ounces of brain."  He's a pit bull that thinks he's a lap dog -- pure love.  She has promised to come for a visit with Turtle in tow.  I don't know what to do with my cats, but we'll figure something out.  Anything is worth seeing Karen again.

I was very ready to come home.  I missed the cats, I missed the beach, I missed my new friends in My Little Town, and I had accomplished all and more that I had hoped.

Back to the diet.  Back to the homosexual-free-zone.  Back to opera on the radio.  But the beach, the beach is warm.

Tune for Today -- Happy New Year!

Elvis_new_year

30 years on........

All your internet / screensaver friends boogie to the King.  His best song and the best mix and the best memories.

Click Here.

Sorry, no live video here on the blog (at least I couldn't figure out how to do it).

Have a happy new year -- I'm spending it with my "intimate partner" (henceforth, IP) in Ojai, sans champagne, and hopefully, sans clothes.  See post below.

Tune for Today -- A Truly Weird Christmas Duet

This is the strangest musical pair I've ever seen.  A truly surreal video of The Thin White Duke and Der Bingster, together at last.