Pleasure and melons
Want the same weather
--Italian proverb
I DON'T LIKE spring to be better than summer. It implies something unfortunate, like the best of life is in anticipation and planting, and the harvest can never live up. July was tomatoless. August was half over before I saw the first Black Krim breaking, ending the big green stalemate that was interminable this cold summer. If I'd planted some bitchass cherry tomatoes I'd have long been picking, but that simply isn't the way I roll. I'm not into cherry tomatoes and rather resent consolation prizes.
Turned out this would have been a season to insure against disappointment, but instead I planted eggplants and edamame and the most ambitious, unreasonable heirloom tomatoes--all of which are now sickly, under-performing, shivering every dewy morning. I even switched from my dependable sauce variety, Super Marzano, a megavirile hybrid impervious to setbacks, to the vulnerable, romantic heirloom San Marzano Gigante. The latter is an old school version of the same fine paste tomato; it lacks the usual hybrid goodies (disease resistance, insane profligacy) but makes beautiful, odd-shaped, enormous tomatoes purported to be delicious. And you can save the seeds. It's an heirloom. That's classy.
Alas, I won't be saving any seeds. My San Marzano Gigantes got verticillium. The lush green tops are a fraud, given away by the yellow-and-brown-chevroned leaves at the base. When I grow the Super hybrids, two plants give me a year's worth of tomato sauce. The lovely heirlooms I planted this time will give me a dinner or two at best. But I can't hate; who knows what they could have done with a bit more bravery, in heat and undiseased soil.
Hot weather makes me want to be superficial. Which can be nice sometimes. If it's cold I have to keep considering serious matters instead of offering my bikini self up to the sun and thinking nothing. Plants worry overmuch in the cold too. They just can't seem to relax.
I like to grouse, so good things often happen just to spite me. This cold summer I grew my first successful melon, over at the school garden. Watermelons always top the kid request list, but I'd never been willing to plant them, because I don't like teaching children that gardening is about disappointment and I never thought we could harvest a damn watermelon. If all warm-weather crops want richness and heat, watermelons want both more. More than zucchini, more than tomatoes, more than peppers, more than eggplants, more than cucumbers--hell, even more than other melons.
In spring's planting daze I snuck two plants of an early, small watermelon variety into an already-overstuffed bed we'd newly constructed at the school, making no fuss so as not to build up childish hopes. The soil was lush, the courtyard location snug and warm, and in late July a softball-sized watermelon occurred. No kid ever saw it, as far as I know. (The school is abandoned to custodians and construction workers in late summer. They all like beans and squash.) Like a dummy I picked the prize when it was utterly unripe and had to feed it to my hens. But I think I saw a couple other set fruits nestled among those hand-shaped leaves.
In the same school bed with the watermelons I grew my first successful Bay Area cucumbers and made a half gallon jar of pickles, which ought to keep until Back to School time. Maybe more watermelons will be ripe for the kiddos by then too. Maybe not.
But there's always picking. Even in a cold summer garden.
It's my life
I'ma do what I do
If you don't like it
It's cool
Fuck you
--words to live by, from the self-actualized Pitbull
Because the earth needs a stiff drink.
The Pika Sidecar2 parts bourbon
1 part grand marnier
1/2 part meyer lemon juice
Shake well. Garnish with haypile of one pika.
Limpy the Wolf2 parts earl grey infused vodka
1 part gin
1/2 part lillet blanc
Serve in rocking tumbler in honor of poor 253M.
The Mountain Pullover2 parts vodka
3 parts fresh squeezed orange juice
1/2 part simple syrup
1 speckled mountain plover egg
Shake vodka, orange juice and syrup. Pour into chilled martini glass. Gently roll mountain plover egg into glass, allowing the incubating chick an osmosis share of alcohol. Remove egg and consume drink while waiting for gangly plover to emerge. If plover has not yet hatched when drink goes dry, repeat with additional drinks until egg watch concludes. After hatch, crush spent eggshells for future use rimming glasses.
