Posts Tagged ‘nonsense’

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Christina Aguilera – Bionic. (album review)

June 14, 2010

As you can tell from my current blog layout, I am very much feeling the imagery of Christina Aguilera’s current Bionic era.  It’s fierce, severe and pushes the envelope.  Artwork such as the front cover (above) and other graffiti-inspired cyborg manipulations handled by D*Face push the envelope and also serve to symbolise Christina as human machine which creates fine music hence “Bionic”.  Various analyses of this robotic imagery could be and have been made: on the one hand, Christina Aguilera in her superhuman form triumphs over all her competitors and makes superior , near-perfect music because she has this bionic element to her; on the other hand, as part-robot, Christina can only ever produce a facsimile of what music is supposed to be, while never quite getting close enough to the organic, human qualities in music that elevate it beyond the calculable – qualities which cannot be quantified or mechanised.  In Bionic, as in life, the truth lies somewhere between these two opinions.

Bionic the album is a long listen – 18 tracks in its standard version, 23 in its deluxe (with iTunes bonus track “Little Dreamer”, a likeable but throwaway confection, making a grand total of 24).  I’ll dispense with the additional 5 bonus tracks first: they are, by and large, bonus tracks for a reason: either they are not strong enough to be considered for the main album (“Monday Morning” is pleasant but lackadaisical; “Birds Of Prey” is lyrically mysterious and interesting, but musically and vocally it’s too much mainstream dance that Kelis would do a lot better with on her current Flesh Tone project), or they don’t fit thematically with the empowering / sexual / carefree / mature feel of the album.  “Bobblehead” is a thrilling production that stutters and races to its climax with the wonderful lyric: “I never play dumb to get what I want / and always come out the one that’s on top”; however, its main hook is a nonsensical mumble that may be the point of the lyrics, dissing idiot girls who dumb themselves down and preferring to deploy her own intelligence, but it’s still a nonsensical mumble which fails to use Christina’s vocals to much effect.  “Stronger Than Ever” is a ballad that is lyrically strong (and embodies my current struggle with my parents) and vocally able, but it just lacks that something.  “I Am (Stripped)” is a lovely album closer but is a more acoustic version of one of the main album tracks, and so it’s understandable why it’s relegated to bonus status.

So, to the main event. To my ear, Bionic moves in three arcs.  In its first, it goes for the jugular with relentless, futuristic uptempos; it then cools down into a sensuous, emotionally vulnerable, mature ballad section; finally, it picks up again for a closing triad of uptempo songs that epitomise fun.  While it’s possible that the album could be trimmed down to make a more concise, compelling listen, it flows very nicely throughout and only has a couple of stumbling points.  Christina Aguilera said that she wanted something which sounded futuristic, but with elements of the organic; something which integrated her new emotional maturity as a mother with her desire to remain playful and sexy.  On this point, she has succeeded: Bionic has elements of all of this.  Tracks such as “Bionic” and “Elastic Love” incorporate computerised effects to distort Christina’s voice, along with buzzing, whirring productions that sonically embody the bionic cyborg face of her album cover. However, on tracks such as standout “You Lost Me” and “All I Need”, Christina is stripped of the musical gloss of the faster tracks to be backed by little more than a piano.  “All I Need” is also a touching, mature tribute to her son, which nicely avoids being mawkish or saccharine like Britney Spears’ unlistenable “My Baby” from Circus.  Finally, sex is all over this album, and from the enticing “Woohoo” to the seductive “Sex For Breakfast” (which I have yet to play for my boyfriend, but when I next see him in July, I am using this song on him!), it’s explicit without being pornographic, edgy without crossing that line.  In this respect, the Christina Aguilera of “Dirrty” is still present, knowing how to be provocative while still being musically relevant.

