Tuesday, April 26, 2011

Dispatch from the Floor


TERRIBLY OFTEN when I tell people I have back problems, they’re like, Yeah me too. And then I can't say, No but mine are like super bad. I will tell you, though, dear reader: they are quite bad. Bad enough that I’ve landed on the floor, two months and counting, though I didn’t do anything much out of the ordinary.

In fact the strain upon my spine over the last decade has been far less than ordinary, since I make innumerable concessions to the tyrant Pain. I work part time and stretch at ballerina frequency. I am mindful of lifting and sitting and sneezing and carrying too much in my purse.

But nor am I Pain’s little bitch; I defy its rules when I think I can get away with it. And really, it was a pile-up of such sneaky infractions that landed me here, spine trained to the floor, with my mercifully tiny laptop atop a pillow on my stomach and my feet on the couch and an ice pack beneath me.

For the last few years Pain was the weaker contender, and I spit in its face, daring to do things I thought I might never get to do, like have a normal job, live by myself, take dance class, walk for miles. At the height of my triumph I wore some obscene heels.

I was a blithe, jubilant rat fattening myself on a windfall of spilled grain night after night, and Pain was a cat with a grin, crouching and watching. I’m being melodramatic, but nothing inspires it quite like Pain.



THERE IS A NERVE corridor originating at my sloppy L5-S1 spinal disc, the disc aptly if uncharmingly named for its location between the fifth lumbar and first sacral vertebrae. This corridor travels the length of my leg. Errant L5-S1 protrudes and the nerve gets agitated. Back in the day the S1 nerve path used to be the thing; now my main pain corridor is L5. (Both are pictured below.) The S1 path ends in the tendon and heel, which made me feel like an aching Achilles. L5 ends in the toes, which are often a-tingle.















The corridor is constantly abuzz. Be it with electric sharpshooters, splayed inflammation, dull ache. The sensations, and locations thereof, are ever changing, and sometimes I lie here and watch them, as malignant internal fireworks. The corridor may grow dark and quiet, but it always exists. Even at times when I have negligible pain, the corridor is active, alert, ready. My unaffected leg feels to have no corridor; such is the difference.

You may get frustrated, dear reader, when I tell you there is little more I can do for this than rest and let it get better. This smacks of medical slackerdom. But having done much time down the rabbithole of pills, treatments, hospitals, I can tell you with confidence that this is the truth. I had surgery ten years ago, to the day. So do me this one favor and don’t suggest anything for me to *try.* If you wish to offer something, I like food.

I just have to do the time. It is not fun, but it is a test of a sort, a strength challenge, and I dig those. It's like a marathon, only instead of training from normal human to superhuman capability, you train from jacked-up to normal. You battle the daily discouragements and the limits of your body and develop focus and stamina. And sometimes you give up and fall backwards, and watch streaming episodes of Basketball Wives. (I assume marathoners get discouraged and turn to Basketball Wives.)

Sometimes it is hard to believe that my spine is so dysfunctional. But I think of how other people have diabetes or lupus or herpes or dire allergies and it seems common for the body to have some failed function or other. It is the human body, after all, and quite remarkable. It is much more shocking to think of what it can do.




I EMPLOY a rope-a-dope pain management strategy. I lie here in apparent defeat and let Pain punch itself out until I am the stronger one.

I've had to adapt to long-term battle. Reading and writing are all I can accomplish, and sometimes I can accomplish nothing. I'm drinking pint smoothies and eating mini yogurts and frozen dinners, with a resultant abomination of plastic refuse that is hardly less objectionable than begging friends to do my dishes. Bowls are heavy to carry to bed and glasses are easily spilled down the chin when drinking lying down, so the plastics do win for now.

My personality adapts too, as you might have noticed if you know me as a pleasant person and are reading this thinking you would rather not visit such a grumpbitch after all. I don't laugh much, but I usually feel alright. It's just I have to be serious. I can't listen to music that gets me worked up or makes me want to bust even the smallest moves. No Nicki, no Weezy. I've been on Joan Baez and Iron & Wine. My earffirmative action campaign got a leg up.