Drink this and drive and you'll get pulled over. What are you doing driving? I thought you cared about the environment.
I WAS PRETTY SURE I hated Saul Bellow, vigorously and justly. Hated him for his sexism, which is to say he seemed to hate me first. My gag reflex was not Bellow-specific. I felt the same revulsion toward other macho American novelists, who struck me as oversexualizing and insulting and apelike.
However I had at some point to admit that I also found these same writers: fascinating. This attraction-repulsion required further investigation, preferably in post form. So here goes.
Bellow seemed like a fitting launchpad for said investigation, and I picked up a copy of his renowned 1964 novel Herzog. Both being Jews, I figured Bellow and I could bond over quaint Yiddishisms, having little else in common. Which worked out nicely when his character Moses Herzog reminisced on singing "Ma Tovu" with his brothers as a child. I was humming it all the next day. ("Ma Tovu" is a pleasant song to have in your head, since it means "How Good." Ma tovu ohalecha Yaakov, mish'knotecha Yisrael: How good are thy tents, O Jacob, your dwelling places, O Israel.)
I opened the test case macho novel with apprehension. The plan was to face the erection, hoping I'd know what to do with it. And mostly I did, noting the sense in which the hyperactive male sex drive ought to create a happy situation for us heterosexual women. I suppose the rub lies in our ambivalent role as object of those desires. Desire can beget derision, as I am wont to lecture. And too, horniness may beget creepiness. Reading Bellow was at times like being inside the head of some lecherous great-uncle; I did not want to know what was going on in there.
In the Herzog era, the Mad Men era, there seems to have been some glamorous sexual crackle, and simultaneously the sexes were warring. Usually it seems we get along better nowadays, but sometimes it seems men are stewing in their caves while women appear smugly victorious but are privately unfulfilled.
And I worry that our present era has warped and vilified some of the natural distinctions of gender, and that certain prevailing wisdoms attempt to subdivide relationships into unrealistically tidy, sterile compartments (sex, communication, housework, and so forth), neglecting the pulsating, organic whole that is the ever-tenuous but uniquely magical bond between men and women.* I kept these ruminations to myself, however, until I read a wonderful essay in the book review section of the New York Times.
*Sorry, beloved gays. This one's not about you.
IN HER ESSAY "The Naked and the Conflicted," Katie Roiphe observes that today's male novelists "have repudiated the aggressive virility of their predecessors." Predecessors like Norman Mailer, John Updike, Phillip Roth and Saul Bellow. (Among these Bellow is, incidentally, the most demure, as indicated in the below graphic, which accompanied Roiphe's essay.) She goes on:
The current sexual style is more childlike; innocence is more fashionable than virility, the cuddle preferable to sex...Rather than an interest in conquest or consummation, there is an obsessive fascination with trepidation, and with a convoluted, postfeminist second-guessing.
Of that last she provides an excellent example from Jonathan Franzen in The Corrections: "He could hardly believe she hadn’t minded his attacks on her, all his pushing and pawing and poking. That she didn’t feel like a piece of meat that he’d been using."
Ladies, if we have given guys the impression that their sexual aggression is loathsome, we have failed grievously to communicate. And communication is supposed to be our specialty. Furthermore, if we have given such an impression, that we want our men de-balled, does that not betray a cowardice of our own?
It is fashionable to speak of men being *threatened by strong women,* but what of insecure women feeling threatened by strong men? Mightn't we women be quick to judge a delicious specimen of masculinity as a jerk or a dolt or a cad, similar to the way some men are quick to condemn a dauntingly attractive woman as dumb or bitchy?
Speakinawhich, check out Herzog's flagrantly displayed desire/derision vortex in this passage from the book:
He saw twenty paces away the white soft face and independent look of a woman in a shining black straw hat which held her hair in depth and eyes that even in the signal-dotted obscurity reached him with a force she could never be aware of. Those eyes might be blue, perhaps green, even gray--he would never know. But they were bitch eyes, that was certain. They expressed a sort of female arrogance which had an immediate sexual power over him; he experienced it again that very moment--a round face, the clear gaze of pale bitch eyes, a pair of proud legs. [Emboldenings mine.]
