To cope with pain, and prepare for parenthood, I had to learn how to breathe. To breathe, I needed more than air.
Kurt Cobain would not approve, but privately I wondered if there wasn’t space for a beloved burnished thing in my new and improved pop pantheon.
Vin closes his eyes and bares his soul, meaning each word of the song, and isn’t that the point? Vin never claimed to be a good singer.
This film is an opportunity to help rescue Fanny Mendelssohn from near-obscurity; and to do the same for me.
I imagine she wrote it for women like me. Women who wear their hearts on their sleeves but hold their hands over their mouths.
The release of “Infinity on High” marked the final moments of the mid-2000s, a time when collapse nested on the tongues of everyone in my universe but never made it out of their mouths.
Suddenly, miraculously, it was no longer dismay that I felt. It was freedom. It was Death doffing its blackness and revealing itself to me as life.
Girl power was the freedom to make a scene, make no sense, join together and make something irresistible, spectacular, unproductive, joyful, and to radically claim one another.
I relate to what Springsteen sings because he reveals much of the American Dream as an intoxicating illusion.
Because it’s still more acceptable for white women than it is for women of color to show anger, I scream-sing along to Courtney Love’s rage.