shanmonster: (Default)
My writing continues to blot the pages of magazines.

My poem "The Selkie" has been published by Welsh speculative magazine Gwyllion Magazine. This magazine is about Wales-related stories, and is by people with ties to Wales. My paternal great-grandfather was a Welsh lord, but I don't speak the language at all. You will find an echo of his terminology in the poem, though, with my use of the word "landwash" in place of "beach."

My poem "Doctrine of Prosperity" has been published by Rainy Weather Days, a defiant literary magazine. I took some cues from OuLiPo to write this one. I don't recall what my first rendition of this poem was, other than underwhelming. However, when I replaced nouns with words pulled randomly from the Book of Enoch, all of a sudden, my poem had much more oomph.

A few pieces were supposed to be published already, but due to who knows what, still have not made it to print. One anthology is awaiting cover art before it goes to print. Other magazines have had editors going through a variety of challenges. To paraphrase a certain chaos scientist from Jurassic Park, life finds a way ... to make things chaotic.

Speaking of which, although I meant to work on The Development (described by a recent workshopper as "beige gothic"), I ended up drafting a new personal essay about oral history, colonialism, and the extinction of the Great Auk. It's still a bit of a mess, but I think it is going to polish out into something interesting and thought-provoking. At the very least, it is provoking some thoughts in me. I'm dusting off recollections of things I overheard as a little kid while living on the Rock. It also inspired me to look for more writing about witchcraft in Newfoundland, and I ended up buying a copy of Making Witches: Newfoundland Traditions of Spells and Counterspells by Barbara Rieti. I've been reading a chapter on "Indian Witches," which discusses settlers' superstitious beliefs about Mi'kmaq. It seems similar to settler beliefs about Mi'kmaq on the mainland.

All of this is fodder for the historical writing I've been doing incorporating Maritime traditions.

I was recently a storyteller on a horror writers' reading, sponsored by author/editor Mae Murray. There was a good turnout and I think we all had fun. I read my as-yet-unpublished story "Ethel's Bones," which introduces some characters I plan on featuring in a novel I have not yet started to write. I need to finished The Development, first, and then I can get started on a new giant project.

In the meantime, I continue to write short stories. I recently completed a second draft of a new short story tentatively called "Rosalyn and the End of Everything." It's the most heavy-metal story I've ever written. I'm awaiting feedback from an editor before I start sending it off to different places.

I also recently completed a flash fiction about the Dungarvon Whooper, a ghost/cryptid from the Miramichi region of New Brunswick. I sent that story off to a couple of places already. It incorporates Chiac (NB French/English dialect) and Maritimes English vernacular.
shanmonster: (Tiger claw)
My anxiety was relentless. My chest was tight, my jaw clenched, my breath shallow, and I wanted to hide beneath my desk. But I had a voice lesson scheduled that afternoon, so I psyched myself up and walked to my music teacher's house.

I was studying classical voice in the Italian operatic tradition, and something about the act of singing erased my anxiety. Maybe it was the immaculate breathing exercises. Maybe it was the sound of a rich mezzo soprano voice pouring from my lips to fill the room. Whatever it was, it was working.

I sang scales. I sang from Carmen, and my jaw relaxed, my posture grew taller, and I let my hands express the highs and lows of the music. Singing is healing. Singing can scribble out sadness and overwrite it with joy.
shanmonster: (Default)
This is another creation story.

Towards the end of 2020, I was chosen by MT Space to pair up with local filmmaker Angela Onuora of This Naija Girl Studios to collaborate on an art project. Angela and I spent a few weeks brainstorming together and coming up with the idea of producing an educational YouTube series. The series would be a family-friendly introduction to First Nation, Inuit, and Métis people and culture.

As the host and storyteller, I would teach about who the various Indigenous peoples are, what kind of things they do for fun, what kinds of stories they tell, where they live, how they lived prior to colonization, etc. With the help of Silaqqi Allpi Kumarluk Sheldon's incredible knowledge of Inuit culture, I learned more about Arctic games, and our first script is about Inuit games and how they serve as both entertainment and physical preparation for hunting.