And I'm in the hard situation of needing lots of Help. A friend remarked to me that it's too bad how in our society it is frowned upon to need Help. And that may be so, but I think needing Help sucks inherently, not just because of some social norms. There are as many kinds of Help as there are kinds of love or water. Help can be given loudly or quietly, generously or stingily, for free or for an implicit price; you can be made to feel it or allowed to accept it with ease. Given gracefully, it is a tremendous gift. But the position of need is a shit position, even so.

Pain is not all curses and grumbles. I grow by its trials and appreciate how it skims the bullshit off life's surface. Maybe I'll tell you about that some other time.

Tuesday, March 29, 2011

Fun Times With Chronic Pain, Part MCCXVIII

PAIN, old nemesis, I never should have thought I had you licked. You humble me, exhaust me, shred my plans, shatter my independence. I respect you, even so. You've changed me before, and taught me things I would have otherwise gladly avoided learning. You beat me up and make me strong. When you leave I remember so vividly how nice life is without you. That last while you were gone I enjoyed every way I could. I wore the badbitch heels and tore up the clubs and walked miles home from downtown in summer sunshine. I dashed about, met people, planted, milked a goat, tanned my abs in delicious somatic vanity. So you, the terrorist, have not won. It has been a hard March. You suck today. Maybe better tomorrow.


Friday, February 25, 2011

A Brief Treatise on Why "Real G's Move in Silence Like Lasagna" Is Indeed the Perfect Lyric

WEEZY SCHOLARS are abuzz about the sneak-attack simile from the hot new single "6 Foot 7 Foot."

First Weezy Scholar: You heard that shit? Real g's move in silence like lasagna.Second Weezy Scholar: Yeah man shit's hot...Real talk though... Fuck does that mean?WS1: Think about it. Real g's move in silence like lasagna.WS2: I'm seeing a lasagna doing slug walk cross a plate.WS1: Like lasagna. Spell it.WS2: L-A-S-A-- Oh shit the g is silent.
WS1: Yuup.
WS2: Damn.
WS1: Yuup.
WS2, following a moment's reflection: You know what, though? That's kinda whack actually.
WS1: You just mad you ain figure it out.
WS2: Nah nah for real, because the g in lasagna ain really silent.
WS1: Fuck you talkin about. Yeah it is.
WS2: Nah, it's not. Cause think about it though. If the g wasn't there you would pronounce it "la-zann-a." That nya sound is from the g. On some Italian shit.
WS1: Oh damn. You got me there.
WS2: He shoulda said real g's is like gnats.
WS1: Flyin all in a ball with other gnats is not gangster.
WS2: Says you.
WS1: You know what is gangster though?
WS2: Huh?
WS1: A letter acting all innocuous where it falls in a word, then moving silently, only to show up later making a y sound, on some Italian shit.

Friday, February 11, 2011

Hey Nicki! Hey Nicki! Asthmatic Ode to Nicki Minaj

WHEN FIRST I heard "Your Love" on KMEL, I thought I had met it in the sky. Nicki's arrival had the same effect; I didn't know she was somebody I'd been waiting for, and I already can't fathom a hip hop world without her.

Nicki Minaj exists on so many planes she might fool you. First come the pink wig and flaunted ass, daring you to underestimate her. Then there are the many faces, many voices, Nicki as self-created cultural artifact. But rip off all the shiny packaging and you find an artist with talent and heart. (Also be advised you'll want to re-use such nice wrapping paper.)

An obtuse observer could mistake her sexiness for a cheap appeal to men, but in fact her brew of brazen sexuality and conquering power is bound to baffle and terrify many males. (Hence, When I throw this p**** you better not start duckin.) It's not easy to find straight male Nicki fans. Men seem to want to watch her, but from a safe distance.