However, in the video for “Not Myself Tonight”, Xtina makes her return and perhaps pushes the envelope a little too far.  S&M get-ups, Madonna tributes aplenty, and bisexual flirtations are almost par for the course at this point, and Christina Aguilera is more than entitled to use them considering her influence on current female artists in the mainstream over the past 10 years.*  However, although “Not Myself Tonight” is an understandable choice as Bionic‘s lead single considering its radio-friendly sound, it’s not futuristic and it’s not exciting enough to merit the edgy, sex-fuelled imagery.  Rather than hookless, it sounds like a bunch of hooks jostling together for attention over a dance beat (which has a couple of exciting tribal flourishes), the result of which means that sometimes the song sticks, on other listens it doesn’t quite get there.  A better first single might have been the thrilling, soaring title track, or uptempo album standout and follow-up single “Woohoo”, on which Xtina extols the virtues of good oral sex, recruits Nicki Minaj for a fine rap segment, uses her vagina (the titular “Woohoo!”) for a cowbell, and tops it off with a throbbing, buzzing dance break coda for good measure.  Along with “You Lost Me”, “Lift Me Up” and album closer “Vanity”, “Woohoo” is an album standout where all of Christina’s chemical ambitions for Bionic come together perfectly to produce some exemplary pop.

Bionic itself has no bad songs, but there is some filler: “Prima Donna” comes at the end of the first album arc of jugular-ripping uptempos, and is the weakest of them, with little lyrical know-how or production excitement to give it its own identity after the tracks preceding it.  “My Girls” is a ‘riding in the car with your top down’ sort of song, but comes off as fluffy compared to the album’s meatier offerings: although Christina proves (responding to criticisms that she oversings) that she can vocally restrain herself on songs such as “Elastic Love” with its amusing and witty stationery metaphors, and the tender “All I Need”, “My Girls” needs the vocal melisma to give it some spark; as it stands, it’s a little too laid back.  Nevertheless, 2 out of 18 songs (or 15, excluding interludes) is not bad and perhaps a better result than I was expecting.  Sure, several songs on the album are not immediate: “Glam” takes a few listens to hit its stride with its subtle, fibrillating beats and “Vogue”-esque spoken-word verses, while “Vanity” initially startles the listener with its unbridled use of the word “bitch”, references to Christina making herself “wetter” before marrying herself as her “lawfully wedded bitch” and effectively giving the finger to everyone who doesn’t have such bravado.  Only by the song’s end (and possibly a couple of repeat listens) does it sink in that the track is a storming highlight, a perfect album closer, utterly hilarious and ridiculous (and knowingly so), with a vocal flourish that knocks all competition to the floor before her son’s voice confirms all suspicions: his mother really is the shit.

At the end of the day, it’s this kind of confidence that makes Bionic a great success – Christina Aguilera believes that she rules the world, and this kind of ambition almost single-handedly propels her music to heady heights.  It’s a new page for Christina, and she’s secure enough in her ability to try different things: the mélange of styles is a little disorientating until repeated listens expose the subtleties and intricacies in her vocals, lyrics and the songs themselves.  “Lift Me Up” is another beautiful, soaring track that was slightly superior in its stripped down live version performed on the Haiti telethon, but still thrills within the album.  “I Am” is a declaration of humanity, imperfection and adulthood that lends substance to the polished sheen of Bionic‘s robotic side, deployed confidently, efficiently and effectively for example on clubsong “Desnúdate” (which neatly remembers and includes Christina’s Spanish-speaking audience and heritage).  If Christina experiments with textures in her voice, sometimes preferring subdued rumbles to soaring melismas, she still shows that she can do both better than most other female artists.  At the end of the day, Christina Aguilera is an musical artist with a personal and professional vision that she fulfils 85% of the time.  Her misfires are excusable and never in poor taste so much as merely a little bland or inconsistent – in time, Christina will learn to totally excise these from her projects.  Most importantly, while some of Bionic indeed caters to current mainstream tastes and is hardly an obscure sonic revelation, the majority of it is interesting and thrilling, and rings true as Christina Aguilera’s own personality and intention which doesn’t give a fuck about current radio trends (in my opinion, less than half of Bionic would get spins on mainstream radio).  For this, her sales might suffer, but her artistic integrity remains intact and hopefully the mainstream radio audiences and buying public one day will catch up.