Unfortunately, we were unable to do our shoot. A combination of lockdowns and illness kept us from putting it all together in the end. But all that being said, our work was not a bust. Angela and I learned a lot from one another. I got to see her perspective as a new arrival from Nigeria to Canada, to experience through her perspective what a culture shock it is, and what new arrivals to Canada are taught about the Indigenous nations here. We learned about how colonialism affects us in our perspective birth nations, and how the violent effects of colonialism and genocide continue to manifest.

Throughout our work together and beyond, I continued and am continuing my research into traditional storytelling, decolonization, antiracism, and broadcasting. Although our collaboration did not result in a finished piece, it did give me the wherewithal to continue my research into these topics.

What began as one project has transformed into something new. I am continuing my work with the end goal of creating a podcast/book. This project incorporates all the things I learned while working with Angela, minus the video. I'm no filmmaker--yet.

But I do have about fifteen or so years spent working in radio. And I am a writer, artist, photographer, performer, and musician. So here I am, instead working on a piece of Indigenous Futurism, playing with the concept of slipstream. I'm writing daily, and building up a lot of material. I recently managed to get my very first writing grant (from Pat the Dog), which I'm pretty chuffed about. I'm excited to see it all come together.

Here are some samples of my work for the project.



shanmonster: (Tiger claw)


Today’s blast from the past comes with a memory from my childhood. There’s some serious shittiness in here, so be warned.

It was 1979, and I was in some tiny community or another in rural Newfoundland. It was a rocky, hilly place, and box-shaped houses spackled on cliff tops. Outhouses teetered on long stilts over the mussel-bearded and barnacle-crusted boulders below. There wasn’t much indoor plumbing to be found, so you had to walk the plank to shit from altitude.

I was about nine years old, and was standing on the bridge of one of my relatives. I could hear the repetive whoosh of waves on the landwash. The nippers and noseeums were getting me pretty good, so I decided to go inside.

I don’t remember who all was there, but I remember hearing “Drugs in My Pocket” by The Monks. I’d never heard music like this before. I was only used to what my parents played on the record player, to the songs I sang about Jehovah in the Kingdom Hall, or to jigs and other Newfie music my dad sang while playing button-key accordion.

I tracked down this weird music I was hearing. One of my cousins was playing it on a little tape recorder. I can’t remember his name or what he looked like. I remember the pretty nun with the beautiful legs on the cover of the cassette tape, and I remember thinking my cousin looked cool and mysterious. This was because he was a teenager. I didn’t know any teenagers. I saw some on the school bus sometimes. I thought they seemed so grownup, yet nothing at all like my parents.

I don’t remember anything else about that day. I remember sometime later, maybe weeks, maybe a year or so, that my cousin, who listened to this interesting song with me, had been kicked out of his house. No one was to speak to him or about him again. “But why?” I asked. Maybe it was because there were drugs in his pocket.

No. It was because he was a “faggot.”

I didn’t really know what that meant. I figured it must mean he’d done something bad, but I didn’t exactly know what. I wondered where he would go. Would he be ok? Could I maybe be kicked out like that too? What if I was a faggot, too?

I never did find out what became of him. If any of my cousins on here know whom I’m referencing, could you let me know?

shanmonster: (Purple mohawk)
I dreamed I was going to visit a friend in Toronto and had to take public transit. I knew roughly which stop to get off at, but then I had to look up the route on my phone, because I couldn't remember how to walk there. For some reason, the first part of the address was "Front Line Assembly." I typed it in time after time after time, and each time, autocorrect took over and turned it into something completely different, and wrong. The frustration was building and building. What did my phone have against industrial music, anyway?

I never did get to my destination. My friend must still be waiting for me.
shanmonster: (Dance Monkey Dance!)
Today was made with walking interspersed with a whole bunch of other stuff. Here's a video précis of my day.

