Skip to content

Jessica Suarez

Members Public

Changing the song

About six months ago someone asked a question on Metafilter that made me feel 200% closer to a normal person. The question was basically of the “So, does this happen to anyone else?” variety, but it was so random and so precise that it got tons of responses: When I

Changing the song

About six months ago someone asked a question on Metafilter that made me feel 200% closer to a normal person. The question was basically of the “So, does this happen to anyone else?” variety, but it was so random and so precise that it got tons of responses:

When I think of / remember something embarrassing from my life, I compulsively make some kind of noise. It seems to happen unconsciously, before my censor can catch it and stop myself (it even happens when I am in a quiet or inappropriate place).

It’s not especially loud, in fact it’s often under my breath. The sound is usually just a quiet grunt, or a word/syllable or two. If I remember an embarrassing conversation, I tend to blurt out a random word of the conversation (as in, I’m replaying the dialogue in my head but then all the sudden one of the words pops out of my mouth). If it happens while I’m reading, I tend to blurt out one or two of the words that happen to be under my eyes at the moment.

It usually only happens when I’m remembering something palpably embarrassing or humiliating from my life — not for mild everyday kind of stuff. (Again, I had a fairly happy childhood and have nothing particularly traumatic in my past — I don’t think my embarrassing memories are any worse than the average joe’s)

I’m one of those people who does this and thought they were the only one. My usual utterance takes the form of a short, pointed laugh—literally a ‘ha!’ or a noise close to ‘ack!’ Basically, when I remember something embarrassing I turn into a comic strip.

But someone else revealed another habit that I happen to share (and thought no one else did):

If an embarrassing memory comes up (along with some sort of “oofy” noise or clutching my body like I’ve just been covered in slime) if I’m in the car I have to change the radio station or the track playing on my iPod. I don’t know what that has to do with it but the song must go, right now…
posted by Brainy at 12:25 PM on July 23, 2008

This is something I do even more than the embarrassment utterance. If I start to think of a bad memory, I have to change the song I’m listening to right away. It doesn’t matter what the song is or what’s up next. I just need something, a new thought really, to distract me, even if it’s “This Pink Mountaintops songs is terrible.”

But sometimes it’s the song itself that triggers a bad memory that I have to change. Like, when I’m unhappy with how the Pinkerton thing’s going, I cannot listen to Pinkerton, which makes writing a book about it much harder.1

I thought about that again when Nick wrote about Merriweather Post Pavilion and mentioned the hard-to-describe feeling certain music can give you:

There is this cold and dizzy feeling that overtakes me sometimes, when a song or a passage of a song happens to gun it to my heart.

I know that feeling. But what happens when the song triggers the wrong cold and dizzy, like the feeling/memory of the worst thing you did or said, the declaration you should have kept to yourself, the third drink past the one you should have left the bar on? I can name songs I can’t listen to anymore because of this. And they’re not “THIS WAS OUR SONG”-type jams that I’ve shared with a boyfriend. Nor does it have much to do with the lyrical content. They’re usually songs I was listening to when I did something regrettable. The songs have nothing to do with me, they don’t remind me of myself or hold any memories on their own, but they act like containers. They’re like looking at bad photographs of myself. And just to be clear–these aren’t songs that remind me of bad memories, just embarrassing situations that I had control over.

One of the worst songs for me is the New Pornographers’ “Testament to Youth In Verse.” I’m not going to tell you why. But, if you do this (either the noise or the song-changing thing), please come forward. You’re in okay company. I’d love to hear what your trigger / utterance / song is.


  1. I’ve gotten over this.↩

 

Members Public

Anoop Desai can be as nasty as he wants to be

Yesterday I skipped having drinks out with Mark to watch the Wildcard episode of American Idol. We have a DVR, which I’ve used to postpone the Grammys, the Superbowl, and the Presidential debates, but I’m so obsessed with the show right now that I have to see it

Anoop Desai can be as nasty as he wants to be

Yesterday I skipped having drinks out with Mark to watch the Wildcard episode of American Idol. We have a DVR, which I’ve used to postpone the Grammys, the Superbowl, and the Presidential debates, but I’m so obsessed with the show right now that I have to see it as close to live as possible.

