Double checking

So the two women are divorced and decide to live together and raise their families side by side. The two men are BROTHERS, but i have to say they are highly homoerotic. They even have a child. One of the characters nephews. Now you tell me....what about both these shows ISN'T queer? In some way. I love Kate and Allie. sweeeet women living the good life.

I told you not to eat the skittles from my hour glass

Ohmigod.

I JUST rediscovered 'The Faculty'. You know that movie from 1998, when ALL Hollywood was doing was funding films for, about, surrounding, and exploiting teens. And when i say teens i mean the actors who played 16 yr olds but were actually 21, the 16 yr old girls who fell in love with what they were being told was a 16 yr old boy - but was actually a 21 yr old boy, causing the actors 'adoration' of his teenage fans to appear slightly pedophile-ish. The teens who actually believed that the lives, stories, and stereotypical roles would happen to them. I mean how many teenage boy losers do you think dreamed (and believed) in the day that a 'jennifer love hewitt' character would read their letter, put aside her responsibility to being the most popular girl, follow them to the train station and live happily ever - until college.? Or i wonder how many teenage boys thought they could go the Sebastian route and convince a beautiful virgin like Reese witherspoon to give it up to them? While simultaneously trying to get into another girl (their step sisters) pants - - and ultimately shedding the bad boy image for love. Unfortunately he dies in the end, but so do Romeo and Juliet. It's like a teen movie right of passage for someone attractive, in love, or having just recently reached an important point of clarity die. He did leave behind a journal though, gotta love the Virginia Woolf touch.

Teens films of the 90's definitely filled the young and impressionable minds with an idea of unity. Lets go back to 'The Faculty' since that's what inspired me to write this anyway. Six completely different and fairly unlikeable people come together to stop aliens from taking over the world? Right. We have Casey(the nerd), Zeke(the drug dealer), Stokely(the pseudo lesbian, depressed, gender ambiguous loner), Mary Beth ( the southern bell 'out of towner'), Delilah ( the most popular girl in school), and Stan ( the captain of the football team). All of them come together - - they overcome high school differences and hierarchies to emerge as young adults. Mary Beth even goes so far as to say (to stokely) ' i know you pride yourself on being the outsider, but aren't you tired of being something you're not?'B Yup, she said that. And then, after we discover that Mary Beth is the queen alien they have been looking to kill all along, she says to stokely ' we don't know if you're gay, straight, alien..'. Now how sexuality and extraterrestrial life could have ANYTHING to do with one another is beyond me. And i don't mean in a theoretical or symbolic sense, i mean in the physical world. Well, there you have it, the homophobia in film came from two very predictable sources: the small town southerner and the most popular girl in school (who obviously needs to protect her ability to be fucked, because high school IS hell). But of course this cant be blamed on 'the faculty' considering 'the breakfast club' did the exact same damage. But that was the 80's, teens NEEDED that kind of damage.

Anyway, in the end we're left with Casey the nerd. Who is played by a young and eager Elijah Wood...before Tobey Maguire took over his spot. Because he killed the alien queen himself by injecting her with what i believe was speed...crystal meth? (I'm really not sure) he gets the girl and fame - he gets Delilah. We're also shown that Stokely and Stan are dating, c'mon...that's just not likely. And finally we're shown that Zeke has joined the football team. In the end both he and Stokely give into their impulses and are shown to be 'normal' members of their high school class. The resulting message? Sex, drugs, and teenage unity can save the earth.

"There are few things sadder in this life than watching someone walk away after they've left you, watching the distance between your bodies expand until there's nothing... but empty space and silence."-Someone like you♥

Instru(menstrual)

It's funny (not funny ha ha) that horror is the LEAST respected genre of film and yet ( i would argue, and i know what i am a talking about) deconstructs and exposes many of societies values and culture. It explores human life (both waking and comatose) in a very explicit way. This way may and can often come off as non-productive, but i assure you horror films will save us all.

Horror films are also VERY female centered. While of course there is the portrayal that women are hypersexual damsels in distress, who deserve to be murdered for their looseness - - their sexual power/freedom. However, (and this is the piece most people miss because they don't watch these movies at all) Women can also be antagonist - - which can be seen as a reflection of men’s pathological fear of women, their power, and menstruation, resulting in castration anxiety. Women in horror films are often thought to be child like. I mean 'child like' in the sense that they're helpless, simple, - - even small. One thing in particular that audiences gleam from horror films is that women do nothing. They do nothing to advance the plot. They do nothing when there is danger around ( mostly because they can't, am i right?). They do nothing but scream, moan and eventually die a brutal death. Wrong. Well its not wrong so much as it is surface. That understanding of women in such a male dominated genre is understandable, plausible, reasonable, and even expected. Women are thought of this way even when the film stars, or is directly about HER! There are a few women characters I'd like to talk about here. They together, but separately, string together a truth of extreme feminist importance. The period. Menstruation. The Flow. You may be asking a couple questions to yourself right now: in what movie is a women's period central? is there more than one movie? how can horror films be feminist? and I wrapped my head around this from a bunch of different directions; and i found something interesting. The films 'Ginger Snaps' (2000), and Carrie (1976) are just two examples of womens power - through menstruation.


You’ve probably all heard the euphemisms, and probably the jokes, such as: "Don’t trust anything that bleeds for five days and doesn’t die."


to be continued....