Sheesh! What threat can this stranger possibly represent? She's just like sitting on a bench in a train station and he hates her.
I found a possible answer in a description of Herzog's ex-wife, Madeleine. Recalling the beauty of the woman who left him, Herzog is flooded with venomous resentment. "Such beauty," he thinks, "makes men breeders, studs and servants." Stands to reason that Bitch Eyes, likewise, would be a threat to power. A threat to freedom. Bell Biv Devoe said it straighter: "Never trust a big butt and a smile."
Here's another Bellow desire/derision gem, describing a photograph of Madeleine as a child: "In jodhpurs, boots and bowler she had the hauteur of the female child who knows it won't be long before she is nubile and has the power to hurt." I assure you, no twelve year-old girl has ever thought any such thing.
But I appreciate knowing Herzog has these notions. What makes the insidiousness of the contemporary male novelists is their reluctance to be real for fear they'll be caught thinking wrong. This is artistic cowardice, though also understandable. By contrast, in Herzog Bellow ruthlessly exposes the twisted consciousness of an often-despicable character who seems a damn lot like Bellow himself. It reads like plain truth; artless, and thus good art.
Funny thing--Franzen tries to do this, or something akin to it, in The Corrections*: creating a mildly despicable doppelganger with whom the reader must inevitably empathize. But Franzen's Chip comes off wanting to be pitied or sheltered or something. He backhandedly begs absolution, whereas Herzog is (at least in his stream of consciousness narration) guileless. Herzog's not trying to manipulate the reader into secretly liking him; he owns to being half schmuckish and is strong enough not to whiningly finagle your forgiveness. He only asks that his faults be accepted. Who can say no to that.
*I read The Corrections several years ago and did not re-read it for this essay. That was wrong, I know. Just I was loathe to rekindle so odious a relationship. By way of apology, I offer this interesting recent Franzen article.
At any rate, this business of shipping one's self-loathing out into the world in charismatic written package is an excellent trick, one I use often. But I digress from the point, which is: I'd sooner do Saul Bellow than Jonathan Franzen. And the former is dead. (Counterobjectification. Try it.)I LEARN things from Bellow because he tells the truth, however ugly. I have some idea now how a person of Herzog's ilk, a muddled misogynist mid-century man of ideas thinks. Communication can only be born of honesty, of course. If someone avoids saying in order not to be caught harboring incorrect (politically or otherwise) thoughts, only frustration can result.
But it wasn't only Bellow's honesty that I appreciated. Reading Herzog, I felt a less inhibited version of the attraction to mid-century macho novelists that had formerly evoked feminist shame. Indeed the very things that might make men sexist--strength, dominance, a bit of brutishness--might also make them sexy.
The loins are rarely in accord with the politically correct brain. Trust me. I've read Superhead's memoir. (Sup's writing game can't match Sup's head game.) But I do believe this conflation of sexy and sexist, what we might call the Nigel Tufnel Paradox, can be overcome. It just requires effort on both sides. A male friend once told me it is not easy to find the balance of being a guy. And I believe him. Just as, he kindly added, it is surely not easy to do same as a woman.
In saying such things there is always the fear one's fellow woman will accuse one of letting men off easy, indulging in another pathetic effort to please them. Herein paragraph constitutes my plea for sisterly mercy, so let me reassert that yeah Bellow's sexist. Classically so. Herzog's ideal woman is geishesquely servile, delighted just to please him, bathe him, remove his shoes. And he thinks some mean shit, like, "But this is a female pursuit. This hugging and heartbreak is for women. The occupation of a man is in duty, in use, in civility, in politics in the Aristotelian sense." Ouch! (Resolved to watch PBS News Hour each evening in full. No TMZ.)