This has never happened before–my interest in American Idol usually dies after auditions and Hollywood week. I don’t root for singers, I just like to see them fail. But this year I’m crazy, like batshit, Google-image-searching, YouTube favoriting, Tweeting crazy for Indian American contestant, Anoop Desai.

It started early. He told the judges that he was a graduate student in folklore at UNC at his audition. The judges sort of immediately dismissed him (as did I) as a huge loser. Then he sang Boys II Men’s “Thank You,” and out came this weirdly soulful, totally earnest, not-perfect-but-pretty-great, smoky voice. I was totally in love1 .

Really I think I fell in love during the auditions when the judges gave him these comments:

Paula Abdul: Didn’t expect that soulfulness. Anoop. Simon Cowell: It’s all a bit geeky at the moment though. You look like you just came out of a meeting with Bill Gates.

Bloggers have rightly pointed out how racist this is: why not wonder how the other white singers came in with “soul?” Why not question the other frat boy prepsters who look like computer programmers? Oh yeah, he’s brown.

So that bothered me and made me root for him, because so much of American Idol is supposedly based on how much you “feel it,” or how much you, as this EMP paper pointed out, “make it your own.” Desai doesn’t look like how he sings, and so it’s just that much harder for him to appear authentic and “real.” It’s not like when they tell little white girls that they didn’t expect that “big voice” to come out of them; that’s biology. And the soulfulness of the show’s white male contestants is rarely discussed. They have been getting a pass for years and years on American Idol.

Desai kept the R&B going by singing “My Prerogative” during Hollywood week. Then, for his first live song, Monica’s “Angel of Mine.” Dude loves his 90s R&B. After he sang there was this exchange:

Simon Cowell: Why did you chose that song, out of interest? Anoop Desai: that was the first R&B song i could remember hearing on the radio, and wanting to hear over and over. That song got me into R&B.

Hearing that song on the radio changed his life, really. I just want to quote something Anand Wilder, from Yeasayer, said to me during a Stereogum Progress Report interview:

There’s some music that can make you feel happy and good, and there’s some that can make you feel inadequate, like you’re not cool enough to be listening to that music. I want to go for that kind of style. If you listen to really hardcore gangster rap, it’s like, “Oh man, this is the real stuff. These guys are so cool, I’ll never be this cool. I can’t even seem cool when I’m listening to it.”

I think Wilder was talking about being a suburban kid listening to gangster rap. He’s Indian too, I think, but I think his point was more physical removal, rather than cultural removal, from something he loved. Wilder is okay with this removal–he’s not trying to become a rapper, he couldn’t authentically pull it off. But Desai decided, at some point, that he could be cool enough.

Let me just bring up that Merriam Webster definition of soul again too:

Function: adjective Date: 1958 1 : of, relating to, or characteristic of black Americans or their culture 2 : designed for or controlled by blacks

Another thing I love about Anoop is that he also reminds me of what it’s like to struggle with trying to become part of a culture you have no place in. When I was in love with TLC—my entry point into girl R&B and still my favorite, I’d dress up like TLC to go to school. Sometimes we’d “play” TLC during lunch. I always got stuck as Chili because she was of unknown, mixed heritage, like me (uh, except I know what I am). I didn’t want to be Chili, I wanted to be Left-Eye, but my two friends were black. I could pull off her rapping, but I didn’t look like I could.

So, I get that feeling, and I sympathize, in a small way with what he wants to do. Desai has to pass muster as an “American” for “American Idol” (just Google for the Anoop Dog Millionaire and “Harold and Anoop Go To White Castle” videos to see what America still thinks of Indian Americans), but then he has to prove that he has soul. And since he’s chosen 90s R&B as his thing, he further has to prove he’s believable as a guy that girls are dying to have sex with. I mean, what is Bobby Brown’s discography except variations on “fuck you, let’s fuck.”2 He was pure sex, and now Desai has to be too. Of course, when I pointed out to Mark what a hard sell that’d be, he had the best answer: no one means it more than a horny college boy.

