A POD SOUNDS special!

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In which we interrupt our regularly scheduled programming

This past week on the pod I got my act together (well, the timing was somewhat planned, as we just finished the album portion of season 2) and released an episode I’d recorded back in mid-December. With our first-ever guest. Who isn’t a blood relative!

On this episode, “Justice for Rock & Roll Women,” I chat with Natalia Cardenas, host of the She Loves You Podcast and manager of the Instagram account @cynthialennondaily, about the Beatles and the many women in or adjacent to their lives. Natalia is a delight to listen to, so passionate and knowledgeable. She gave me two opportunities I realized I’d been seeking for a while: 1) to talk at length and in depth about the Beatles on the podcast; and 2) to talk to someone with a deep affection for Cynthia—that’s the lovely blonde you see in the photo, which I point out because there is a chance you don’t know her—about our evolving relationships to her over the course of our Beatles fandom. Well, and 3) to make a new Beatles friend, which I am never ever opposed to.

If I may, then: recommended Sunday listening. Kind of ideal Sunday listening, actually, as it provides a gateway to the Beatles, who are any-day-any-time listening. Putting together more episodes as we speak, but there’s quite a bit going on in my next few weeks, so if I make myself scarce on the web and the (air)waves until the end of February, it’s only because of all the ch-ch-ch-ch-changes.

Love & headphones—Cecilia

Image: from the Evening Standard

Register for a session of the 2022 Creative Writing Masterclass Series!

Workshop alert!

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Or, who’s Zoomin’ who?

Happy Galentine’s Day, all!

I’m chuffed to share that I have partnered with the great Berlin-based arts organization Soul and the City to lead their 2022 Creative Writing Masterclass series.

They take place on the last Saturday of every other month, 11:00-12:30 CET—via Zoom, so you can join from anywhere in the world. Each one focuses on a different aspect or genre of writing and features opportunities to learn about theory, practice the craft, and share work.

Here is the schedule:

26 March: Workshopping Berlin

We begin with soul…and the city! Recommended particularly for those who either live in Berlin or want to learn more about Berlin (and who doesn’t fall into the latter category?).

28 May: Forging Your Writer’s Voice

As you read more and write more, it can be hard to discern what styles and approaches feel most genuine to you, or how best to represent yourself in your work (of any genre). This class will provide a foundation for tapping into the most unique and compelling thing about your writing: your own voice.

30 July: Crafting Characters in Fiction

The most effective fiction, whether short- or long-form, is character-driven. So, what does that mean exactly? In this class we’ll explore the qualities that make for characters we want to read about, as well as the personal narratives that make for great story arcs.

24 September: Memory & Menda(city): an intro to memoir & personal essay

Self-reflective creative nonfiction is a fraught business. When do you tell the full truth versus fudge the details? When do you take artistic license? What if you want to probe a person/place/event in your life that you don’t remember much about? How do you even choose what to write about? This class will attempt to answer all these questions and more! #ambitious

26 November: Notes on Notes: writing about music

If you’ve read the blog for any amount of time, you absolutely could have predicted this. If not, go have a scroll and get back to me. We’ll parse musical analysis and influence on nonfiction, with a little fiction and poetry thrown in just for funsies.

So what are you waiting for? Sign up and come hang out with me in cyberspace! It’ll be actually lit.

Oh, and while I’m at it: we discussed the last song of Little Criminals on the podcast this week—take a listen, and keep an ear out for a special interruption to our usual programming next week!

Have you guys heard of the “Checkers speech”?!

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Or, “Show me the money!”

It’s been an educational week. Between this oratory byte and the hitherto-unknown exclamation “Great Caesar’s Ghost,” I have realized that I know absolutely nothing about American history, political or pop-cultural. So, as long as I’m back to square one, I thought I’d start it off right!