* I’ll address this once and only once: anyone who thinks that Christina Aguilera is copying Lady GaGa is a) suffering from memory loss and should go back to Christina Aguilera’s last two album eras which were mired with controversy and blazed with exciting fashions and imagery, b) suffering from hearing loss as Christina can sing GaGa – and pretty much anyone else – under the table, c) has no respect for what Aguilera has achieved over the past 10 years – while GaGa has had a fantastic 2-year run and displays much potential (her music and videos are definitely getting more intriguing), she’s still only been around 2 years and more respect should be shown to anyone who successfully completes a decade in the music industry, and d) completely overlooking Gwen Stefani, whose hairstyle Christina mimics in her “Not Myself Tonight” video, and whose image, sound and career Lady GaGa has borrowed liberally from, mixed with a bunch of fashion designers, and passed off as her own to those too young, too unaware or too amnesiac to know any better.

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onyx paradise.

April 11, 2010

Those of you who know me will know that my screen name for 85% of the forums that I use is “onyxparadise”.  Originally I only liked the ‘onyx’ aspect of the name (since the word looks and sounds pretty), but the name ‘onyx’ had been taken already on the forums I was interested in using at the time, and I was inspired by Britney Spears’ Onyx Hotel Tour.  Choosing an alternative, mysterious-sounding gemstone quickly became apparently not an option: “sapphire” and “topaz” (both in reference to my mother’s favourite stones, and both pretty-sounding words once again) were far too girly, so I thought about adding something to “onyx” to make it work.  Again “sunset” and “beach” sounded too feminine, but I hit upon the idea of “onyxparadise” and it had a magical, mysterious ring to it.  When I think of what the word represents, it symbolises some sort of fantasy faceted-glass multicoloured landscape within a gemstone.  I don’t know how to verbalise it better than that, but I know that those words create nothing close to the image / atmosphere in my head.

Returning to Britney Spears, she did teach me something interesting about the onyx: although the stone is traditionally black when we see it used in jewellery (and although black is my favourite “colour”, I’m not a fan of onyx jewellery), any light that shines into it can be refracted back out in a multitude of colours.  Now, Wikipedia tells me that this is false (or somewhat exaggerated at the very least) but I’m going to go with it because it supports the metaphor that I want to explore and essentially base the rest of this blog entry on.  Ever since I can remember, I’ve always felt like I’ve had multiple personalities.  Different sides of myself expanded as I got older and I started to give them different names: Alan; Miles (ok that was ill-advised but he didn’t last long); AC; purehonesty; onyxparadise; Chase.  They embodied different things, different representations of me, and now I reflect upon it I see that onyxparadise was really the perfect name.  Rather than multiple personalities, I am one person with all these different facets, different colours, different aspects to my being.  Just like an onyx (or Britney Spears’ version of it, anyway).

Sometimes I feel like I keep getting it wrong: I hated the movie Kick Ass, which I went to see last night, because I could only see reference after reference to Kill Bill – at want point does a parody/homage become a rip-off? It must have just been me, as the vast majority of reviews online are hugely positive, but I guess I just didn’t get the sense of humour (though I enjoyed Hit Girl). I don’t eat pizzas quickly enough for my father to have as much space in the fridge as he would like, and the first thing he said to me this morning was “who opened the back door?” as if by getting my milk from the fridge I had unwittingly committed a cardinal sin.  It’s times like these that I feel socially awkward or incorrect (like when I confused the barista at Costa by barking at Toby not to be so healthy in his choice of biscotti, as he was making me look bad with my vanilla frescato and carrot cake), and it’s only recently that I’ve taken a personal stand not to let my family make me feel so ugly, because their problems are no reflection of me.