Still, I didn’t believe it until last night. When Desai sang “My Prerogative” last night, girls screamed, they screamed at his microphone humping, shirt-pinching, and eye-winking. He’s still a little bit awkward, but he’s pulling it off. And he didn’t always. There’s old video of him singing “I’ll Make Love To You,” by Boys II Men (subtext: “let’s fuck”), with his UNC men’s a cappella group the Clef Hangers (wow), and girls are sort of giggling and laughing when he removes his tux jacket. He’s not believable, or sexy. But between then and now (probably through the intervening years of sexual experience, singing experience, and/or good stylists at American Idol), he’s a genuine and believable singer of hyper-sexual R&B. Girls think he is, as one anoop-dogg.com commenter wrote, “sex on toast.” Holy shit!

By choosing a song that is explicitly about stating who you are, and then making it his own, Desai’s shut down any questions of authenticity. In other words, having the balls to do it proved he has the balls to do it.

Paula Abdul called his dance moves “nasty.” Randy Jackson called him “Anoop Brown-Dogg,” then quickly added that Desai was “you know, like Bobby Brown’s cousin.” “Oh, because I thought you meant…” Desai responded and trailed off. I know what Desai was thinking: “Oh shit, I didn’t pull it off.” Because when they start calling you the Indian version of X (the best Indian singer, the best Indian dancer, the best Indian actor), you aren’t convincing your audience. It’s a weak compliment. I think he was relieved when he realized Jackson wasn’t making a comment about his race, or his “surprising” soulfulness. I was relieved too.

Desai made the top 13, by the way. I’ve been daydreaming about all the R&B songs he could do next. Silk’s “Freak Me,” anyone?


  1. I like Indian guys in general, in what might be a racist way, I admit. When I was in college I worked the desk at the electrical engineering department’s computer lab and spent most Saturdays talking to many Indian guys working on math projects (white students for some reason never used that lab, just Asians). I am filled with fuzzy memories of those Saturdays.↩
  2. A bonus: “My Prerogative” is so explicitly about authenticity, that the best line in it is “Some ask me questions / Why am I so real?” Also, don’t you dream of the day someone asks you why you’re so real?↩

 

Members Public

Input vs. Output

I'm [https://jessicasuarez.com/dropcap] a couple months into my column, talking to bands about recording for Stereogum. I enjoy hearing about their process, and what it takes them to physically start producing stuff. I want to know because it’s something that I struggle with a lot.

Input vs. Output

I'm [/dropcap] a couple months into my column, talking to bands about recording for Stereogum. I enjoy hearing about their process, and what it takes them to physically start producing stuff.

I want to know because it’s something that I struggle with a lot. I think I’m fairly productive–I set a goal of completing and submitting one piece a day, and I track the number of pitches and ideas I sent to editors every week, too. But for things without a deadline or a vague deadline, I’m lost sometimes. I have a book due, I have a list of essays and longer pieces I want to research even before I pitch them, and a list of blog post ideas, but I keep putting them off. They fall off in the face of daily goals deadlines.

So how do bands do it? Their problem is somewhat similar: touring is their daily deadline–they must be somewhere, doing something, by a certain time. Their next album? That’s their book / essay that needs to be out there at some point. Now there’s one big difference: I could probably go a long time just doing my assignments, but I won’t improve my own work unless I start tackling the bigger pieces. Bands can’t just tour on one album forever, unless they’re Peter Frampton.

What I hear from bands is that touring can’t be combined with writing; they take two different types of energies. Touring is like muscle memory at some point, you’re going through the motions (those motions might be awesome), but it’s not, as John Vanderslice said, “making new shit.”