Pulling back the glass

Disc 2

1. Motownphilly - Boyz II Men
2. Selina Transforms II - Danny Elfman
3. And she was [ extended mix] - Talking Heads
4. Here's to believe - Aslyn
5. Wild hope - Mandy Moore
6. Praise Chorus - Jimmy Eat World
7. Didn't I tell you - Keshia Cole
8. Beautiful Calm Driving - Sia
9. I Am - Nelly Furtado
10. Breaking us in Two - Mandy Moore
11. Flower - Liz Phair
12. When i was a young girl - Feist
13. Night Fever - Bee Gee's
14. True Love Ways - Buddy Holly
15. Dream a little Dream of me - The Mamas and The Papas
16. Human Nature - Madonna
17. Delicate - Damien Rice
18. Hot Child in the City - Pat Benatar

Dancing along the brush fire

Disc 1

1. The Limit to your Love - Feist
2. Wild World - Cat Stevens
3. Good Luck - Basement Jaxx
4. Put you on game - Lupe Fiasco
5. Angry Angel - Imogen Heap
6. XO - Fall out Boy
7. Summer Nights - Olivia Newton John
8. Thats not my Name - The Ting Tings
9. Madie, Don't Leave - playradioplay!
10. Alone - Heart
11. Space Oddity - David Bowie
12. Dream on - Robyn
13. Ulysses - Franz Ferdinand
14. Pagan Poetry - Bjork
15. Monday, Monday - The Mamas and The Papas
16. We went for a ride - Fefe Dobson
17. Calling it love - Animotion
18. She lives in my lap - Andre Benjamin

Us, nothing, or other.

Today I'm feeling something bigger than myself. I wonder if i do too much - or come off too strong. I feel restless today. The sky is half open from where i can see and the sun is beating down. I seriously don't like to be hot; so that's making me slightly irritable. I want to believe i am starting a new chapter in my life. That i am on my way to feeling more instead of less. However, what happened today was a little embarrassing. When things like that happen you (or rather I) question my worth.
But why? It's just a little embarrassing moment that i will surely not remember when i am further a long in my life. It's no big deal. Everything goes slow, and thank goodness. Slow is better, slow is timeless, slow is meaningful. But sometimes i get so excited i just want to dive in! I can be so absolute, i can just charge right in without thinking. But I...I need to start thinking or i will end up where i have been my whole life.

Today is my bestfriends birthday - she is in chile and i sent her a care package. It's got some really good gifts inside. I made it a specific point to place a box with in a box. I love that kind of surprise - - it's like it happens twice. Well Happy birthday to my lex! i love you! muah.

I picked up a base guitar the other day and remembered why i used to always want to be a singer. a songwriter. I've still got that drive. ....the list goes on and on of what i've been up to.

keep well, and keep reading.

Something Romantic? ( A look at 'American Psycho')

In the 2000 film 'American Psycho' female director, Mary Harron, delivers the perfectly constructed yuppie specimen - - Patrick Bateman. Bateman as a character is played with an unconstrained precision by Christian Bale. He employs not only the madness, but the disconnect - the sterility.

A specific scene that sticks out in the film is usually the ax murder (and i don't mean to give anything away here, so if you've never seen it and want to stop reading here). When Patrick Bateman murder rival Paul Allen in his NY upscale apartment it is both arresting and opulent. It becomes difficult to look away. What made the scene even more impressive was the way Patrick prepared for the murder. After bringing Paul into his home, which was coincidentally covered in news paper, he begins to espouse about the genius of Huey Lewis and the News. Now this is an essential part of the "idea that is Patrick bateman." He is a connoisseur of popular culture, specifically music. And whenever he starts to talk about music - you know he is either going to kill or something unpleasant is about to happen. The contrast of such a violent - and incidentally by default of the weapon, more 'country' murder in a swank, polished, sterilized apartment was new & exciting. Director Harron made a specific point to sterilize Patrick so that everything around him becomes difficult to consume as an audience member. While you're initially weary of Patricks eccentric routine you slowly become teamed with him. His only identifiable emotions are "except for greed and disgust," making his admitted raw composure simply irresistible. You're made, very clearly, to feel Patricks disgust with the world.

Another memorable scene is when Patrick kills Al, a homeless man in the back alley. It is here that i believe director Harron is delivering a complex but fluid idea. We have Patrick Bateman, who is a white, upper class, (presumably) 'well bred' male murdering a homeless, black, lower class, and (Presumably due to racial constructions specifically in the 80's) not 'well bred' male. This is bold. A woman director who isn't afraid to conquer predominantly (in the film world) male subjects such as drugs, sex, pornography, prostitution, greed, wealth, insanity, murder, violence, gore, and emptiness in connection to all of thoes things.

I better Kuckle down

I thought it was about time i entered the world of the living. I've been in hiding, not knowing exactly what to say about whats been going on in my life.

Things have been progressing, s-l-o-w-l-y. I've been getting communications - - emails & texts that have been extremely meaningful to me lately. I cant express how much it soothes me, so thank you.