What’s really weird about uncovering what I would call mid-tier history—events that were big at the time but not often talked about today—is that I don’t know just how uninformed I am. Has most of my generation heard of the Checkers speech? It even entered the vernacular as a phrase for a while, but I hadn’t ever heard the phrase either, or I imagine it would have prompted me to look up the history behind it. So, has none of my generation heard of it? If I asked someone, let’s say, Gen X or younger, mid-conversation, “You know about the Checkers speech?” would I sound egregiously pretentious or totally nonsensical? It makes me uncomfortable that there’s no way to gauge.

(I will refrain from enumerating my issues with the American public education system at this time.)

But on with the story. The year is 1952. A California senator named Richard Nixon, ever heard of him, finds himself on the ballot as Dwight D. Eisenhower’s running mate. Side note: I guess I’m terrible at predicting which state people come from. You’re telling me this guy is from the sunny, laid-back land of the Beach Boys and Randy Newman? No way. Just like McCarthy—Wisconsin? Really? How could a senator from a state nobody cares about create such a mess? (Apologies to my Wisconsin readers.)

Anyway. Dickie gets a campaign staff and accumulates a number of supporters who establish a fund on his behalf. And the gang starts shelling out. Dolla dolla bills y’all. In fact, some of the money seems to just disappear. Imagine the scene in The Great Gatsby where Gatsby is showering Daisy with his shirts, except instead of fabric it’s all legal tender from the U.S. Mint.

Now, plenty of politicians spend through the roof, enabled by financial backing from sources both well-known and anonymous. Unfortunately, Nixon’s entire political career disproves the old adage that there’s no such thing as bad press. After “the Fund,” as it’s known, comes up in passing on a TV appearance, reporters start to ask questions. He claims to know nothing of the particulars, but do they believe him? And there’s plenty of opportunity for them to get on his case about it, because his tour, on the Dick Nixon Special, is making the rounds of the American West.

As the media’s indignation spreads to the public, Eisenhower begins to consider dropping Nixon, and the campaign staff plots damage control. I literally feel as if I am summarizing an episode of a prestige HBO show. In mid-September, they hit upon it: a televised speech laying to rest all fears and rumors of the money having been used improperly. On September 23, in Los Angeles, the plan goes into effect. Nixon sits onstage at the empty El Capitan Theatre (pandemic seating way ahead of its time), his wife Pat nearby, and says thirty minutes of nothing, during which he mentions that the one gift his family received that they intend to keep is a cocker spaniel named Checkers.

It’s a smash. The American people rally behind him. Eisenhower lets him stay on as VP candidate, and in so doing botches the country’s last chance to get rid of Nixon, because he’s back eight years later to run against Kennedy, and eight more years later to actually win the presidency. By which point it should be abundantly clear to all involved that old Dick is a man of many talents, but that leading the free world is not among them, and that he is exceedingly unlucky when it comes to the media, and that the ensuing administration sets him—and with him the ‘world’s’ ‘greatest’ ‘superpower’—up for nothing but failure and disgrace.

Checkers had his work cut out for him with these people.

Hindsight is 20-20. I’m aware of that. But I can’t help thinking it must have been obvious even then that all this could have been avoided. Here is what should have happened:

Nixon gives the speech. The people love it. Eisenhower acknowledges the skill and tact and planning necessary to pull off something like that. However, they strike a deal for Nixon to resign—and then they stage it. In a moment of theatricality, old Ike declares, “Well, Dick, you may have proven yourself a modern-day Pericles, but it’s too little, too late!” and gives his running mate the boot. The people are galled. Nixon continues his tour, and they turn out in droves to see him, demonstrating as only the masses can that they’re on his side after the terrible injustice he has suffered at the hands of the ruthless electoral machine. He then announces his departure from politics and smoothly transitions into show business. By the end of this same tour, he plays the piano (however badly), delivers standup routines (mostly politics-themed), and brings out famous friends like Sammy Davis, Jr. for endearing double acts. After that, he’s credited with singlehandedly reviving vaudeville. There’s a one-night-only engagement at the Apollo (sold out, recorded for RCA), a two-week residence at the Sands (so successful it becomes a recurring stint every few months). He’s bigger than Sinatra! Speaking of, he even helps Sinatra’s career get its second wind after he signs with Capitol. The man’s recording again, he’s doing movies, and what else? He becomes a fixture in his new buddy Dick’s road show. They do a series of TV specials called Albert & Milhous. And best of all, Sinatra never has to meet Spiro Agnew.

