Tag: Beach Boys

Beach Baby

I love this song still to this very day. It came out during a time where nostalgia was big–especially the 1950s–and the Beach Boys had just made another comeback and their album Endless Summer was a huge hit. The song is very reminiscent of the Beach Boys–all that California sun and surf and cheerfulness and high school hops–but there was a melancholy under all that cheerful nostalgia, especially with the background refrain, oft-repeated through it, of do you remember? do you remember? (The song also come out around the same time as a book called What Really Happened to the Class of 65? and I always associated the song with the book.)

It is Tuesday morning and I am up early, as always, swilling coffee and eating coffee cake, care of Costco. I did finish editing that story, and got it turned in. I hope the editor likes it. I had the idea for it many years ago–not that long, but it seems like it now–and started writing it, getting a draft done before wondering where to try to sell it. I was going to submit it to the Minneapolis Bouchercon anthology I edited, putting it through the anonymous read process as I did for the New Orleans and St. Petersburg ones because it would look like “insider pool” if I was accepted. (I have not submitted to a Bouchercon anthology since being told this, by the way. If their board thinks I would just automatically put my own story in there instead of following the same procedure as everyone else? I don’t need to be in any of their anthologies in the future.) I’ve had the idea for a long time–going back to when I actually lived in Minneapolis, which is where I also came up with the title, which is one of my favorites of all my titles. I did try selling some other places, but the story was still…not quite right, and was rejected, as it should have been. I think I was able to fix it, but…we’ll have to see. But it felt good to work on it, and I also realized that just because it doesn’t “feel” the same to write and edit as it used to, doesn’t mean I’m not doing good work. I’ve changed, both physically and mentally, and that’s going to make things seem different to me than how they used to work, you know?

Yesterday wasn’t a bad day, you know. We weren’t as busy at work as I had expected, primarily from no-shows and last minute reschedules, so I wasn’t exhausted when I got home from work and worked on the story. I didn’t do any chores–the kitchen somehow exploded again, I don’t know how all this happens, honestly–so when I get home tonight I can’t write or read or even catch up on the news until those chores are completed. I hate when the downstairs is a mess, and the whole apartment, when it’s out of order, feels very cramped and small and claustrophobic. Because I am all about the claustrophobia? Apparently so. I slept well again last night and don’t feel terribly sleepy or tired this morning, which is a good thing. Sparky was a combination cuddle-bug/attack kitty this morning before I got up, and went into attack mode again while I was putting my shoes on. I think Paul will be working late at the office tonight, if I am not mistaken, and so it’ll be time for some bonding time after I write (or while I read and edit). I doubt I’ll be catching up on the news; the current story dominating the legacy “media” doesn’t interest me, nor am I interested in being shamed for not mourning someone who advocated me being stoned to death, either. (Miss me with the “he didn’t say that!” Okay, then, tell me one positive thing he ever said about queer rights and equality. I’ll wait.)

The story not getting this fawning, wall-to-wall coverage from the legacy media? How about the two men lynched on consecutive days in Mississippi? The Mississippi “police” already determined the Black college student’s death had “no evidence of foul play.” Really? The other victim was a white homeless man, and their names were, respectively, Trey Reed of Delta State University and Cory Zukatis. After all, it’s not like the Mississippi police have a history of covering up hate crimes or anything. (eye roll to infinity)

We are living in dark times, indeed.

And on that grim note, I am heading into the spice mines. Stay safe, Constant Reader, and I’ll be back in the morning.

Sara

Sunday morning, and the time change has me bleary-eyed and irritated. I hate losing an hour, absolutely hate it, and would gladly give up that extra hour of sleep in the fall that makes up for it being taken away now. It’s always disorienting, and it’s been hard enough recovering from the one-two-three punch of the Great Data Disaster of 2018 followed by the weeks of Carnival followed  by the Laptop Death of 2019. Seriously, I am so not in the mood for this.