She appeals, instead, to women. Nicki is power, and transmits power. On some advanced like fifth wave feminism shit. In this she differs vastly from beefmate Lil Kim, whose kittenish sexuality, while powerful in its day in its way, is less threatening, and voluntarily subordinate. Nicki would never list herself after Wayne the way Kim deferentially self-seconded once upon a time: Brooklyn home of the greatest rappers/Big comes first then the Queen comes after.



Nicki shrewdly combines her Barbie wigs with aggressive rapping, one of many replications of her perfectly calibrated hard-soft dichotomy. See also her person, with its sharp points and soft pillows, and her voice personas, which range from babyish to thug murderous. And unlike Lil Kim and Foxy Brown, who specialized in a delicious ghetto brand of sexual aggression (yeah I said it: specialized) , Nicki's aggression is general. Thus does Barbie also get accused of being too masculine.


AND SHE DOES channel masculinity when she feels like it, calling upon male alter ego Roman Zolanski. Suffice it to say that Roman can go head to head with that paean to male aggression known as Slim Shady. (It is understood that regular Eminem is a marshmallow Peep compared to this alter ego; Shady is the one still stuffing ladies in the trunk after all these years.) Over a scary railroad track of a beat, courtesy of Swizz Beatz, Roman and Shady defile and destroy anything and anyone in the vicinity. My favorite bit is in her second verse:
I hear the mumblin
I hear the cacklin

I got em scared, shook, panickin

Overseas, church, Vatican

You at a stand-still: mannequin
Next she breaks out the emotional matter, ranging from the glorious romantic phantasm of "Your Love" to the relationshipal nitty gritty of "Right Thru Me." The most powerful lyric in the latter goes simply, Okay you're right/Just let it go.

"Dear Old Nicki," in which Minaj openly grapples with her past self, is the most honest work of self-reflection I've heard from a rapper. Stars so often have unglamorous former versions hiding in a closet, those easily embarrassing rough drafts along the editing process of self-creation. It's quite a feat to embrace an old self while deciding to move beyond it. But Nicki can.

After all the serious work is over, it's end-of-album party time. The bangingly superficial "Super Bass," waiting to be discovered by club turntables everywhere, celebrates her own femme version of fun pimpery:

I am Nicki Minaj
I mack them dudes up
Back coupes up
And chuck the deuce up


NICKI IS PART of a cadre of Millennial rappers who realized in the nick of time that rap had staled into its own conventions in need of flouting. She is joined by Young Money labelmates Lil Wayne, the eyelid tattoo alien, and Drake, the matinee idol psychoanalyst. Peers include the dapper-suited philosopher of hard-partying Kid Cudi, and political nerd Lupe Fiasco. These Millennial rappers aren't nervously checking their street cred every five minutes, and so are free to explore uncharted terrain, like singing their own hooks, wearing eyeglasses,
collaborating with rockboys, riding skateboards, experiencing ambivalence. And at long last, Andre 3000 has challengers for the weirdness throne.



Nicki, with her many guises and cartoon curves*, is trailed by an inevitable misapprehension that she is phony. (To which she responds: If I'm fake I ain notice cause MY MONEY AIN'T.) But her rapid rotation of wigs and voices is rooted in theatricality--she studied drama at LaGuardia High, the "Fame" school--and her embodiment of so many Nickis is a way of claiming every possible iteration of self, as well as an acknowledgment that to rap, after all, is to wear a persona.

*Her improbable ass to waist ratio does have this perfectly logical explanation: she's on a diet, but her pockets are eating cheesecake.

Were she
sexplosion only: dayenu. But she can do sex, she can do glam, she can do swag, she can do love. She can be scary, zany, savvy, vulnerable, introspective--often under the same wig on the same song. She can murder a Swizzy beat then hopscotch across a will.i.am confection. Her strength is her stubborn unwillingness to be any one thing, least of all whatever you might want her to be. And I'm not just saying that as an X-pon-tittie Barb stan. Though to be one is a privilege.