Now, doesn’t that sound like a much happier version of events for everyone? They used to say history was written by the winners, but anymore it could even just be written by the people with a writing routine. (I love inventing history. I think I’ll do more of it.) Reading about the Checkers speech was a wild research experience, but it was kind of a downer to connect it to everything that came after. Context matters, kids.

We did get a lot of great pop culture out of Nixon’s antics, though. Seriously, how has a movie of this formative moment not been made yet?

Image: the menu on the “Dick Nixon Special”

Just saw FUNNY GIRL for the first time…

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Or, oy!

…and it was weird, man. I’m gonna put all my thoughts in a list, because that’s the kind of time and energy I’ve got this week.

  • Reminiscent of other musicals of the era in that the first act contained much more singing, and was much more lighthearted, than the second. But I think 1776 is much better, composition- and adaptation-wise, and I will always consider it one of the tops, no matter what the stupid AFI says.
  • People don’t do this show, right? No one mounts productions these days? Because any actress in the role of Fanny wouldn’t really be playing Fanny Brice, she’d be playing Barbra Streisand, and not succeeding. Even the Marias (The Sound of Music, West Side Story) have a certain interpretive range, whereas this role seems so closely linked to her originator as to be inextricable.
  • I suppose all that is because Babs’ rapid rise to dizzying heights mirrors Fanny’s ascent almost exactly. On many levels, this was an autobiographical show. So we should probably hold off on productions for the next hundred years, because another career repetition isn’t likely to happen before then.
  • I feel like this is the idea of musicals that people who dislike musicals have in their heads. Now the scrappy heroine sings an “I want” song (and another, and another); now she tries to convince somebody to believe in her; now the side characters do that talk-singing thing about said scrappy heroine. It really hits all the beats, for better or worse, doesn’t it?
  • She is hilarious. Her speech inflection is on point every time. And she looks like she’s having so much fun up there, it’s impossible not to have fun with her.
  • She seems to exist out of time. Not only is the action not set in the ‘60s, but Babs doesn’t seem to really be part of the ‘60s. You know what I mean? The era was defined by these camps that she didn’t participate in; she was a host unto herself. It feels like she belongs to another era, due both to the business she got started in and the way she became famous. Her success story is what every girl who falls in love with musical theatre aspires to. (Every girl? Or am I projecting?)
  • I read that “People” was almost cut after the preliminary round of previews because it wasn’t consistent with Fanny’s character. I agree with that assessment—it doesn’t make sense when Fanny sings it—but my solution would be to simply give it to another character. Her mother, maybe. How many shows’ most iconic numbers are sung by non-principals? “Climb Every Mountain,” from The Sound of Music, sung by the Mother Superior (who is also given “My Favorite Things” as a duet with Maria in the stage version, although we don’t acknowledge the stage version on this blog, because the movie is the version, you’re welcome). “Something Wonderful,” from The King and I, sung by Lady Thiang. “You’ll Never Walk Alone,” from Carousel, sung by…see, I don’t even remember her name. I seem to only be able to come up with Rodgers and Hammerstein examples, but whatever. The principals have enough singing to do (especially in this show, jeez). Spread the wealth.
  • This may get me excommunicated, but I’m not sure these songs are very good songs. Considering the Jule Styne catalogue alone, I find this score to be a second-rate Gypsy; and considering the Broadway production’s contemporaries—and, incidentally, Babs’ early film career—I find this show to be a second-rate Hello, Dolly! (a film she should not have been involved in anyway, she was tOo YoUnG fOr ThE pArT). In any event, re: my note above, I feel these songs are trying too hard to be Musical Numbers. Particularly the solo/intimate numbers, but those form the majority of the score, so…
  • Surely this is not the context for the much-lauded (overrated) “Don’t Rain on My Parade”? Surely she’s not about to throw away the career she had so single-mindedly pursued and has so recently secured to go get on a boat with some man?! Very disappointing.
  • And here is where the show becomes, in full, about her relationship with (and to) Nick. This is not what I signed up for. I want to see her be the funny girl onstage! But now she can’t enjoy any of it because he should be there for her and he isn’t. Men.
  • So, at long last, the great Omar Sharif. The first film of his I’ve seen. I like him, he’s funny too. I get good vibes from him; I hope he was one of the good Hollywood guys. I feel like you can tell something about an actor’s personality even from their performance as someone else—like you know how Clark Gable must have just been an egomaniac in real life? Anyway, maybe I’ll have to see this fellow in more things.
  • What an idiot. Turns down a deal to get in on opening a club because he lets his pride get in the way. Men.
  • Babs is such an interesting singer. I’ve never known what to make of her. One second I love what she’s doing, the next I find her intonation just awful. This happens multiple times over the course of every song. But then, what am I gonna do, not watch her in everything else?

