Declan and I will be at Dragoncon all day Sunday. He hasn't been since he was 2. He got to see the parade yesterday with a friend, wearing his Venom costume, and was so enthusiastic in his descriptions of all that he saw, I thought it time for him to go back. He doesn't remember being photographed by the cute Scandanavian couple when he was 18 mos. old, wearing a blue pajama outfit with angel wings, nor does he remember running around cheering us on as we performed as Trybalaka, or even when he was kissed and cooed at by Nichelle Nichols, the bald blue chick from Farscape, or even Ray Park.

He'll be sporting one of his favorite costumes as Robin. I'll be sporting my House look, with my cane and scruffy appearance(although not actually a costume). Give me a call at 678-294-9649 if you want to meet up and say hey.

In keeping with my accidental series on obscure foreign bands/songwriters, I happened upon Colin Hay(formerly Colin James Hay) the other day. He was the frontman/guitarist for Men At Work, which had the shortest discography of a grammy award-winning supergroup I've heard of. They only released 3 albums over 7 years, and only the first 2 really charted. The band was considered aussie reggae/rock, although the reggae part didn't click until I got into The Police and then it all fell into place. I literally melted the first vinyl I had of "Business As Usual" from playing over and over. I would listen to "Overkill", and "Be Good Johnny" while air drumming and singing until I went hoarse. I never considered that any of them would have move on to solo careers until I happened upon a CD of Colin James Hay in a 99¢ bin at Turtle's back in '91 titled "Lookin' for Jack". I was immediately struck interested by the album, though it took me another couple of months before I actually listened to it. When I did, I was taken back and propelled forward at the same time. Mostly the same sound and feel, but updated and more modern. Great album, and I am still saddened that I lost it. A great introduction to a different sort of songwriter/singer. His lyrical style, as well the lyrics themselves, are a little off-beat in a refreshing way. Somewhere after his first solo album he decided to go mostly acoustic, and I think it bettered his sound. He even has acoustic versions of songs "Overkill" and "Down Under" that are as good as the electronic versions. These versions you can hear on differing episodes of "Scrubs", as the writers of the show, as well as Zach Braff, are devout fans. Albums I recommend are "Peaks & Valleys" and "Topanga".

Other down under artists that I love are Split Enz and Crowded House. They are acutally from New Zealand, not Australia; got to have the distinction in, or I may get hate mail. Split Enz started out as a progressive art-rock band in 1971, the year of my birth, and had 2 different phases, the REALLY artsy-progressive phase, and the less artsy, more commercial phase. The lineup included Tim Finn, who later went on to have a fairly successful solo career, and later on his brother Neil, who later started the band Crowded House. The Finn brothers headed up the band during its less art conscious period, and I am more of a fan of the less artsy side.

The band was up-and-coming in the early 80's after the release of "I Got You", off the album "True Colours", which was modest, but fierce, and caught my ear in mid 1984 along with the likes of Depeche Mode, OMD, The Stooges, 7 Seconds, The Vandals, and Youth Brigade. I immediately searched far and wide(as it was hard to find some of their albums) for anything I could find. Albums like "Time and Tide", "Frenzy", "Corroboree"("Waiata" here in the states), and "Conflicting Emotions" were little gems for me, getting too much play in my boombox for almost 2 years straight.

I learned about the breakup of Split Enz in '85 perusing an issue of Rolling Stone in my high school library freshman year, waiting for homeroom to begin. I didn't have long to feel sad, for in 1986, Neil Finn and Split Enz drummer Paul Hester formed Crowded House with bassist Nick Seymour. The band quietly exploded onto the scene with songs like "Don't Dream It's Over" and "Something So Strong", while I was in love with songs like "That's What I Call Love" and "World Where You Live". I haven't been as obsessed with Crowded House as I was with Split Enz, but I suppose that's aging for you. I think that Neil Finn's songwriting matured from Split Enz to the new band, and With later songs like "Into Temptation" I have made many a woman cry, grab hold of my collar(my shirt, not my bondage contract), and kiss me with abandon, amazed and impassioned by my "sensitivity". Thanks, Neil, for all the wet memories. They broke up somewhere around '96, and I didn't hear much about them except for little snippets here and there, such as a song on the Reality Bites soundtrack. Earlier this year I found out that they have gotten back together with a new drummer(Paul Hester, sadly having committed suicide in 2005), have a new album out, "Time On Earth", which is pretty good, did a limited tour, and will be back in the studio soon for a new album in the next year. Sweet.