Wednesday, January 19, 2011

Hibernating (Like a Dungeon Dragon)

WHAT HAVE I been up to lately? Oh, hibernating. You know, winter torpor.

I have this theory of radical sloth. I invoke it as needed. Sometimes, the theory goes, the best thing to do is nothing. Said theory is staggeringly difficult to convert to policy. But you know: I try.




I am a staunch opponent of the culture of busy. I do my best to resist societal pressure to scurry about antlike, and operate instead at my own strange pace. Doing nothing I consider an art. I like to suppose that if you do nothing enough the things you then do will be better and count more.

Of course even in mid-hibernate you end up doing something, but it'll be exploratory and non-required. I took up Nicki Minaj whilst Carmela took up Pema Chodron. We have conversations like:
Ca[rm]: Bodhichitta is essentially a quality of warmth, an experience of our connection with all beings and with all things.
Cl[eb]: Shoulda sent a thank-you note you little ho. Now I'ma wrap ya coffin with a bow.
Ca: Don't have expectations for others. Just be kind.
Cl:
I don't sympathize. Cause you a simple bitch.

Carm meditates for days in her kitty bed cave. I leave Wild Cravings treats at her feet and she bows ever so slightly but doesn't touch them until her sit is finished. I'll be in badbitch heels giving myself a dominatrix lapdance with gold-teeth-and-fangs derangement sneers for the mirror and the little feline Buddhist nun remains perfectly still.



Start at 3:35. And emphatically not before.


But mostly I've been filing my nails and thinking my thoughts and taking decadent naps and twiddling my thumbs. I had a nice long sleep. Now I'm rubbing my eyes and stretching my limbs. Emergence is nigh.



Good looks to the illustrator.

Thursday, December 9, 2010

Last Name Ever. First Name Greatest. Middle Name Cat.

I HAD TO say goodbye to Paulie James Walnuts III. King James, Wally Almonds, Molly Pecans, P Kitty, Diamond Princess, Juglans paulinus, Paulo, Wognuts, top predator, master of all he surveyed. Light of my life, fire of my loins, my sin, my soul. The cat the myth the legend.

House is quiet without him. No one bites me awake to be fed. Nevermore that claw grip to the edge of my bed, the sound that announced his ascension ever since he abjured feline agility and opted for a two-part pawual hoist instead.

He didn't live to be old. But "Die Young, Stay Pretty" was his second favorite song. (After "I Know What Boys Like.") No use trying to get him to slow down and do self care. He'd be all Fuck maintain boy I gotta keep BALLIN.

He left Carmela his full wardrobe, excepting the boas. Those went to Marianne, who had always coveted them. The jewelry went to me. So if you're wondering why I've been rocking all the gold chains with dinnerplate medallions: that's why.

As I leaned into that sad hospital cage he made funereal requests. I honored the reasonable ones two days later, digging his final resting place in his old strawbed nap spot, pouring out tooney, filling his grave with passion fruit and adorning its surface with passion flowers. He wanted "Aston Martin Music" played. (I opted instead for quiet and Kaddish.) And he wanted Crim to come over and help dig, which the latter was glad to do.

Before we parted he rasped some advice: It may look for all the world like you don't know whatthehell you're doing. But I know you do. After I'm gone I need you to know it.
He was selfless really.

Miss you, big friendly orange cat. But legends don't die.




Wednesday, October 27, 2010

Earffirmative Action

THERE ARE white people in my iPod, a tragically underrepresented minority. I make a sincere effort to support them, because I recognize that they have contributions to make. Cosettina loves to default to GENRES>>R&B/SOUL, which measures like 16 hours. (Cosettina is my iPod. Obv.)