My morning:





Noon:



Afternoon:



Now? Now I rest.
shanmonster: (Purple mohawk)
If you're not familiar with Oscar Wilde's story of Salome, here's my quick and dirty spoiler:

Spoiled rotten princess becomes infatuated with a Christian prophet who spouts of bunch of yo momma jokes. Prophet spurns her and she has a conniption. Princess's stepfather, a powerful tetrarch, has the hots for the princess, and she takes advantage of this to get the prophet's head served to her on a silver platter. She makes out with the head.

I attended the Canadian Opera Company's performance of Strauss's opera last night. This performance was directed by Atom Egoyan. My opinions are mixed. Parts of the opera are brilliant. Parts of it are so lacking in subtlety that it was like being repetitively hammered with overt symbolism and visual puns. I get that at the climax, Salome gets Joachaan's head. But was it necessarily to neatly bookend the piece with the captain of the guard getting head at the beginning? Really? Especially considering his obsessive infatuation with Salome, why the heck was he having hanky panky with that other woman, anyhow? It just doesn't make any sense at all.

I understand that the director was trying to show the motivations of Salome, why she turned into a bloodthirsty necrophile. But I think that the depictions of her abuse were heavy-handed and out of place with the rest of the story. The dance of the seven veils scene was a weird montage of images of sylph-like innocence and ballerinas in a forest mixed with a nifty, disorienting shadow play of a gang rape. No, I get that the tetrarch wanted to bang Salome. But her consensuality is the major crux of the whole sordid tale. If the tetrarch didn't care about her consent in the first place, the story just wouldn't work. If he didn't require her consent, he'd never have made that deal with her. He just would've raped her whenever he pleased and Joachaan would've continued languishing in the dungeon.

Overall, blocking was solid, but there were a few times when it just didn't work for those of us sitting in the nosebleed section. Screen projections just weren't viewable, and when actors were at the back of the stage, I couldn't see their heads.

Inexplicably, the captain of the guard wore a suit which was way too big for him. I don't know what's up with that.

Other than these things, I think the show was brilliant. The orchestra was magnificent. I loved the simple colour symbolism of the show. White, black, and red clothing and props were used to excellent effect. I don't have the program, so I don't know who played which part, but the stand-out roles were of the Tetrarch (amazing stage presence and a wonderful voice) and Salome herself (some excellent physical theatre, and she can hit high notes and hold them even when she's doubled up or crumpled upon the stage). The climactic scene of Salome with the head of Joachaan was excellently presented, and the blood on the white dress worked well to tie in the problematic earlier scene of the sexual assault.

BEEFCAKE!

Jun. 12th, 2012 02:23 pm
shanmonster: (On the stairs)
I pleased myself this morning by totally rocking my workout. After doing a warmup of running 800 m and about 10 pullups (with the skinniest resistance band to help out), I managed 42 14lb 10' wall balls and 72 52lb kettlebell swings. Those swings were hard, and accompanied by much grunting the the pitter-pat of sweat raining off my face and onto the floor.

I displeased myself this afternoon by recording myself singing Star Vicino and then listening to it. My voice is so puny and reedy. I need to beef it up. Beefcake Italian singing! Beefcake!

Oh yeah, and have I mentioned that I'm a super villain in my spare time? [Photographic evidence after the cut.] )
shanmonster: (Default)
Hi. I haven't been here in a while. Time to fix that.

I've been been excruciatingly busy. I'm taking classical voice lessons, and am starting up with musical theory again. I'm doing much better with it than I thought, because I haven't forgotten nearly as much as I was afraid I had. I look forward to being able to sight read music again. Right now, I'm sounding melodies out slowly, kinda like learning to sight read words the Sesame Street way.

