Wrote about the new record by MAANS for Exclaim! It's reallllly fun and gr8 Check it out at http://MAANS.bandcamp.com

❣ Chile in a Photography ❣
Claire Keane

blake kathryn
trying on a metaphor

izzy's playlists!
Cosmic Funnies
EXPECTATIONS
"I'm Dorothy Gale from Kansas"

tannertan36

Origami Around
d e v o n

No title available
Aqua Utopia|海の底で記憶を紡ぐ
NASA
official daine visual archive
untitled
he wasn't even looking at me and he found me
Mike Driver

Janaina Medeiros
cherry valley forever

seen from United States

seen from Türkiye
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from South Korea

seen from United Kingdom

seen from Malaysia
seen from Philippines
seen from Malaysia
seen from Russia

seen from United Kingdom
@asmpsn-blog
Wrote about the new record by MAANS for Exclaim! It's reallllly fun and gr8 Check it out at http://MAANS.bandcamp.com
hatespence lights up
Owen Pallett @ The Rockhouse, St John's NFLD, January 21, 2015
Reconsidering Death Cab for Cutie
Back when I was home over Christmas break, I was aimlessly searching through my parents house, looking for a long forgotten copy of the Space Jam original soundtrack that my old roommate gave me for Christmas a few years ago. I couldn’t find it, of course, but I did find a few of the albums that I used to play all the time back when I was in high school. Chief among them We Have the Facts and We're Voting Yes one of Death Cab's earlier albums, and one I haven't listened to in a few years .
Listening to this album now sends me back into the past, towards the time when I was a middling high school student who was too anxious or shy to really have many friends. Death Cab’s music has always spoken to the sad dudes and girls around the world, those who can't just go through each day with a simple smile. The ones that stew and lie awake at night replaying the weeks left behind and the days ahead. And like Death Cab's most prominent fan Seth Cohen, I saw a part of my own anxious self in the band’s music.
Death Cab's best songs represent that white space between our public personas and our private insecurities. In writing, it's always easier to come up with the perfect response and the most apt one-liner or cutting put down than it is in real life. So much of Death Cab’s music is about articulating what you wished you could have said back in the moment and examining feelings that you were only really able to process long after the moment that triggered them has passed. But Gibbard and Chris Walla’s lyrics aren't just geared towards other people, they look inwards too. On Little Fury Beds, Gibbard lays bare an insecurity that I didn’t quite know I even had until I heard him wallow in it: “You'll discover that casual friends kept notes in their pockets to remember your name.” The lyric is highly personal (probably?) and a pretty apt encapsulation of what has always been a driving force in Death Cab’s music: that it’s not just okay to wallow in your sadness, jealousy and insecurities from time to time, it’s fucking necessary. Everyone feels like a fraud or a loser at some point, why not just own up to it?
There's a reason DCFC became a go-to selection for many music supervisors on teen dramas in the mid to late 00's: the band’s songs add genuine weight to mundane and heightened personal events. DCFC’s music isn’t meant solely for teenagers (I still enjoy their music today) but I can’t deny that it is pretty fucking perfect for those melodramatic teen years. The band’s music is an ideal soundtrack for a time where every feeling and experience is new, heightened and confusing. Where a breakup or even a simple slight from a friend or acquaintance can feel like the biggest deal in the world. Mock teenagers all you want for being ridiculous, stupid or immature but there is a reason Death Cab’s music resonates with them so much: it takes their emotions seriously.
So there I found myself listening to We Have the Facts and We’re Voting Yes, hopping into the time machine that is listening to an old and much loved album. If you don’t have access to a Delorean, it’s not a bad backup. I wouldn’t say it was painful listening to it, but it was certainly weird. Once again, I was that strange and awkward teenager, driving around the streets of my hometown listening to 405 on repeat. While I might not listen to the band like I did during my angsty peak, I still enjoy slipping back into that old mode every so often. More than the lyrics or the different styles of their songs, Death Cab’s output encapsulates a feeling. And what I discovered when I popped their album into my car’s CD deck once again was that you can never really outgrow this band ---Death Cab for Cutie isn’t for teenagers, it’s a state of mind.
ALL I NEED
"Which is why it’s not that surprising that following Yeezus, Kanye has reinvented his sound once again; swerving sharply to the left instead of skidding deeper into the brutalizing, almost punk rock chaos and raw unfurnished anger of Yeezus. Enlisting the help of Paul McCartney, West has crafted a beautiful song in “Only One.” The song is at once a spiritual sequel to Late Registration‘s “Hey Mama” and an attempt to reconcile a Kanye in love with the auto-tuned imperfections of 808s and Heartbreak."
Wrote about Kanye's new single for The Muse.
January 2nd 2014 to January 2nd 2015
