“Vivir con miedo es cómo vivir a medias” (Cuentos de la vida real 2)

“Vivir con miedo es cómo vivir a medias” (Cuentos de la vida real 2)

 

En ver las imágenes desde Mexico últimamente, siento una tristeza muy profunda. Se ve miedo, rabia, caos y desesperación. Ha llegado el momento de enfrentar la corrupción y violencia que ha deteriorado la imagen del país.

Vivir con miedo es inaceptable en un mundo moderno. Pero donde hay miedo si se puede encontrar esperanza y el deseo de rechazar lo que nos agobia. No pretendo comparar mis propios miedos con los que se vive en México hoy. Pero si recuerdo el poder que se realiza cuando pierdes el miedo y empiezas usar una voz alta y clara. Es lo básico de nuestro ser.

Era el año 1977 y ese verano fue el momento que terminé mi primera decada como Jorge Carreón Jr. Durante casi 10 años, me quedé con la determinación de vivir al lado izquierda del centro. Solo pensé en cultivar los intereses que eran cualquier cosa menos lo que era normal en Pico Rivera. No tenía muchos amigos, pero eso no me importaba. Quería perderme en todos los libros y películas que podía procesar antes de regresar a la primaria en el otoño. La mayoría de los niños tenían ganas de ir al parque, tomar clases de natación o tener días lánguidos en la playa. Yo quería saber más del artista moderno Andy Warhol y leer mis libros de Nancy Drew. Pero mis planes se quedaron en supsenso cuando mi papá me dijo que yo iba con él y mi hermana a visitar a su familia en el D.F.

Era como si el pusiera un alfiler en el globo de mi sueño de verano.

Así que fui, inocente al siniestro plan que mis padres habían inventado sin mí. Papá sólo tenía dos semanas de vacaciones de la fábrica. Eso significaba que junto con mi hermana, quien mantuvo la primera de una vida de secretos, tendríamos que quedarnos con nuestros familiares durante todo el verano. ¿Y cuándo llego el momento que me enteré de eso? El día que mi papá se regresó a Los Angeles sin nosotros.

Me dio una rabia feroz. Le grité. Lloré. Lo seguí a la puerta de la casa de mi tía en la mejor manera que aprendí de las telenovelas: “¡No me dejes!” Nunca se dio la vuelta. Caminó con buen paso a la puerta sin decir otra palabra más. Nunca me sentí tan lejos de mi vida real en California. Fue demasiado. Casi no hablaba el idioma. Ne dejaba de pensar: “Yo no soy mexicano. ¡Soy americano!” Pero todo mis gritos cayeron en el vacío. Estuve en esta casa sin esperanza para el resto del verano.

Pensando en este momento, me doy cuenta que no sabía ese verano con mi familia mexicana sería un regalo. ¿Cómo podría saberlo? Yo era sólo un niño. No pude ver mucho con mis ojos llenos de lágrimas. Tenía miedo de lo nuevo, de enfrentar la fuente verdadera de mi identidad: México. Nunca paramos de enfrentar lo “nuevo”. Gente, ciudades, costumbres, situaciones, todo lo que nos une como la raza humana. Fue el primero de muchos miedos que tendría que conquistar en mi vida, pero sí los conquisté.

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Tenían que pasar 37 años para entender que la vida es demasiado corta para cualquier sentido de temor. Nacer latino es obstáculo suficiente en un mundo que valora la vainilla sobre el picante. Como ya he madurado, me emociona y me preocupa ver como nuestra narrativa nacional se conforma con la comunidad hispana. Espero contribuir a esta narrativa, para que refleje lo que realmente es ser un american en 2014. No tengo mucho espacio para el miedo con el fin de lograr ese objetivo. El miedo casi me dejo mudo durante todo un verano. Pero yo tomé ese paso que me llevó a un grupo muy especial en este mundo. Me convertí en un americano bilingüe, realizando el sueño de existir dentro de dos mundos que he llegado a representar con orgullo.

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Miércoles, 24 de noviembre. Escrito y subido desde Wayne Avenue Manor en South Pasadena, CA

 

“When it rains in Los Angeles…” — #eecummings

“When it rains in Los Angeles…” — #eecummings

I love it when it rains in this city of angels.

Sadly, those moments have been far and few for quite some time now. Yet, when it does happen, the effects are inspiring. It is that cleansing of the air, the prospect of making things grow, of giving life a chance to restore itself.

