Album Review: I Call It Human – EP by Emily Weisband

I Call It Being Human – EP by Emily Weisband

Ain’t it just like you

Putting new salt in an old wound?

New Salt by Emily Weisband

Some artists just have a knack for what sounds good. Emily Weisband, who until just recently escaped my radar, never planned on becoming a performing artist. The Grammy-winning songwriter originally relocated to Nashville, Tennessee to score a publishing deal and did just that. She’s penned songs for the artists as diverse as BTS, Halsey, Camila Cabello, Lauren Alaina, Jeremy Camp, and Hillary Scott and The Scott Family. It was for her work on the song “Thy Will” with Hillary Scott and The Scott Family that garnered her a Grammy for Best Contemporary Christian Music Performance/Song at the 59th Annual Grammy Awards.

Now she’s started recording her own music. The result is something fresh and unique yet wholly resonant and recognizable at the same time. I Call It Being Human deals with all of the messy emotions that are the hallmark of great art and great pop music specifically. Weisband doesn’t really break new ground here, but instead shows that you don’t have to reinvent the wheel to get from point A to point B.

I’ve already added the rest of her catalog to my Apple Music queue if that tells you anything.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: August 8th, 2021

This Will Only Hurt a Little by Busy Philipps

Do your best, Scott Bell. You were always a fucking cunt.

I AM SCREAMING!!!! Slay him, Busy, whoever he is.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: August 6th, 2021

Born with Teeth: A Memoir by Kate Mulgrew

I’m going to cheat today. Normally, I only share one quote on these posts but being as how Born with Teeth is one of my favorite memoirs of all time, I am sharing three quotes from this amazing book.

It’s hard to know what’s in a person’s heart when she never says goodbye.

Find what you love and the rest will follow.

I set myself on a course and didn’t look back.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

On Repeat, Midsummer: A Playlist

Initially, it was my intention to create a playlist to share with readers of this blog via Apple Music. Either I’m not tech-savvy enough to figure out how to do this or it’s not possible. My vanity leads me to believe the latter. I really like the playlist though, so I’m going to share it the old-fashioned way: I’m sending each and every one of you a scrap of parchment arriving via carrier pigeon. Ha! Just kidding. Enjoy!

#1: the lakes (original version) by Taylor Swift

#2: Waiting by Alice Boman

#3: Bleecker Street by Simon & Garfunkel

#4: Faith of the Heart by Rod Stewart

#5: Venice Bitch by Lana Del Rey

#6: Hallelujah by k.d. lang

#7: Should Have Known Better by Sufjan Stevens

#8: Hometown Glory by Adele

#9: Passionfruit by Drake

#10: Speechless by Lady Gaga

#11: Twinkle Song by Miley Cyrus

#12: Gooey by Glass Animals

#13: A Change of Heart by The 1975

#14: Good Days by SZA

#15: Face Like Thunder by The Japanese House

#16: Still Learning by Halsey

#17: Grand Piano by Nicki Minaj

#18: Chandelier (Piano Version) by Sia

#19: The Riddle by Five for Fighting

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: July 26th, 2021

I survived because I was tougher than anybody else.

Bette Davis

Bette Davis was and remains one of the greatest actresses to ever grace the silver screen. In every performance she gave, she crackled with electricity, eliciting laughter as well as fury, and beauty as well as pain. Her career spanned more than fifty years and during that time, she took home two Academy Awards for Best Actress and racked up credits in more than one hundred films.

In every performance she gave, she crackled with electricity, eliciting laughter as well as fury, and beauty as well as pain.

Her work ethic was unparalleled and her wit unmatched. She was one of those rare beings on earth who are aware of their power and own it, wielding it to their advantage. It is my hope for my own life that I can live with the same level of courage, tenacity, and fearlessness that Bette Davis did. I feel like that would be a good start.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

All Hail Halsey: New Baby, New Beats

Ashley Frangipane, otherwise known as global superstar Halsey, has been quite busy lately. They dropped their third full-length LP Manic in January of last year. 2020 also brought us collaborations between Halsey and Kelsea Ballerini (the other girl), Juice WRLD (Life’s a Mess; R.I.P.), and Marshmello (Be Kind).

As if this wasn’t already a bountiful Halsey harvest, she also released her first collection of poetry, I Would Leave Me If I Could, in November.

Now, Halsey has welcomed their first child with boyfriend Alev Aydin, named Ender Ridley Aydin. Emergent motherhood must bolster creativity in some way, because shortly after giving birth, Halsey also surprised us with news of the release date for their new album, due out on August 27th, titled If I Can’t Have Love, I Want Power. Just from the title alone, we can probably anticipate fare we’ve come to expect (and adore) from Halsey: angst tinged with tenderness, stories of survival, and declarations of love steeped in her own mythos.