Almost a year ago to this day, I packed up my things and moved to St John's, Newfoundland. It's been a good, sometimes great year, filled with changes big and small. My life is still somewhat scattered but it seems that for the most part I'm heading in the general direction I've always wanted (but have been too scared or nervous to admit to myself out loud).
For much of this year however, I wasn't quite so sure what direction my life was headed in. Over the course of the past few years, I found that I was gradually beginning to get stuck on things that I used to be able to shake. I'm not sure if it was because of the looming anxieties that pop up around university graduation, a general sense of hopelessness and anxiety about what I was doing with my life, or just a straight up chemical imbalance but regardless, something was clearly up. I was staying up late and sleeping in later and a lot of the things I used to be passionate about felt empty. Whether it was reading, writing, or even something as simple as sitting down and watching a movie, it was almost impossible for me to stop and focus on anything without my mind wandering.
At the end of each day when it was time for me to go to bed, I would view the key parts of that day with an almost obsessive level of detail. I suffered so blatantly from ruminative thought that I became paralyzed by it. It's hard to explain the disconnect between knowing how clearly I needed to get help but being so terrified to seek it. The same ruminative thought that is typical of depression and generalized anxiety disorders made it hard for me to bring myself to do something as simple as telling a doctor what was going on. I would fastidiously go over what I would say to a doctor before my visit, and then go in to see one and end up stuttering over my words and saying something about how I had a bad cold instead. The shitty thing about depression is that even when you know in your brain what the rational thing to do is, it will sometimes tell you to do the opposite.
In April, I finally went and sought help and was prescribed an anti-depressant (Citalopram, 20mg) that actually works. Going to see a doctor has helped me sort through some of the day-to-day bullshit that I used to get stuck on and move forward. On the flip side, it was pretty frustrating to find out how easy it was to get help once I finally worked up the courage to seek it.
I really wish that people were more active about talking about their own struggles with mental health outside of that one week window each year when we all share tweets using a corporate hashtag. If I had known even one person who had mentioned getting help in a casual conversation it may have encouraged me to seek help sooner. I can't really blame anyone for not speaking up (it's scary!) but I also know that ever since I've started talking about taking medication it has shocked me how many people have come up to me and said, "Yeah, me too." The only way this stigma is ever going to go away is if people continue to share their own personal experiences with others.
After my doctor's visit (and to be honest, even a bit before) my year started looking up. I finally started to pursue something I'm passionate about and have been lucky enough to be surrounded by great, caring and supportive friends and family.
I actually write things now! Some of these things are middling in quality but these days I actually feel like I'm getting slightly better with each subsequent thing I write. I used to write a lot on my own in journals or in notebooks but I would always struggle enormously to finish certain pieces that I knew I would never have the guts to hit publish on. One of my main takeaways from 2014 was to just make the leap and put myself out there. Moving to St. John’s was pretty much the best decision I could have made in that respect; it shook me out of a stasis that was in danger of taking over my entire life.
I've also tried as the year has gone on to inject a greater level of sincerity into some of my work. It's easy to be cynical, to be dismissive, and to hide behind a layer of snark but it is so much harder to just cut through the crap and get to the heart of things. God knows I love the occasional cynicism molotov cocktail but there's something to be gained from at least trying to aim for complete sincerity. Consider this my attempt at that.
Before I started writing consistently, I used to think that people would look at my creative exploits and see it as embarrassing. Hell, I had friends that used to joke that I had a blog and mock me for one I didn't even have. What I've learned in the past year however, is that it's much more fulfilling to be someone who goes out on a limb than to be a coward who never does anything for fear of what other people might think.
All year, I kept circling back to these two quotes by famous creatives whenever I had doubts about what I was doing with my life.
The first is from Ira Glass,
“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”
The second is from Amy Poehler,
“Only hang around people that are positive and make you feel good. Anybody who doesn’t make you feel good, kick them to the curb. And the earlier you start in your life the better. The minute anybody makes you feel weird and non-included or not supported, you know, either beat it or tell them to beat it.”
--------
If you’ve read anything I wrote this year, it means a lot to me, and I can’t thank you enough.
Happy New Year!
Andrew
Jenn and I went for a drive out to Duncan's Cove on Boxing Day.
THIS SPORT COULD BE YOUR LIFE
