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20 Reasons Why THE VANISHERS Might Have Been Regressively Written by a Future Heidi Julavits as a Gift to Of-Late Me
1. Goddess energies, obvo.
2. “In other words, this is not just a story about how you can become sick by knowing other people. This is a story about how other people can become sick by knowing you.”
3. Repeated use of the word “astral.”
4. “Part 1” plays out as a psychic campus novel. Imagine Bennington with spectral activity in addition to the numbing sex and booze and there you have it.
5. This phrase: “stained-glass windows unto the astral abyss.”
6. A character central to the book’s mystery is, early on, referred to exclusively as “the Leni Riefenstahl of France.” Miss you, Steven Bach.
7. “I think we both knew, before she flipped the card, that it would be the Fool, cautioning me not to take the imprudent path.” This is quite like what happened to me when a friend had me pull my card for the new year. (Previously.)
8. In an early passage, a specter of Fenrir, the mythical Norse wolf, becomes an embodiment of heartsickness and feasts upon its prey. Please see Neville being devoured by the jaws of heartsick grief in Episode 5 of The Waves.
9. Speaking of Woolf, a major male character is said to resemble her. Later still: “He really did look like shit, like Virginia Woolf after she’d been dredged from the river bottom.”
10. “Clarity, it turns out, is a death sentence,” Alwyn said. “Kincaid decided that by introducing patients to ‘reambiguation,’ i.e., by removing a person from his or her ambiguity-free, suicide-provoking context, he could offer them a viable suicide alternative.”
“How does a person reambiguate?” I asked.
“Kincaid prefers to call it vanishing,” Alwyn said.
“How does a person vanish?” I said.
“They leave and never go home,” she said. “It’s a very simple process.”
UM, BYE.
11. A psychic character is described as a brunette Cyndi Lauper, and is referred to as such for the rest of the scene. So, SheLaup in general, but also: Vibes.
12. This phrase: “a copse of spectral trees.”
13. Our heroine spends some time convalescing in semi-exile at an exclusive European spa. Shades of Mann and Brookner are tantamount to infinite bliss.
14. Meet my new mantras: “To forget is to respect the past, and the enable your pleasant future”; “…revisiting one’s memories could result, over time, in a form of self-erasure”; “The past is not the past if it is always present. Memory is an act of murder.”
15. “I knew from experience how unsettling it could be not to resemble the person once known as you.” Nose-break shellshock, guys!
16. Mention is made of the pleasing aftereffects of Grüner Veltliner. My body is basically 80% GV!
17. “It was my error not to understand: anyone can wake up one morning and decide against living. Every single day, the very healthiest among us might be seen to have a fifty-fifty chance of survival.”
18. “Concern was a bullshit way of caring for a person you couldn’t or wouldn’t love.”
19. “To be forgiven is to be released into the ether, untethered and alone.”
20. The discovery of reason and resolution in the dark interstices of female rivalry. (We can now add “Abmominations” to the ranks of Frenemies and Nemesisters.)
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VIBES is a movie starring Cyndi Lauper and Jeff Goldblum that I have seen, that I own, that I enjoy, and for which I have made a fake Criterion cover. Now I have said things about it on a website, which you can read by clicking this hyperlinked text. <End Transmittal>
Source: xojane.com
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I promise I’m done.
Here we have Vibes, in which Cyndi Lauper and Jeff Goldblum play psychics searching for the source of all the world’s psychic energy in Ecuador. (Spoiler Alert: they also fall for each other!) Julian Sands and Peter Falk costar.
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Cyndi Lauper, “Who Let in the Rain”
I’m sitting next to an open window and I’m getting wet!
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Cyndi Lauper, “All Through the Night” (live on the “Tonight Show”, 1984)
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[Flash 9 is required to listen to audio.]Cyndi Lauper, “You Make Loving Fun”
From deeper in the Cyndi archives. On one hand: Lauper covering McVie—two loves in one. What could go wrong? Turns out a lot.
A long time ago, I found some of Cyndi’s comments about this track. Essentially, it came about during her earliest bids to land a record deal (pre-Blue Angel, even). Cut circa 1977, it was far more of a bid to capitalize on the mega-explosion of Rumours than showcase a new talent. Further, Cyndi was instructed to relegate her voice to a lower register to sound more like Christine. The result was this oddity, which obviously did nothing for SheLaup’s career; which the lady herself prefers to keep in the dark corners of the past. Can’t say I blame her, but I do have to confess a tenderness for that prehistoric synth vamp.
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[Flash 9 is required to listen to audio.]Blue Angel, “God Help Me” (demo)
Even though it means we would not have received the gift of Cyndi Lauper the way we did, I often wish that Blue Angel had made it.
Video reblogged from Fuck Yeah Cyndi Lauper! with 23 notes
[Flash 10 is required to watch video]“The Star-Spangled Banner”
(Cyndi Lauper / edição: @danesouzacruz)
11º episódio da 10ª temporada de “Os Simpsons” (FOX)
Cyndi on The Simpsons @shebop_aka_cyn
Happy Cyndependence Day!
Source: musicartoons
Video reblogged from Fuck Yeah Cyndi Lauper! with 12 notes
Around 1985, one of Cyndi Lauper’s best friends fell ill with the mysterious disease that was killing scores of gay men in New York. At the same time, Dionne Warwick, Elton John, &c. released “That’s What Friends Are For”; Lauper’s dying friend requested that she write a song like that for him. She poured everything she had into it, but the resulting track didn’t quite fit the bill. It was, she thought, too personal, too specific, too sad. That’s when Billy Steinberg and Tom Kelly presented her with “True Colors”, which became the song she had wanted to give to her dying friend.
About “Boy Blue”, her initial attempt at that song, Lauper has been morosely self-critical, often questioning more than explaining. “Maybe that song wasn’t good enough, I don’t know.” At her live shows now, “True Colors” plays out like something of a mass. When Lauper sings, her congregation sings with her rather than along to a song; it’s a solemnly hopeful hymn, elevated by the communal experience the audience has invoking its message. Powerful stuff.
When Lauper speaks about performing “Boy Blue” back in the 1980s, though, it’s clear that the song wasn’t a failure, but rather of an entirely different nature. “I used to cry every night when I sang that song. I was so mad… . I was mad that my friend was gone, I was mad at the way people treated me… . I was so angry and every night I would sing my guts out, but you’d open your eyes after and it was the same. But sometimes, in a lot of ways, it was healing.” I think this video does a nice job of demonstrating the raw and unbridled emotion she poured into performing “Boy Blue”, which has always been a favorite of mine. In many ways, I think its anger and specificity served a more crucial purpose than “True Colors” did at the time. I don’t know if Lauper plays this live anymore (of the many times I’ve seen her, it hasn’t been a part of the set), but I hope that “Boy Blue” eventually becomes a more widely recognized and appreciated track from her songbook.
Source: frankenhigh
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