Just from the title alone, we can probably anticipate fare we’ve come to expect (and adore) from Halsey: angst tinged with tenderness, stories of survival, and declarations of love steeped in her own mythos.

How are we supposed to handle all of this? I know 2020 gave a lot of us more time to create, but I don’t know if I can emotionally process new bodies of work by Billie Eilish, Lana Del Rey, Lorde, and now Halsey all in one year. This isn’t even mentioning Red (Taylor’s Version) due out in the fall, which is sure to make mincemeat of our hearts. If only I could get someone to fall in love with me and break my heart before then, so I could really appreciate the album the way it was meant to be appreciated.

I guess I’ll have to find a way to cope. It looks like Adele and Rihanna are hell-bent on making us wait for new material, and at this point I can only say thank God, because that would really be too much.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: July 20th, 2021

I don’t want the people who love me to avoid the reality of my body. I don’t want them to feel uncomfortable with its size and shape, to tacitly endorse the idea that fat is shameful, to pretend that I’m something I’m not out of deference to a system that hates me. I don’t want to be gentled like I’m something wild and alarming. If I’m gonna be wild and alarming, I’ll do it on my terms.

Reading Lindy West’s Shrill made me reckon with the decades of internalized fatphobia I still needed to vomit up. Now, I am unashamed of being fat. One of my best friends and I were having a conversation the other day about how fat people (we’re both fat) cannot make a single self-deprecating comment about our weight without having it psychoanalyzed or misinterpreted by skinny people.

I cannot tell you how many times that I’ve had a conversation that goes something like this:

Me: God, I’m feeling so fat today.

Skinny Rando: Oh, stop it! You’re beautiful!!!

Me: Bitch, did I say I was ugly?

Bitch, did I say I was ugly?

People really enjoy telling on themselves. You see, for the first thousand times I had that interaction, I didn’t really think much of it. But eventually, I looked deeper. When I say that I’m fat, and someone counters with something asinine like No, you’re beautiful, they’re (consciously or not) letting me know that fat can never = beautiful in their estimation.

When I say that I’m fat, and someone counters with something asinine…they’re (consciously or not) letting me know that fat can never = beautiful in their estimation.

As fat people, we confuse people when we exist in the world without the specter of shame hanging over us like a cloud. To live in a fat body, and to have the audacity to not cower, to deliberately take up space, to not cover every square inch of ourselves with fugly industrial fabric, is still considered radical. People want me to explain to them why I’m so confident in my skin. Sweetheart, have you seen me? How could I not be confident? I am so gorgeous and radiant I should come with a UV warning.

To live in a fat body, and to have the audacity to not cower, to deliberately take up space, to not cover every square inch of ourselves with fugly industrial fabric, is still considered radical.

I earned every single stretch mark that traverses my skin like so many highways all leading me home. They tell the story of how I survived, and how I keep on surviving, despite every cacophonous magpie screaming at me and asking if I’ve tried the SOUTH BEACH JENNY CRAIG KETO CARROT JUICE WONDERLAND DIET? Hell no, and you can keep it—I’ll stay fat and happy.🖕🏻

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

All Aboard the ARC: Lugosi: The Rise and Fall of Hollywood’s Dracula by Koren Shadmi

***Note: I received a free digital review copy of this book from NetGalley in exchange for an honest review.***

There’s the likeness and the icon itself. The myth and the man behind it. We owe our modern conception of Dracula to Bela Lugosi, who donned the cape of the infamous bloodthirsty count in Tod Browning’s production of Dracula, which premiered in 1931, before the pearl-clutchers would focus their prudish crosshairs on the film industry in the form of the Hays Code, which forced studios to either veil or completely eliminate references to anything the aforementioned pearl-clutchers would consider morally reprehensible. Horror films were a natural target of the Code, so it is to the benefit of the culture at-large and the horror industry in particular that Dracula was released in the pre-Code era.

Horror films were a natural target of the Code, so it is to the benefit of the culture at-large and the horror industry in particular that Dracula was released in the pre-Code era.

Bela Lugosi was a Hungarian émigré who first cut his teeth on the stage in the National Theatre of Hungary. After facing political persecution, he made his move to the promising shores of America. First starring in (as well as producing and directing) shoestring-budget theater productions with other Hungarian émigrés, young Bela soon found himself disheartened, feeling as if he was destined to die a penniless pauper.

His first big break came when he met Henry Barton, a theatrical manager who had been impressed with Lugosi’s performance in one of his Hungarian-language productions. The American impresario hadn’t understood a word of the dialogue, but had been captivated by Lugosi’s command of the stage. He told him he would be perfect in a new play he was producing called The Red Poppy if only his English were better. Never one to give up, Lugosi told Barton he was a quick learner and would be willing to have an English tutor hired with the tutor’s wages deducted from his own.