Looking back, it’s clear that my entire childhood was inexorably tied to my love of playing and watching basketball. Almost every waking moment of mine from the ages of 8 to 15 was spent near a basketball court. From weekly practices, to pick up games at the Lions Park on the Bedford waterfront in the summer, to intense rounds of indoor mini-basketball where I would attempt to repeat the moves of my idols on a hilariously small indoor basketball net, I was obsessed.
Along with most of my friends, I had a subscription to SLAM Magazine. Beyond fetishizing over the cool new kicks in each issue, devouring the cover story and predicting what the dunk of the month would be, I would eagerly look at the back page of each issue to read the diary of that year’s chosen high school student poised for greatness. Before my talent caught up to me, I would sometimes think that one day with enough hard work, that might be me.
The covers of those SLAM magazines now serve as silent tributes to all of my fallen childhood heroes. From Allen Iverson to Tracy McGrady and Steve Nash to Kobe Bryant, most of the people who were on the cover of those magazines are now either retired or on the last legs of their NBA careers.
Sports exist on a spectrum wholly separate from real life. Athletes are constantly evolving but it is generally assumed that the prime of an NBA players career will come between the ages of 25-30, with a long and gradual decline after the age of 30. Being a professional athlete means always considering your own mortality. Although there are always brief exceptions to this rule, in the end time catches up to everyone.
Players I lionized like Allen Iverson and Tracy McGrady simply did not last as long as players like Kobe Bryant or Vince Carter have in the league. Regardless of whether it was injuries, doing too much too fast or just a gradual and natural erosion of their talent, both Iverson and McGrady left the league unceremoniously.
Other players have continued to have a surprising relevance and vitality into their old age. Tim Duncan just came off a championship last year. Kobe Bryant, though injury plagued in his past few seasons and starting to noticeably be missing a step on defense this year, is still Kobe. And hell, Dirk Nowitzki is still throwing up hooks and off balance jump shots with an almost unfair level of ease.
In September of this year, Steve Nash was forced to retire due to injury. Nash was able to start and play as many as 75 games in a season as recently as 2011. Starting around the time he left Phoenix and signed with the Lakers however, Nash’s career devolved into a series of almost comically frustrating injury setbacks and a once great athlete limped to the end of his career.
You expect your sports heroes to have final acts befitting of any underdog or fictionalized sports story. Ideally, all our heroes would end their careers like Jordan should have, with a kiss-off game winning shot that delivers them the championship. Alas, real life is not that neat. McGrady, Iverson and Nash did not get the storybook ending. Their careers ended in a way much more true to life —- gradually, and then all at once.
Earlier this year Nash was the focus of The Finish Line, a short documentary series for Grantland. For anyone like me who has spent most of their adolescent and adult life worshipping Nash, the series was very hard to watch. It focused on Nash at the end of his NBA rope. In The Finish Line, Nash discusses his imminent retirement and describes it as being, “almost like a death in a way.” Even though players like Nash are already millionaires several times over, it’s easy to see the heartbreak there, the tension between wanting so badly to continue to do the thing you love and the reality that to continue to play basketball in the NBA forever is impossible.
Professional athletes essentially live two lives, separated by their time competing and the time after they’ve retired. Every athlete is eventually replaced by a younger and healthier new model. Although they aren’t exactly the same as old iPhones and the players replacing them may not be any better than they were in their prime, players like Iverson are still nonetheless discarded. In tennis right now, a more pronounced version of this is happening with Roger Federer. One of the all time greats, Federer is starting to be outpaced by an opponent far greater than anyone he’s ever faced on a tennis court: his age
It’s impossible to ignore the impact that Nash and all these other fallen SLAM idols have had on my own process of growing up. I probably didn’t become aware of Nash’s existence until I was seven or eight but ever since then he’s been a part of my day to day life. I used to always think about this anecdote I had heard about Nash dribbling a tennis ball to school every day in BC growing up whenever I was hesitant to go outside and practice. And I can still remember huge swaths of time, including what I was doing and who I was with, by the memory of who Nash and his Suns were playing in the playoffs any given year. In that way, basketball is pretty similar to listening to an old overplayed album for me. Thinking about specific games instantly transports me back to an earlier time in my life.