And yet Moses Herzog, wandering the existential desert, is also a decent person. And indeed decent people have often been sexists, racists, slaveowners and Nazis. How many must there be today who hate gays? Prejudice is one of those peculiar quirks of humanity.
CHEST-THUMPING authors, like Mailer especially, do also use sex and misogyny the way certain rappers do: to flex a disfigured masculine pride. I distinguish such cheap knocks from genuine expressions of imperfect sentiment. And as Roiphe points out, contemporary male novelists can be sexist too; just their version is "wilier and shrewder and harder to smoke out." Which is kinda worse, for its camouflage. (BTW, if you ever make your girlfriend mad, just drop five stacks on that makeup bag; it worked on my cat.)
My unsolicited advice to male authors: Writing is not macho. Novelists are not rock stars, not boxers. If writing novels threatens your manhood, perhaps prescribe yourself some other activity to restore it rather than jizzing all over the manuscript. Oh, and tell the truth. Even if someone might hate you for it.
To all the ladies worldwide, I say we have to be strong enough to let men have their strength and know we can handle it. They, in turn, have to promise not to be assholes and to treat us with respect. But the respect has to be genuine. As in literally 'look again'--not some blathering bullshit self-congratulatory fake sensitivity. Beware the man who announces his feminism. I never ever tell people who are not white that I'm nonracist.
What do women want? wonders Herzog. "What do they want? They eat green salad and drink human blood." At another point he lists what women around him seem to expect: "nightly erotic gratification, safety, money, insurance, furs, jewelry, cleaning women, drapes, dresses, hats, night clubs, country clubs, automobiles, theater!" But a woman of Herzog's day could easily have made a much longer list of what men then expected from women, including but not limited to: looking pretty, being the cleaning women themselves, rearing young, smoothing down hackles, pleasing in bed, living in suburban traps and resigning themselves to the denigrating attitudes and limited roles of their time.
I presume to speak for all contemporary women in saying we want strength without oppression, sensitivity but not 'paralyzed sweetness,' to be protected and appreciated and understood. And I cannot know but can guess that the men want care without stiflement, independence but not indifference, to be nurtured and appreciated and understood. Tall orders on both sides, but something can probably be worked out.
I'm from the exurbs, so I can appreciate both urban and rural. They are both, at least, something, rather than an absence of anything. (Sorry, Riverside. You know you're always my hometown, loved unconditionally.)When I tell people I'm milking an Oakland goat they seem amused slash to be wondering why I feel the need to be so obstinately strange. There is no explaining why goat-milking is wonderful. I cannot make the case in sensible terms, like the milk is so extra delish, or it's saving me money, or I have achieved near-vegan levels of food moralism.
I don't buy milk anymore, and that is cool. But I only quite grasp the awesomeness of the thing at 7:30 on Tuesday mornings when I'm in my pajamas carrying a quart jar of warm milk up the street of my city neighborhood. (Please note that my milking sentiments are less fond at 6:30 alarm time.) It's all there as I walk home: the udder just drained, the cereal soon to be wetted, the cheese later to be made, and the peculiar sensation of knowing how it all happens.
This yield is pitiful. But you get the idea.
Knowing how it happens is not pure bliss. There's a reason we've divorced our food from its origins. The origins are often gross. The Goat Girls, aged twelve and sixteen, are wont to squirt milk from the udder right into their mouths, preferably whilst singing My milkshake brings all the neighbors to the yard/Damn right it's better than the store's--but I cannot yet do this. And in fact it took me a while before I could scramble and consume the eggs laid in my backyard without queasy revulsion. And in fact it took me a while before I could eat the lettuce grown in my backyard without a dubious mix of self-mistrust and grossness aversion.
Milking does not have a singular character. There are many kinds of milkings, as with any elemental activity. Sometimes the Indigoat Farm hens are pecking at the alfalfa hay strewn about the stanchion and Indi is bleating sweetly from the pen and sun reflects off Kiah's deerish brown flank and my hand works like it was made to do this particular finger dance, forcing great white streams into a latte froth in the collection cup. Other times rain drenches my Cal sweatshirt, its cuffs stained by and reeking of Udder Butter, and Kiah hates me, alfalfa bribes notwithstanding, and to spite me kicks her shit-caked hoof into my hard-won supply.