The Red Poppy’s run was short-lived, a commercial failure. Lugosi, however, was praised for his performance and afterwards he had consistent work in small-budget English-language theater and silent film productions. Once he secured the role of the titular character in Hamilton Deane and John L. Balderston’s Broadway production of Bram Stoker’s Dracula, his fate was sealed. The rest, as they say, is history.

Koren Shadmi does an excellent job bringing Bela Lugosi to life. Penning a pictorial biography of one of the world’s most iconic actors is a daunting task, certainly not for the faint of heart, but Shadmi deftly illuminates the man behind the myth, waking him from his coffin for a whole new generation.

Penning a pictorial biography of one of the world’s most iconic actors is a daunting task, certainly not for the faint of heart, but Shadmi deftly illuminates the man behind the myth, waking him from his coffin for a whole new generation.

Shadmi’s book is just as perfect for the longtime Lugosi acolyte as it is for those who only know him through his image as Dracula. It is evocative and daring and sobering. I honestly can’t recommend it highly enough.

Shadmi’s book is just as perfect for the longtime Lugosi acolyte as it is for those who only know him through his image as Dracula.

Lugosi: The Rise and Fall of Hollywood’s Dracula by Koren Shadmi is due out on September 28th, 2021 and is available to preorder wherever books are sold.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Quote for the Day: July 15th, 2021

There are two reasons I wanted to tell this story, the story of how I learned to surrender. First, because it’s mine. It doesn’t belong to the tabloids or my mom or the men I’ve married or the people who’ve loved or hated my movies or even my children. My story is mine alone; I’m the only one who was there for all of it, and I decided to claim the power to tell it on my own terms. The second reason is that even though it’s mine, maybe some part of this story is yours, too. I’ve had extraordinary luck in this life: both bad and good. Putting it all down in writing makes me realize how crazy a lot of it has been, how improbable. But we all suffer, and we all triumph, and we all get to choose how we hold both.

God, I love Demi Moore. I’m quite the sucker for celebrity memoirs, but Inside Out was so meta. She really guts herself on the page and shows you who she is and what’s she’s been through and how it has all transformed her into the person she’s become. Not the movie star or the tabloid queen or that woman who was married to Bruce Willis and then Ashton Kutcher. No, within the pages of her memoir, you get to see the real Demi, warts and all. It is quite the journey.

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Favorite Films 🎥: La Strada (1954)

One of these days, I’ll take a match and set fire to everything.

La Strada

Year: 1954

Director: Federico Fellini

Country: Italy

Cast: Giulietta Masina, Anthony Quinn, and Richard Basehart

Score: Nino Rota

Cinematography: Otello Martelli and Carlo Carlini

Streaming: Criterion Channel and HBO Max

Why I Love It: Giulietta Masina, who stars as the simple-minded and tender-hearted Gelsomina, was one of those rare performers who make you forget that the worlds they create are fiction. At the beginning of the film, Gelsomina learns that her sister Rosa has died while traveling with Zampanò (Anthony Quinn), a coarse and somewhat thuggish sideshow performer. Because her mother has other young children to feed and they all appear to be on the brink of starvation, she sells Gelsomina to Zampanò for 10,000 lire, and so begins her journey on the road.

Giulietta Masina, who stars as the simple-minded and tender-hearted Gelsomina, was one of those rare performers who make you forget that the worlds they create are fiction.

La Strada is not your typical Bildungsroman. Gelsomina’s narrative arc is not centered around some destination or goal that she spends the film pursuing. Instead, we see her find tenderness and beauty everywhere, no matter how cruelly Zampanò treats her or how desolate the landscape becomes.

I won’t spoil anything by telling you how the film ends, but I will warn you to make sure you have plenty of tissues handy. La Strada is indeed a journey, and it reveals much about the human condition to those patient enough to sit with it.

La Strada is indeed a journey, and it reveals much about the human condition to those patient enough to sit with it.

Also noteworthy is the gorgeous score by Nino Rita. Usually, cinematography is something I like to discuss more so than scores, but I have a deep and abiding passion for Nino Rota. In addition to La Strada, Rota collaborated with Federico Fellini on several other films, as well as with Fellini’s rival, Luchino Visconti. Other works of his include scores for Franco Zeffirelli’s Romeo and Juliet (1967) and Francis Ford Coppola’s The Godfather (1972) and The Godfather Part II (1974), the latter of which garnered him an Academy Award for Best Original Dramatic Score (shared with Carmine Coppola).

Rating: ⭐️⭐️⭐️⭐️

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please follow, like, comment, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at thevoraciousbibliophile@yahoo.com or catch me on Twitter @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.