There is a facet of me that feels tough, dark and edgy.  I now have 3 tattoos, I dye my hair black on the regular, I smoke and drink and stay out late.  I’m still a good person, I have many friends and I work damn hard juggling studies and employment. So I feel I’m entitled to play hard, and I feel that at 24 years old I’ve proved to myself (and to anyone else, not that that matters) that I am intelligent and sensible enough to make my own decisions and to stand by them and live through the consequences, right or wrong.  By embracing that side of myself, I take less nonsense, stand up for myself more (although this is still a work in progress)and I feel that it’s been key in the shift in my life over the last 9 months to being much more happier and taking control.  I feel happier indulging the edgier, mysterious side of me, acknowledging there are dark depths of my personality and essence that I have yet to plumb, because it makes the light shine that much brighter too.

And now, I have some really good friends, people who are close to me.  If my family more and more are the source of unnecessary stress and drama in my life, then my friends feel like what my family should be.  So I almost glow when my new best friend tells me how glad he is to be friends with me; when my boyfriend tells me for the first time that he loves me.  These are experiences I never had before, that make me feel almost uncomfortably good because I am valued, I matter.  Sometimes being strong, being independent, being tough – even if it’s a self-fulfilling façade at times – is really lonely.  But it’s times like that, it’s times when Mike offers me to spend the day with him and his family, when Billy gives me a big hug and kiss before bedtime, when Toby holds me tight in his arms as we watch TV and I feel so safe, that I know I don’t have to be, don’t deserve to be alone.

I never used to wear designer clothes or jewellery.  I have never been a 32″ waist since I was a child, and I find it funny to be posing as a model in Toby’s photos on beautiful days walking around Bristol, because I always dreamed of being a model and assumed it was out of reach.  After the strife of growing up between my parents and their families, the violent alcohol-fuelled arguments and mental abuse I experienced as a child and adolescent, the periods of unhappy rebellion as a 16, 17, 18-year-old, the disappointment of not really knowing where I was going with my life having graduated from Oxford University, the turmoil of a year in retail unable to fulfil my potential, I finally get to experience everything slotting into place, the lights shining from the onyx in a rainbow of the right colours.  Life finally feels good, if not how I imagined it to be! So this entry is really personal to me, because it’s how I see that I’m a whole host of different things – I am one person with many different aspects, not all of them necessarily pretty but all of them important, all of them of value.

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lady gaga & beyoncé – telephone. (video review)

March 14, 2010

At the end of 2009, I rated The Fame Monster at #18 on my year-end album chart.  Although I do stand by that chart and I don’t think I would really change any of the albums that are on there, in hindsight Lady GaGa would actually be somewhere in the Top 10 (possibly quite high up).  I didn’t think so at the time, but the funny thing about The Fame Monster is that it has hidden depths and its songs are actually really enduring.  What’s more, unlike The Fame, the songs are actually about deep topics such as domestic violence (“Dance In The Dark”), intoxication (“So Happy I Could Die”) and poisonous relationships (“Bad Romance”). I find it ironic that I’ve lambasted Lady GaGa for pandering to radio too much with her repetitive nonsense hooks (“p-p-p-poker face / papa-paparazzi / eh eh / ooh la la ga ga ro ma ma” and so on), but now I find myself appreciating her songwriting craft and finding her songs becoming more solid (although The Fame Monster is streets ahead of The Fame, so in a way I’m just acknowledging her artistic progression).  So I apologise somewhat for kinda turning off Lady GaGa and not giving her her due (although her fans / “monsters” are quite off-putting and need to be less militant), although if she could keep off the repetition of nonsensical syllables that would be good.  Because she doesn’t need to do that.

And so we come to “Telephone”.  The song is about suffocating relationships, and Lady GaGa herself has said that it doesn’t just have to be a romantic situation, but could also symbolise the fact that when her telephone rings, it’s always because she has to get back to work in the studio and she can’t escape that.  The song itself is pretty strong, although it’s not as progressive as some of the other songs on The Fame Monster and resorts to the 4/4 beat that has completely oversaturated popular music (and did so about a year and a half ago).  Beyoncé’s feature is a rapid-fire verse over double-time beats and keeps the song interesting.