I've also been continuing with my china painting class. My painting style in this is surprising me. It's completely different from any other paintings/drawings I've done in the past. I'm currently working on a teapot. It's not done yet, but here's where it stands after about two months of work:

Read more... )
shanmonster: (Zombie ShanMonster)
I have been having such fun with my singing lessons. This is the song I've been working on most recently. I wish I could take voice lessons every day. I can't remember the last time a class has consistently been so enjoyable.

shanmonster: (Dance Monkey Dance!)
Over the years, I've studied a lot of different dance styles, both in classroom and workshop situations. I've also seen lots of dance performances, and I've noted a few patterns about the relationship of dance to music.
  1. Dance is the visual representation of the music, and enhances the experience by combining visual with audio.
  2. The music is mostly irrelevant to the dance, and if the movements coincide with any part of it, it's coincidental.
  3. The dance is done only to the rhythm of the music, and the music is therefor interchangeable, so long as the music has a coinciding number of counts for the choreography/combination.
  4. The dance is representative of the theme of the song, rather than the melody/rhythm.
  5. There is no music at all, and the dance is performed in silence, or the act of the dance itself creates music.
#1 is something I see very frequently in improvisational belly dance, and is how I generally treat music/dance, when I perform. I do not necessarily believe it is the superior way of doing things, but it appeals very much to my personal aesthetics. Maybe it's a synaesthesia thing, but when I hear certain parts of music, it feels/looks like certain body movements to me.

I have seen #2 in contemporary and butoh performances, where the music and dance sometimes seem at odds with one another. I think this may be intentional for the purpose of shaking up the viewers' perception a bit, and perhaps keeping them off balance.

I have also seen it with bad dancers, who have a wooden ear and/or no sense of rhythm. I've also seen it with inattentive dancers, who are more concerned with going through a series of tricks and combinations, and are completely ignoring the music.

#3 I've seen in a lot of classroom situations, and in choreographies which are based on counting, rather than anything else to do with the music, specifically. It is especially easy to replace a dance done to one 4:4 or 3:4 time signature song with another. Just adjust the speed of the dance to the tempo of the piece. I personally find this the least interesting, but in terms of teaching, it is the simplest--especially when drilling technique.

I have also seen it in square dancing, where the dancer is using the music for rhythm, but the voice of the caller for combinations.

#4 is something I've seen in contemporary dance, as well. I have also used this a few times, while using dance as a story-telling medium. I have also seen it when a dancer performs to dialogue or poetry.

#5 is something I see in percussive dances, like tap, slap dance, etc. I have long wanted to experiment with this in different ways (ie. wiring up parts of my body so that different movements would play different sounds through a computer), but I do not have the technical know-how. If someone wants to collaborate with me on this, let me know!

There may very well be other patterns, but these are the ones I've noted. What are your opinions on the topic?
shanmonster: (Default)
I've been proofreading all day, and my brains are melting. So I'm trying to heal myself by getting more costuming inspiration. I have a lot of sewing I want to do to make [livejournal.com profile] knightky and I Viking wardrobes.

So here are a few pictures of Masha Scream of Arkona looking seriously bitchin':

[Masha]

[Masha]



And here she is with the band.



And then this video, which shows just how damned awesome she is, and stylin' while she's at it.

shanmonster: (Zombie ShanMonster)
A song that reminds you of somewhere....

What place this song makes me think of will be obvious to any Canadian.

shanmonster: (Default)
Music that makes you think of somebody.

This song always makes me think of [livejournal.com profile] f00dave:

shanmonster: (On the stairs)
I want to learn this song and sing it in a burlesque show.




I'm the kind of woman, not hard to understand.
I'm the one who cracks the whip and holds the upper hand.
I'll beat you, mistreat you, 'til you quiver and quail.
The female of the species is more deadly than the male.

When you mess with me I'll purr and whirl around with a flame.
When you find that you've been burned you've only yourself to blame.
I'll hurt you, desert you, if you ever should fail.
The female of the species is more deadly than the male.

There's no doubt about it: I'll take my hat and go
When our affair dissolves.
So long. I can do without it.
I'll find myself another man. I'll find myself a clown.
I'm just like a gambler. You'll have to take a chance.
With me you play a long shot when you gamble on romance.
The payoff is way off. Here's the point of the tale:
The female of the species is more deadly than the male.
shanmonster: (Default)
Music that makes me sad.

This.



And inexplicably, this:

shanmonster: (Default)
Music that makes me happy.



And this. Heh.
shanmonster: (Tiger claw)
My least favourite song.

There are many to choose from, but this one has bothered me for years, and I was subjected to it time and time again when I simply could not escape it: while figure modeling for artists.