Yesterday I spoke my love for harmonies in songs. Anyone who followed my brief musical career knows that one of my strengths lies in coming up with crazy harmonies for lyrics. In keeping with that, I wanted to introduce you to a band from Germany that has lain in obscurity for the most part here in the States. This is another unsung band that has had minimal success here in the melting pot, but at least thankfully has blossomed in Europe. Münchener Freiheit is their name, more commonly known here simply as Freiheit.

Think back to 1989(if you can). The year I graduated high school was a memorable one, for may reasons. Living Colour was crunching and riffing their way into cultural consciousness with "Vivid", Star Trek: The Next Generation had become THE scifi thing to watch, the Berlin Wall came down, and John Cusack and Ione Skye starred in a teenage masterpiece of love and drama called Say Anything.

To say that Cameron Crowe is a great director is to simply speak the truth albeit a bit understated. In much the same vein as John Hughes idealizes a snapshot of life that will have you watching their movies over and over again. Hughes' movies were perfect for the 80's, when teenagers felt "OMGthisisEXACTLYportrayinghowi'mFEELING!" while watching Ferris or Bender or The Geek doing their teenage things, in situations that are coming of age moments. So to for Cameron Crowe's films, but even deeper and richer. His entire body of work has had some impact on aspects of people's lives. Fast Times at Ridgemont High, Say Anything, Singles, Almost Famous, Vanilla Sky, Elizabethtown? Christ! Of course, you can't forget Jerry Maguire(which I still haven't seen), or the impact it had on marriages and showing people things.

For Crowe, music and it's visceral impact on the listener play a large role in his films. This is something I can certainly appreciate. I watched Almost Famous with the sound muted once, and because I've watched it so often, I could "hear" the language as they spoke. This was a kind of test to see if music really did make an impact, and it was just not the same. It didn't suck, but wasn't as good without the background music, kind of like being color blind: The world may still be there, but it there is an aspect missing. He iterates in the liner notes for the soundtrack for Say Anything that music is a fundamental part of our lives, and that it helps shape and color the experiences we have in any given situation.

If you have missed Say Anything, then put it in your Blockbuster queue immediately. Mr. Cusack and Ms. Skye are electric onscreen, and the dawn boombox moment with Peter Gabriel singing Lloyd's heart to Diane will make even the staunchest stoic relax with sympathy. Just as in the Breakfast Club, it is a defining-moment-must-see, or any other cliche statement to get you to see it. The soundtrack is on par with the movie itself, using theme on top of theme, having such a mixture of pop, funk, ska, rock, and alternative(in the old classic sense). Joe Satriani, Ann Wilson, Cheap Trick, Depeche Mode, Fishbone, Red Hot Chili Peppers, The Replacements, Peter Gabriel, and of course, Freiheit.

The song is titled, "Keeping the Dream Alive." It is played quietly in the background during the party scene, and is not one of the big theme songs, so you might miss it if not paying attention. It immediately caught my attention for it sounded of George Harrison mixed with ELO, and both artists use harmonies to great effect. Freiheit is a group that uses harmonies to such a perfect blending in "Keeping the Dream Alive" that it gives me goosebumps every time I hear it. There is a moment in the climax of the song where it feels as though there is a 5 part harmony that gives me a thrill of chills down my back. It is one of those soft song of romance, of longing, of reminiscence, that has strings and flutes, as well as guitar and trap set. Sounds a tad sappy on paper like this, but bands like ELO used whole orchestras with much success mixed with rock beats back in the 70's.

The song is off their album "Fantasy", one of only a few they released in english. The largest success they had was from the Say Anything soundtrack, so sadly, their extraordinary vocal ranges are hard to find here in the states. If you have a chance to pick up at least "Fantasy", give it a try. Some of the music sounds dated, it was released in 1988, after all, but there are a few real gems on it as well.

I found an appearance of Freiheit performing "Keeping the Dream Alive" on a Danish TV station on YouTube: http://www.youtube.com/watch?v=rdX3D_2h8Pk&feature=related . Give it a listen, and hopefully you'll get goosebumps too. It looks as though they are lip synching, which has been happening since music was performed on television, so you'll have to forgive that, but the clothes! The clothes are so Miami Vice, it's great!

