Feted metres of sudden consciousness,
counting strands of light on fingertips
and rays of light that light the dust
and highlight the crisscross floor.
A ringing phone, the call to arms,
delayed momentos rested and ready
like crumbled bleu cheese amid chilled glass
dark wine, colored by light and sun and its surroundings.
The predesigned lesson set to open eyes and minds
it penetrates the curtains and the golden tinsel, fresh and new
aligned with perfume, nature and restive bodies,
choreographed and matching, like ballet in its simplistic sophistication.
Candles expire without witness,
its currant overtones and the hollowed glass
the sole evidence of our night and our day,
our sweat and our smiles left and erased
to be replaced again with reciprocity and inevitable perfection.
Tuesday, January 04, 2005
MovieQuote: Austin Powers
Dr. Evil, attending a self-help focus group with his son (played by Seth Green) reveals some biographical background for the class (and for teacher Carrie Fisher):
My father was a relentlessly self-improving boulangerie owner from Belgium with low-grade narcolepsy and a penchant for buggery. My mother was a fifteen-year-old French prostitute named Chloe with webbed feet. My father would womanize, he would drink, he would make outrageous claims like he invented the question mark. Sometimes he would accuse chestnuts of being lazy... the sort of general malaise that only the genius possess and the insane lament.
When I was insolent, I was placed in a burlap bag and beaten with reeds... when I was 12, I had my scrotum shaved ritualistically by a Zoroastrian named Vilma. There's nothing like a shorn scrotum, quite breathtaking, really.
Monday, January 03, 2005
The Under-Sea Cinematic (Couch) Experience
For whatever reason, the past 24 hours has brought a cavalcade of submarine movies. I dunno why, but all I know is I now feel comfortable manning the sonar scope of any late-model boat made in the US, Germany or Russia, albeit with one minor caveat: movies never convey odors, so if the BO on any of those submarines is as bad as one might suspect, well, then I'll gladly breach enemy lines via Catamarand.
In the meantime, why is it that every submarine movie, at one point or other, makes the "pinging" an event of cosmic significance? These boats were and are, on average, the length of several football fields: why don't sub designers put in a windshield? Better to see the large black mass of metal coming towards you than trying to find something that big just by doing that constant pinging. It's almost as irritating as hearing the heartbeat monitor in every hospital scene that features someone dying. Is it me? Eh...don't answer that.
For better or worse, here's the short list:
K-19: The Widowmaker
Harrison Ford as executive producer and Liam Neeson as the protagonist, with a bunch of other solid performances on a movie that wound up being less-than-stellar. It occurred to me as the initial credits began rolling that this was one of Harrison Ford's few failures, at least in terms of the box office, and it's a shame -- the story's pretty solid, the acting is flawless, and the tension inherent in the situation is palpable. Set in 1961, essentially, this is the story of a sub captain (Liam Neeson) being stepped over by a Kremlin politico who steps in as Captain and keeps Neeson on as his second. The K-19 is the Soviet's first major nuclear sub but, like all things Soviet, isn't quite built as well as it was designed, and ends up not being quite sea-worthy. Considering the sub sports a nuclear reactor, the sea isn't the best place to find out that the nuclear core has failed, is leaking radiation and will kill all the men on board the sub. Consider also the power struggle between Neeson and Harrison Ford (who grows more stoic as the movie progresses) and the looming encounter with an American destroyer 2 miles off their port side and the movie was worth a look-see. Very much an effective way of demonstrating the cramped, claustrophobic quarters in modern submarines. Also, since this movie portrayed the Soviet perspective on the nuclear race, it was interesting to note the tangible Cold War and political issues that were supposedly rampant prior to the falling of the Wall and Communism. An interesting statement on politics, personal relationships and how military service and experience, regardless of which side, combined to define a generation and geopolitics for the coming half-century.
Das Boot
The original, Das Boot ("The Boat" in German), is the quintissential U-boat thriller. Starring Jürgen Prochnow, a character actor who soon will be starring as Arnold Schwarzenegger in a story about his rise to the California governorship, this movie defines why the "ensemble" cast beats the shit out of a few high-profile stars, hands down. This movie tells the story of a submarine crew from the German perspective and shows, yet again, the humanity and the futility of war, no matter what flag to which you swear allegiance.