I was surprised (and a tad smug) when I had to convince someone--a wise and worldly reportorial sort once employed by CNN--that milk comes only from animals who have given birth. In the case of a bucolicized small farm creature he was quite willing to believe it, but surely, he objected, this was not the case for those milking machines in industrial farm bondage. Modern agriculture has us well fooled. Surely, we think, it must happen some other way.
The reason for milk. Indi, at her sleepover chez moi.
Speaking of animals' inevitable reproductive habits, Marianne has gone broody, not unlike half my human friends. She sits on the nest, doesn't lay, has to be persuaded even to roam the yard at evening recess. There are nest box skirmishes when Ximena or Betsy want to go in there and get some actual work done, and egg yields are desperately down without her dark brown, speckled contributions. The one upside is I get to bust out heretofore unused chicken terminology, moaning about how she's 'setting' and I have to 'break her up.'
My attempts to break her up have failed. (Ice cubes? Bitch please.) I began to reflect on this latest form of insubordination disguised as poultry instinct in connection with the previous form: her weeks-long campaign of daily escapes, via flight from a high branch of the fig tree that canopies the run.
I came to suspect that the problem went beyond broodiness. She's at the bottom of the pecking order, forever getting her ass beat, has last dibs on chard treats. Disgruntlement has radicalized her. I never saw this coming: my chicken is an anarchist.
Everybody seems to have ideas about how to break broodiness, but I couldn't find any tips online about how to break anarchism. And it's pretty far along. I cleaned out the nest box expecting to find some adolescent knickknacks, perhaps a few punk rock records. But no. She's got the entire fucking AK Press catalog stashed in there. Bakunin quotes scrawled on the walls. Suffice it to say that I came home sporting an "I Voted" sticker and got shat on.
I can roll my eyes and explain it away psychologically, and I'd have a strong case, considering her pecking order issues. But I should also give her choice of philosophy some respectful consideration. I do keep her caged in wire, after all.
Indeed there is much to ponder when keeping working animals. There is no 'freeing' them at this point, having finagled our needs into their very genes. At best we can work to ensure the bargain we strike with them is fair. I think
FOOD + PROTECTION ⇌ FOOD + OBEDIENCE
is pretty fair. Politeness on both sides is helpful; affection is bonus nice. (I don't eat meat, so you'll have to talk to somebody else about the off-with-their-heads bit.) But they are creatures, with creature hearts and minds. They can't be machinized, and I think that's for the best.
Leela (in the black down) and Erykah. Hands mine.
Animal husbandry is a progressive addiction, so I ended up with some ducklings, bought from a feed store in Petaluma. At maturity they're to join the lone duck at Indigoat Farm. But there was an uncute twist in which one of them died, age five days. It might not have been my fault. Then again, it might have been, which is another thing one has to think about. You gotta be on top of your game when it comes to those downy tufts of precious new life.
Shipped via Israeli post! No, not really.
Leela and Erykah have certain duck-specific charms. You can tell they like muck, and seek it (by gathering at the base of my wine barrel water garden) and seek to create it (by making a sludgy mess of their brooder box). When they splash into the Pie Pan Pond™
, it is an absolute refutation of any argument that animals can't feel joy.
Meanwhile, Paulie has been in the shade by the passion vine, penning his memoirs. Six weeks in he has only the title, Big Cat Diary. When he sees the ducklings coming, he runs.
And the backyard beat goes on.
It may be mating season, but the hens are instead ensconced in their book club. (Currently, Mansfield Park.) Following are their retorts to unworthy rooster suitors.
Ximena: A living of ten thousand a year and the finest carriages to your estate could not overcome a manner so uncivil. Besides which these attentions cannot have merit, your having so recently made my acquaintance as to be utterly ill-equipped to discern my character.