Last year I fell in a short but intense love with the movie Garden State. I loved the mood, colors, the language, the ideas, and the odd natural-ness that it evoked. I briefly lauded Zack Braff as an unsung genius, before his head got so big and he wasn't so much fun to love. His writing ability was spot on in this movie, and I was caught by the look and feel, my eyes and mind immediately felt at home in that place and time. The characters were people that I went to school with, and even though I have never been to Jersey, I lived in the neighborhood. I drank beer with those people, popped and dropped some drugs with them at parties, and swam in my underwear(at the time briefs) with them.

One thing that I always unconsciously pay close attention with a film is the soundtrack, and will influence my like or dislike of a director as much as camera work, or lighting, or use of the word fuck. I'm not speaking of those enormous, sweeping, John Williams or Ennio Morricone single-writer scores, but the orgasmic miasma of music in films like Say Anything, Breakfast Club, Elizabethtown, Rush, and Garden State. If I am as aurally stimulated as optically, then I can be a fan forever. John Hughes, Cameron Crowe, Lili Zanuck, directors who really take stock of the effect a single song in a film can have on the viewer have kept me watching.

Back to Garden State: The end credit music was what made my head explode. "Let Go" was the song playing from the end into the fade-out into the credits, and I cried when I first heard it. Just an awesome song, in the classic sense of the word. I was struck, just having a spiritual experience with it. The artist is Frou Frou, a collaborative effort from Imogen Heap and producer/songwriter Guy Sigsworth. I immediately went to find and acquire the album, Details. Such a lush album, every song made me cry in one way or another. In a time when so much music just suck these days, so much so that I had retreated to the 70's listening to Pink Floyd, Rush, Utopia, Allman Brothers, etc, this was such an infusion of life for me. I shared this artist with dv8dgrrl and made her cry to, so I felt justified in my tears of musical joy.

I was saddened to find that there was only the one album by Frou Frou, but I was absolutely delighted to find that Imogen Heap has been struggling and flowering in her own solo career for years! In the same flow as Ani Difranco and Sophie B. Hawkins, she's been one of those songwriters that has gone the route of self producing an promoting her albums, having been frustrated and burned with large record companies, with great success. I am listening to "Speak for Yourself" at the moment for the 8th time, and I only got the album yesterday. She's great for dancing, trancing, sex, and certainly for spinning. I also found a great DJ Tiesto mix of her song, "Hide and Seek" that almost perfectly counterpoints her vocoded a capella with a thumping dance beat. Check out her site at http://www.imogenheap.com/ . She rocks.

Other artists that I have lauded to others about recently:
Sphongle: This is a great ambient sort of music, whether dance, trance, sex, long car rides, or just jumping up and down. Mixed up beats and themes. Great for spinning.

Jason Falkner: He was the guitarist for 90's group The Jellyfish, his solo career has moved beyond what was already a complex musical style. He does all the recording AND plays all the instruments himself, doing an exquisite job.

The Jellyfish: Blendings of Beatles, Beach Boys, and Queen make for a really interesting time with this band. Sadly, they only released two albums, Bellybutton and Split Milk, but they are a must listen to.

The Who: I have only recently come into getting any of their albums, and I have been hearing their music on the radio since birth. I have missed out on a lot of really good stuff by them; the one song that I can't stop listening to right now REALLY loud is "Eminence Front".

Toad the Wet Sprocket: Great band that never really got it's due, in my opinion. I have always been a sucker for good harmonies, and these guys make some really nice ones. The lyrics are deeper than you'd think, talking about issues that affect old and young, all the while wrapping it up in a really good melody.

Bastian is growing madly. He's out of newborn diaper stuffs, some clothes, and is already trying to stand and walk. Madness. He's certainly developing a personality; I believe it started during the pregnancy. He would never kick while I had my hand on Sarah's belly, and he won't smile for me now. He knows! He taunts! He plays with my emotions. Way too cute, and cunning as well. He is SO like his mother.

I feel it necessary to blog about work. Things have gotten really odd there. The man who hired me on there, my former immediate boss/coworker, through a series of events over months, is no longer there, and I find myself the IT dept. Not a member of a team, but the whole department. Oddly enough, I am in charge without being in charge. Thankfully, there are only 60some people in the building, so it's not so hard to be the IT person.