Writing reviews/features is “making new shit,” but in a lot of ways it’s making the same shit. I know how I write reviews, and I approach each the same basic way: the background/foreground listens, the same note-taking, the same way I pull in what I want to say and then push around words and edits. It’s fun and challenging, but it’s not always as creative as I want it to be (I already hear the response there, and thanks). It’s closer to touring than making a new record.

Now being on the internet, that’s also primarily a triggered activity, a gathering activity, I think. I read twitters and respond; I find links and re-post; I tag photos and videos and songs I’m listening to. This shouldn’t be mistaken for blogging or creating. Most people know this (and have Tumblrs for it), but I think there’s a danger in doing nothing but collecting without then trying to do some output. There’s also a danger in combining them. Dhould this long post be on the same page as a bunch of Flickr and Youtube favorites and what I finished on Goodreads? Probably not. But I’ve been doing that long enough to pretend I am “making things” when I have been just “gathering things,” often without any time set aside for processing.

I want to split that stuff up, and not pretend one is the other (though I do find both to be valid and useful activities). That’s why I moved my blog to /blog, and will use my front page on www.jessicasuarez.com for all that aggregated/gathered stuff. Part of my inspiration is Emily Gould’s blog, www.emilymagazine.com. For all the making fun she gets–probably mostly unfair–her long posts are consistently entertaining and smart. Her posts are also completely bare and on a default WordPress template. I’m sure it’s all deliberate, I think she’s someone who thinks all the time about what things on the internet mean. When you have good writing you don’t need the clutter.

That said, I probably will spend too much time formatting / re-templating my blog and front page.

[share facebook=”true” twitter=”true” google_plus=”true” reddit=”true” email=”true”]

Members Public

Recent stuff: ABC, Stereogum, Spin, Pitchfork, Sound of the City

ABC World News Webcast: Loney Dears’s Dear John Pains Of Being Pure At Heart S/T Progress Reports on Stereogum: Nick Thorburn (Islands, Human Highway) The Wrens (in Q & A form, because they’re hilarious) Grizzly Bear Spin Magazine reviews (I think this is the same print issue

ABC World News Webcast:
Loney Dears’s Dear John
Pains Of Being Pure At Heart S/T

Progress Reports on Stereogum:
Nick Thorburn
(Islands, Human Highway)
The Wrens (in Q & A form, because they’re hilarious)
Grizzly Bear


Spin
Magazine reviews (I think this is the same print issue as the last batch, but I think Spin staggers print reviews when they put them online):

Beirut / Realpeople March of the Zapotec / Holland

Black Gold Rush
Asobi Seksu Hush
Vetiver Tight Knit

Pitchfork reviews:
Deerhoof Live EP

Benjy Ferree Come Back To The Five And Dime, Bobby Dee Bobby Dee

Sound Of The City:
Listening to Sufjan’s “The Lonely Man of Winter” in Crown Heights

Members Public

What I'm reading: February 4

What I’m reading: February 4: * Susan Sontag’s Journals and Notebooks. – By Katie Roiphe – Slate Magazine – * Essay – Consider the Philosopher – After the Death of David Foster Wallace – NYTimes.com – * Final touch: A cosmetic lift for your funeral? – Health care- msnbc.com – A really great photo essay on after-death cosmetic

What I'm reading: February 4
Members Public

New Progress Reports: The Thermals, Spencer Krug

Two more Progress Reports this week. On Monday I talked to Hutch Harris from The Thermals. We talked about how people in Portland smoke a lot of pot; that’s not in the update. Then I talked to Spencer Krug, who is working on a ton of different albums. I

New Progress Reports: The Thermals, Spencer Krug

Two more Progress Reports this week. On Monday I talked to Hutch Harris from The Thermals. We talked about how people in Portland smoke a lot of pot; that’s not in the update. Then I talked to Spencer Krug, who is working on a ton of different albums. I really liked interviewing him, and talked to him for over an hour, but I couldn’t fit nearly enough quotes into the update. I might post some of the other quotes/questions here, just because I think his process is so interesting. I read “Flow,” by Mihály Csíkszentmihályi, a few weeks back, and I don’t think I’ve interviewed someone who fits the concept of “Flow” so well.