Anyway, onto my rant. I have always wondered why, why people deny the intensity of weight and appearance in this culture. We all know that being fat is horrible - - practically a sin. I know because just the other day i was told i was too fat for something. It hurt, but at this age, given I've been heavy all my life it didn't phase me. It did, however, make me think. I'm constantly running up against people who think that EVERYONE suffers from body image issues. Now, i would NEVER deny that fact but its a little more magnified when your skinny but see you're self as fat and when you're actually over weight. It's like everyone suffers in life from the constrictions of race and gender, but its a little more magnified when you are...oh..lets say a person of color...or a woman...or a queer identified person...or a lesbian...or a gay man...or a bi-sexual...fluid...trans and so on! This yr i have become increasingly more comfortable with my body. I wore shorts for two days in a row. I've been wearing strapless dresses. I've been accessorizing like no one business. I am coming into my own...i think. Feels good.

one more strange, but liberating thing, somehow this summer i've become a lover of cooking and cleaning my house. am ia housewive? the real housewives & queers of NH? sounds like a winner. take it bravo - take it!

they found a bible by each victim - - suggesting the crimes were deliberate

I want to give back every moment I smiled. I want to erase all the times I was happy and laughing. I want to give them away, I want to forget them. I want everyone else to forget them. I don’t want people to think that I think I deserve to live. That I could think I was that special: to have interests, and favorites, and hobbies, and personal likes and dislikes, and skills. I do not want this. I don’t. I feel like I have to say things to make it in society, I don’t actually think im worth anything. It’s all an illusion. I don’t think im worth more than my suicide attempts, or molestation, or deeeeep depression, or disordered eating, or being slapped around, or ruining my relationships/friendships. I do not know what brainwashing I have gone through to make me believe those things. How did I get it in my head that I was allowed to smile and have joys? I lost it for a minute there, but now I understand. Minimum smiling & laughing. No joys. No more likes and dislikes. No more self definition period – definition is something you earn. I have done nothing in life to earn self definition.

what is wrong with me?

classsy portsmouth living

Sugar....it brings me sugar (a look at 'some like it hot')

Primarily comedies derive their effect from sexually suggestive or slapstick scenarios resulting from the central characters 'mistaken identity', that is, from the gap between the characters passing within the diegesis and the spectators privileged position of knowledge(knowing the characters are in drag). Fuelled by heterosexual imperatives, the narrative progresses towards the climactic disclosure of the characters true identity. However, the narration repeatedly reminds the spectator of the true identity by the transparency of their disguise, or the involuntary intrusion of an 'innate' gender. For many spectators films like this allow for a rare and radical space for gender and sexual ambiguity -- that is, for queerness-- in mainstream products. Barsam explains that “Screen acting is a kind of art, in which an actor uses imagination, intelligence, psychology, memory, vocal technique, facial expression, body language and an over knowledge of the filmmaking process to realize, under the director’s guidance, the character created by the screenwriter.” (LM 196) Lemon and Curtis embodied more than the character created by the screen writers, they paralleled comedic acting and gender acting, while exploring themes such as; homoeroticism, sexual and gender ambiguity. The film itself is a capsule for gender ambiguity and is a rare space for social critiques. Lemons character sees sugar for the first time when he himself is dressed as a woman. On one hand he is infatuated with her in this moment, however he also admires her. He wants to be her. It becomes clear at this moment his own gender expression is ambiguous. That he not only enjoys being a 'woman'(in terms of gender expression) but he also is sexually attracted to them, making his character queer. The ultimate moment where the film makes definitive statements about gender expression is the moment Lemon tells Curtis he's going to marry the wealthy old man. When asked why a man would want to marry another man his answer is simple: Security. That not only speaks to a critique about gender expression but of the institution of marriage in this country and how it is more about property and trade then it will ever be about love.

Fight the power (a look at 'Do the right thing')

This image of the two “circulates throughout the film, ending up as the single picture on the burned and “blackened” “Wall of Fame,” and it returns to close the film, following on the citations from the two leaders that Lee juxtaposes there without comment.” (Willis 790) 'Do the Right Thing', produced in 1989, is director Spike Lee's attempt to explore the human particularity of this system of binarisms (a principle of analysis requiring that a linguistic system, as a phonological, case, or semantic system, be represented as a set of binary oppositions)and the culturally entrepreneurial situation of the African-American subject within it. The film's use of the metonymic (A figure of speech in which one word or phrase is substituted for another with which it is closely associated) figures "King" and "X" as well as the ethically divergent meta-narratives, an abstract idea that is supposed to be a comprehensive explanation of historical experience or knowledge, of which they are the cultural signifiers suffuses its dramatic structure with the ideological tension generated by the trope of "double-consciousness."( in its contemporary sense, is a term coined by W. E. B. Du Bois to explain an identity that has been divided into several facets).The vehicle by which 'Do the Right Thing' represents the black community reminding itself, so to speak, of the presence of these figures is the ubiquitous Smiley, a young man with cerebral palsy who earns money selling photographs of African-American heroes to his Bed-Stuy neighbors. The film calls attention to one image in particular: the famous photograph of King and Malcolm shaking hands and smiling during their first and only meeting.

'Do the right thing' uses "gender dynamics, struggles around property rights and consumerism, and competing masculine postures.(FA 784)" as a point of origin for social commentary. The moral cosmology Radio Raheem narrates here is very compelling. In it, "good" is not only identifiable and absolute, but ultimately more powerful than "evil," which, correspondingly, is equally pure and clear. The faith and lucidity of this formulation are potent. Yet the film complicates Radio Raheem's vision with its depictions of his role in the confrontation at Sal's Famous Pizzeria and his murder at the hands of the police. It is not clear that Radio Raheem is purely "good"; according to the film, Radio Raheem, like the large majority of Black youth, is the victim of materialism and a misplaced sense of values. This critique, ironized as it is by Lee's highly visible and controversial promotion of various product lines (including his own) which vigorously target the young-African-American-male demographic, nonetheless identifies a salient feature of Raheem's characterization. And it is tragically obvious during the murder scene that "evil," at least in this particular match, is far stronger than Radio Raheem's "story of Life" implies.

heart attacks are crazy - he couldnt have a heart attack

There are civilizations that are considered to be the oldest form. 8,000 years old. So then we can conclude that political and judicial hierarchies have been in establishment for that long.