The video for “Telephone” was released on Friday, and it has become something of a Pop Event.  The hype the video received even before its premiere was immense, and now it’s being hailed by some as the successor to Michael Jackson’s “Thriller”.  Others however are lambasting it for its apparent sexism and overt lesbianism.  I read in one place that you will remember exactly where you were when you first saw it, and that much is true (at least for me).  I had just returned home from work, it was about 3:30 and after keeping track of the video reviews on Twitter, I decided to give into my curiosity.  Upon the first viewing, I was a tiny bit underwhelmed but could still see the video’s bad and good points (of which my view hasn’t really changed).  I thought that Beyoncé’s appearance far outclassed Lady GaGa, not just because Beyoncé has had some acting lessons but also because Beyoncé is more of an effortless star (not in reality, but she doesn’t look as if she’s trying so hard).  I detested the overt product placement of Virgin Mobile, Chanel & the GaGa earbud headphones – but all the kids are doing it; I just expected Lady GaGa to have more class.  But then why should she? It’s money in the bank, and when your video is 9 and a half minutes long, you need some bank to be able to make that video look and feel effective and powerful.

I’ve rewatched the “Telephone” video a few times now, and each time my estimation of it has gone up.  While not exactly on iconic level (I think it’s far too soon to be throwing that word around; GaGa has only been around for 2 years), it’s another demonstration that Lady GaGa’s commitment to her artistry is strong, defiant and interesting.  The introductory jail scene serves to debunk the rumours of GaGa’s intersex status (duh), allows her to wear a host of outlandish outfits (striped shoulder-padded body suit / yellow police caution tape / super-studded leather jacket and underwear covered in chains) the best of which is undoubtedly the cigarette sunglasses (still smoking!).  The fashion continues with the huge black tricorne hat GaGa sports upon being bailed out of prison; the shredded USA flag (subtle!) clothes in which GaGa and Beyoncé dance in the diner scene; the folded geometric telephone hat and telephone receiver hairdo GaGa wears on her head; the leopardprint body suit à la Shania Twain’s “That Don’t Impress Me Much”; the closing lavender and black body sheets… not all of these ideas work (on a couple of occasions both GaGa and Beyoncé look nothing short of horrendous – for some reason, in the USA flag bikini and bright yellow hair, Lady GaGa reminds me somewhat of Ken from Street Fighter and I can’t shake this association!), but they all capture the viewer’s attention, and more importantly they all leave you with something to say after watching the video.  That’s possibly “Telephone”‘s biggest success – it provokes thought and inspires discussion.  We know this because even the broadsheet newspapers are talking about it.

I stand by my statement that GaGa does seem to be trying awfully hard at being controversial and “artistic”.  She’s made a couple of great videos now, but in view of the numerous costume changes (see above), storylines and scenes, it doesn’t seem to come easily.  For comparison, where better to look than her costar Beyoncé?  For the definition of an iconic music video, look no further than “Single Ladies”; everyone and their mama has seen that video and knows the dance.  The video is in black and white, has no storyline or costumes (other than a leotard and metallic glove), is done in one take and isn’t even an original idea (see Bob Fosse’s choreography on youtube). Most importantly, Beyoncé did it almost as an afterthought to her video for “If I Were A Boy” (which in my opinion is a truly beautiful, excellent video) without breaking a sweat; and yet this is the video that captured everyone’s attention.  Now, of course Beyoncé is not anywhere near as effortless as she appears; but she makes it look easy.  GaGa does not make it look easy, and although it’s admirable that she’s so committed to the symbolism and artistic integrity she conveys (and GaGa is clearly an intelligent and talented woman), I’m scared that because the media and the fans are so interested in her image, her look, and what she’s going to be wearing that they forget that Lady GaGa is actually a singer and a musician – the most important thing should be her music.  Which, as I said at the top, is actually quite good and shouldn’t get lost in all of the surrounding gloss, however layered and substantial that gloss may be.  What happens when Lady GaGa can’t get any crazier?  What about when she wants to strip away all the layers and be more vulnerable and natural?  Will everyone turn away from her then, because they just wanted the fancy clothes and elaborate videos?  Can people not listen to her music, her lyrics without the accompanying visual?  I hope I’m wrong, because if not then that’s pretty sad.

