(As of yesterday, my four years at Vassar College are over. A week before that, I was asked to write a retrospective for the last issue of the school paper which somehow became one very honest piece of writing. I’m proud of it, so here it is.)
At some point in the near future, I will be filling out an online survey in a doomed attempt to live from gift card to gift card; before it asks me what medications I would be open to trying in the name of science, I will be asked for my occupation, and I will have a new answer: “Unemployed.”
For the past four years, I’ve been saying, “I’m a student,” or “I go to Vassar,” and the time window in which those statements are true is coming to a close. For what it’s worth, I never did understand how being a “Student” could be considered an occupation – it falls somewhere short of working a grueling 9 to 5 and just ahead of sitting catatonic in front of your computer all day – and so I’d much more readily call it glorified joblessness or a masochistic hobby, depending on your course load for that semester.
You could call me disillusioned. The most salient point that you might take away from my words so far is that I’m regretting the imminent loss of a very useful piece of small talk. I understand that I’m coming across as emphatically jaded right now. As someone who was asked in a very courteous fashion to contribute to this final issue, I realize that I am probably making something of a huge misstep with this opening. But, (1) my mind’s a mess, (2) I’m burnt out, and (3) depending on where they print me, you should be able to look up/down/left/right and find someone who has a more positive outlook on their time here if you were hoping for that sort of thing.
To those of you still with me: allow me to take you on a trip down the moderately enjoyable memory cul-de-sac that was my time at Vassar College. Good times, bad neighbors, and all.[1]
I’ve met many people that I plan to keep close for the rest of my life. I like to think of my identity as something that was refined through continued collaboration with these people. If a conversation was enlightening, I would bookmark that topic. If an opinion sparked an argument, I’d polish my thoughts. If a joke made them laugh, I would surely remember that one for later. I wouldn’t be the absolutely, amazingly, and fully committed terrible person that I am today if it weren’t for these people. I enjoy being me a lot more than I used to, and even though I’ll just say that my best friends “know who they are,” I hope they also know that if there’s one thing that they can count on coming before my ego, it’s my gratitude towards them.
While I’ve always considered my friends as belonging to “real life” I suppose it would be impossible to separate my classes, my professors, and my activities from the “Vassarian” idea. I learned a lot here. I’m sure that most everyone can agree with that simple thought, even if we can’t readily recall every single detail of our education. I am a drama major and I learned how to act better. I am interested in fiction and I learned how to write better. Some professors taught a great deal from a distance, but I’ve been lucky enough to know a few who taught a small handful of things very thoroughly and personally. I certainly leaned on some of them when they didn’t need the extra pressure, but they always helped. They’ll always be here if I’m thinking of them.
I’ve tried to make the previous two paragraphs less saccharine because these people deserve better, but they probably know me well enough to imagine me saying this glowing praise with a slight sneer and an insistent elbow to the ribs. My thoughts are succinct, but these were good things.
However, you can’t have good without some bad. For everything I enjoyed about Vassar, there seemed to be a niggling problem that would develop in lockstep. There were many people who knew me, but there were also many people who never bothered to know me and some that thought they knew me oh, so well. After the first couple of years, there arises this sort of dead socialization that never introduces new ideas or people that ingrains itself and surely continues past graduation. People talk shop and discuss emotion at a distance. There are quite a few people I know from whom I’ve never seen an honest smile.
Vassar places stress upon stress on you, both academic and social, until you either give up or give in. I pity those who didn’t find their place here and I kind of hate myself for fitting in with some of these people like I do. Because I had to. Because there’s no one new. Because no one sane would want to run the gauntlet of these harsh, social learning curves in order to gain a few new buddies who all talk the same. Even my negativity reads more potently than the opposite because that’s another thing that this place has done to me.
We have lived the past four years in a bubble and condescension has no smell.
My time here was well spent making honest connections and learning from people who knew a lot of stuff that they knew very well. I certainly hope that this school and its members have found me, on average, more entertaining than not. It was interesting. For now, I’d just like to say: no offense, but I wash myself of the whole thing.
There is a way to phrase this sentiment without making it sound like refuse from a Nicholas Sparks novel. Also, this other, better way would probably eschew the use of fragments as complete sentences or at least have the audacity to have some personality about it.