Part of why this movie excels is some clever, Hitchcockian maneuvering. Director Wolfgang Peterson kept the "crew" of the ship inside and out of the sunlight for the span of the filming, thus reinforcing the look (and the "crew's" sense) of being in a ship without light for months at a time. Incredibly real, incredible tension, and hearing depth charges on a good home theatre system (my couch shakes with each charge) makes the experience -- ie, the film -- real and harrowing. Long at 209 minutes but gripping.
Crimson Tide
Gene Hackman, Denzel Washington and a solid supporting cast (George Dzundza, James Gandolfini, Steve Zahn, Viggo Mortensen), in the space of 116 minutes, demonstrate why there is strict military protocol whenever nuclear weapons are concerned. This is a Bruckheimer & Simpson combo, the same production duo that brought The Rock and several other adrenaline-surge movies, and this one really heats up. The conflict over whether to launch nuclear missiles in response to a Chechen revolt, and the subsequent loss of communication, tips the tension to the redline, and the diametrically-opposed characters make excellent cases for their positions. Knowing nuclear weapons are at the center of the conflict is where the fun starts.
The interplay between Hackman and Washington is so strong it generates sparks, and the soundtrack only serves to reinforce the fear, the unknown, and the sense of duty, honor and courage that accompanies submarine duty. Yet another film which demonstrates, par excellance, the paranoid claustrophobia that permeates life on a sub, and the dialogue, the back-and-forth and the tension is thicker than freshly-curdled butter, and lots tastier.
The Hunt For Red October
The first of Tom Clancy's military novels hit the screen with a lot of fanfare and notoriety, mostly due to the cast, which featured Alec Baldwin, James Earl Jones, and Sean Connery. Personally, I'd read a half-dozen of Clancy's novels before this reached theaters, and I found that the first 80% of the novel snoozed by in a techno-babble that made the final 20% of the novel exciting, pounding and memorable. The movie, for the most part, is no different, except for the presence of some very notable, gifted supporting actors, including Sam Neill (who is always good, whether he's chasing dinosaurs, saboteurs aboard a nuclear sub or his father, Satan) and Scott Glenn (a top-notch supporting player). The politics of nuclear technology, East vs. West, and the notion of who really controls the dogs of war are all at play here, replete with twists and turns that guide the movie onward. Though the climactic finish is altered for cinematic and logistical plausibility, the movie starts out slow and stays there for some time, but the payoff is worth it, if you can manage to keep awake and follow along. Worth a view and a listen and to marvel at Connery's ability to portray anyone who he damn well pleases.
U-571
This "Young Guns" of the deep features a cast of Matthew McConaughey, Bill Paxton, Harvey Keitel, Jon Bon Jovi and David Keith; it's well-done but it's also a second-place finisher in comparison with the films mentioned above, if for no other reason than it's merely adequate. A lot of the movie focuses on the sonar/pinging phenomenon, and while that might be accurate to World War II submarine technique, it makes for lousy cinema. Even while watched via a capable home theatre system, the pinging and the sonic aspect of the film grew tiring, and the mission -- to capture a German decoding machine to help the Allies win the war -- seemed to be less important than hoping for the conclusion to the film. The tension is there, the claustrophobia is there, the capable cast is there, but the impetus to want to see the film again isn't.
With Saving Private Ryan, The Thin Red Line and Behind Enemy Lines, modern filmmakers presented a new perspective on war films that will leave many modern viewers forgetting about John Wayne, Lee Marvin and many other long-gone actors who shed cinematic blood for on-film wars. But the submarine genre, to this day and beyond, will remain, especially because but not limited to the fact that subs are out there in the icy waters of the Atlantic and beyond, guarding and monitoring and listening and watching, and the mystery and the capability and the power lurking down below the surface is captivating, mysterious and intoxicating.
One day someone will best Das Boot and Crimson Tide, without a doubt. The key to any great movie in this particular genre is creating a story and a purpose for installing the viewer square in the middle of a monumental conflict, not merely effects and accurate sounds to heighten the tension. The stories that work feature far-reaching implications, and they remind us that once we've climbed aboard the sub we can't get off until the mission's over, and quickly reel us in so that we refuse to miss a second even if we could.
Periscope down, prepare to dive.
In the meantime, why is it that every submarine movie, at one point or other, makes the "pinging" an event of cosmic significance? These boats were and are, on average, the length of several football fields: why don't sub designers put in a windshield? Better to see the large black mass of metal coming towards you than trying to find something that big just by doing that constant pinging. It's almost as irritating as hearing the heartbeat monitor in every hospital scene that features someone dying. Is it me? Eh...don't answer that.
