Carl Rennie:      Let me tell you

May 18, 2009

     Let me tell you

     Let me tell you what it is like to be in love with a perfect liar.  You may think, oh that sounds awful, who would want to love a liar?  But the truth is you want to be lied to.  Truth is a vicious slanderer and an infrequent bather, the kind of dinner guest who picks his teeth at the table and tells you your potatoes are lumpy.  You'll be on-again off-again with the truth for years, until you have a big blow-up over something inconsequential like your temper or whether you're clever or obnoxious when you're drunk, and you will find yourself hiding things from him.  When you and a coworker have a falling out and you're so angry your teeth hurt, and he asks, what's the matter?, you'll say nothing, dear, because the last thing you need to hear is that it's your fault.  The worst thing is, when you finally sit him down and tell him "it's not you, it's me", he will agree.
    But let me tell you what it's like to be in love with a liar.  He is strong and handsome, with a commanding jaw and soft eyes that never quite focus on you.  He has hands that grip firmly but don't quite squeeze, and when he grabs you by your arms, just below the shoulders, your head snaps up to look into his eyes automatically, and your mouth opens a little with you even thinking about it.  You love the way he never quite smiles, but hints at it, plants suggestions on his face and leaves you to fill in the pieces.
    "I love you," he says, over and over, as often as you ask him to, and though the love you feel towards him is more of a fierce, almost unbearable jealousy and a sick despair, you wholeheartedly love the way the words on his breath feel against the back of your neck.  "Say it again," you say.  "I love you," he says.  "Say it like you mean it," you say.  "I love you," he says again, and you close your eyes.
    He never answers his phone.  Instead his voicemail becomes a close friend, first one that you tolerate, then despise, then find yourself talking to in the middle of the night, hanging up before the beep cuts off his voice.  He calls you back at odd times, the middle of the workday or 3am, and says "I want to see you" and you believe him.  You've tried saying no to him before, or not calling and waiting for him to call you, but the phone stays stubbornly, pointedly silent and you find yourself telling half-truths to his answering machine, abot how you wanted to see how he was doing, that he can call back if he wants but it's no big deal.
    Your friends ask why you keep seeing him, and you say, he's not that bad, and you wonder why you say this but think that maybe it's because he's rubbing off on you.  The truth is you don't want your friends to know why, not exactly, because they will discover that you are vain.  The truth is that, together, you are fucking hot.  He walks with his back straight and head high, and even though he never holds your hand he touches you in ways that tell everyone back off, she belongs to me.  His clothes are cocky and rude, but fit him nicely, and they complement yours.  When people's eyes flick your way to give you that brief up-and-down, you see them light up with something delicious, like lust or jealousy, something in between, and you thrust your chest a little more forward and slip your hand into his back pocket.
    He always tells the best stories at parties.  Everyone's eyes watch him, and their laughter follows the tone of his voice.  Sometimes the stories are about you, and you laugh to show that you don't mind, but your stomach sinks when you realize that none of them will look at you again without hearing him imitate your bedroom noises or thinking about the abortion you had when you were twenty-four and should've known better.  You wish you could return the favor, but you hardly know anything about him, so you content yourself with holding his arm and saying "honey" in a low, worried voice.  He delicately removes it from his shoulder.
    It's not that you haven't asked him about his past.  When you do, he deflects the questions with easy non-answers or kisses.  Bits and pieces of him come out in conversations, and you hoarde them to ponder over later: he seems to know a bit about horses, he's alluded to some time in the military or maybe prison, when a friend asks about flowers he mentions the kind he had at his first wedding.
    "Oh?  You were married?" you ask.
    "On and off."
    "What was she like?  Or they?  Was there more than one?"