Image: the movie poster

Lit Review: CONVERSATIONS WITH FRIENDS

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Or, Sally Rooney part II

As promised, I got around to Sally Rooney’s debut novel, 2017’s Conversations with Friends. I did enjoy it more than Normal People. For one thing, the title was a bit less misleading: Normal People sounds like it should be about people in their forties, and in fact the action ends at their early twenties; while among the four central characters of Conversations with Friends the age range spans early twenties to late thirties.

But that doesn’t mean I enjoyed it.

Let me just come right out and say it: I’m not at all sure that Rooney writes fiction. Not that she can’t, but she hasn’t yet. She knows how to write about young people in Dublin aspiring to be creative types, because she was one of those people not long ago (or arguably still is), and so sticks to the formula she knows. Her voice and subject matter are what people are thinking of when they say “oh, you’re writing your first novel, is it based on your life?” And I, frankly, resent that implication.

This story follows Frances and Bobbi, friends/exes and slam poetry partners, as they cross paths with Melissa, a semi-famous photographer, and Nick, her semi-famous actor husband. I imagine Rooney framing the arrangement in her head: “I will create these four characters, all of whom will be mildly annoying at least, but only one will be truly insufferable, and I will make her the narrator.” Frances, whose mind we are trapped in, thinks she can singlehandedly bring down capitalism by not getting a job, and is not “cool-headed and observant” as the blurb claims so much as “completely passive.” The story is not about friendship, of course, it is about who she gets to fuck and why/not. She starts an affair with Nick but refuses to be honest with him about anything going on in her life—the fact that she has no money, her struggles with emotionally unavailable parents—just as she refuses to tell anyone what she is really thinking ever. She idolizes Bobbi: through her eyes it truly does seem as though Bobbi is whip-smart, perfect-looking, and at the top of her intellectual game all the time, which made me wish even more for the narration to be from Bobbi’s perspective, because Frances’ opinion can’t be the full truth. Their prior romance, initiated by Bobbi, was Frances’ first, and it would not surprise me in the slightest if she merely expected it to make her cool or edgy or something (her response to Bobbi’s questioning if she likes girls: “Sure.”) Melissa, once Nick comes clean about the affair, is admirably levelheaded and lets them carry on: the marriage has been operating without a sexual component for a while, and neither of them plans to make any drastic changes. But Frances still isn’t happy, because she craves absolute power. If this were the 18th century, she would be one of the first ushered to the guillotine, and not even because she’s Irish.

I’d like to reiterate that this is not a story of friends. Frances loves Nick, and hates Melissa for no reason, and has unresolved feelings from her romance with Bobbi. Friendship happens when people lift one another up. This is not that. It can’t be, when at least one party declines to let herself be lifted.

Anyway. I won’t describe everything. I found myself disappointed in basically all the characters, which is probably unfair, because their lives don’t really seem to mean enough to them to merit an observer’s disappointment. More importantly, I found myself kind of disappointed in the intended—and apparently attained—audience. As I read I couldn’t help thinking, THESE are the characters we want to read about today? This is where our head is at, collectively?