The 2001 feature film Donnie Darko showcases a scene where Donnie and Miss Pomeroy have an exchange where the discuss the rubric for declaring humanity and therefore being “cared” about.

Karen Pommeroy: This could be the death of an entire way of life, the end of an era...
Donnie: Why should we care?
Karen Pommeroy: Because the rabbits are us, Donnie.
Donnie: Why should I mourn for a rabbit like he was human?
Karen Pommeroy: Are you saying that the death of one species is less tragic than another?
Donnie: Of course. The rabbit's not like us. It has no... keen look at something in the mirror, it has no history books, no photographs, no knowledge of sorrow or regret... I mean, I'm sorry, Miss Pommeroy, don't get me wrong; y'know, I like rabbits and all. They're cute and they're horny. And if you're cute and you're horny, then you're probably happy, in that you don't know who you are and why you're even alive. And you just wanna' have sex, as many times as possible, before you die... I mean, I just don't see the point in crying over a dead rabbit! Y'know, who... who never even feared death to begin with.

Donnie questions why he should mourn for the rabbits since they’re not human. This illuminates the emotional gap between two “species” of people that have a history of one claiming humanity over the other. Since humans understand that they are special. They are human. Humans see themselves as being emotionally, intellectually, physically, psychological, and socially advanced over rabbits ( any species that has not contributed of the evolvement of the culture), and this according to Donnie makes your death less tragic. In order to see tragedy in someone’s life or death you must care, you must pity them, and therefore can only truly care about someone else you see as human.

Conclusion: Therefore Donnie is illustrating a contemporary American report on the racial climate. It is reiterating the main point : (Note: Check on origin of the slave trade in America) American slave trade begins in late 1600’s Meaning that since our, meaning American civilization, was started until 1492 White Skinned Americans have over 5992 years of “history books, photographs, and the knowledge of sorrow and regret,” making them authentically human. Therefore white skinned people have, in this country, an estimated 5992 years of well documented history over the African American. This is contextualized in an era when we still are seeing our first black leader - - the face of america. Black Americans are such a new development of species that we are still in an era where were are still at the beginning of our civilization. Because we as a representation of people have NOT been involved in creating the judicial, social, and historically background of the very country we know as home. Political leaders are an extension of royal families. The head, president, being a lingering descendant of an emperor. How? Because an emperor is the face if a country, of a civilization. White people have been the “emperors” since the beginning of civilization to now. Therefore white people have an established history and accurate representation of their evolution. Therefore if the only way to care for someone is to find them human, and to be human you must have histories/representation, black American people will never be human to American whites.


do you follow me? I dont know...sometimes i don't even follow me.

A work in progess

The Sandbox or The Tide Pool

Characters: Eve, Cara, Margret, Casey, Aaron, Leigh, Deandra

August 2007. A hospital room, silence, and the bed has streaks of a black substance all over it. There are silhouettes of feet kicking against the sterile white bed sheet. Pan to the eyes of a young girl who seems in distress, there are tears mixing with sweat in the corners of her eyes where her eye lashes rest. As the camera moves out we begin to see the makings of two other bodies in the room. One of which is a young girl about the same age as the lead character and the other wearing an ER nurses outfit. The girl is holding the lead characters arms down and pleading with her (still silent, this is all happening without sound); the ER nurse is forcing the lead character to drink something out of a Styrofoam cup. After the cup is empty the lead girls face is revealed with thick black liquid draining down the corners of her mouth. She then idly falls back on to the bed and falls asleep. Fade to black and the title of the film “The Sandbox” sits in the screen in all white writing. Back to the hospital room. Shot of the IV in her arm and suddenly she speaks.

Eve – (staring at the ceiling, presumably talking to herself) it was only 25, only 25 this time.

(Shot of Dee sitting across the room in an obviously uncomfortable chair, she goes over to the bed and looks directly down at eve with a look of guilt)

Dee – I need to pay for parking. I need to go…

Eve- Take my debit card. (Dee gets the card and is making her way out of the door, as she reaches the door eve speaks) Don’t give it to my mom ok? I don’t want her to know where I am.

Dee- Your mom? I’m going to the front desk.

Eve- Just stay away from my mom

Dee takes a long look at eve and finally agrees. She leaves the room and eve is alone with her cell phone, which is dying, a denim skit, a red and black zip-up, and flip flops. She begins watching TV until she is interrupted by a young woman who works at the hospital. She comes in wearing a bright orange 3 quarter length sleeve shirt, black capris, and sandals. She asks to speak with eve.

Social worker – (pronounces last name as frank co-is) Eve François?

Eve – It’s pronounced Fran- sis….

Social worker – Sorry. (silence while the woman takes a seat and gives eve the once over) I need to interview you.

As interview begins the camera does a 360 around the hospital room. Eve stays stoic and does not directly respond to anything being told to her. Then finally speaks up, as the camera continues to revolve.

Eve – my body will go wherever I tell it to.

The camera continues to revolve, morphing from eve in the hospital room to eve on the sidewalk in the snow.

Winter 2007. Scene opens with mid shot of the main character Eve standing in the falling snow. She is taking deep breaths and looking from side to side, waiting to cross the street. The camera then moves behind her and shows the building she is going to. Then she darts across the street and into an apartment building. As she moves towards the stairs her phone rings. She is apprehensive but eventually pulls it out of her pocket. She stares at it for a moment before finally picking up.