Ugh. Can't stand it. UGH!
shanmonster: (Zombie ShanMonster)
Day 1: My favourite song.

There are several songs that qualify, but I think I'll go with Skinny Puppy's "Worlock," because it's moved me ever since it first came out. The video, however, does not. In case you're unfamiliar with it, the video is gory and NSFW:



And in case you want to see it in better quality, a fan recompiled the whole thing. Now that's dedication. Oh yes, it's still gory, and still NSFW.



Meme parameters behind the cut )
shanmonster: (Default)
My dance performance on Saturday night went over very well. I'm looking forward to seeing video footage so I can critique myself mercilessly. Now I'm working on familiarizing myself with the music for my next performance in November, and figuring out what the heck to do with it. It's extremely different from anything I've ever performed to before, and rhythm and melody don't really enter into the equation. Also, I only have 60 seconds. Tricky, tricky, tricky....

[In the green room]

Tickets are available now. 60x60 will be a really unique show. Please come check it out.

I spent yesterday with [livejournal.com profile] knightky, and walked his damned legs right off him. Poor guy. But we did get to see the Terra Cotta warriors exhibit at the ROM, which was interesting, but, I have to admit, a little disappointing. The pieces they showed were remarkable, but I didn't get the sense of scope I was hoping for. There were only a half dozen or so of the soldiers, and a couple of the horses. I felt far more overwhelmed by the huge lineups to see the things than I did by the artifacts themselves. I will, however, admit to being taken aback by the collection of ancient Chinese dildos. These were ostensibly only used by women, because apparently, Chinese men had no use for such things back then. Pfft.

Later, we found a playground sized for adults on a back street behind the Toronto public library, and had lots of fun playing on the springy seesaw. I love those things! There should be more playgrounds like that everywhere. I know we're not the only grown-ups who like playing on such things.

In the evening, I went to see Gary Numan. Nash the Slash opened for him. I was under the impression I was the only one in the audience who didn't like him. He had his face wrapped all in bandages, just like thirty years ago. And he wore a white tuxedo with a white top hat. It is definitely a unique schtick, but I just cannot get into his music. I didn't really like him when I was a kid, either. Ah well. At least I could sing along with his closing song, "Teenage Wasteland." I overheard someone in the audience positing that he could very well be a member of The Residents. Yes, I suppose so.

It was a much older audience than I'm used to seeing at shows. I'd say 2/3 of the audience was my age and older. There was no mosh pit. Hehehehe....

Gary was awesome. His band was really good, too. The first half of his show was all early stuff. Although I'm fonder of his later music, I gained a fresh appreciation for his older compositions when I got to see/hear them live. The audience nearly lost their minds when he started playing "Cars" and "Down in the Park."

He did a three-song encore, ending with A Prayer for the Unborn, which is about the saddest song ever, and not the sort of thing I want to cheer all frenzied-like for.

I feel a pretty strong connection with a lot of his lyrics. I think he perhaps shares the darker part of my brains.

Link time.

Equus: This is playing in Toronto next month. It's one of my favourite plays, so I'd really like to see it. Wanna come with me?

Shopping for Zombies: This is not the store I would have figured would do this....

Bacon Lube Taste Test: It's bacony.

adieu canaille: NSFW because of roto-boobies. Surreal fembot-type stuff, with burlesque spinning action (thanks, [livejournal.com profile] balthcat).

Student Hides Rick Astley's Song In College Paper: I used to write secret messages like this all the time, but I have never attempted rickrolling like that.

Crocodile on plane kills 19 passengers: I feel bad for laughing. Really, I do. But motherfuckin' crocs on a plane!

Republicans Oppose Franken on Rape Legislation: When the reputation of big business is considered legally more valuable than egregious human rights violations. Disgusting.

Transcending the Material: Knitted skeleton (thanks, [livejournal.com profile] longpig and [livejournal.com profile] elanya)!

May 2025

S M T W T F S
    123
45678 910
11121314151617
18192021222324
252627282930 31

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jun. 11th, 2025 09:44 am
Powered by Dreamwidth Studios