For better or worse, here's the short list:
K-19: The Widowmaker
Harrison Ford as executive producer and Liam Neeson as the protagonist, with a bunch of other solid performances on a movie that wound up being less-than-stellar. It occurred to me as the initial credits began rolling that this was one of Harrison Ford's few failures, at least in terms of the box office, and it's a shame -- the story's pretty solid, the acting is flawless, and the tension inherent in the situation is palpable. Set in 1961, essentially, this is the story of a sub captain (Liam Neeson) being stepped over by a Kremlin politico who steps in as Captain and keeps Neeson on as his second. The K-19 is the Soviet's first major nuclear sub but, like all things Soviet, isn't quite built as well as it was designed, and ends up not being quite sea-worthy. Considering the sub sports a nuclear reactor, the sea isn't the best place to find out that the nuclear core has failed, is leaking radiation and will kill all the men on board the sub. Consider also the power struggle between Neeson and Harrison Ford (who grows more stoic as the movie progresses) and the looming encounter with an American destroyer 2 miles off their port side and the movie was worth a look-see. Very much an effective way of demonstrating the cramped, claustrophobic quarters in modern submarines. Also, since this movie portrayed the Soviet perspective on the nuclear race, it was interesting to note the tangible Cold War and political issues that were supposedly rampant prior to the falling of the Wall and Communism. An interesting statement on politics, personal relationships and how military service and experience, regardless of which side, combined to define a generation and geopolitics for the coming half-century.
Das Boot
The original, Das Boot ("The Boat" in German), is the quintissential U-boat thriller. Starring Jürgen Prochnow, a character actor who soon will be starring as Arnold Schwarzenegger in a story about his rise to the California governorship, this movie defines why the "ensemble" cast beats the shit out of a few high-profile stars, hands down. This movie tells the story of a submarine crew from the German perspective and shows, yet again, the humanity and the futility of war, no matter what flag to which you swear allegiance.
Part of why this movie excels is some clever, Hitchcockian maneuvering. Director Wolfgang Peterson kept the "crew" of the ship inside and out of the sunlight for the span of the filming, thus reinforcing the look (and the "crew's" sense) of being in a ship without light for months at a time. Incredibly real, incredible tension, and hearing depth charges on a good home theatre system (my couch shakes with each charge) makes the experience -- ie, the film -- real and harrowing. Long at 209 minutes but gripping.
Crimson Tide
Gene Hackman, Denzel Washington and a solid supporting cast (George Dzundza, James Gandolfini, Steve Zahn, Viggo Mortensen), in the space of 116 minutes, demonstrate why there is strict military protocol whenever nuclear weapons are concerned. This is a Bruckheimer & Simpson combo, the same production duo that brought The Rock and several other adrenaline-surge movies, and this one really heats up. The conflict over whether to launch nuclear missiles in response to a Chechen revolt, and the subsequent loss of communication, tips the tension to the redline, and the diametrically-opposed characters make excellent cases for their positions. Knowing nuclear weapons are at the center of the conflict is where the fun starts.
The interplay between Hackman and Washington is so strong it generates sparks, and the soundtrack only serves to reinforce the fear, the unknown, and the sense of duty, honor and courage that accompanies submarine duty. Yet another film which demonstrates, par excellance, the paranoid claustrophobia that permeates life on a sub, and the dialogue, the back-and-forth and the tension is thicker than freshly-curdled butter, and lots tastier.
The Hunt For Red October
The first of Tom Clancy's military novels hit the screen with a lot of fanfare and notoriety, mostly due to the cast, which featured Alec Baldwin, James Earl Jones, and Sean Connery. Personally, I'd read a half-dozen of Clancy's novels before this reached theaters, and I found that the first 80% of the novel snoozed by in a techno-babble that made the final 20% of the novel exciting, pounding and memorable. The movie, for the most part, is no different, except for the presence of some very notable, gifted supporting actors, including Sam Neill (who is always good, whether he's chasing dinosaurs, saboteurs aboard a nuclear sub or his father, Satan) and Scott Glenn (a top-notch supporting player). The politics of nuclear technology, East vs. West, and the notion of who really controls the dogs of war are all at play here, replete with twists and turns that guide the movie onward. Though the climactic finish is altered for cinematic and logistical plausibility, the movie starts out slow and stays there for some time, but the payoff is worth it, if you can manage to keep awake and follow along. Worth a view and a listen and to marvel at Connery's ability to portray anyone who he damn well pleases.