Eve – (pressing the answer button but initially sitting in silence, and then speaking) Hello Aaron.

(Fade to black and then camera focuses on one tiny leaf on the ground. Suddenly a stiletto heal comes bounding into the shot; crushing the leaf. Converse shoes anxiously enter the shot & leave. Pan up to Cara walking furiously and Eve power- walking after her screaming)

Eve – Cara! (running towards the camera)

Cara – (barely acknowledging eve) I have class Evey, I can’t talk.

Eve – That leaf! (Pointing behind her)

Cara – (not turning to look at her) What leaf? (Then stopping cold and turning to eve, pressing her hand to her shoulder blade) Is this about Aaron?

Eve – (disgusted) What? No. (Cara, disappointed, begins walking again with her back to eve. Eve walks behind her) This is about that leaf you just crushed (Eve stops walking right in front of the camera. Cara keeps walking and yells something back at eve by speaking over her)

Cara – …Then I am disinterested evey. Until you talk about Aaron, men, manhood I’m just not interested!

Eve – (catching up to Cara) Not interested? That’s nice. When is the last time I saw you again?

Cara – (stops walking in order to turn and touch eve on both shoulders) Evey, I know you had a rough summer. The last time I saw you, you looked happy. I still don’t understand.

Eve – (shifting her weight and fidgeting around) I don’t. Understand I mean. I just know that going back isn’t an option. You look pretty.

Cara – (turning and beginning to walk away, then turning and walking backwards) Cheer up Evey, its fall (pause) you like fall (Turing back around and walking forward)

Cara disappears into the mass of college students. Eve, watching her disappear, stands for a moment aimless and despondent. She then exits frame from the left. Eve is walking around trying not to be seen. As she is walking she spaces out and accidently bumps into a young man. He has very dark hair and dark eyes with olive skin. He’s unattractive conventionally but attractive to her. When they bump into each other he almost knocks her off her feet because he is running so fast. He drops all of his books and beings to pick them up and apologize to her. He’s looking down however and does not recognize her.

Eve – (staring at him as he picks up his things from the concrete, then finally speaking) Hello Aaron.

Aaron – (stops what he is doing and freezes for a moment with some books in his hands and his knees in the concrete. Then he slowly looks up) Evey?

Eve – (interrupting him) Eve. Don’t call me Evey, you can’t call me that.

Aaron – Eve.

Eve – (staring down at him with her arms folded) What? (She then walks away leaving him to follow her)

Aaron – (speed walking behind eve as she’s walking away) I didn’t hear from you all summer, then I call you and you won’t even speak to me

Eve – (still not turning around) I did speak

Aaron – you barley said anything, you said hello that’s it.

Eve – I thought that was enough

Aaron – Where were you?

Eve – Connecticut, Boston, New York

Aaron – You hate the Yankees

Eve – You’re right, I hate you

Aaron – Talk to me…

Eve – (stopping in her tracks and turning around, almost knocking Aaron over) I don’t owe you words! (Staring at him for a moment) Don’t you even remember the last time we saw each other? (They stare at each other and say nothing) I have to go. (Eve begins to walk away but then turns around to say something) You know, you’re so dim. There’s so little light. I’m making no sense. Must have been all the pills. (Aaron attempts to interrupt her, but she stops him) Don’t. Don’t. (pause) Go away Aaron. Go blind. Pretend you didn’t see me. Just go. (Eve walks away from him, leaving him in the middle of the road holding his books. Camera moves out and away from his face until it becomes a full length shot)

To our lady gaga-- forever and ever amen

Note: this is a lyrical remix to the song "paparazzi". The lady and myself have the same birthday so i wrote this to encapsulate the wonderful beauty of an Aries woman.


We are the rams
And we’re head-butting out
Right into your speaker
Right onto your dance floor – it’s so divine
You know we wet your appetites

Our dance moves are free
Lights a fire inside
We’ve got dreams for earrings - dangling next to spot lights in our eyes
Diamonds and pearls line our thighs
We’ve got nothing to hide

We’re the statuettes posing just for curiosity
We’re march, we’re march babies
Social circle paranoia cause we’re just too classy
We’re march, we’re march babies

Taking reign on the dance floor
Every single move makes for couture.
Social circle paranoia cause we’re just too classy
We’re march, we’re march babies


Transmission are clear, you can’t get enough
We’re the first in the house
& you won’t be the same
We’re organically made
Sirens in action and in name

We’re assertive as fuck
Get out of our way
Listen up – and obey
We wear sunglasses in the shade, to protect you from our icy gaze
We give back what we take


We’re the statuettes posing just for curiosity
We’re march, we’re march babies
Social circle paranoia cause we’re just too classy
We’re march, we’re march babies

Taking reign on the dance floor
Every single move makes for couture.
Social circle paranoia cause we’re just too classy
We’re march, we’re march babies

So sexy, we dance on the chandeliers
Accept us and jealousy will disappear
Mystified and part of the sublime
We’re crazy, but we have a good time!
We’re the statuettes posing just for curiosity
We’re march, we’re march babies
Social circle paranoia cause we’re just too classy
We’re march, we’re march babies

Taking reign on the dance floor
Every single move makes for couture.
Social circle paranoia cause we’re just too classy
We’re march, we’re march babies

Lucky St. Part 1

Opens with overhead shot of a room, out of focus on the edges but in focus in the middle. Suddenly a leg stretches through the flame and goes back down. Music plays as we cut to shot of girl waking in bed. She stretches a little more, then looks to her right. Looks back at the ceiling. Sits up and out of camera frame. Credits start here. Floor shot and girls feet come into frame. She walks into the hall and trips over a toy car. Bends down to pick it up, then goes down the hall to her left and places it in front of a door. Continues the other way and into the kitchen. Cut to shot of cabinet door slamming and then we see two girls in the kitchen.