Betsy: Without wishing to insult you, I am nonetheless obliged to bring forth the unsuitability of the connexion, as I should never entertain the entreaties of a man of inferior birth.
Marianne: While in grateful receipt of the knowledge that your examination of my hindquarterly regions has yielded so favourable a result, I speak not from modest delicacy but rather with stern purpose in saying these attentions shall in no manner further the cause to which I can only but attribute your initial addresses toward myself.
IT WOULD have been nice if Erykah Badu made just the album I wanted. It would have had all the philosophical depth of New AmErykah Part One and all the yarn-spinning and sensuality of Mama's Gun and even better grooves than Worldwide Underground and would have taught me everything I need to know.
But it doesn't work that way. Badu made the album she needed to make, and it's on me to love it or leave it. Being a proper fan is probably good training for all kinds of other relationships.
I know I've no right to write music reviews. I'm not qualified. I don't understand music, even though I consume it in gobs. So people say New AmErykah Part Two is more acoustically au naturel whereas Part One was more pre-fabby, and I believe them, because* it sounds that way, now that they mention it. But I'd never have thought that up. I share my day job with a pro violist and find her world of wooden objects foreign and fascinating. I'm flattered to use the same mouse as such magic hands. Writing is not cool like that.
*This phraseology is meant to be Colbertish.
What I can tell you, experientially, is that Part Two is emotional journey while Part One was bombastic blaxpoitation soundtrack. But it makes leisurely tracks across sophisticated emotional terrain, far from the rawness of my perennial favorite Badu song, "I Want You." For those in need of review, the archetypically Baduizt prescriptions therein contained for the affliction of being sprung on some dude:
1. pray til early May
2. fast for thirty days
3. get a good book and get all in it
4. try a little yoga for a minute
5. turn the sauna up to hotter
and, 6. drink a whole jar of holy water (an entire jar!)
Badu appears to be done drinking holy water. On Part Two, she sounds cozy and requited. Which must be nice. This album doesn't have a natural single, a "Honey" or a "Danger." So "Window Seat" is the one getting tossed out for broad consumption, which is kinda random. It's not the awesomest song ever, but I object to criticism that it's a throwback to the Baduizm days. Nothing on that ankhdafied proto-Badu album was as cool as:
So, out my mind I'm tusslin
Back and forth tween here and hustlin
I don't wanna time travel no more
I want to be here
I'm thinkin
On this porch I'm rockin
Back and forth like Lightnin' Hopkins
If anybody speak to Scotty tell him beam me up
When New AmErykah Part Three comes out (oh yeah: there's a Part Three; you know it), I might as well just turn immediately to whatever track exceeds the ten-minute mark, because those weird, ambivalent, endless jams always become my favorites.
On Part Two, the weird, ambivalent, endless jam niche is filled by "Out My Mind, Just In Time." Throughout the whole ten minutes she never decides whether she is crazy or not, which--I don't know about you, but that's how I go through each day. It does that signature Badu trick of seeming like one track ends and another begins--the mood, the music, the gist of the lyrics may all change; silence may even occur--but no! Still the same song. And when you really listen to one of these smushies it's not just a cute ploy; the parts are rightfully of the same song. It's like with semi-colons; surely these are two necessarily-tethered independent clauses, not separate sentences in need of punctuational chastening.
Another good smush, should you need one, comes on Part One's "Master Teacher." That song also abets my theory that there is a Badu song suited for any mindstate. "Master Teacher" is for insomnia: I have longed to stay awake/Beautiful world I'm tryna find.
The best part of "Out My Mind" comes at one of its about-face seams. She shifts from delicately-sprouting optimism to:
MaaaaaaaaaaaaaaaaaaaaaaaaaaaAAAAAAn
Fuck this shit
Fuck this shit
That bit totally played in my head when I had to sit full days at the reception desk. (The pro violist skipped town for a spell.)