U-571
This "Young Guns" of the deep features a cast of Matthew McConaughey, Bill Paxton, Harvey Keitel, Jon Bon Jovi and David Keith; it's well-done but it's also a second-place finisher in comparison with the films mentioned above, if for no other reason than it's merely adequate. A lot of the movie focuses on the sonar/pinging phenomenon, and while that might be accurate to World War II submarine technique, it makes for lousy cinema. Even while watched via a capable home theatre system, the pinging and the sonic aspect of the film grew tiring, and the mission -- to capture a German decoding machine to help the Allies win the war -- seemed to be less important than hoping for the conclusion to the film. The tension is there, the claustrophobia is there, the capable cast is there, but the impetus to want to see the film again isn't.
With Saving Private Ryan, The Thin Red Line and Behind Enemy Lines, modern filmmakers presented a new perspective on war films that will leave many modern viewers forgetting about John Wayne, Lee Marvin and many other long-gone actors who shed cinematic blood for on-film wars. But the submarine genre, to this day and beyond, will remain, especially because but not limited to the fact that subs are out there in the icy waters of the Atlantic and beyond, guarding and monitoring and listening and watching, and the mystery and the capability and the power lurking down below the surface is captivating, mysterious and intoxicating.
One day someone will best Das Boot and Crimson Tide, without a doubt. The key to any great movie in this particular genre is creating a story and a purpose for installing the viewer square in the middle of a monumental conflict, not merely effects and accurate sounds to heighten the tension. The stories that work feature far-reaching implications, and they remind us that once we've climbed aboard the sub we can't get off until the mission's over, and quickly reel us in so that we refuse to miss a second even if we could.
Periscope down, prepare to dive.
Sunday, January 02, 2005
Aire
With gliding symmetry, the infinite air and light swirls
amid garlands, mirlitons and gilded gleaming unicorns.
Flighted endeavors, sweetness and spice,
circling like pride, discounting safety in numbers.
With the lit arch of the door beckoning, I followed,
tracing invisible steps with instinctual knowledge.
Counting the 39 paces, I arrive at my destination
chasing the promise, the scent and the urgency.
Temptation released, dancing flames lilting the air,
rising power and distraction, if only momentary,
spurning my coy refrain and grabbing me from within,
adopting the essence of what I want to be and where.
amid garlands, mirlitons and gilded gleaming unicorns.
Flighted endeavors, sweetness and spice,
circling like pride, discounting safety in numbers.
With the lit arch of the door beckoning, I followed,
tracing invisible steps with instinctual knowledge.
Counting the 39 paces, I arrive at my destination
chasing the promise, the scent and the urgency.
Temptation released, dancing flames lilting the air,
rising power and distraction, if only momentary,
spurning my coy refrain and grabbing me from within,
adopting the essence of what I want to be and where.
Dating An Independent Woman
"Hi, my name's Boogie and I'm dating a strong, independent woman."
Due to a symphony of circumstances that were largely beyond my control, I happened upon another blog called "Overworked & Underf*cked" (http://offkilter.blogspot.com/) and I came across the below criteria for discerning and dating an independent woman. Since I find myself sharing my life with such a creature, I read, processed and enjoyed what I had absorbed. Needless to say, I am comfortable knowing I am happily (and successfully) dating a strong, independent woman, and (ahem) I didn't need the advice of how to make such a relationship work. But it's nice to know I'm on the right page, and nice to know, as a result, that my other half and I are on the same page. Without further ado, here it is:
Some guys seem to be confused about what it means to date a strong, independent woman. These women are rare (and from what I'm told, even more so in OC), but they do exist, and it's unfortunate that many men claim to want one and then when they do get the opportunity to date one, they end up at a loss as to how to maintain the relationship.
For starters, you need to know how to identify one of these women when you come across her. She is a strong independant woman if she meets most of these criteria:
- She doesn't create drama. When drama does occur, she cleans it up instead of prolonging it.
- She doesn't spend 3 hours before leaving the house on a daily basis, and when needed, can be ready to face the world in under 5 minutes.
- She's strong in the majority of these areas, and when pushed, has a strength in all of them; emotional maturity, street smarts, decision-making, logical reasoning and athletic ability.
- She is able to form her own opinions on subjects and not wait for your opinion and then agree with it.
- She has her own goals, and has a plan for how to reach them on her own.