But I suppose it’s a sign that spring is on its way, with the blasting heat of the summer right behind. I need to get caught up on my homework for the panel I’m moderating–I did have a lovely experience yesterday at the car wash while reading Alafair Burke’s The Better Sister while I waited for them to finish cleaning my car. I spent most of yesterday being a trifle on the lazy side; I was worn out and the rest was kind of necessary, although I probably should have read more. I did do the laundry, ran the errands that needed running, and wound up back home extremely worn out, and made the perhaps not good decision to simply relax and rest for the rest of the day rather than doing anything constructive.

I watched American Graffiti again Friday night for the first time in decades; it’s available on Starz, and as I scrolled through the available options I thought why not? The movie itself, which was a huge deal when released, made a fortune, and got a number of Oscar nominations (including best picture), was one I remembered a bit fondly, and in all the hubbub of George Lucas/Star Wars, people tend to forget American Graffiti was the hit movie  that actually made him, and made Star Wars financing a possibility in the first place. I think he was even nominated for best director? I don’t recall. But American Graffiti was notable to me as a young teenager because it triggered a nostalgia wave for the 1950’s at the time; the soundtrack was hugely successful, and anthology albums of hits from the 1950’s became all the rage. (The irony that the film was actually set in 1962 was lost on everyone.) It’s actually kind of a dark film, really; while it reintroduced Chinese fire drills and cruising and sock hops and the music of the period to teenagers (the Beach Boys also came back to prominence; their double album greatest hits compilation Endless Summer was released during this nostalgia craze) rewatching the film now, the darkness is plain to see. Vietnam is on the horizon, and the ‘innocence’ of these teens, on the brink of adulthood, isn’t all that innocent, really. There wasn’t really a cohesive plot; it was just a mishmash of interconnected characters with their own stories sometimes bisecting others–very Robert Altman-esque in that way.

And as I said earlier, it did lead to a 50’s nostalgia craze, which eventually led to shows like Happy Days and Laverne and Shirley, which also wound up starring Ron Howard and Cindy Williams, as the film did. Richard Dreyfuss also has a lead, and this was before Jaws and his Oscar for The Goodbye Girl and Close Encounters of the Third Kind. The movie kind of launched quite a few careers. It was also one of the first “teen movies” to be quite so dark, a big change from the silliness of the Disney films for teens at the time or the beach movies of the 60’s. An argument could, in fact, be made that American Graffiti set the stage for the 1980’s teen movies that redefined the genre.

I’ve also always kind of thought that the kids from Graffiti who went off to college became the adults in The Big Chill, but that’s just me. (There was a sequel, More American Graffiti, that was made in 1979, but the less said about that the better.)

I also rewatched Play Misty for Me, which is also available on Starz. Play Misty for Me was the original Fatal Attraction, also was Clint Eastwood’s first film as a director (he also starred), and scared the crap out of me when I was a kid; we saw it as a family at the drive-in, part of a triple feature with another Eastwood film, High Plains Drifter (which I think is his best Western), and a really bad low-budget movie starring country singer Marty Robbins called Guns of a Stranger–which was so laughably bad it became kind of a benchmark/joke for my family for years. I’ve never seen Play Misty for Me again, and so was curious; I remember Jessica Walters played Evelyn Draper, the “Alex Forrest” of the movie, and was absolutely terrifying as the psycho woman obsessed with Clint Eastwood’s Carmel deejay (I also recognized a lot of the locations as the same ones used for Big Little Lies). It doesn’t hold up as well on a rewatch some forty years later, alas; it has a lot of “first director-itis”, and kind of has a “made for TV” feel to it, but it was a pretty adequate little thriller, and was groundbreaking in its way–it was really the first movie to deal with a stalker situation.

I seem to have also developed some kind of a strain in my right calf muscle; I’m not sure what that’s all about, but it’s not incredibly painful or anything; but I am always aware of it when I’m walking. Crazy.

So, I have lots of plans for today now that my coffee is starting to kick in; I’m looking forward to doing some cleaning today, writing some, and of course, reading. Alafair Burke’s The Better Sister is quite good, and I can’t wait to get caught up in it later today when I finish my chores and to-do list.

And on that note, ’tis back to the spice mines with me.

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