    "None as pretty as you," he says, and playfully slaps you on the butt.  It makes you feel warm and frightened, and when you picture him in your mind he is surrounded by a cloud of lovers, tall women with faded sunburns, heavy smile lines and their roots showing.  In your head, you hold conversations with them, about the weather and work and weather or not he called them whore when they were fucking or if it's something he just does with you.  You compare notes about his foibles and come to the conclusion that he's a good man, just a little broken and in need of love.  It comforts you that they feel this way, too.
    After a while, you get good at telling yourself stories about him.  "No, not into salmon anymore, I wore out my appetite for it when I was sailing," he says, and you picture him as a sailor, grease on his hands and salt in his eyelashes, his nostrils distended as he strains to keep the nets steady, throwing around fish by the armful as they flop and twist in his arms.  "This reminds me of Cuba," he'll say at Salsa Night at a bar you've dragged him to, and you see him in the arms of a Latin teenager, learning how to tango.
    The thing is that honestly, after a while, he starts to make you a
little crazy.  He tells you that you look fine, but his glance avoids
yours and when you picture him as he must see you, you feel filthy,
your skin crawls under your clothes and you feel like you need to
shower and change.  He tells you that you're smart and you never feel
dumber.  When you confront him about it, he asks you, "just tell me
once -- one time -- I've told you you're stupid" and you're at
a loss.  So you try to anticipate.  Before you say things you examine
them from all angles, until you're sure that they're as sophisticated
as they sound in your head.  Each morning you check your clothes in
your mirror before you leave for work.  You scrutinize you your face
for flaws, and you slather it with lotion and makeup.  He'd like you
more, you think, if it weren't for your low libido, so you fake it,
offer him parts of yourself you'd rather hide, let him think your
flinching and moaning is from pleasure.  When you think of him when you
masturbate it turns you off, but you keep rubbing until it doesn't feel
good anymore, and then you keep going until you start cry from
frustration.
    When you start to feel really crazy, you tell yourself stories about you.  He'll call back, you say, and it feels so good you keep going.  He'll call back, and he'll tell me to meet him down by the pier, and he'll be on time and when I get there he'll be looking at the bay and I'll watch him for a while, because I think the serious expression he gets when he thinks nobody's watching is sexy and a little bit silly, and then I'll call his name and he'll turn and his face will light up.  I will feel natural in his arms.
    He'll tell me he's been thinking, and he doesn't want to put any pressure on me but that he wants to be more serious about us, about our relationship, and I'll tell him that I don't want to commit until I really know him, and he'll nod and say fair enough, and we'll talk for hours about who he is, who he's been, he'll tell me about running away to join the Navy, about the girl he got pregnant in college who decided to abort the baby and how that had always left a hole in his life where a little boy or girl belonged, about how spending that year in India had changed him, about his partner who had figured out early how to make money off of the Internet and who had just needed someone with his combination of people skills and business savvy.  I'll tell him the little secrets I'd been keeping for myself, about my secret crush on Joey from 'NSync, about how I had cried more when my hamster died than when my father did, about how I still picked my nose when I was sure nobody was watching.  He will really listen, and he'll nod, then he'll hold me and even though we're both clothed we will feel closer than we've ever been, and I'll say, okay, let's give this a shot.
    He'll be sweet and understanding.  When he looks at me I'll see love reflected in his face.  He'll propose a year later, while we're backpacking in the Sierras, on a ridge overlooking a lake, with a ring he's smuggled into the corner of his sleeping bag.  I'll say yes.
    We'll be married that winter, a December wedding, and I'll wear a dress that looks like a snowflake.  He'll make love to me gently, and we'll fall asleep watching the fire together.
    We'll grow old together.  He'll be perfect.  I'll be perfect.
    That's the way it has to be.