You, meanwhile, might be thinking, wow, and she liked this one MORE than Normal People? That’s concerning. But I thought each character (except Frances) had funny moments, and I especially appreciated Bobbi for calling Frances on her bullshit, which she does most directly about four-fifths of the way through: “You underestimate your own power so you don’t have to blame yourself for treating other people badly. You tell yourself stories about it. Oh well, Bobbi’s rich, Nick’s a man, I can’t hurt these people. If anything they’re out to hurt me and I’m defending myself.” Authentic moments like these threw into relief how worn down I was by all the inauthenticity.

I’m still not going to declare that I dislike Rooney’s writing; I’m still not ready to go there. It’s her attitudes that bother me more. Sex, in her work, is always Tawdry—that word that nobody really knows what it means, but you read her sex scenes and you understand. It’s like the opposite of Nick Hornby: her characters are trying so hard not to care about it that they’re just making their neuroses surrounding it even worse. I happen to know a thing or two about the way a Catholic environment can engender neuroses around sex, thank you very much.

And then there’s her attitude to writing itself. Frances sells a short story to a magazine for an amount that is evidently impressive but about which we hear nothing concrete. Something similar happens to Connell in Normal People. Rooney had something of a magical big break herself, a point at which she transitioned from Somewhat Successful to Officially Undeniably Successful, and she crafts characters for whom things unfold the same way. And what of the rest of us? What of those writers, fictional and non-, whose rise is much less defined, much more incremental?

I know nothing of Rooney’s inner life or world. But creating this expectation, I felt as both a reader and a writer, is playing a dangerous game. (Not to mention that her characters seem determined not to appreciate whatever success they have.)

So, there you have it. Maybe this all comes off unduly harsh. I admit, though, that I just don’t get what people love about these novels. Maybe she’ll write something in the future that resonates more, or in a better way. I hope that’s the case—it sounds like she’s got a long career ahead of her.

Image: published by Faber & Faber, May 2017

An artist’s interlude…

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In which I self-promote

Big news: five photographs of mine are part of a virtual exhibit by The Holy Art Gallery in London—all for sale—as of tonight!

This was my first time submitting to a gallery, and I expected nothing of it, so to have received a positive response is wonderfully affirming. When I said 2022 would be my year for photography, I admit I didn’t know what I was predicting!

The exhibit runs through next Monday. Be sure to check out the many accomplished artists with work on display.

This project also prompted me to create an Instagram specifically dedicated to my art: even if you just wanted to give it a browse, that would mean a little bit to me.

Love & saturation levels—Cecilia

Image: the poster (check out your girl in the first column)

Teen Tropes: A Cease-and-Desist List

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“YOUTHS.” : Schmidt, New Girl

Hello, suckers. Welcome back. (That’s how Velma Kelly opens Act II of Chicago, for all you theatre freaks.)

After racking up an array of shows and movies and also YouTube takedowns of the shows and movies, I have reached the limit of my tolerance for almost all visual media revolving around people under 21. I mean, mostly 18, but even 21 is pushing it. (Especially since those people are usually around 25 anyway.) I’m of course talking about new media, not the shows and movies of my past that appeal to my nostalgia, though I’m awakened to their bothersome aspects when I revisit them.

Even within the whole genre, there are certain components that spoil the rest—either they’re plain silly or they ring distinctly outdated.

Here follow some things I kindly ask never to see ever again:

  • One person walking down the hall and everyone else turning to stare at them (in my neck of the woods you got that kind of attention only with a fight)
  • Really, any number of people walking down the hall and everyone turning to stare at them (does your school have a population of 50 what is going on)
  • The Most Popular Girl/Guy in School (what even is this? popular with whom?)
  • A social hierarchy in general (makes me feel like we never left the John Hughes era—just because those films have a timelessness to them doesn’t mean we’re still there as a culture)
  • Teens behaving and/or being treated simply like miniature adults (there should be no content about underage people with a rating of 18+, this is contradictory and creepy)
  • Teens not behaving—especially not speaking—like actual human beings (I’m looking head-on at you, The Fault in Our Stars)
  • Student/teacher romances (no no no no no no no no n—)
  • And don’t get me started on teen girls in particular

As I’ve said in reference to Mark Twain, young people have problems which hold weight in their lives and deserve to be taken seriously. I just can’t bring myself to care anymore, far enough removed as I am from that chapter of my life.