However, an actual writing style doesn’t get you to 4000 notes, so I should probably shove it, huh?
welcu m 2 tumbler
Sometimes my friends get up to some silly antics!! Mr. Maydoe shows us all how tumblr is really mastered.
So there’s this show called My Little Pony: Friendship Is Magic. I like it.
So there are these fans of the show that call themselves bronies. I hate them.
A common and disturbingly popular idea among these superfans of the show is the idea of wish fulfillment through embarrassing fanfiction. These stories are usually overdone to hell and back and have a strong focus on the relationship between a reader analogue and one of the colorful ponies that they’ve chosen to adore. This is as creepy as you might imagine. “Deep” relationships are formed in an instant and instead of character development, you get the author suddenly telling us that years have passed so there’s no need to show these two star-crossed species specimens getting closer because we should just assume that they’re basically best friends/siblings/lovers/two parts of the same butt by the next chapter. This is, of course, not to mention that all of these stories end in a tragedy that technically boils down to “the human did not become a pony after all” but presented with the equivalent emotion of A Long Day’s Journey Into Night.
In the case of “My Little Dashie,” the main character becomes the adoptive father of Rainbow Dash who sickeningly calls him “Daddy.” This story takes place over an insane 15 years, with enough dull prose to fill an hour and twenty minutes of incomprehensible acting.
A few friends of mine just sat through the previously implied recorded reading. One of them drew some great pictures. One more cavern of the Internet explored by yours truly so you don’t have to. Enjoy!
(Source: maydoefungi)
Somewhere between now and the last time I saw him, my friend Nick Halgren died in a car accident of which I know no detail. I don’t care to imagine it. Two weeks or so have passed since I heard the news – his number is still on my phone and will probably have a permanent home there until I get a new one and it doesn’t successfully transfer. That makes for three Nicks on my phone. I don’t think I call the other two. Nick Halgren was the Nick I knew.
The things I knew about Nick were his passion for jazz, his teaching ambitions, and the ever-increasing number of girls that he seemed to fall in love with (but actually had the guts to pursue, so there’s that). But my fondest memory of Nick by far is that he was bad at Magic. Magic: the Gathering is a trading card game in which each player takes the role of a wizard, casting spells and creatures in an attempt to overcome the opponent. Nick was nowhere near bad enough at the game that he should be considered, “bad at it,” by any means, but friends can’t help but joke.
When he made Top 8 of a large tournament only to convincingly lose his first round, he cleaned up his cards, smiled, and said he was quite “bad at Magic.” When we went out to late lunch, late dinner, or by closest definition, early breakfast, and he lost in the casual game we played with our decks while waiting for our meal, he heartily agreed that he was “bad at Magic.” When we were just listening to music on our way to or from some Magic event that was either closer to him or closer to me and far-flung from the other, he would maybe say something charmingly stupid and we would laugh and say that this was definitive proof that he was “bad at Magic.”
We spent a lot of time together, playing a silly card game. In an odd way, I find it comforting that I can look at my tournament history and locate the event where we first met (Dec. 27th, 2009). I think he did OK in that one as well.
Magic was our stress relief. Whenever we were both in the same general, geographical area, two things would undoubtedly be true: (1) that there was an upcoming tournament full of opponents that needed to be taken down a notch, and (2) one of us had something to complain about. Between the flurry of match wins and losses, we vented. Somehow, we would always land on the topic of “life – our lives, man,” and we got to know each other.
I know that his number’s still on my phone, and it is. I know that we had been friends, and we were. I know that he was bad at Magic. I know he would have laughed at that.
Renowned actor Yen “Tequila” Nguyen is a giant of the 21st-century stage and screen. He is best known for his portrayal of Mongkut, king of Siam, in the Rodgers and Hammerstein musical The King and I.[1] Nguyen’s performances draw heavily on literature, feminist theory, and his own extensive knowledge of Japanese culture.[2]
A self-proclaimed “King of Anime,” Nguyen attributes his success to a diligent study of Japanese literature and film. Indeed, he has managed to bring the most powerful stylistic devices of manga and anime to his performances. In Neko Cowboy, he took on the role of Sheriff Mittens, a rough-and-tumble shorthair with eggshell fur and black paws. [citation needed]
Nguyen has 5 lumbar vertebrae instead of the usual 6, and 17 pairs of ribs rather than 18.[3] He has both a relatively horizontal croup and a properly angled pelvis as well as good croup length and depth to the hip (determined by the length of the pelvis), that allows agility and impulsion.[4]
Yen can be found on Second Life as KarkatKisser69.
fx is a titan.