On the opposite end of two spectra--length, seriousness--comes the album's comic miniature track, "You Loving Me," which, in typical Erykah expectation-thwartation fashion, is not a lovey song at all. In its entirety, it goes:
[Badu sounds]
You lovin me, and I'm drivin your Benz
You lovin me, and I'm spendin your ends
You lovin me, and I'm drinkin your gin
You lovin me, and I'm fuckin your friends
[repeat]
You lovin me
[mutters That's terrible isn't it, and chuckles]
Erykah would never do those mean things! Why did she think that up? It's so needless and silly and catchy.
And yes, there's a collab with Lil Wayne because Badu does hear my prayers. It's a romp. He kinda sounds like he's freestyling. Not that there's anything wrong with that. I know he doesn't write shit cause he ain got time.
DON'T WORRY. I am going to talk about the nekkid video. Of course I'm gonna talk about the nekkid video. Badu has generously offered for us all to make of it what we will. So to me it's about unlayering. Which, in turn, is about performance.
Speakinawhich, I saw her perform at Oakland's renewed Fox Theater back in February. Seeing Badu live was not the easy adulative experience I'd anticipated. Goapele, who opened for her, is slick and unconscionably beautiful, and while she is a fairy godmother in her own right,* she seemed like a feeble pop star compared to Badu. Goapele gave us what we wanted. Erykah was making some obscure demand and promising to make it worth our while, like the mean teacher who actually has high hopes for you.
*I hate this phrase. Its use pertaining to the wife of an impressive man should be banned.
She started out inaccessibly weird and excessively clothed and inversed both ways as the night wore on, so when I watched the nekkid video, the theme was already familiar. The show's chailight came when she was down to just glitter pants and purple t-shirt. She led a sing-along to "Ain't No Fun," that classic West Coast posse cut which posits that if the homies cannot partake of the lady you are enjoying that enjoyment is curtailed, and I've never felt so elated singing Cause you gave me all your puss-ay/And you even licked my balls.
Who knew misogyny could be so efficiently undercut by mockery? But then co-optation of the oppressor is a fine tradition. It's why gay people took 'queer' and black people took the 'n' word. (Also why I took 'Cleb,' but long story.) Winking co-optation succeeds where rants fail. During the part that goes, And if you can't fuck that day baby/Just lay back, and open ya mouth, Badu tipped her head back and opened her mouth and aimed her mic there. It was hilario.
Onstage and in the "Window Seat" video, Badu's protective opener armor is peacoat, hoodie up, lots of articles. (It's like Game says: My mind fucked up, so I cover it with a Raider hood.) She sheds that protection in layers, with determination and care. Art demands self-exposure, but overexposure might kill you. The video evokes the work and risk of trodding one's individual path. She walks with unmistakable purpose. When I listen to "Window Seat" while walking home along Lake Merritt, I may or may not walk thusly myself. And may or may not loose my hair from its tyrannical clip in dramatic fashion at some pivotal moment.Badu specializes in what they call 'brave vulnerability,' a thankless specialty. If it weren't bad enough to have your soul all naked, you also get demeaned as a pussified emotionalist. This strikes me as the opposite of, say, intellectualism, war and sports--pursuits that garner such ready respect.
NOT THAT that's why she did the Dallas stripdown. She did it because she heard that her #1 stan said this:
My only problem with [the song "Me"] is the part when she says "my ass and legs have gotten thick." If you have seen any recent pictures of stick figure Badu, you'll understand why this is offensive to those of us in the thick community.
Erykah: I am so sorry. Point taken. Your boomboom might mine own exceed in size. The thick community welcomes you.
xoxo,
Cleb
I like to grouse, so good things often happen just to spite me. This cold summer I grew my first successful melon, over at the school garden. Watermelons always top the kid request list, but I'd never been willing to plant them, because I don't like teaching children that gardening is about disappointment and I never thought we could harvest a damn watermelon. If all warm-weather crops want richness and heat, watermelons want both more. More than zucchini, more than tomatoes, more than peppers, more than eggplants, more than cucumbers--hell, even more than other melons.