Paper Magazine review of the Little Joy album too.

Members Public

Too Many Teeth

I’m finally recovered from my wisdom teeth surgery. The event itself wasn’t so bad, because I was under “twilight sleep” where I was told I would experience “no pain or no memory of pain.” Obviously the first one is the better one. I think that’s what I

Too Many Teeth

I’m finally recovered from my wisdom teeth surgery. The event itself wasn’t so bad, because I was under “twilight sleep” where I was told I would experience “no pain or no memory of pain.” Obviously the first one is the better one. I think that’s what I got–I immediately fell asleep or fell into a trance state or whatever, because one minute I was talking to the doctor, and the next I had two giant holes in my mouth stuffed with gauze.

I spent the last week sitting on the couch, trying to work on Vicodin. Vicodin makes records sounds better, but makes writing a lot worse. By Wednesday my cheeks had exploded, and I had big nasty bruises down both sides of my face. My doctor said he was surprised I could even come in for a followup. My teeth had to be smashed out, and they had to cut away a part of my jawbone, because my mouth is too small.

Anyway, so that’s where the blog name comes from.

Members Public

Recent stuff: Pitchfork.tv, Stereogum, Paste, Spin, Sound Of The City

I interviewed Okkervil River for Pitchfork.tv: Part 1 and Part 2. I reviewed Beyonce’s I Am Sasha Fierce for Paste. New Project Reports are up on Stereogum for Röyksopp and Phoenix. I also reviewed Matt and Kim’s Grand, A.C. Newman’s Get Guilty and Andrew

Recent stuff: Pitchfork.tv, Stereogum, Paste, Spin, Sound Of The City

mattandkim
I interviewed Okkervil River for Pitchfork.tv: Part 1 and Part 2.

I reviewed Beyonce’s I Am Sasha Fierce for Paste.

New Project Reports are up on Stereogum for Röyksopp and Phoenix.

I also reviewed Matt and Kim’s Grand, A.C. Newman’s Get Guilty and Andrew Bird’s Noble Beast for Spin.

I wrote about a “conversation” between LCD Soundsytem’s James Murphy and novelist Sam Lipsyte for Sound Of The City.

Members Public

FTW--I still love Radiohead

I’ve been listening to (nearly) all Radiohead since my four-hour Thom Yorke dream. This band is really, really great. And I realized I’ve never had to articulate my feelings about Radiohead, because Radiohead reviews/interviews are reserved for better critics than me. I’ve never been able to

FTW--I still love Radiohead

I’ve been listening to (nearly) all Radiohead since my four-hour Thom Yorke dream. This band is really, really great. And I realized I’ve never had to articulate my feelings about Radiohead, because Radiohead reviews/interviews are reserved for better critics than me. I’ve never been able to articulate my love of Radiohead outside of my job either. When Kid A came out I was 19 year old, and instead of writing about it or talking about it like a smart person, I spray painted a three-foot Kid A bear on my studio apartment wall:


apartment-wall-kid-a-bear-1


And then got this on my wrist:


2072183466_7e46bca71f


I thought these were appropriate ways of saying you like an album. Not like, writing reviews or books about them or going to see shows. Someday I’ll outgrow these ways of showing I like an album/band, and find something else.

Members Public

Paper Magazine interview: Ryan Leslie

I talked to Ryan Leslie for Paper Magazine. I met him at a studio while he was working on tracks for Jennifer Lopez. His shoes were nice. He insists on dressing up to record in a studio, which I think is really funny.

Paper Magazine interview: Ryan Leslie

I talked to Ryan Leslie for Paper Magazine. I met him at a studio while he was working on tracks for Jennifer Lopez. His shoes were nice. He insists on dressing up to record in a studio, which I think is really funny.