This period of drought is a metaphor for much of what the world feels right now. We are suffocating in this arid landscape, allowing our own frantic lives to take root, but refusing to let positive things bloom. Yet, nature has a way of making its power known in the rain. This liquid state of hope is a sign that what was once desert can be transformed. What was once lost will be found.

Woody Allen featured a stanza of a poem by e.e. cummings in “Hannah and Her Sisters,” which remains one of my favorite films. His script made use of this phrase, “not even the rain, has such small hands.” The yearning of this poem and its use in a voiced over moment punctuating a scene between Michael Caine and Barbara Hershey has stuck with me for years. It is so easy to think you’re closed off in this world, safer, to be frank. Yet the prospect of the new, that downpour of yearning, is a marvel to behold.

Last night’s rain brought cummings back to me, but not to reinforce a romantic ideal. No. That voice of positive I nurtured in Spain renewed itself, if only for a momenet. We do have the power within ourselves to open our own hearts and imaginations to create a better sense of self, to engage in a greater purpose in this world. It really is a miracle when it happens.

Just like the rain in L.A.

“somewhere i have never travelled, gladly beyond
any experience, your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot tough because they are too near

your slightest look easily will unclose me
though i have closed myself as fingers,
you open always petal by petal myself as Spring opens
(touching skillfully, mysteriously) her first rose

or if your wish be to close me, i and
my life will shut very beautifully, suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals
the power of your intense fragility: whose texture
compels me with the colour of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes
and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody,not even the rain, has such small hands.” — e.e. cummings

From Woody Allen’s “Hannah and Her Sisters”

Friday, November 21. Written and posted from Wayne Avenue Manor.

“I still hear a symphony…” — #supremelife

“I still hear a symphony…” — #supremelife

When I first heard my first Supremes song as a kid, it was like stepping into a spotlight, one that revealed the sequined covered soul hiding underneath my skin. (Full disclosure: I held a hair brush as a microphone. Oh, and Mom? I broke your kitten heels, putting them back in your closet without fixing them. That’s why they fell off when you stepped into them. Sorry!)

Those first hits of that Holland-Dozier-Holland sound, the divine Miss Diana Ross’s breathy vocals and the knowing, “hey, girl” back-up of Mary Wilson and Florence Ballard packed a wallop that continues to reverberate for me today. It was my first taste of glamour, yes. But it was also my first real understanding of why it is we want to love “The Boy.”

Ah, love.

I mean, we could look to our parents as our first real example at what it is to be “coupled.” But, what fun lies in that? My parents were certainly demonstrative towards each other, but they parceled out their love and respect in tidbits. They offered each other little dashes of emotion to spice up the ordinary aspects of the day. A kiss on the cheek, another on the lips, his arm around her shoulders. It was Paul Anka sweet, not Supremes sexy.

In the end, it would be the music and lyrics of Burt Bacharach and Hal David that would comprise my most trusted primer on matters of the heart. Yet, it was the Motown Goddesses known as Diana Ross and the Supremes that would give my heart a voice in expressing the power of yearning, desire and the unforgettable impact of that one perfect kiss.

That first kiss.

It’s the one that makes your hands shake, where every sense and nerve in your body tingles with a carnal desire that renders you speechless. You don’t want that kiss to end, but you’re just as scared to let it go on. You’re powerful and powerless at the same time. Eyes open or shut, mouth closed or with tongue, each second that kiss stays alive validates every damn Supremes song you’ve ever heard. It’s the power of a romantic ideal. It can mend what is broken within because that kiss, especially when its strength is returned in kind, means you have connected profusely with another soul. What happens next, however, is on par with discovering what happens when the song comes to an end.

The teen dreams of girl group pop were sonic blasts of what we often wished happened to us in real life. We weren’t aware that such Ideals are fantasy, but man, a lot of us hold onto these ideals like a wino with a bottle for a long time.  While I am not alone in floating in the romantic cloud of the Supremes and all of the other artists of the era that told us “it’s in his kiss,” I finally realized that not every kiss has an endgame. Sometimes a kiss is just that, a kiss. It really is a beautiful thing, though. Especially in those rare moments, where your heart is beating so fast it is like a drum beat. You’re so transported, you really do hear a symphony.

So, how do you not revert back to your teen self, where you were convinced such a kiss meant he was “The Boy?” How do you tap into your grown up rational self? Where you don’t self-sabotage it all by being too eager to communicate, beating him to a retreat to protect your own fragile heart? How do you stop that endless loop of thought where you meet, court, marry and break-up all before you have that second date?

God, why is this all so freakin’ frustrating a dance?