The storyline, just as the lyrics of the song itself, can be interpreted in various ways and I’m not going to get into that here; I think that some of the reviews I’ve read have been hilariously in-depth and I think that GaGa is intelligent enough to play along in pretending to have input heavy symbolism into outfits, storylines and lyrics where there is none; people seem to need to have a meaning to every single thing, whereas I often think that GaGa is just having fun and being crazy.  Which is great!  It’s entertainment.  And the “Telephone” video is certainly entertaining; I hated the product placement, and I don’t feel that the use of the Pussy Wagon was necessary (the Tarantino homages are apparent, with elements of Kill Bill and Pulp Fiction included) – but then that’s just because I find the Pussy Wagon unfeasibly garish.  Which, in Kill Bill, was the point, and I understand that.  I really enjoyed Beyoncé’s homages to the “Paparazzi” video in her poisoning the teacup, Minnie Mouse glasses and hand over her mouth when they censored the swearing.  I loved the Japanese cooking-programme style of “Let’s Make A Sandwich”, and the dialogue between Gaga and Beyoncé was intriguingly half-cheesy, half-hard-boiled (although Beyoncé can somewhat act, and Lady GaGa really can’t – yet).  Tyrese and Beyoncé’s subtitled conversation, spoken with only looks and facial expressions, was genius. The Thelma & Louise-esque ending neatly gave closure to the video, but also made viewers wonder what was in store (that “To Be Continued…”) for next time.

Overall, I thought that the “Telephone” video was excellent, and I’m intrigued to see how the music channels edit it down to song length.  It’s a thrilling watch, and while I’m not going to pretend that it is a perfect video, I think that to compare it to Michael Jackson’s “Thriller” is unfair; “Thriller” is not even Michael Jackson’s best video by a long shot, and Lady GaGa’s video deserves to stand in its own right.  “Telephone” is furiously entertaining, and shows an artist coming into her own, even if at this point the numerous costume changes and persistent homages, product placements and edgy fashion poses betray an artist not quite comfortable enough in her own skin to exude her artistry naturally.  Once it becomes a little more effortless (as it has for Beyoncé, Madonna and all the other greats), that’s when Lady GaGa will be iconic and symbolic of a new musical generation.  But she’s well on her way, and I hope that the media, fans and public will appreciate that, because I myself am learning to, little by little.

ps. If only my “Bad Romance” video treatment had ended in a jail rather than in a mental institution, it would have led perfectly into the “Telephone” video!  Ah well, can’t win ’em all 😉

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fear and self-loathing.

March 11, 2010

Lately I’ve noticed something about myself that never used to be the case.  Part of the idea of this blog is that I can use it to look at myself, examine my emotions and think things through.  It’s cathartic for me to write, but it’s also a way of me holding up a mirror to myself and trying to untangle emotions and confusion in my brain and heart.  By ordering things on the page and trying to make them as logical / rational as possible (which it isn’t always!) I can sort things out so that I can understand them myself, just as much as so that you all can understand, relate to and empathise with what I’m going through (and hopefully touch those of you who are or have been going through the same).

However, I now can’t tolerate the idea of doing personality quizzes, self-assessment or delving into my past and my psyche in a semi-public arena.  For not the first time, on Tuesday afternoon we had a class about psychometric testing and using these tests to determine a person’s aptitudes and skills.  This was fine, it was quite interesting and we did some example questions on verbal & non-verbal reasoning, numeracy, and spatial and mechanical awareness.  We then moved on to those psychometric tests which can be used to assess personality.  Now, although our lecturer dutifully informed us that we were all a mixture of every type of personality, and that every combination was positive, my back was immediately up.  As the example questions began, I felt a violent urge to disengage from the class and decided to quickly fill in my answers and then doodle on my page, not talking to anyone and not joining in any discussions sharing types, answers and anecdotes.  I wasn’t interested, I felt that a quiz of 8 questions (we did a very shortened version, since the full test is 88 questions!) was NOT enough to diagnose who I am, and I wasn’t interested in what anyone else had to say, whether anyone else felt that they really were what the quiz said they were or whatever.  I just wanted to get out.