Even outside of basketball, these players have held meaning for me. Watching them succeed and fail has always moved in step with my own process of growing up. Now that I’m older and my favourite childhood players are beginning to leave the league in droves, I feel a void. Sports are sometimes dismissed as superfluous or vacant distractions; just mere diversions used to pass the time. But watching these players in the NBA spotlight and seeing them succeed on such a large stage taught me so many things about life. I don’t think any athlete should be burdened with the expectations that come with being a role model off the court, but oftentimes their on the court play can’t help but be nakedly inspirational. The usual cliches apply here, but basketball was one of first places I clearly saw that hard work, relentless focus and determination will get you far in life. I don’t think that should be discounted.
Becoming an adult means coming to terms with the fact that you can’t control everything that happens around you. It means accepting that everyone you’ve ever loved and cared about will die. You will lose touch with old friends and you will grow older with new ones. In a sense, however, I think that growing up in earnest means accepting the gradual erosion of the things that you once held in place as constants; letting go of your childhood bedroom, the town you grew up in, your family pet and eventually your heroes.
I was five years old when Nash started in the NBA and I’m 23 now. By the time Kobe retires, I will probably be closer to 30 than I am to 20. There is no clear mark separating childhood from total adulthood, but I think that will be it for me. A new, slightly scary world where the only constant I can rely on apart from old friends and my family is the knowledge that the players I used to love will be replaced by new players (and most already have been). Like that old Arcade Fire album that still sits in permanent rotation in the CD deck of my parents car, I’ll always have the memories, of the players that raised me on the game and helped me grow and fall in love with basketball in the first place.
————
1. If you want to check out The Finish Line, here’s the link to the first episode
I wrote this
READ WHAT YOU WANT
1. Back when I was sitting in a drab business class listening to my professor go over the best ways to light a storefront, I used to daydream about attending english classes instead. Classes that were populated with slightly neurotic and over-caffeinated readers like myself instead of the (usually) deeply hungover business students in my retailing class. As an avid reader and fairly passionate and outspoken yeller about the things I love and hate , I thought English classes would be right up my alley. I imagined getting into screaming matches about the merits of Austen with classmates and having teachers that were passionate in the way that english professors always are in coming-of-age movies (Oh Captain! My Captain!).
2. When I was finally freed from my moronic business courses, I found that being an english major was not exactly entirely different. Sure the subjects had changed and the jeans my classmates were wearing had gotten a bit skinnier but I was still in school - which meant that at the end of the day, I still had to play by and obey other people's rules.
3. In my Great American novel class last year, I read Austen, Conrad and Dickens. All of these novels were enjoyable in their own ways, but I couldn't help feel frozen by the rigid nature of our syllabus. After spending years falling down different rabbit holes and reading book upon book clustered by similar interests, having to read what I was assigned felt restrictive. I was used to using novels and books as a springboard for forging my own interests and connections. I want to read books like I surf Wikipedia; I want to fall in a k-hole where I let one book lead me to the next.
4. These days, instead of eagerly chowing down each subsequent book on my syllabus, I tend to look a little further to the right of my desk, towards the metre high stack of novels I haven't got to yet; the ones that I've been meaning to read or that I bought spontaneously at used book stores. I usually end up getting paralyzed by this, caught between the push and pull of the books I have to read and the books I want to read.
5. I'm 23. At this point my issues with school almost entirely have to do with my own weird and lazy quirks than any formal failures of the system. It's not a professor's fault that I don't like reading things people tell me to read but it's also something that is maybe worth looking at.
6. There are benefits to taking english courses. Mainly, that it's hard to get a lot of what they provide outside of the classroom if you don't already have a community or peer group set up with like minded people in it.
English classes give you
Structured discussion.
Advisement and feedback on written work
A number or letter grade certifying your skills from "Great to Mediocre to Hopeless"
If you can get this elsewhere and have an idea of what makes a good and well rounded reader - maybe don't take english classes, I don't know! All I know is that I read more widely and think deeper when I'm not bogged down by set lists and instead move at my own idiosyncratic pace.
7. In the past week or so (right smack in the middle of exam season) I've started checking out novels and essay collections from the school library. It turns out that pretty much any novel, classic or contemporary, is available at the MUN library. It's fucking fantastic.