Effervescent Sycophants: Concert week

June 02, 2008

Concert week

Last Tuesday I went to see Flight of the Conchords in San Francisco with a few of my coworkers and one of their friends. Many of you already know about the concert because at one point or another you were scheduled to attend. It was a great show (now that you hear that, I bet you feel silly for canceling). They played many of the songs from the show, as well as Jenny and Angels (both can be found on Youtube), and two new songs. Their intersong banter between each other and the audience was hilarious. And as usual they mixed up some of the songs for the live show. In Jenny, the movie they watched that "was something like, but not necessarily Schindler's List" was Weekend At Bernie's 2..."both movies deal with the theme of death".

A few weeks ago, after getting tickets for FotC, I discovered that Ladytron was also on tour. Ladytron has become one of my favorite bands. Unfortunately, their SF show was on the same night as the FotC concert. That was a crappy coincidence. However, being abnormally adventurous, I bought tickets for one of their shows in Los Angeles.
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I flew down on Thursday for the show that night. Dave picked me up and dropped me off on Hollywood Blvd a few hours early so I toured the Hollywood Walk of Stars. The neighborhood wasn't quite as glamorous as I expected. I came to this realization after the 47th "5 T-shirts for $10" souvenir store I passed.
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You caught me. This is the real reason I flew down to L.A.

Anyway, the concert was at the Music Box at the Fonda. I don't know the name of first opening act, but the second was Data Rock. They had a few decent songs, but they were trying a little too hard to get the crowd into it. Ladytron came on stage around 11pm. They started off with Black Cat from their new album, Velocifero. In addition to cool music, they also had some pretty sweet lighting for the show. Still pictures don't really do it justice, but I've got some pictures below anyway.
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Deep Blue

They played about half of their new album (Black Cat, Ghosts, Runaway, Deep Blue, and a few others), which meant they didn't have time for much of their back catalog. That was disappointing, but they did play some of my favorites: Blue Jeans (probably my favorite Ladytron song), Last One Standing (their last song before the encore), and International Dateline. The encore was two songs off their new album, and they ended with Destroy Everything You Touch. And of course they played Seventeen.

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By the way, a special shout out to Dave for being a very gracious host while I stayed in L.A. Thanks Dave.

Fractal Archetype: Now that's talent

April 08, 2008

Now that's talent

... is all I can say to the guy driving behind my building, talking on his cell phone, and holding a cigarette out the window.

Carl Rennie: Vanessa's song

March 24, 2008

Vanessa's song

A song written/performed by Vanessa is available here.

Carl Rennie: Thoughts on watching "The Replacement Killers"

March 06, 2008

Thoughts on watching "The Replacement Killers"

You know what I don't miss about the late 90s/early 2000s? Scenes where a guy in a suit/leather jacket walks in slow motion through a club/rave while pulsating drum & bass plays in the background.

Seriously, screw you Mr. The Matrix.

Fractal Archetype: PHP, Thy Lovely Face

PHP, Thy Lovely Face

Gentle and sweet as the boa constrictor's embrace
Thy syntax inherited from that master of cleanliness PERL
Thy object-orientation pasted upon thee like cheap lipstick on a girl

Ever wondered how poor PHP's object-orientation really is? Here's an error message that I got yesterday.

Parse error: syntax error, unexpected T_PAAMAYIM_NEKUDOTAYIM

What does that mean?

Continue reading "PHP, Thy Lovely Face" »

Carl Rennie: The Obama/Clinton Corporate Espionage Act

February 13, 2008

The Obama/Clinton Corporate Espionage Act

With the passing of the revised FISA provisions (in the Senate, they still need to reconciled with the house bill) that a) legalizes warrantless wiretapping, b) refuses to look into what they were being used for, and c) grants immunity to telecoms for breaking the law at the behest of the government, you think that my lil' liberal heart would be highly troubled. Well, yes, it is, but there's also a little sense of glee.

We're going to have a democratic president.

We're going to have a democratic president with the power to spy on any international call at any time for any justification, to do so legally, and not to have to answer to anyone about it. I don't think the Republicans have really thought this through, but all I can say, is it's about goddamn time. See, I want international financiers to be constantly looking over their backs. I want every CEO in an international teleconference to be wondering who's listening to his call. I want every free-marketer who engages in some kind of shady business internationally to have the nagging sense that it's going to come back and haunt him someday.

I want RICO convictions. I want to see our president stride into his or her State of the Union address with a binder full of transcripts that implicate half the business class for skullduggery. I want blackmail, I want backroom deals exposed, I want to just bathe in Schadenfreude.

For the last 50 years, people across the liberal spectrum have had to endure abridgement of their civil rights because the views that they espoused were considered dangerous. Well, soon we'll have people in power being handed the tools to do the same thing to the anti-populists and a mandate to use them.