White people doing black music* only semi-count for earffirmative actions. I did get Eminem's last album, concluding a long journey from outright loathing to tepid acceptance to tornado-volcano embrace. My first erstwhile hint of respect for him came when he likened himself to Elvis: To do black music so selfishly/And use it to get myself wealthy. I thought that showed self-knowledge. Recovery is his bar mitzvah album for real though. He is finally making use of those purported eighty pound balls to handle icky matter like love and personal growth. (Also, Em: I was wondering how your day went. xoxo)

*Don't ask me to define such terms. Just like do me this one favor and suppose you know what I mean.

Amy, for her part, has said she never listens to white music, a statement I find unaccountably, characteristically awesome. Looking forward to spending an evening as you soon, babygirl.


I USED TO listen to rap in the closet. Nowadays that's where I listen to rock. Well, not precisely the closet, but just outside it, lazy-splayed across the bed. For such occasions I don my glasses and wifebeaters and wide-stripe thigh socks, in a weak attempt to be as culturally as I am biologically white.


I favor rock bands with definite article-preceded names; there is swagger in such unironic certainty. Not that I select to like them on this basis. Just, having perceived the liking pattern, I thought I'd make up a whizbang rationale for it. And I gravitate toward white music that is soulful,* a quality inevitably, controversially (see Mercedes v. Quinn, S1 Ep XXI) associated with blackness.

*In the best footnote of all time, Zadie Smith wonders, "Is there anything less soulful than attempting to define soulfulness?"







This is what soulful means. (It's Dan!)


UNEQUIVOCALLY QUALIFYING as soulful is everyone's favorite White, my first husband Jack. Dan Auerbach is even soulfuller, and he could be Jewish, in which case we could maybe have a huppah, something bossy Jack was not into. Though I do miss Jack's angry sexuality, like on "Instinct Blues." They can both say "uh" as well as Biggie--the only thing that truly matters.

It's funny how when Jack says, Shake your hips like battleships I'm still tempted to say, "How fast?" We're not even together anymore! I had the same problem when I was with Game. He'd be like, Bounce like you got hydraulics in ya g-string and I'd be like, "How high?" Dan says that's wrong, and he's probably right. Dan also says I'm the only one, whereas I'm pretty sure Game was simulfucking Kim K while we were together. (I'll share a man with you anytime, bitch. High-five booty clap.)






And this, naturally.

Anyway. Much white music does sound soulless to me. Or at least undersouled. Soul suck may result from aloof withholding, grating cleverness, or ironic remove. To my ears, white music has a greater tendency to sound like it's trying hard to be cool; art should strive to be good, coolness being a possible byproduct only.

You could say there are values besides soulfulness in music, and you *might* have a point. Even my iPod admits as much. Fairly or not, Cosettina grants wide berth to rappers and R&B cheesemongers, calling their vulgarity real-keeping and their tackiness fun. No white person could say, We don't even clap the same when we livin that champagne life/Sexier than a regular clap. And yet I totally tolerate, even enjoy, Ne-Yo saying so. Because the beat is right and one could be tipsy on the dance floor and really feel, for one transcendent moment, to be living The Champagne Life.

Cosettina is way more judgmental about pop rock. Much of the white music on the radio seems to fail by overwrought, false sincerity. By attempting to be deep whilst lacking actual depth. Every note from the voice of that Hayley Williams chick is a small act of senseless violence to my tender ears. (You know: airplanes...night sky...shooting stars...)

Perhaps the moral here, if I got to generally set morals, would be: If you can't be for-reals awesome, just be trashy awesome. Call it the Pitbull Principle of Know Thyself. (Speakinawhich, did you hear "Hey Baby (Drop It to the Floor)"? Shit's bangin!)

What I like about the aforementioned soulful whites is their wide-eyed artistic devotion, and the full-heartedness of the music they make. They have found their own roads to soulfulness, not copping anybody else's style. Amy and Em make black music their own, and do so in a way I respect. But Jack and Dan make white music soulful, and that may be the greater feat.