8. If it wasn't obvious to you by this point, I'm not going to be taking any more classes next semester. After about 5 and a half years, I'm finally finished my undergrad degree.
Already, I can't stop thinking about what I'm going to read next, energized by the limitless possibility that having total freedom can give you. I think I'll spend all winter holed up inside, catching up on all the good stuff I missed along the way.
Your mind is enveloped by visions of the crowd belting out the song in unison, linking arms and swaying to YOU, your acoustic guitar carrying them home, to some sort of greater more essential personal truth. Music saves lives you think – could this be the song that maybe does it? And god damnit it’s been like what, 3 months since you last got laid – could you rock your cover of “Wagon Wheel” all the way into some girl’s heart?
I donned a fedora and tried to ~get inside the head~ of people that sing Wagon Wheel and Wonderwall at Open Mic.
¯\_(ツ)_/¯
Photos I took at Halifax Pop Explosion
Thursday Oct 23 to Saturday October 25
Make no mistake about it: Ghomeshi is using his relative power and his legion of listeners to get ahead of the claims and distance himself from them.
wrote about what we know and don't know about Jian Ghomeshi and the CBC for The Muse.
Halifax Pop Explosion Diary: Night One
I landed in Halifax Tuesday afternoon, hungover as hell from a resounding MuseTeam6 trivia win at The Breezeway (University Centre) on Monday and ready to see some shows. After a long overdue dinner with my parents and siblings, I headed in town to pick up my wristband.
Pop Explosion night one was a bit of a blank slate for me. I wasn't really familiar with any of the bands playing that night but was more than willing to get out there and see some shows. I figured that since I was going to Tuesday's shows sober (something that might be a rarity as the week goes on….) that I'd drive into town and hop from venue to venue.
WTCHS (http://wtchs.bandcamp.com).
I started my night at Gus' Pub (Agricola St) around 10:30pm and just in time to catch the start of WTCHS set. Knowing virtually nothing about the band aside from some basic facts that I learned via a rudimentary google search, I went in expecting cool and possibly spooky vibes.
Featuring three guitarists and a wicked drummer, WTCHS brought it to the crowd of around ~50 people at Gus'. The band seems to write songs that actively challenge you to do anything but stand by and passively listen. With catchy hooks buried under layer upon layer of noise, these songs aim to exacerbate the listener and build tension. The set built to a satisfyingly intense crescendo, giving the audience the release they so desperately craved. WTCHS tight and propulsive set ended about 30 minutes in; short but never in danger of overstaying its welcome.
SINGLE MOTHERS (http://www.singlemothersgang.com/)
After Gus’, I jetted down to The Seahorse (Argyle St) where Single Mothers, a Toronto hardcore band was set to start playing. As much as I loved WTCHS set, there was something essential and barely contained about Single Mothers performance at the Seahorse that kicked my night into another gear.
Even before the show began, Single Mothers frontman Drew Thomson was pacing on stage, bouncing around with the sort of nervous energy that is both ravenous and captivating. He moves across the stage semi-possessed, like a friend who you can't be too sure won't jump in front of a moving vehicle just to get across the road quicker. To call Thomson’s behaviour manic might do a bit of a disservice to him, but it is also fair to say that when this dude gets on the stage he says a prayer to whatever satan God he worships and just gives 'er. A dead ringer for Jack Torrance (gap tooth and all) chasing his son through the corn maze at the end of The Shining, Thomson is a sight to behold.
Imagine if you took the most passionate person you knew in your life and gave them a guitar, a mic and a four piece rock band? Add a crowd of raucous hardcore fans worshipping at their feet and the result wouldn’t be too different from what you get with Single Mothers.
There is a reason why John Lennon once described The Beatles as "bigger than Jesus” and it was not just to be provocative. It was because when you play to a crowd of fans that are that into your band, it is hard not to leave a show feeling like anything is more vital than the music you are playing night in and night out.
For the 35 or so people nestled in the pit at The Seahorse, Single Mothers was bigger than Jesus, scarier than Ebola and more vital than H20. Even as overzealous bouncers began to wage war on stage divers and crowd surfers, the pit warriors continued their fight.
Over the course of 50 minutes on a Tuesday night in Halifax, Single Mothers had the crowd in its hands.
ODDS AND ENDS
Though by no means the HPX organizers fault, the bouncers at the Seahorse were ill-equipped to handle a hardcore show. Rather than escorting crowd surfers safely to the back of the pit (as is the case at many punk shows), security members posted up near the front of the stage and actively hunted down and forcefully grabbed these stage divers and kicked them out of the show. At least one woman was dragged forcefully out of the bar kicking and screaming and hoisted by her arms and legs by two bouncers. After this occurred, Thomson sarcastically dedicated the next song to the bouncers who wanted everyone to know there would be “NO STAGE DIVING” - a request that was as ridiculous as it was ignored.