Someday soon, I hope that the right-wingers and their corporate backers will look at what they did to their own civil rights and say "what have I done?"

Fractal Archetype: American Beauty

January 19, 2008

American Beauty

So, inspired by Carl's return to Forrest Gump, and as part of a class assignment, I recently re-watched American Beauty. Not surprisingly, it wasn't nearly as good as I remembered. What went wrong, you ask?

Continue reading "American Beauty" »

Carl Rennie: Every time I think I know music

January 09, 2008

Every time I think I know music

Radiohead comes along and changes the rules. I freaking *love* In Rainbows, especially after the good but scattershot Hail to the Thief. It's slowly climbing up the list of my all-time favorite albums, and it's nearly as much of a seismic shift in how I think about music as Turn On the Bright Lights.

I've been listening to so much bombastic, overblown, overproduced music lately (Arcade Fire, Cloud Cult, Kanye West, Fiona Apple, and you can throw pretty much every other album Radiohead has made on this pile, with the possible exception of Kid A). In Rainbows is a wholly different experience; quiet, delicate, gentle in a way that I've never heard this band be before. But it's not a folky, warm kind of gentleness (see Peter and the Wolf) -- it's still cold and distantancing, despite being such a personal and striped-down album. I love the way it uses a few simple instruments with a minimum of bombast, and I've found myself unconsciously imitating the guitar and just drooling over the drums. This is what I want my music to sound like -- exhausted, delicate, effervescent, gentle, hopeless. Their best since OK Computer? I think it's their best ever.

Carl Rennie: Ways in which Andrew Lloyd Webber is different from you or I, part XXIV

January 01, 2008

Ways in which Andrew Lloyd Webber is different from you or I, part XXIV

We don't have a rolodex stuffed with numbers of women willing to give us a blowjob while humming the theme to "Cats" at a moment's notice.

Carl Rennie: Pooh's intervention

December 29, 2007

Pooh's intervention

Creamy childhood-memory-molesting goodness!

http://www.mcsweeneys.net/links/monologues/28christopherrobin.html

I love these monologues, thought I only get about half the references (ah, an illiterate man am I). Another favorite is Morgan Freeman buys a Pop-A-Shot machine.

broken.syntax: what's my age again?

December 18, 2007

what's my age again?

RE: carl's question

Continue reading "what's my age again?" »

Carl Rennie: Media: The Mist, Cloud Cult, Wise Blood, and Ocean's Thirteen

Media: The Mist, Cloud Cult, Wise Blood, and Ocean's Thirteen

Thoughts on what I've been watching (complete with spoilers for The Mist -- if you plan to see it, don't read on):

Cloud Cult - The Meaning Of 8
Tasty in a very serious, angsty, Arcade Fire-y kind of way, The Meaning of 8 is Cloud Cult's sixth (I think) album, which leads me to ask: why haven't I heard of these people before? It's a warm, enveloping listening, with attempts at abrasion and instrumental weirdness largely smothered by layers of melancholy guitar lines and melodic strings. By far my favorite song on the album is the superlative Take Your Medicine, which includes a lyric that always brings me close to tears: "you can take it in stride/ or you can take it right between the eyes/ suck up, suck up, and take your medicine". Sometimes you just need to hear that.

Wise Blood by Flannery O'Connor
I picked this up (along with everything else she's ever written, including most of her personal correspondence -- thanks, Amazon!) on Dave's recommendation; he called her "the best southern gothic novelist [he's] ever read". It's a strange, strange book, hopping into different viewpoints over the course of the novel, with characters acting in a dreamlike manner -- their actions are thematic and iconic, not realistic, and one character literally spends the novel acting entirely on instinct (he winds up at a gas station in a gorilla suit, if that tells you anything). The strange, stagey nature of the character's actions belies their achingly real loneliness, which is both the most resonant characteristic of the novel and the one thing that ties everyone together. It cetners around a bitter veteran preaching the "only truth" -- that there is no Jesus -- for his Church Without Christ, who feels compelled to flagellate himself for sins that he no longer believes in, and the people who are drawn to him, by his intensity, his devotion, and mostly his utter contempt for everyone who is not himself.