Georgia- Why am I up? [sitting in counter]

Barry- Well maybe cause you have school

Georgia- graduation.

Barry- yea.

Georgia- it’s final..it’s…it’s a pretty final thing

Barry- Final?

Georgia- Over. Ending. Ended. I’m ready to leave here. Onto bigger and better things

Barry- like what?

Georgia- [hoping off counter and opening the fridgerator] we don’t have juice.

Barry- oh, phoenix drank it all

Georgia – barrina, he always drinks the last of things.

Barry- [stops what shes doing] Gia..

Georgia- I know I know. Barrina is your full name. I’m just fucking with you

Barry- [starts cleaning again] it’s too early in the morning for fucking.

Georgia- [sarcastically] god. If one more person says that to me this week…

Barry- where’s Raleigh?

Georgia- In bed
Barry- [growing impatient] get her. Up. Please.

Gerogia- alright. [going down the hall and knocking on a door]

Hey Raleigh, Cali, get up.

The twins slowly get out of bed and move towards the door way. They’re sluggish and barely awake.

Georgia- don’t be too excited

Cali- [looking down at Georgia’s feet] are those my socks? [walking away]

Georgia- [ looking down, somewhat surprised] oh yeah, nice

All the girls walk down the hall and enter the kitchen where Barry is making food.

Cali- how are you such an ass hole?

Georgia- [walking towards her sister] it takes lots of practice

Barry- unbelievable

Georgia- Believe it.

Raleigh- is phoenix up yet?

Georgia- I’m not going in there.

Barry- C’mon Georgia I need you to help me out here

Georgia- No way Barry. Last time I walked in there unannounced I saw Julia Feather completely naked with…

Phoenix- [entering the room and interrupting Georgia, as he moves towards the refridgerator Georgia moves out of the kitchen and begins walking down the hall]

Barry – [ putting on a frustrated smile] Thank you.

Phoenix- [opening the fridgerator] we don’t have any juice…

Georgia- [waking back to her room] hey, start getting ready, okay?

Georgia enters her room, with her back to the door and begins to look at clothes she might wear that day. Barry enters in the doorway with a piece of paper in her hands.

Barry- [holding up the letter] got another letter…

Georgia- you open it? [Still looking through clothes]

Barry- it’s your letter.

Georgia- I don’t want it.

Barry- we all miss dad Georgia, but how long are you going to keep this up?

Georgia- [throwing a shirt over her head] I have graduation barry [she pauses] I’m graduating today.

Barry- what does that have to do with this?

Georgia- Short version…I’ll keep it up as long as I have to…

Georgia brushes past Barry and into the hallway. Barry stands for a moment and then places the letter on her bed.

Scene 2

Scene opens with Georgia looking in the bathroom mirror.

Donnie-[opening the girls room door and yelling inside] Georgia c’mon, we’re about to walk…

Georgia takes a long look in the mirror and then follows Donnie.

Cut to everyone sitting in their respective seats as the valedictorian talks.

Donnie- [leans in and whispers] can’t believe it’s over…

Georgia- I can’t believe how uncomfortable I am

Donnie- why? [pause] are you naked under that robe? Ha.

Georgia- (giving a slightly disappointing look) in your dreams

Donnie- [staring at Georgia] Georgia…

Georgia- [turning to look at him] what?

Donnie- write me from California, okay?

Georgia- [ pause] ok. – I’ll write you.

As they hug the graduation of their class is announced and everyone jumps up and down. Song playing “Pride [In the name of love] By U2”. Everything going in slow motion. Shot of Donnie and Georgia hugging and smiling. Shot of Lincoln clapping and watching everyone around him interact. His best friend Carl grabs his shoulders and he looks back smiling. But then he gets his first glimpse at Georgia from a far. Cut to shot of Georgia from a far. Cut to outside the stadium where everyone is taking pictures and hanging out. A flash.

Georgia and Donnie are taking pictures with Donnies parents.

Donnie- dad!

Donnies father- Sorry son. This camera…

Donnie- ahh dad. Let me help you…

Cut to shot of Lincoln watching Georgia from a far.

Carl grabs his shoulders again.

Carl- wake up man. [pauses while Carl looks in the same direction Lincoln was just looking in] what are you looking at?

Lincoln- nothing man

Carl- oh [pause] oh I get it. You’re looking at…um…what’s her name? [pause while he thinks] Georgia?

Lincoln- I don’t know what you’re talking about

Carl- that’s just like you to wait till the last day

Lincoln- I didn’t wait till the last day. For what? What are you talking about?

Carl- she’s…

Lincoln- she’s?

Carl- I don’t know. She’s just different.

Lincoln- and you don’t like different

Carl- you don’t know different.

Lincoln- Different?

Carl- Special

Lincoln- Different or special?

Carl- Different. Special. Something. Weird. [pause] I don’t know

Lincoln- all that. huh?

Carl- hey[pause] she’s trouble. You don’t know her man

Lincoln- you don’t know her either. [pause] but I want to know her

Carl- what for?

Lincolns Father- Lincoln!

Lincoln- c’mon my parents are ready.