On Horror Movies, Then and Now.
When I was a kid, I was a fiend for horror. It didn't matter if it was horror comics, novels, television shows or films, I was into it. From kid-friendly tv shows and novels like Goosebumps and Are You Afraid of the Dark? to campy and gruesome horror films from the 70s, 80s and 90s - I took whatever I could find and ate it right up.
Successful horror movies are able to offer up a visual realization of your worst nightmares. When you are an adult, you can still be spooked by a film while knowing that the events shown in it are either highly unlikely or impossible. But as a kid anything is possible. Horror is such an appealing and effective draw for kids looking for an escape because unlike adults who know better, kids still believe in things that go bump in the night.
The first movie that truly terrified my tiny child brain was The Wizard of Oz. What most rational humans view as a sweet and ultimately uplifting movie musical about finding the missing piece in your life was viewed by my 5 year old self as a terrifying and emotionally fraught tale about a wicked witch who was trying to separate Dorothy from her loved ones and kill her in her sleep. My parents still like to tease me about a night terror I had after seeing Oz where I woke up screaming in the middle of the night that there were witches in my room and they were coming to take me. The film clearly struck a nerve. It was a nightmare that i could not click my shoes together to escape.
Yet for all the nightmares The Wizard of Oz gave me, I quickly realized that something deep inside me actually enjoyed that feeling of utter terror. So at age 5, I became something of a masochist. If a basic movie like The Wizard of Oz could terrify me, I began to wonder what would happen if I could find something that was actually meant to be scary. And then one day in my town's public library I discovered a series of books written by a sick evil genius known as RL Stine.
By 1997, Stine had already figured out what any adult now knows: that the same kids who believed in a fat guy who delivered presents around the world every December 25th would be total suckers for terrifying stories involving a wide variety of inanimate objects come to life. The Goosebumps and Fear Street series were there for me in a way few other books were in my youth and like many other kids my age, I happily went to bed almost every night with a pocket flashlight under the covers and a goosebumps novel in my hands.
After Goosebumps, I began to delve deep into horror shows like Are You Afraid of The Dark? and as I got a little bit older, strange and often forgotten horror films from the 70s and 80s. My local video store had a side room where they would throw all the VHS tapes that no longer were popular enough to be in the main room and offer them at discounted prices. It was a sanctuary. With faded covers and no internet readily available to cross-reference the titles with, I would choose films at random and fervently plead with my mom to let me rent them. Thankfully, she did not see too much wrong with her 11 year old son renting movies like The Texas Chainsaw Massacre. She has always been real chill like that.
My fascination with horror peaked in junior high - those early years of adolescence where I was too young to drive but too old to play with toys. Naturally, this meant a lot of Friday nights spent at friends houses binge watching horror movies. When high school started, I gradually started to find other muses (girls, my part time job, the tv show Lost) and by age 18 I had almost fully drifted away from my horror fixation. I still enjoyed watching these movies, but something about not being able to fully immerse myself in the fear made them see distant. If I no longer could be spooked out by an evil ventriloquist dummy, a possessed 13 year old or a chainsaw wielding man with a facial disfigurement, then maybe it was time to take a break. I'll always continue to watch things that fall into the horror genre but it will never be the same as it was when I was that scared, excited and confused kid.
It can come close though. One of the last movies that really got to me like those stories in my youth was a movie about a city in Japan that lures and slaughters the dolphins that don't make the cut for amusement parks and sells their mercury ridden meat to school lunch programs.
If that film sounds familiar, it's because the movie I am describing is not a horror film but rather a documentary called The Cove. The images and information contained in the film drilled a hole in my brain and settled in. Something about the way this occurred under the unsuspecting eyes of the general population recalled other, more fantastical fiction I had read and watched.
This distinction between reality and fiction illuminates the difference between my reaction to horror as a kid and my reaction to the genre as an adult. I still can engage with horror movies, enjoy them, debate them but I'll never truly be able to fall right into them like I was when I was a kid.
Besides, the masochistic pleasure I used to get from horror movies now is easier accomplished by turning on the tv or reading the news. The older I get the more I realize that the scariest things in life are not the stuff of ghost stories, they are the stuff of live and waking nightmares.
Fiction can't hold a candle to the truth.