I remember telling my Ex at the beginning of our relationship, not every boy you kiss is going to be “The One.” And it is true, they’re not. I think fear of being alone is a lousy motivator in pursuing someone. It’s like binge eating, where you consume everything just to fill that emotional void. You can’t use people to fix what ails you or complete you in this state. It is an unfair expectation to possess, one that will certainly drive people away. And, if you don’t have a healthier attitude about your heart and your self-esteem, you will perpetuate that vicious cycle anew. The following quote is a testament to the dangers of being impulsive:

“Self-control is the chief element in self-respect. Self-respect is the chief element in courage.” — Thucydides

I think I’ve made great strides in not projecting expectations onto some of the men I’ve met in these last years. No expectations does mean no disappointments. Yet, can I say that it’s hard not to get Carrie Bradshaw’ed away when someone catches me totally off guard? It’s when you witness that certain smile or hear that easy laugh. Oh! And if they possess that tender touch and offer an inviting embrace that tells you, “It’s just you and me, pal?” MELT! I haven’t experienced that in a long while, but it happened to me recently. It’s the kind of stuff that propels you to a keyboard and here I am.

I know it can be all so fleeting, these moments. Yet, having the courage to let them happen is essential. I’ve enjoyed letting this little smile make itself known at stop lights, because it felt so good to let go of “The Eeyore Syndrome.” Too many weeks of having the mean reds can mess a bitch up! I don’t care to know what it means. That’s not this is about. I just want to let this feeling last as long as it is meant to because it is a wonderfully human thing to experience, like hearing that Motown bridge.

Besides, I have finally come to realize the only way for any relationship to take hold is for it to be a mutual want. (Because you can’t hurry love! Boom!)

As I was counseled by my fearless friend Heidi, in order to start a bonfire, you have to cajole the flames. When the time presents itself, just give it a chance to burn, don’t suffocate it. Let those sparks connect and ignite with all that is revealed to be combustible in those first electric moment. If it takes hold, that raging passion we wall want to sing about will grow with intensity. If it doesn’t? Well, you relish the glow of that initial bolt of lightning, because it happened and nothing in the world will ever diminish its impact.

No matter what our age and place in this chaotic world, that gift of making music with someone who cares is one our most defining traits. Never think to yourself, “This is my last chance.” That’s the beautiful thing about symphonies — and the Supremes.

We, too, are all classics that live to be heard from — and kissed — again.

 Thursday, November 20. Written and posted from Wayne Avenue Manor in South Pasadena, CA

“The Tale of My City” — #istand

“The Tale of My City” — #istand

“You’re not going to lose him this time. He’s a part of you forever,” said Mrs. Madrigal to a heartbroken Michael Tolliver in Armistead Maupin’s “Babycakes.”

How I loved the Tales of the City books. In some way, Maupin’s chronicle of 1970s to late 80s San Francisco and the denizens of Barbary Lane felt like a primer to the gay life I was trying to nurture in the 1990s. I identified at first with Mary Ann Singleton, that ambitious career gal from Cleveland who was so intent on reinventing herself. It made sense to me, a 20-something from Pico Rivera making inroads as a publicist and future MediaJor. But now I see myself as early Michael Tolliver, the one who wanted love so hard it hurt. Yet, he always got right back out into the dating fray. After all, tomorrow was another day! But so much was to change.

In the years since the start of the AIDS wars, HIV is no longer an immediate death sentence and being gay is no longer just a poignant coming out story told once a year. Gay is part of our national dialogue, a new frontier of the civil rights movement. Marriage and parenting stand right and center with acceptance and tolerance. We see progress, backlash and an uncertain future as gay will not live behind a stone wall anymore. It’s an extraordinary time for many of us. Yet, I fear we are no closer to finding happiness within ourselves. I think we punish ourselves in so many ways. I sometimes think we are our own worst enemy, taking on so many negative isms, particularly in how we look, who we fuck, who we love.

Sigh.

It doesn’t matter. Because I can’t stay in this place anymore. Like Michael Tolliver, I fumbled some nice attempts at being in a nurturing and caring relationship. Mouse, as he is referred to by his best pals in the books, never stayed down for long. Well, once, after his cherished Jon Fielding is claimed in the early part of the AIDS crisis. But Mouse finds his direction again and learns to not let the scars of the past paralyze him. I admire his strength so much.  And I admire the power of Maupin’s own romantically charged realism. What I have forgotten was one of the essential lessons of his books: Being gay doesn’t mean being a victim.