Lincoln gets up and goes out of frame, Carl lingers and then follows.

Scene 3


Opens with Georgia sitting at a table in the mall food court waiting. Drinking a glass of water. She turns the glass a couple times. Then takes a sip. Another sip. Then she begins to gulp it down. Donnie comes into frame from behind her and hit her on the back. She chokes a little

Georgia- Donnie! [pauses, and he sits across from her] you almost killed me..

Donnie- wasn’t my intention…okay listen up.

Georgia- Ya. So what is so important that you made me come here. To this consumerist black hole

Donnie- this isn’t the…whatever

Georgia- [sipping from the water again] whatever, what do you have to tell me?

Donnie- Alright. You ready for this? [pause. Georgia nods her head] I met a girl.

Georgia- a what?

Donnie- Adrianne.

Georgia- dark one…

Donnie- what?

Georgia- it means “dark one”, its Latin origin, is she Latin? Well what am I saying? No one is really latin, they could be from latin America maybe, but not latin, ya know?

Donnie- No. shes white. Average. Nothing special, and above all not exotic.

Georgia- so what are you doing with her?

Donnie- I don’t know. Nothing I guess.

Georgia- nothing?

Donnie- well I don’t actually know her, but from a far…..

Georgia- so if the world was ending. And everyone could make one phone call to someone they truly love. She wouldn’t call you, would she?

Donnie- Maybe…

Georgia- that’s tragic. You’re tragic.

Donnie- If I am so tragic why do you hang with me?

Georgia- because I cant afford not to. Because tragedy needs company and my misery is the perfect companion.

Donnie- I need a coke[pauses looking around and then standing up] you want?

Georgia- you know I don’t drink soda. It stunts my growth.

Donnie leaves the frame and we focus on Georgia sipping her water for a moment. Then Donnie comes back into frame and sits in the exact same spot.

Donnie- okay. That phone call thing. How. How can I be her one phone call?

Georgia- I don’t even know this girl. I don’t love. I don’t know what it means to be someones one phone call. I hate the phone. You would have been better off not telling me this

Donnie- why?

Georgia- because I will crush you. because its unbelievable to me that anyone could love anyone else, for real. [pause while she sips her water] not without killing each other anyway.

Donnie- is this about your mom?

Georgia- this is about you, and one phone call.

Donnie- she wrote you again

Georgia- sure

Donnie- is this about Lincoln?

Georgia- Lincoln who?

Donnie- Cole. Lincoln Cole.

Georgia- [crossing her arms] there is nothing. Me and Lincoln cole. There is no me and Lincoln. I don’t even know him. He seems like a fable. Something you made up. No, I don’t know Lincoln cole.

Donnie- What’s the big deal?

Georgia- Donnie. I don’t know him. He doesn’t know me. I mean, why would he want to?

Scene 4

Opens with Lincoln lying on his couch reading a book.

Kristen- are you going to read that book all day?

Lincoln moves the book from in front of his face to see his sister standing over him.

Lincoln- hello Kristen

Kristen- I missed your graduation. I know.

Lincoln- it’s alright.

Kristen- [biting into an apple] business was crazy.

Lincoln- I hear NY is like that

Kristen- you have no idea. [Pause] so how was it?

Lincoln- I graduated Kristen.

Kristen- Okay. Just wondered if anything exciting happened?

Lincoln- what? You mean like someone dying, or what?

[Kristen stops chewing on her apple and pauses.]

No nothing like that kris. [she begins to chew again]

Kristen- Well I’m glad it went well [pause as she watches him pour a glass of water] I can see you are your normal sarcastic self

Lincoln- Sarcastic?

Kristen- little brother [putting down the apple and motioning Lincoln to the window] I got you a something. Just look outside.

Lincoln- That’s a car. [pauses, turns around and looks at Kristen] that’s a car!

Kristen- yup. [Pause] well don’t just stand here.

Lincoln- I don’t have anywhere to go.

Kristen- what about the girl or boy?

Lincoln- [walking over to the couch to sit down] I can attract neither boy or girl. There is no one. No girl

Kristen- there has to be a girl.

Lincoln- what, you don’t think I’m gay?

Kristen- Well you could be. [pause] are you?

Lincoln- if I were to be so lucky.

Kristen- trust me, men are no easier to read then woman.

Lincoln- I’ve never brought a girl home. EVER. I mean [pause] you don’t think that’s odd?

Kristen- I just figured you didn’t fall in love. [Sitting next to him] it was about love for me not gender.

Lincoln- Dad told me he suspected something.

Kristen- Dad still thinks women should go from the marriage bed to the childbirth bed to the deathbed [pause] his thinking is limited. One of the many reasons he and I can’t have a discussion without it erupting into a fight. Honestly, I don’t know how mom stays married to him. All these years. It’s incomprehensible. He’s just going to push you away, his only child.

Lincoln- Only child?

Kristen- Dad doesn’t even acknowledge me. You’re his son, his golden child. It’s okay, I’d rather be the villain in the family. It’s much more fun. [Pause] So dad thinks you’re gay?

Lincoln- of course he does. As if I haven’t lived up to enough of his standards. I’m going to the best school. I spent my entire school career with books instead of friends. There is nothing left I can do for him. I’ve done everything I can. Except for the one thing I was supposed to do…

Kristen- Bring home a girl?

Lincoln- Any girl. A beautiful girl, who wears skirts and speaks only when I tell her too. [pause] but I don’t want that Kris. I know exactly who I want and how I want it.

Kristen- who is this girl? [pause] Seriously.

