the missing

“A friend is someone who knows the song in your heart and can sing it back to you when you have forgotten the words.”

One of those ubiquitous, anonymous internet truth nuggets that has stuck with me… It’s really hard being far away sometimes.

burning at both ends

“My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends—
It gives a lovely light!”

― Edna St. Vincent Millay

I made this sleepless mix in 2003 on a slide into depression after I had to abandon my MA dissertation after three years’ work, like an almost-full-term still birth (I’ve just gone back to give varsity another shot, more than a decade later)… I was djing almost every weekend and hanging out with lost people on drugs talking mostly empty crap at one another until the sun came up. I passed many hours in the company of some beautiful, talented, bored, unhappy, bitter humans… and also a fat complement of irredeemable oxygen thieves. Anything to distract from the rip in the fabric of who I had thought I was, to cackle in the face of hopelessness. It just made me lonelier and lonelier. I would come home with the scabs over the hole in my soul all picked off, and listen to music like this to feel OK.

When we were kids, my dad used to warn us that “late nights make sad mornings”. He was right, though not for the reasons he thought.

Track list:

1. Velvet Underground – After Hours
2. Dntel – Umbrella
3. Lali Puna – Bi Pet
4. Grauzone – Eisbaer
5. The Kills – Space Race/Electric Horse
6. Suzanne Vega – Fat Man & Dancing Girl
7. Richard Hell & the Voidoids – Blank Generation
8. David Bowie – Kooks
9. Faust – I’ve Got My Car & My TV
10. Wire – I Feel Mysterious Today
11. Sparklehorse – My Yoke Is Heavy
12. Yo La Tengo – The Summer
13. My Bloody Valentine – Off Your Face
14. Adorable – Sunshine Smile
15. Slowdive – Alison
16. Lloyd Cole & the Commotions – Forest Fire
17. The Microphones – I Want Wind To Blow
18. Bauhaus – All We Ever Wanted
19. Einstuerzende Neubauten – Blume
20. Madrugada – Hidden track off Grit
21. Pixies – Wave of Mutilation (UK Surf mix)

baby huey – hard times

Baby Huey (born James Ramey, August 17, 1944 – October 28, 1970) was an American rock and soul singer, born in Richmond, Indiana. He was the frontman for the band Baby Huey & The Babysitters, whose single LP for Curtom Records in 1971 was influential in the development of hip hop music. Unfortunately, a fatal heart attack prevented him from seeing the release of the disc.

This is my favourite off the album:

girl on the bridge (1999)

Vanessa Paradis’ opening monologue (with English subtitles)

Review by Michael Dequina at filmthreat.com, 11/21/00:
“Very few actors, let alone young ones, can pull off what 20-something chanteuse-turned-actress Vanessa Paradis does in the opening minutes of Patrice Leconte’s romantic drama. In a single take broken only by an occasional white-on-black credit card, Paradis’ Adele confides to an unseen interrogator the reasons for her depression. It is never explained exactly to whom she is speaking and in what type of situation, but that is of little consequence—in these scant minutes, the audience instantly is given a vivid portrait of what the character is all about: her youthful recklessness and naïveté, her sexual abandon and her romantic soul. While kudos go to writer Serge Frydman, it is Paradis who brings the scene and Adele to robust life.

“However, in Adele’s eyes, her life isn’t quite so healthy, and as such she becomes the titular girl on the bridge, ready to jump when she meets Gabor (Daniel Auteuil), a knife thrower in need of a new target. Since she clearly has no fear of danger, Adele is a perfect match—though it comes as a surprise to both of them just how well they complement each other, for these two historically down-on-their-luck characters find themselves on an incredible streak of good fortune as they wow crowds throughout Europe. But as with all things, what goes up must come down.

“La Fille sur le Pont is a magical film in all senses. On a literal level, the surreal psychic bond that develops between Adele and Gabor pushes the film into the realm of magical realism, and their knife throwing scenes bear a not-so-subtle, otherworldly erotic charge. But the real magic comes in watching the warm sparks between Paradis and Auteuil and following their eccentric characters’ beautiful, unconventional relationship. Jean-Marie Dreujou’s stunning black-and-white cinematography and Leconte’s smart choices in music (there is no original composed score) add to the film’s whimsical, timeless spell.”

sebadoh – not too amused

Off Bakesale, (Sub Pop, 1994).

What was that you just said?
That didn’t make any sense to me
It’s not the way I see it, man
I’m almost tired of listening to you
Why do you tie me up with words?
The way your eye shifts makes me wanna go
Black-jawed living room couch professor
When will you be through with me? I’d like to know
Everywhere I go I feel it
But I won’t talk; I won’t get stuck with you
Everyone’s so lonely I dig it
But I’m afraid I can’t share this with you
So don’t make me your captive
I don’t feel like talking your shit
I nod my broken head
I’m not too amused with humans

unfit

i got a square peg
you got a round hole
i got a square peg
you got a round hole
i got a round hole
you got a square peg
i got a square peg
you got a round hole
you got a round peg
i got a round peg
you got a square hole
i got a square hole
you got a round peg
i got a square peg
i got a round hole
you got a square hole
you got a square peg
i got a round peg
etcetera, etcetera.

jaime sabines – the lovers

The lovers say nothing.
Love is the finest of the silences,
the one that trembles most and is hardest to bear.
The lovers are looking for something.
The lovers are the ones who abandon,
the ones who change, who forget.
Their hearts tell them that they will never find.
They don’t find, they’re looking.