Ocean's Thirteen
It's denser than it needs to be, and it somehow manages to be crammed full of exposition without ever really explaining anything. It's a confusing movie, not as funny as it thinks it is (most of the humor is of an extraordinarily dry variety) and the color palette was so distracting (bold, bright reds yellows and earth tones, saturating and oversaturating the screen without maintaining any consistency from scene to scene) that I had trouble appreciating the images. However, it's a lot of fun, and the careless banter between Clooney's Danny and Pitt's Rusty is comfortable and pretty funny. This is certainly a huge step up from Ocean's Twelve, with it's ridiculous meta-Julia Roberts subplot.

Stephen King's The Mist
For those of you that remember Dreamcatcher's batshit insanity -- my last brush with a Stephen King adaptation -- this film will come as something of a relief and letdown all at the same time. Instead of cramming every possible plot device into a two-hour space, it's a relatively straightforward giant bugs movie, with the added caveat that We Have Met The Enemy and He Is Us. (SPOILERS AHEAD) To briefly summarize: the day after a brutal electric storm, an impossibly thick and sentient-seeming fog encompasses a small town in Maine, trapping a good chunk of it's population in the grocery store (see, the power went out, and everyone went down there to stock up...) It turns out it's not so much the mist itself as what's IN the mist that's killing everyone; namely, big spikey bugs with superpowers.

There's a lot to like about the movie. I enjoyed religious crazy who converts a good chunk of the survivors, and I was rather surprised (in a pleasant way) when the entire theater applauded at her well-deserved death. The bugs themselves are pretty well-done (after the tentacle monster, which was rather ridiculous-looking), and the images of people walking through the fog, weapons at ready, terrified of the creatures all around that they can hear but not see -- those scenes are tense and striking. In fact, it's a better interpretation of Silent Hill in many ways than Silent Hill itself was.

However, there were some STUPID STUPID things that just pissed me off. (SPOILERS FOR REALZ THIS TIME.) When the main character is having trouble convicing people that the monsters are real, it doesn't seem to occur to him to just, I don't know, bring out the four-foot-long section of spikey tentacle he had hacked off the beast and show it to people. It seems like explaining the impossible would be so much easier with a visual aid, rather than trying to get people to take your word for it. Secondly, the ending -- and I applaud the movie for having one of the darkest, most grossly nihlistic endings I've seen in a Hollywood film -- is completely undermined by both timing and a huge oversight by the director. We're to believe that our intreped adventurers abandon all hope for escape when their SUV runs out of gas, despite the fact that they pass hundreds of abandoned cars in the several hours that they travel. Granted, there's dangerous beasties out there, and you're probably not going to want to spend a lot of time gassing up, but it seems ridiculous that they couldn't figure SOMETHING out. Especially when the alternative is so grim.

Which leads me to the message of the movie, which is either strikingly audacious or hopelessly muddled. People die in this movie, good people, in horribly unpleasant and occassionally unpredictable ways, and it's largely without rhyme or reason. Good people, bad people, people who you aren't really sure about one way or the other -- they all die, and it's very rarely because they're doing something stupid. The message seems to be "if you make it through a situation like this, thank luck, because that's all that's keeping you alive". The closing shot -- where the main character realizes he's made for himself a worse hell than the monsters ever could've made for him -- comes out of nowhere, and his punishment is startlingly arbitrary. Except for jumping the gun (so to speak) at the very end, he's done just about everything right, and yet at the end he's worse off than just about anyone else in the movie. So... what's the moral? It seems like the movie is trying to make a point about his suffering, but other than "the universe doesn't make any sense", I'm not entirely sure what it is.

So there you are, my first text-heavy entry in a while. What've y'all been reading/watching/listening to?

broken.syntax: some will sink, some will get called to the light

December 15, 2007

some will sink, some will get called to the light

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and that is that.

Carl Rennie: Just for a minute, this made me sad

December 14, 2007

Just for a minute, this made me sad

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