I was talking to Mike, and later Toby, about my reaction – I was in a bad mood for several hours after this.  Why had I reacted so negatively to it?  Part of it is genuinely that I do not think that any quiz has a right to put me in a box or tell me who I am.  Because of this, as a careers adviser I myself probably would not use psychometrics to “analyse” clients, since that would be pretty hypocritical seeing as I can’t complete one myself (though once I had calmed down, I later on looked up my answer to the quiz, and while it was pretty flattering and seemed valid enough, I took it with a pinch of salt and forgot about it).  So I don’t like being generalised, and I don’t like being told who I am by somebody or something which evidently thinks it knows better, and which claims to be able to penetrate to the core of me in a matter of minutes.  I’m much more complex than that – we all are! – and I think that should be respected.  That’s part of it.

But part of it, if I am totally honest, is perhaps that I just don’t want to analyse myself in that way, and certainly not in a room with other people.  If it truly is going to delve into my psyche (which I still doubt), then the result should be for me and me alone.  Maybe a little bit of me is scared about what if it says something that really is undeniably true, but also that I utterly detest and despise?  Does that mean I am scared of myself? I hate myself?  What does that mean?  The fact is that this isn’t the first time I’ve reacted like this to delving into my past and my background (educational and personal) during class activities.  It’s probably the third, if I remember rightly.  I never used to be like this, and it concerns me a tiny bit – what am I so afraid of?  Why do I have such a sudden, strong negative reaction?  This reaction is only worsened by the fact that I know I’m overreacting – Mike said that he doesn’t take the quizzes seriously as they are usually a bunch of nonsense, and I know he’s mostly right.  Is it the fact he might be a tiny bit wrong that fills me with dread?  Is it dread that I’m filled with, or is it self-loathing, confusion or ignorance?  What’s going on with me?

The most rational thing that I can think of is that I’ve worked so damn hard to become the best person I can be, to become the person I’ve always wanted to be.  Over the years I’ve raised my intelligence, lost weight, learned to write, sing and produce my own music which I now market (check it out here!), made a lot of progress towards looking the way that I want to, become a lot more sociable and popular, made some wonderful friends, and I am proud of the person that I have become, while I still acknowledge that I have plenty further to go before I feel remotely satisfied with my achievements in life.  I’ve changed a lot – superficially, I’ve lost a lot of weight, stepped my fashion game up, dyed my hair and exercise regularly while watching what I eat.  Even though I’m plenty insecure inside, I know how to portray confidence and appear secure because at the end of the day, if I chicken out and don’t do something, it doesn’t get done and I regret not trying.  I’ve made all this personal progress and tried to change and improve the person that I am so much to be the better man that I want to be, aim to be… so what if one of these personality tests shows all that progress to be an illusion?  What if I’m just the same person as I was before, before I came so far?  Deep down, can we ever evolve? I believe I’ve evolved, I’ve grown a lot… it doesn’t feel like a lie.  I know logically that a quiz cannot discredit the progress I feel that I’ve made – the only person that can measure that is me.  But if it cut me down and put me back at square one, what then? What if it all means nothing and I’m destined to be the same person I used to be?  Is that what I’m afraid of?

I just don’t know.

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beautiful.