For too many months now, I’ve been allowing myself to exhibit the worst of victim mentality. I gave up so fast once I got back from Spain. I’ve returned to wallowing in that same swamp of depression, building a new fortress around myself again. The weight of this misdirected emotion is starting to drag me under all over again. The heaviness of this mindset is like wearing concrete shoes. It’s the Eeyore Syndrome all over.

At some point, we have to acknowledge the sensation of hitting the bottom of the abyss. It is an all too familiar place for me. I’ve made this trip before, man. So many times now, I can use my miles and still have enough left over to return a few more times. With upgrades, too.

My heart can’t take much more of this. My brain is constantly screaming at me to man up, that it is time to simply not give a fuck. John advised me that since he turned 50, he wakes up each morning making a list of things he simply won’t give a fuck about that day.

Well, John. That day has arrived. My list is my own, of course. However, I offer these lyrics to one of my favorite tracks recorded by Idina Menzel, which speak so much about the frame of mind I am in right now.

My ex Tucker and I always debated about what mattered most about a song. He said the music revealed more than the words. I countered that the music’s emotionality didn’t exist without the lyrics to guide the way. We were the embodiment of that debate. He saved his best self for his music and I continue to write down what I feel needs to be said at the peak of emotion. I often wonder what we would have sounded like if we dared to collaborate on a song. If we ever did let that happen, I would hope that it would sound like “I Stand.”

Because, after all these years of carrying around this guilt and disappointment, I can’t believe I haven’t allowed myself the freedom to believe that I can stand on my own two feet. So much has been lost this year, reminding me of how fleeting life can be. We will be up. We will be down. But we are never out.

I know he won’t save me. I have to save me. And no, moving on doesn’t mean I’ve “lost” him. He’s always going to be a part of me.

Whoever comes my way next, like Menzel and Ballard write, I, too, will live for that perfect day. And I am going to keep loving until it hurts like crazy. I have to recognize that the past is just that, the past. The present is not so bad. The future? Well, ask me tomorrow.

But I know I will be standing.

Tuesday, November 11. Written and posted from Wayne Avenue Manor in South Pasadena, CA.


“I Stand” by Idina Menzel & Glen Ballard

“When you asked me, who I am
What is my vision? Do I have a plan?
Where is my strength? Have I nothing to say?
I hear the words in my head but I push them away

As I stand for the power to change
I live for the perfect day
I love till it hurts like crazy
I hope for a hero to save me

I stand for the strange and lonely
I believe theres a better place
I dont know if the sky is heaven
But I pray anyway

And I don’t know what tomorrow brings
A road less traveled, will it set us free?
‘Cause we’re taking it slow, these tiny legacies
I dont try and change the world
But what will you make of me?

As I stand for the power to change
I live for the perfect day
I love till it hurts like crazy
I hope for a hero to save me

I stand for the strange and lonely
I believe there’s a better place
I dont know if the sky is heaven
But I pray anyway

With the slightest of breezes
We fall just like leaves
As the rain washes us from the ground

We forget who we are
We can’t see in the dark
And we quickly get lost in the crowd, oh, oh

I stand for the power to change
I live for the perfect day
I love till it hurts like crazy
I hope for a hero to save me

I stand for the power to change
I live for the perfect day
I love till it hurts like crazy
I hope for a hero to save me

I stand for the strange and lonely
I believe there’s a better place
I don’t know if the sky is heaven
But I pray anyway, oh

I stand for the power to change
I live for the perfect day
I love till it hurts like crazy
I hope for a hero to save me

I stand for the strange and lonely
I believe there’s a better place
I don’t know if the sky is heaven
But I pray anyway.”

How You (Don’t) Get the Boy — #themanthatgotaway

How You (Don’t) Get the Boy — #themanthatgotaway

Man, I hate when the end of the year starts manifesting itself. The holidays always seem to trigger a certain sense of loss in my heart. It’s a nagging sensation, on par with your Mom berating you for not cleaning your room before company is about to visit. But, in this case, it is just me still grappling with  “The One Who Got Away,” even though that event happened more than four years ago.

Right about now, my own group of friends is rolling its collective eyes over this admission, followed by this utterance: “Ayyyyyyy! Get over it already!”

Yeah, I know.

But my own Charlotte York mentality is at play here. I do believe you only get one real love. The rest are variations of that indelible experience. Some men are better, some are worse. Then, you click with someone enough to recognize your heart is still in working order. Still, I don’t think you ever forget the first moment you realize the person sleeping next to you makes you feel like the luckiest guy on Earth. And for a good part of four years, he did make me feel that way.