The lovers wander around like crazy people
because they’re alone, alone,
surrendering, giving themselves to each moment,
crying because they don’t save love.
They worry about love. The lovers
live for the day, it’s the best they can do, it’s all they know.
They’re going away all the time,
all the time, going somewhere else.
They hope,
not for anything in particular, they just hope.
They know that whatever it is they will not find it.
Love is the perpetual deferment,
always the next step, the other, the other.
The lovers are the insatiable ones,
the ones who must always, fortunately, be alone.

The lovers are the serpent in the story.
They have snakes instead of arms.
The veins in their necks swell
like snakes too, suffocating them.
The lovers can’t sleep
because if they do the worms eat them.

They open their eyes in the dark
and terror falls into them.

They find scorpions under the sheet
and their bed floats as though on a lake.

The lovers are crazy, only crazy
with no God and no devil.

The lovers come out of their caves
trembling, starving,
chasing phantoms.
They laugh at those who know all about it,
who love forever, truly,
at those who believe in love as an inexhaustible lamp.

The lovers play at picking up water,
tattooing smoke, at staying where they are.
They play the long sad game of love.
None of them will give up.
The lovers are ashamed to reach any agreement.

Empty, but empty from one rib to another,
death ferments them behind the eyes,
and on they go, they weep toward morning
in the trains, and the roosters wake into sorrow.

Sometimes a scent of newborn earth reaches them,
of women sleeping with a hand on their sex, contented,
of gentle streams, and kitchens.

The lovers start singing between their lips
a song that is not learned.
And they go on crying, crying
for beautiful life.

Translated by W.S. Merwin

seaside towns they forgot to bomb

14 September 2005 – 01:59

Aah, Sea Point. Maybe it’s just the pheromones, or the exhaust fumes, or the soupy mist of oil from cheap takeaways, or the blinking lights, relentless through the fishy smog… Maybe it’s the conglomeration of them all… The whole place reeks of overtiredness.

Main Road, Sea Point. Photo: Rosemary Lombard

Main Road, Sea Point. Photo: Rosemary Lombard

Know how the Durban beach front feels at night? All sodium glare and humid candyfloss and hooting and “Rayban” pushers, stumbling over sprawling elephantiasis limbs; cabbagey piss and rotting elephantiasis limbs underfoot at every turn, elephantiasis limbs EVERYWHERE?

Or the water slides in Muizenberg? Ice-cream sticks and rusty fish guts and cocoa butter thick in your nostrils? Shrivelled, orange bikini grans and stubbed toes and burnt children scrambling back up, over and over, getting their money’s worth, with fresh snot to add to the circulated stream? Kinda like that.

Like a casino, or a circus, or the school parking lot half an hour before the last night of the end-of-year play. Just like that. The cement, the tar etched with residues of action, the erratic paths of people hopscotching between the pavement’s wet patches of unknown origin, beat-up cabs snaking through the gutters, cruising for someone going somewhere, doing something… you never can be certain what.

There’s an interminable vacancy in all the hyperactivity, a loneliness. A sense that most of what’s done is probably being done to keep up appearances, because it’s in the script. In bar toilets, in sighing lifts and entrance lobbies of peeling flats, people wait, unexpectantly, for something undisclosed… The sour gaggles of Jewish crones… The sweet fags in the coin-op laundrette… The salty dog walkers on the promenade… The makwerekwere… The goosefleshed trannie under the stop sign… LCD Jesus loves you, 01:31, 8°C.

It’s a frustrating place, a titillating place for anyone with even a pinch of the voyeur in them. You never know if today will be your chance to be privy to that something, to overhear the deal… Well, it’s hardly likely to be above board, is it? You daren’t blink in case you miss it, yet you virtually never get to see the loops close, experience the denouement. And your imagination goes crazy.

Oy vey, it’s a schande. Happeningness rubs your nose in it, but, from a distance, it’s too pungent, too slippery to pry open cleanly… You know your conjecture’s amusing but empty.

Romanticism breeds covetousness, even of the sordid. So, you’ve read Burroughs, Bukowski, Genet, Sade. Ballard, Palahniuk, Sartre… Your own illicit missions never feel as archetypal.

It’s like being hopelessly in love, but not being in ’40s Casablanca, you know? Like rainbow soap bubbles popping on your tongue… The bath gets cold before you stop being too distracted by the froth to immerse yourself fully.

hafez on loneliness

Don’t surrender your loneliness so quickly.
Let it cut more deeply.
Let it ferment and season you
as few humans and even divine ingredients can.

Something missing in my heart tonight
has made my eyes so soft,
my voice so tender,
my need for God absolutely clear.

~ Hāfez

Biographical note:
Khwāja Šams ud-Dīn Muhammad Hāfez-e Šīrāzī, or simply Hāfez (Persian: خواجه شمس‌الدین محمد حافظ شیرازی), was a Persian mystic and poet. He was born sometime between the years 1310 and 1337. John Payne, who has translated the Diwan Hafez, regards Hafez as one of the three greatest poets of the world. His lyrical poems, known as ghazals, are noted for their beauty and bring to fruition the love, mysticism, and early Sufi themes that had long pervaded Persian poetry. Moreover, his poetry possesses elements of modern surrealism.