If you're still reading, this woman must have matched most of the criteria above; if so, keep reading, this may help you not screw it up.
- Yes, we're competitive. We enjoy pushing ourselves to our personal limits. That doesn't mean we want to compete against you. We're not trying to beat you, we're trying to improve us. Be impressed, not threatened. Let's face it, you're a guy which means you're naturally going to be stronger, bigger, taller, etc. We get it, so should you.
- We love guys that are good with their hands. Odds are, we're pretty handy but if you can do it better you'll earn our admiration. If you can wire the stereo, fix the plumbing, wrench on your car, play a guitar or build something we will be impressed (and quite possibly turned on) even if you only do these things once a year.
- Even if we don't want to do it, we can figure out how to change our oil, change a flat tire, and build our furniture so you should be able to as well.
- Just because we CAN be one of the guys doesn't mean we always are. In fact, we love being able to go from your buddy in sweats by day to the hot girl you can't keep your hands off of by night. Unlike your buddies, don't tease us when we get dressed up. If we look good, tell us. Don't poke fun at the make up, heels or skirt if you really like the way we look.
- If we can dress up and look good for you, it would be great if you know how to tie a tie, dude.
- Stong confident women love sex, and aren't afraid to initiate sex. But, if you really want to turn us on, take charge in the bedroom and show us your dominant side, you won't be disappointed!
- We're comfortable enough in our own skin that we can look at other women and think they are hot. We may even share these thoughts with you. But please note, if every time we comment on a woman you mention a 3some, we'll stop talking to you about it. We get guys have these thoughts, sometimes a little internal editing isn't a bad thing.
- Re: #7 If the hot woman is a relative, NEVER comment on the 3some thing. Ever.
- Did I mention we like sex? This means we usually enjoy some if not all of the following; toys, getting ourselves off, porn, and variety (positions, locations, you name it) Yep, that's right boys, if we like to push ourselves out of the bedroom, we also like to do it in the bedroom.
- By the way, don't be threatened by number 9. Women love toys and getting off as much as men enjoy their own hand jobs, it's a release not a replacement for you.
- We're going to have our own hobbies and interests, some may be more extreme than your tastes. Don't make us feel bad about them simply because they aren't your thing. That makes us feel awkward, and shows you're insecure. It's a turn off and incredibly transparent.
- We realize that sometimes we seem so strong it doesn't seem like we need you. You need to trust that if we've let you into our lives we obviously do.
- No matter how strong we are, we still cry. Hold us when we do.
- When something horrible happens that's beyond our control to fix, odds are it will be beyond yours too, we know this, and it's OK. Just hold us and be there for us til it gets better. We don't expect you to fix it.
- Hold our hand, put your arm around our shoulder, kiss our forehead, pat our butt, kiss our neck. Yes, we are your bud, but we also want to be reminded that we are your girl.
- Praise us. Yeah, with the guys it's always smack talk, and sure, we can throw down with the best of them, but the occasional compliment letting us know you're proud of us is better than flowers and chocolate.
- Don't get lazy because we aren't demanding. It's not usually in our nature to gripe, whine or moan about a lack of romantic gestures, so sometimes you guys forget that we still need them.
Saturday, January 01, 2005
Love Thing/Dark Corner
Floating endlessly, responsibility and noisemakers
blaring silently behind and below
crystal flutes and amber flames stoked by
nails and lips and hair and perfume that
sears my soul as seconds, minutes, hours become futility.
Hands in the air, her topography forcing my hand
flouting space and heat, musical rhythms imploring us
and common decency, governance and dictation,
fighting bubbles, the air, oxygenation and silk and lace.
Hours and whispers and kisses and smiles
tingling our ears and our eyes, a sense of purpose,
the righteous cacophony of youth and maturity
teasing us through blue vinyl and the taxi's exhaust drone.
"Happy New Year."
blaring silently behind and below
crystal flutes and amber flames stoked by
nails and lips and hair and perfume that
sears my soul as seconds, minutes, hours become futility.
Hands in the air, her topography forcing my hand
flouting space and heat, musical rhythms imploring us
and common decency, governance and dictation,
fighting bubbles, the air, oxygenation and silk and lace.
Hours and whispers and kisses and smiles
tingling our ears and our eyes, a sense of purpose,
the righteous cacophony of youth and maturity
teasing us through blue vinyl and the taxi's exhaust drone.
"Happy New Year."
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