Lincoln- I’m going to read in my room. [pause] you home for a while?

Kristen- I have to go back on Thursday. But before I go, you have to promise me a ride in that car

Lincoln- it’s a promise.

Kristen- [as Lincoln leaves the room] who reads on a Saturday night? You can’t be that smart little bro [the door slams to his room]

Cut to Lincoln in his room. The Typical guy room. Boring. But lots of posters of favorite bands and movies. But of course some science ones as well. There is one window and next to that a night table. On the night table is a lamp with a wooden base. This light can only be turned on by pulling the chain that hangs from underneath the cover. Lincoln turns on the light a falls onto his bed. He sits for a minute trying to read. Then he knocks on the wall. Kristen appears in the doorways a few minutes later.

Lincoln- [to Kristen as she stands in the doorway] are mom and dad out for the night?

Kristen- ya. They said something about a party. You know mom and dad they are the social talk of the town. [pause] why?

Lincoln- I’m going out. [swings legs over the side of the bed and puts on shoes, then runs past Kristen]

Kristen- ya, see you later. [Kristen stands in the doorway waiting for Lincoln to come back. Suddenly you hear the door slam, footsteps towards Kristen. Lincoln appears in the doorway again] the keys are in my purse.

Lincoln- thank you [exits]

Voyeur

The door swings open.
The lights turn on, you’re standing there.

Your room, ignited with inexperience, illuminates every pore on your skin.
You’re bathed in something wicked.
I shudder.

The glass window crystallizes with fog from your cigarettes.
I stroke it.
You dip down and lay back,
Still completely oblivious.

It’s cold now, nightfall has come.
My fingers chill at the tips.
My teeth chatter.
My eyes glued to your aura.

You’re asleep now.
Your stomach slowly pulsing up and down.
The light of your room slowly fades to black.
I’m still here.
Your eyes heavy with discomfort are closed now.
My eyes alive with greed are staring.
When I watch you like this I go all crooked.

4am hips

(and finger tipped shapes graze the thighs skin)
without caution
Here, below my
nothing.
bold brown eyes
staring.
you do not know why my breath turns blue

Ask again, please
no, this does not require permission
reach.
my hair dances at the sight of your flame
flame. or passion.
i swallow your flame, anxiously
and this is nothing like the first time we met

Accidents.
yes please, call them accidents
you (did) and not know how strong you were
sweat.
Through my sweat.
My body quivered and shook
together you both thought i was reactionary
friction.
you caused friction here.
i melted below the window
fibers.
tiny brown fibers sticking to my skin

my hips.
thief, you stole my 4 am hips
And are no longer
longer. you are. gone.

Lucky St. Part 2

Georgia fell asleep on her bed. She wakes up to her little sister Raleigh standing over her.

Georgia- [huge gasp of breath] what are you doing?

Raleigh- not watching you sleep. If that’s what you think.

Georgia- I have no Idea what I think right now.

Raleigh- are you going to California to get away from us?

Georgia- Ral, it’s not like that. You’re too young, you can’t understand.

Raleigh- I get it. You can’t stand it here. So you run away. That parts obvious. What’s not clear is what’s making you want to run. I’m not that young Georgia, and age has nothing to do with being a coward, anyone at any age can run away from problems rather than deal with them.

Georgia- I’m not running.

Raleigh- [sees the unopened letter on Georgias floor] is this about mom?

Georgia- if I still had one it might be about her.

Raleigh- I know you can’t forgive her, but you’ve got to grow up. We all miss daddy too, but at least mama talks to you. She doesn’t even want to speak to the rest of us.

Georgia- and for that you love her?

Raleigh- [pause] you don’t decide what love is, you have to talk to her. Why is it we all see what you can’t?

Georgia- Well that because you guys weren’t there when it happened. She’s only keeping me close so I won’t testify against her parole hearing. Nothing your mother ever says is about love, only convenience. I don’t want to know that woman, can’t anyone understand that?

Raleigh- don’t you understand I do want to know her? And that if you don’t talk to her, forgive her, I can’t ever really know my mother. Just because you hate her doesn’t mean I have to.

Georgia- you don’t want to know a woman like that. [pause] fuck it. Maybe you do. I’m not protecting you anymore.

Raleigh- No one ever asked for your protection

Georgia- You’re right and I can’t stay here with that. [pause] In fact I can’t stay here with you. [Georgia gets up and begins to put on clothes]

Raleigh- You know, you’re so good at running away aren’t you?

Georgia- Raleigh, shut up! What the hell do you know about me?

Raleigh- a whole lot, you are my sister for god sake.

Georgia- That means nothing, nothing. You being my sister doesn’t mean you know me any better than someone I’ve never met. Believe me.

Raleigh- We’re talking about mom…

Georgia- [yelling] No Raleigh, you’re talking about Cheryl! Im fucking listening to you and I don’t even know why. She’s gone. She’s in prison. She killed our father and you have nothing but forgiveness for her. Well I’m sorry Raleigh, I can’t forgive her. I will never forgive her. How can you forgive that?

Raleigh- Because maybe it’s not my job to pass judgment. I mean, my god Georgia She’s still our mother. [pause] where are you going?

Georgia- Away. Gone. Running. I’m so good at running remember? [She slams the door to her room. Runs down the hallway and leaves the house. Raleigh sits on the edge of the bed. Lights down]

today she is rusty

Well, today i hate myself more than normal. Which im sure was their intention to begin with. But i don't blame anyone but myself for this - i am horribly worthless and if nothing else - this has helped me see that.