I’ll still watch Mean Girls, though. I’ll always watch Mean Girls.

Image: from Flickr

Film Review: DON’T LOOK UP

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Or, an encapsulation

*WARNING: SPOILERS*

I went into Netflix’s Don’t Look Up expecting to be made very angry. I knew what it was about, and I knew what it was meant to represent.

Instead, as I watched, I experienced a mix of déjà vu and deep fatigue. This was an only slightly factionalized version of what was playing out before the eyes of all human beings every day at this point. This was a documentary, with the usually-antithetical advantage that it could be viewed in real time.

Almost everyone who’s anyone is in this movie. Leonardo DiCaprio and Jennifer Lawrence play, respectively, an astronomer and PhD candidate who find that the trajectory of a certain comet coincides directly with the Earth’s coordinates, and that it is set to hit in just over six months. And that’s at the beginning. (Last I checked, we had five years, not six months. Not that that’s any more time.) Their subsequent catapult onto the world stage in an attempt to convey the direness of the circumstances brings them onto their own collision course with President Meryl Streep, Anarchist Stoner Timothée Chalamet, and Even-More-of-a-Pop-Star Ariana Grande, among others. As in life, some take the news seriously from the start, others resist—you can guess which side takes up the titular rallying cry—and there are dramatic reactions and memes galore; but no amount of belief or disbelief alters the fact (yes, the fact) that the comet is coming.

And it does. The end of the film is the planet and all life on it being obliterated by the comet, with two exceptions: 1) a ship ushering the billionaire class to safety light-years away; and 2) the unfortunate survival of the character I most wanted to kill the whole time, the president’s son/chief of staff, played by Jonah Hill (who, might I add, is very good at playing characters you want to kill).

People sense the end coming. It’s a bit like Titanic: there comes a point where the inevitable is just impossible to ignore. Interesting, fascinating even, and then terrifying. At first it’s a streak across the sky that compels drivers to leave their cars for a better glimpse, then not too long afterward it’s a rumbling in the table settings as those same people pray to a God they don’t know.

What writer-director Adam McKay wants to communicate to us—aside from “What the fuck is going on?”, the question to which he famously dedicated 2015’s The Big Short and 2018’s Vice, and to which this film is arguably the long-awaited threequel—is that we, in our age of climate crisis and political deaf-blindness, are somewhere between a streak across the sky and a seismic breach of the atmosphere. In all likelihood, closer to the latter.

Just go watch it. If for no other reason than to hear Ariana croon “listen to the goddamn qualified scientists” in her velvety low register. That alone makes it worthwhile. And, you know, the world.

Image: Leo & J-Law, Niko Tavernise/AP

“Hello, it’s the past”

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In a good way!

Well, I don’t know about anybody else, but I can safely say this is the best year-beginning I’ve had in a while.

I spent New Year’s Eve and much of New Year’s Day with a dear friend, walking around her neighborhood, meeting other friends of hers, counting lessons from the year past and hopes for the one ahead. She was once a college acquaintance who reached out when I got to Berlin, as she had been here some time already, and thence blossomed a friendship I grow more grateful for ever since. Proof enough of the smallness of the world.

Then on Monday, the world shrank as if I’d tossed it into the dryer (the what? we don’t have those here, there isn’t room) when an even earlier school friend and his girlfriend dropped into the city during their holiday travels through Germany. This friend and I had spent seven years in school together—since both our birthdays occur in the latter half of the calendar year, from the time we were nearly eleven to nearly eighteen. Not an uneventful era in young lives. And our paths hadn’t crossed in the nearly nine years following graduation.

