you think you've got it made
So I could consider these two days a prime example of wasted time.
Except that it took me all of yesterday and half of this morning to realise that the theory I had assigned to two characters needed to be switched around. Because the original idea was inversion and subversion and all that. But there's only so far you can take subversion before it becomes fucking forced and artificial.
And this just didn't feel right.
So turns out I've spent the last two days reading the wrong theory for the next stage in Arushka's education. And since I have to go back to work tomorrow, the right theory will have to wait til next week. *sigh*
At least I can use all the stuff from yesterday later on in the novel. Just doesn't feel all that great at the moment.
Meanwhile, I just inadvertantly did the dark room thing with Fenton. Which was, yes, quite satisfying and almost compelled me to write something short, porny and vivid. It's a bit unfortunate for him that I came to this album directly after Adore so naturally his lyrics suffered as a result. After all, nobody compares to Corrigan.
They're not particularly witty or profound but there are some nice images like your mask is bleeding and two faces in one fake skin and I'll tear the black from your heart and betray you. My favourite is still I'll burn a cross into your skin and leave you. Religious sadism for the win! W000t!
The odd thing is when I first got The Leather Sea single, there was just something a little off about the song. At the time, I thought I was being nitpicky and resistant. But then I got the album and realised that yeah, the CD single version is a radio edit. And the album version has a longer far more measured intro, a significant murmur of background vocals that recur later in the album. It makes such a difference, makes the song so much more cohesive and an apt opening track.
I mean, I'm not saying I can always pick these things. Clearly, I can't. But it reminds me of that jarring transition in The Lady In My Life and in Sara. Both edits. But then I've only ever heard the radio edit of Confide In Me and I haven't experienced any dissonance there. *shrug*
Still loving the growl and the prowl and the grinding darkness. Oh yes. And god how fucking much do I love the cover. Might iconise. This sense of visual pervading the aural is why I buy albums rather than download tracks. Which the Laurie Anderson Court Assistant proved when she baulked at Alison Goldfrapp's clown smock and I had to explain that's what she wears in the album artwork which fits in with the whole mood of the record.
Yesterday was Jeff's birthday. Tomorrow is Jayson. Yay.
Except that it took me all of yesterday and half of this morning to realise that the theory I had assigned to two characters needed to be switched around. Because the original idea was inversion and subversion and all that. But there's only so far you can take subversion before it becomes fucking forced and artificial.
And this just didn't feel right.
So turns out I've spent the last two days reading the wrong theory for the next stage in Arushka's education. And since I have to go back to work tomorrow, the right theory will have to wait til next week. *sigh*
At least I can use all the stuff from yesterday later on in the novel. Just doesn't feel all that great at the moment.
Meanwhile, I just inadvertantly did the dark room thing with Fenton. Which was, yes, quite satisfying and almost compelled me to write something short, porny and vivid. It's a bit unfortunate for him that I came to this album directly after Adore so naturally his lyrics suffered as a result. After all, nobody compares to Corrigan.
They're not particularly witty or profound but there are some nice images like your mask is bleeding and two faces in one fake skin and I'll tear the black from your heart and betray you. My favourite is still I'll burn a cross into your skin and leave you. Religious sadism for the win! W000t!
The odd thing is when I first got The Leather Sea single, there was just something a little off about the song. At the time, I thought I was being nitpicky and resistant. But then I got the album and realised that yeah, the CD single version is a radio edit. And the album version has a longer far more measured intro, a significant murmur of background vocals that recur later in the album. It makes such a difference, makes the song so much more cohesive and an apt opening track.
I mean, I'm not saying I can always pick these things. Clearly, I can't. But it reminds me of that jarring transition in The Lady In My Life and in Sara. Both edits. But then I've only ever heard the radio edit of Confide In Me and I haven't experienced any dissonance there. *shrug*
Still loving the growl and the prowl and the grinding darkness. Oh yes. And god how fucking much do I love the cover. Might iconise. This sense of visual pervading the aural is why I buy albums rather than download tracks. Which the Laurie Anderson Court Assistant proved when she baulked at Alison Goldfrapp's clown smock and I had to explain that's what she wears in the album artwork which fits in with the whole mood of the record.
Yesterday was Jeff's birthday. Tomorrow is Jayson. Yay.