February 28, 2010

This song by Vivian Green is one of my new favourites at the moment.  It’s what real R&B is (not this dance/pop/Timbaland hybrid nonsense), about self-esteem, relationships and beauty.  Her voice is lovely on the song, and the lyrics are so poignant.  It’s inspired me to write this blog, because over the last 6-9 months, I’ve grown to feel a lot more comfortable in my skin.  I’ve gained a lot of new friendships (Nick and Toby met today! We had a lot of fun banter and coffee/tea in Starbucks), I’ve entered into a really lovely relationship in which I’m starting to feel comfortable, and my body and image are finally reflecting the man that I am, that I’ve become.  In short, it’s taken 24 years but nobody can make me feel ugly anymore.  Sometimes I might be hard on myself, and I’m pretty vain and heavily self-critical, but at the end of the day I’ve come to a place where I’m good.  Although it doesn’t matter whether other people validate you and the most important person you have to please is yourself, it has been a revelation just how valued I am by my friends, both old and new.  I entered into university and despite my closest friends being quite different from me, they support me and I support them.  We value each other, respect each other, and nobody can convince me now that I’m an ugly person.  Over the past 6 months, I’ve let people in on some heavy secrets of mine, and nobody ran away.  They all embraced me, and that’s meant a lot to me – I’m a beautiful person inside and out.  Not because they say so necessarily – after all, I worked damn hard to get to this point and feeling this way is still incredibly new to me.  But for example, I got home tonight and my parents were sniping at each other regarding a possible new car (which would be expensive), and they tried to ensnare me in the discussion.  I’ve grown to the point where I won’t be bullied by my mother or shouted down by her neverending arguments from her fixed point of view.  And neither will I be wound up by my father’s surreptitious planted comments, nor intimidated by his own feelings of superiority, inferiority or jealousy.  I love my parents, but so often these days I feel like the adult in this house and I won’t be made to feel inferior, naïve or ugly by either of them.  It took a very long time (longer than it should have), and it took more newly-formed friendships than it should have, but I’m strong enough to see their faults for what they are, rather than just taking them into me and feeling guilty about myself.  It’s not my fault, and I’m not the problem.  I’m not perfect, but I’m beautiful and I deserve to love myself and believe in myself as much as anyone else.  And finally, even though I can often waver or doubt myself (as we all can), I more or less do.  It’s a work-in-progress, as with anything.

In both of the essays I’ve submitted on my careers guidance course so far, not only have I got pretty decent marks, but I’ve received praise on how well I write.  This stands in contrast to when I was at Oxford and my tutors would complain about my essay structure and my use of language.  Perhaps part of it is that I’ve taken these past criticisms on board, perhaps I’ve grown not only in age but in maturity and the ability to express myself in a subject or arena that I enjoy, but it’s true that you can’t please everyone.  At the end of the day, I appreciate the compliments and try to improve from criticism, but it’s a lot harder to knock me down.  I feel happier, stronger and more sure of myself, and what’s most important to me when I’m handing in an essay, when I’m selecting my outfit for the day, when I’m singing a song to an audience, is that I’m happy and believe confidently in my self-expression.  Criticism from other people can help me to grow, praise from others lets me know I’m on the right path, but at the end of the day I have to be alright with me and nobody else can disguise whether I’m good or uneasy with myself.

So I realise that this entry can be construed as me giving myself a massive pat on my back, and to an extent it’s true 😉 But in the past when I’ve kept diaries or expressed myself in some form, it’s often fixated on the negative and become quite self-deprecating.  I won’t deny that there are entries on this blog where I’ve still been that way, but life doesn’t preclude negativity.  We all have good days and bad days, but I’m determined to acknowledge the good just as much as the bad.  I feel happier than I’ve possibly ever felt in my life, and I want to celebrate that and encourage you all to celebrate your own good days and happiness.  I’m determined to celebrate myself, even if nobody else will – but the greatest thing is that in the past 6-9 months, enough of my friends have reinforced me and held me up when I’ve not quite had the energy to see the good in myself or do it myself.  I truly appreciate that, and you know who you are – thankyou 🙂 So in connection with Vivian Green’s “Beautiful”, please listen to the song and put not only your loved ones but your friends and those who matter “on a pedestal / let them know that they’re beautiful”.  A compliment costs nothing but if it comes from the heart, it can make all the difference and encourage or remind people of the good in themselves. In a recent entry I talked about the value of letting people know that you appreciate them, and I wanted to reiterate that in this entry.  I appreciate myself, I feel appreciated and I won’t be downtrodden the way I used to be.  And neither should my friends be, and neither should you be.  Love yourselves, love one another, and we can all succeed together. 🙂