Life is interesting right now.

Tell me, tell me, tell me do.

1. Your Name:
2. Age:
3. Favorite position:
4. Do you think I'm cute?
5. Would you have sex with me?
6. lights on or off?
7. Would you have to be drunk?
8. Would you take a shower with me?
9. Have you ever thought about having sex with me?
10. Would you leave after or stay the night?
11. Do you like cuddling afterwards?
12. Condom or skin?
13. Have sex on the first date?
14. Would you kiss me during sex?
15. Do you think I would be good in bed?
16. Would you use me as a booty call?
17. Can I use you as a booty call?
18. Can we take pictures of the act?
19. How long would we have sex?
20. Would you tell your friends about me?
21. Will you post this so I can fill it out for you?
22. Can I un-screen your entry if it's cute/funny?

As you have probably heard from isarma's blog, we are parents once again. He is a huge bundle of joy, and we are excited and relieved. Don't let her fool you, however. her pain is nothing to mine. My arms and legs are screaming sore, much worse off than anything she could possibly be feeling.

I wanted to thank everyone who came and supported her, whether emotional or physical, through the birth. It was a rather short birth, as I started calling everyone together around 12:30 am, and Bastian was born at 4:29. Really nothing more than a late autumn get together, and instead of boring board games, we birthed a baby! Woohoo!

Anyways, things are pretty good here, Declan and Sarah are so happy the could pee themselves, Bastian is wonderful, and Sarah sits around topless all day. Could be worse.

Last night I watched some of a show about scars and how they happened on MTV. I was flipping from Mindfreak, which is a real thrill-a-minute, and found a show that made me grind my teeth and my spine shiver and go, "Eeeewww!" over and over. It was one of the best shows I've seen on TV in some time.

Smallville is our latest dirty secret. We've gone back to our WB roots, sadly, and taken Declan with us. He likes parts of shows, rather than the whole thing, but it has become a family affair, a dinnertime treat.

Sarah is huge. With the way that this pregnancy has treated her so far, I sometimes think that she's going to crack apart physically, like a leg fall off, or the baby grow so large her pelvis fractures. I know, it's mostly paranoia, but an 18 lbs. baby does not seem that far off the mark.

I will be in need of a new job soon. My printing company got bought by another printing company, and they are MUCH bigger than we were, and they already had their own IT infrastructure. As a result, I might be in need of something to move to soon. I am revamping and updating my resume, and am looking now for somewhere to go. Anyone have any good leads? I am looking for an IT position primarily, Help Desk or Admin or Engineer type position.

I have learned a little about myself and poly in the last few months. Of course, in being with isarma, I have had many poly experiences, whether through her, or on my own. I have been dating dv8dgrrl for over a year now, with great success as well. I have had an experience lately that has definitely taught me a couple of other things about poly and considerations about the lifestyle.

I recently attempted to get involved in a situation, relationship? I'm not sure of the right word, but it was greatly disappointing. It was a situation where we both had enormous chemistry, but our orbits just never drifted close enough. We'd admitted to it, had kissed on occasion, but nothing other than that and a few short conversations. Things finally did drift close enough, and we had a date. One of the things discussed was our other relationships. She has other relationships as well, and we talked about rights and rules and freedoms. I am quite grateful that isarma and I respect each other's decisions about potential partners, and there is no veto power, no 'no list'. Unfortunately, I was reminded that other people, other couples, other houses often don't see things as we do. We talked about how I was currently on a 'no list', but that this was something she felt important to pursue. I felt that it was best for her to talk to the other(s) involved in her relationship about her intentions before we went out again, so everyone could make an informed choice about what she and they wanted to do. She agreed, and we parted ways. I then heard from her few days later about getting together again, and I asked her about is she had the talk. She hadn't, and I reiterated to her about talking to her other partners. In the 2 months since, I haven't heard from her.

There is more behind this story, such as why I was on the 'no list' in the first place, or influences on her decision to not have the talk, or to not contact me again. None of this is based in talking to me, and that hurts. It is also disappointing and hurthful of the level of disrespect about this. I will admit, on the other hand, that I thought this situation a long shot, so I did put myself into this situation by choice, knowing that it might blow up on me. Still, it has hurt, and it has been on my mind. I considered stuffing this, but this past weekend has has several things that hit me on the head for even more reminders.