I soon heard about the many places life had taken him in those intervening years (between him and his girlfriend, whose family moved around in her youth, they’ve been almost everywhere, like Cathy on The Patty Duke Show). We reminisced on our high-school music careers—we were both deeply involved in the group I mention here—and on the people we knew, some of whom we’ve kept in touch with and some of whom we haven’t. We exchanged book and TV and podcast recommendations. We talked about…poems and prayers and promises, and things that we believe in. And not work, because the cultural premium placed on work is too damn high!

We covered the city center pretty thoroughly, hitting all the spots on their list, several of which I hadn’t seen since first arriving myself. We stayed up late and drank wine and looked at one another on more than one occasion like, is this really happening?

The memory of those few days will, I expect, keep me warm throughout the whole of 2022. My guests made me out to be more useful than I probably was; I was happy just to see them and recoup even a small amount of lost time. Only the time wasn’t lost, because it gave us what we had to share: it seemed as though we were telling a single unending story, constantly segueing, a conversation that needed no steering.

They also managed, despite the shortness of the visit, to teach me a thing or two about the wider world. My friend’s girlfriend revealed herself to be the most knowledgeable amateur botanist I’ve ever met, and I mean amateur in the true, love-based sense of the word. It was a delight to witness her pointing out the plants we passed, and we didn’t even make it to the parks and forests and green spaces. As I’ve said, off-the-cuff TED talks about niche pastimes or interests number among my favorite things.

Something that struck me about this friend in particular was that, while we were privy to a swath of each other’s formative years, full of struggles with labels and expectations and shifting senses of self, he still did not make assumptions about the life I was living now. The questions he asked, the genuine thought behind his comments, let me know he entertained no preconceived notions about the adult I had become and how different or similar she was to the teenager I had been. I remember there always being this genuineness about him. After we parted ways the last night I deeply wished I could finagle for the two of them to stay longer, because I felt very safe and understood with them.

Over the course of our 36-hour conversation it hit me just how chaotic adolescence is. Not even our adolescences specifically, though of course we each had a unique set of things to juggle. But in general: how little control we have over our attentions, how our desires ping-pong from one person or perception to the next with hardly any prompting, how hyper-aware we are of others’ movements and responses. It takes distance, and often the reflection of another experience, to get perspective. I hope everyone has the chance to reconnect with someone and gain that perspective.

For my part, until I see these friends again, I have a host of local friends—who happen to hail from all over the world—to remind me repeatedly of my great good fortune. I have a lot of thanks to give for the past, present, and future.

The title of this post is what I said when I answered the door first thing Monday morning. You never know when life will send people (back) around to you. Receive them with joy when you can. Or, at the very least, point them in the direction of a good coffeeshop.

Dedicated to Ben, Lauren, and Anya. May 2022 bring you only the best.

Image: just some gate I took a picture of near our meeting point

David Bowie at 75

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In which I *am* the young American

Happy what would be three-quarters of a century to the one and only Starman. Though the ‘man’ part of that portmanteau, I think, belies his enormous contributions to bringing gender weirdness to the fore of the music industry and mainstream media.

Hunky Dory has been on heavy rotation this winter (it celebrated 50 years last month), my new favorite track being “Andy Warhol,” which is sequenced right before my longtime favorite “Song for Bob Dylan.” The opening clip of studio chatter—“It’s War-hol, actually”—the sound of his voice—couldn’t you just die?

Fun fact: in “Song for Bob Dylan,” the chorus lyric “here she comes, here she comes, here she comes again” is rumored to be a specific reference. To whom? Why, to the girl who links Dylan to the aforementioned Warhol…

I happen to be surrounded by his aura in the city I live in, a city he too chose once upon a time. But regardless of where on this planet I find myself, I, and everybody else, will be hearing and singing his songs for the next 75 million years. Or however long it takes for us to catch up to him.

Image: The Man Who Sold the World, his third studio album, released 4 September 1970

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