I’ve moved away from the Judy Garland-scored sense of loss that I’ve fostered with great care these last few years. Although, just to hear the first few bars of “The Man That Got Away” does encourage me to reach for a mental martini. The reasons for our break up have evolved over time. I see it today with a much calmer perspective than during the first year after I walked out his door. While I’ve been able to process it without the melodrama reserved for a cliffhanger episode of a Shonda Rhimes show, it may forever resonate strongly in my own life’s narrative.

I’ve gone into therapy over him. I’ve thought of how I will feel when I discover he has since married the gent that followed me. Sometimes, I am bothered over how we really don’t share much of a friendship. Sometimes, I smile over the good fortune of having him enter my life when he did. Sometimes, I wish I never met him at all.

These are the moments where I turn into a teenage girl, writing my heartbreak into a diary. I wonder if I ever reboot my own heart, does this mean all that data will disappear? At times, that feels like losing him again and it scares the shit out of me. Then, I remind myself that he moved on so completely, I’m a fool for still wanting to hold on to this info at all.

I’ve met quite a few gents since him, two even became boyfriends. Neither stayed. The self-sabotage I implemented made sure of that. I wanted to have the ability to think, “See? If they’re not him, they don’t stand a chance.” I have opted to stay out of the dating fray for longer periods. But, if there is one constant in this world, I can always count on a specific track from a Taylor Swift album to make me feel “this thing” all over again. And the recent release of her monster smash “1989” did not disappoint.

Taylor is certainly peppier than Judy, although I wonder how many other gay men out there are starting to recognize just how we can channel our own pathos through Swift’s music. With “Red” it was the title track that moved to me feel the many shades of emotion connected with losing him in the first place. With “1989” it’s “How You Get the Girl.”

Damn you, Taylor!

The simplicity of this track is insidious, a sentiment so unadorned and straightforward, you are conquered before the first chorus.

I have scripted so many reunion moments in my head. It’s either his choice or mine, a dramatic moment like his wedding or some random party. I’ve envisioned hospital scenes for both of us. I’ve worked out what would happen if he opted to stay with the other guy, complete with telenovela variations where I catch them in our bed. But mostly, I think about finally getting the boy, that love of my life, in the classic sense. It’s when I channel Nora Ephron, George Cukor and Woody Allen. And, these scenes are best underscored by that perfect Swiftian touch, that unabashed blast of earnestness that makes me surrender my rational self.

I’m not ashamed for any of this, but I recognize its limitations. Loss is something we all must learn to process and understand. It’s probably a good thing La Swift pulled her music from Spotify. Maybe now I’ll stand a fighting chance.

Nah.

But, as I was schooled one afternoon by a friend: ‘You’ll never get what you truly deserve…if you remain attached to what you’re supposed to let go of in this life.”

Taylor, if you’re reading, how’s that for a lyric?

Tuesday, November 5. Written and posted from Wayne Avenue Manor.

“How You Get the Girl” by Taylor Swift

Stand there like a ghost
Shaking from the rain, rain
She’ll open up the door
And say, are you insane?
Say it’s been a long six months
And you were too afraid to tell her what you want
And that’s how it works
It’s how you get the girl
And then you say

I want you for worse or for better
I would wait for ever and ever
Broke your heart, I’ll put it back together
I would wait for ever and ever

And that’s how it works
That’s how you get the girl, girl, oh
And that’s how it works
That’s how you get the girl, girl

Remind her how it used to be, be
Yeah, yeah
With pictures in frames, of kisses on cheeks,
Tell her how you must’ve lost your mind
When you left her all alone
And never told her why
And that’s how it works
That’s how you lost the girl
And now you say

I want you for worse or for better
I would wait for ever and ever
Broke your heart, I’ll put it back together
I would wait for ever and ever

And that’s how it works
It’s how you get the girl, girl, oh
And that’s how it works
It’s how you get the girl, girl
Yeah yeah

And you-ou kno-ow
That I don’t want you to go
Remind me how it used to be
Pictures in frames of kisses on cheeks
And say you want me, yeah, yeah

And then you say
I want you for worse or for better
I would wait for ever and ever
Broke your heart, I’ll put it back together
I would wait for ever and ever

And that’s how it works
It’s how you get the girl, girl, oh
And that’s how it works
It’s how you get the girl, girl
And that’s how it works
It’s how you get the girl, girl, oh
And that’s how it works
It’s how you get the girl, girl

And that’s how it works
That’s how you got the girl

Here’s Taylor Swift talking about the inspiration behind the track, one of many stand out moments of her new album, “1989.”

http://youtu.be/jFT1tdGmuqA