And, there is a short kind of silence in the air. Dogs whisper to each other through their fence posts, interrupting the slow hum of wheels dragging about the empty night. Yet, the loudest of all is this click tick of my wristwatch. Each one singing of the movement of time. Each beat reminding me…
I am struck with a thought of intimacy. I am sitting in my living room across from an empty sofa. That’s where my friend is lounging. She doesn’t like to be thought of that way. I jolt up in my seat to apologize. This time, I rise to the formality. My acquaintance stays, and we plan to keep this professional. Emotion is finicky. Depression is rhythmic. Frustration is my friend. This time, she waves off the familiar faux pas and I am commanded to write. I regard her and the empty space she occupies. Outside, the sounds of the night in which I chose not to partake. In here, frustration holds the empty seat where the girl who rejects me will never sit. She reminds me of this. My prose has a starting point. It is two fifty eight and all of my ideas are good enough. This story begins in the chair across from me, and I write for two minutes.
Now, it is three.
I’m out of practice, but you knew that. Today, I’ll be discussing why everyone loves Radiohead and a bit why I don’t anymore.
Back when I was just starting to get into music, I quickly fell in love with Pitchfork and how much it was considered to be the one music publication with a collective staff opinion that mattered. Rolling Stone seemed stodgy, SPIN seemed frivolous, and everything else felt like a combination of the two. Pitchfork felt so serious and cool and well-curated. It’s been a while since I thought that, but for the most part, my judgments were true: it’s just that the difference between each of these things is much smaller than people (see: hipsters) would have you believe. But back when Pitchfork and I were in a committed relationship and not just passing each other awkwardly in the street, it was a kind of mission for me to fall in line with their 10.0 reviews, of which Radiohead claims about a million. As an introduction to “real” or “art” music, Radiohead presents you with enough variety and boldness to wow any listener, and I found myself swayed by basically everything they had ever put out – this is the reason why they have been/are/will be so adored and fawned upon for the rest of time. I was part of this popular sentiment; in fact, I’m pretty sure that I was a fanboy.
Now that I have placed the blame for my past Radiohead love half on my naiveté and half on the echo chamber of music journalism, I suppose it’s time for me to write about the quality of the actual band, buried beneath the myth.
Radiohead is ok. They make a bunch of cool choices that play with conventional ideas of what you want to listen to, mostly through song structure and general sound. However, despite these choices, and maybe partly because of them, Radiohead is nothing more interesting. They try too hard to make a new line for avant-garde every time they release an album, and they’ve hit a point in their career where their increasing efforts end up with diminishing returns. Since their wild stylistic shift for OK Computer, their songs have been more about visible choices rather than music, and that’s the problem I have with them. However, I’m also concerned with the quality of the band outside of their music.
Radiohead is so consciously trying to be high art that they come off as elitist. That’s not an inherently negative quality for art; it’s natural that somebody in some medium will eventually try to make something “elevated,” and it’s worth learning about the product to understand the purpose. However, it does give people who listen to pop/rock who want to feel better than other people who listen to pop/rock and easy in to the clubs for good taste. Before I came to the conclusions about the band that I’ve written above, I was guilty of using this shortcut to music snobbery. What publications like Pitchfork have found in Radiohead is a contemporary music act that they can champion to legitimize pop/rock music as a high art. Andy Warhol is Andy Warhol, so you must love him. Radiohead is Radiohead, and the same rule is being applied.
I do not love Radiohead, though I like them well enough. I wouldn’t fault anyone for loving them. The purpose of this overlong entry is simply to address the cult that has formed around the band and how difficult it actually is to form your own opinion when you don’t know anything. That’s it.
dayummm now this party is bumpin
im mingling good
Art-Friends remembered to add the Asian (me) for diversity.
(Source: oderlan)