I’m looking for a black woman, but not just any black woman. No, she needs to have a sense of humor and great critiquing skills. She must be empathetic, and forgiving. Oh yeah, she must be real. I already have a black, female character…

So I’m writing a story with a black protagonist. She’s not only black, but a college-educated Jazz singer who escaped a bad Chicago neighborhood with her poet boyfriend. It’s hard to imagine someone more different than I. For realism, she should probably be liberal, and a bit sassy. She would appreciate old-time Jazz and modern music. I suspect she would also be tough and have a quick wit, returning verbal fire with the best of them. In short, she’s the anti-me.

Here is my quandary: How do I write someone like that without using stereotypes. One commenter in my writing group told me I needed “more ghetto” in my story. Sadly, he must not know enough black people to realize most do not speak in “ghetto.” To people like him, the terms “college educated” and “Jazz singer” have less meaning than “black.” Apparently, black is all he needs to know.

It’s not only the ghetto stereotype we need to watch out for. There’s also the noble Negro typified by the great and truly noble Jackie Robinson. The noble Negro is the stereotype where a black character receives massive abuse and responds with only peace and good will. It’s great stuff in real life when that is what’s needed to integrate baseball. In fiction, it makes for one-dimensional characters, and sets unrealistic expectations. It’s just as unfair to cast the noble Negro as it is the ghetto.

In writing this story, I can see why so few white authors use black characters in anything other than secondary roles – it’s hard. Off the top of my head I can think of Randy Alcorn as the only white author I’ve read who really took the time to write a believable and relevant black protagonist. By the way, the book is Dominion and it’s fantastic.

Writing characters from cultures different than our own is difficult if we seek realism over stereotypes. It takes research, empathy, patience and a desire to learn. It takes the ability to suspend what you think you know to learn what really is. And while this has been an amateur pastime for me over the past five or so years, I still have a long way to go.

So that brings me back to my original thought. I need a black woman to read my story and comment on my dialog, logic and cultural elements. If anyone is interested, please contact me via Twitter, email, Facebook or in the comments section. I’d sure appreciate it.

Image from www.vectorportal.com
]]> http://leogodin.net/story-in-words/looking-for-black-woman-must-have-good-critiquing-skills/feed/ 0 http://leogodin.net/story-in-life/story-in-life-are-you-fulfilled/ http://leogodin.net/story-in-life/story-in-life-are-you-fulfilled/#comments Sat, 11 Feb 2012 21:58:38 +0000 Leo http://leogodin.net/?p=1158 Continue reading →]]> I joined a Tae Kwon Do school with my sons about a month ago , and it hurts. Even after four weeks of training, constant pain invades my body. At first it was my whole body, then my joints, today, it’s my back and calves after a vicious workout last night. But, you know what? I’ve never felt better.

Having studied Shaolin Kenpo in high school and Kosho-Ryu in my early thirties, martial arts are not new to me, but I never dedicated myself before now. I never went all-out. This time is different, instead of surviving the workouts I push hard. And while my body feels like it will never accept the abuse, it’s still worth it.

Previously, I studied martial arts as a sport, a hobby. I had fun, but never felt satisfied. Though my body didn’t ache like it does now, I wasn’t content. Now, when I earn a new belt, I don’t just level up. Instead, I achieve something worthwhile. And it’s neither the self-defense, which is nice, nor the fitness, which I need, that provides the reward. No, it’s the accomplishment, won through pain and sweat. My yellow belt, though no great rank, is a cherished trophy symbolizing growth and achievement.

We never truly appreciate something unless we dedicate ourselves to it. Buying a car at the local dealer is nice, but visit a car show and watch the pride that someone who restored a classic enjoys. Take a trip to a horse barn, and see the difference between those who ride as a hobby and those who ride to live. The hobbyist may smile more, but the rider is satisfied, fulfilled.

So the question we ought to ask ourselves is this: are we fulfilled? What fuels our desire to live and breathe life to its fullest? I can answer that question. I have my family, my writing, and now, martial arts. I hope everyone reading this has an answer for themselves. If not, get started. Try new things until one of them sticks and go all-out. When you do, I promise, your life will never be the same.

Do you have something in your life you give your all to? What is it? Are you still searching? Let’s hear it. Let’s help each other live life to the fullest.

Genre-defining albums have sprinkled metal’s history with those few releases that transcend what’s been done before. Metallica’s Kill ‘Em All taught us metal could be heavy and still be rock and roll, Quiot Riot’s Metal Health ushered in a decade of hair bands, and Nirvana’s Nevermind killed that decade with a single song. More recently, Amorphis gave us Skyforger and showed us that metal didn’t have to be formulaic and boring. Post-metal needs such a defining moment. Something that will change its direction, surprise and inspire us. Belgian band Grown Below’s debut release The Long Now might provide that moment.

The Long Now is a guitar-driven atmospheric album, with long songs that build like symphonies, telling a story with sound and lyrics. They incorporate the best of slow metal styles, and even add some violin into the mix.

Guitars on the album are unique in that there are few rhythms. Instead, Grown Below uses different techniques to get a particular feel to each song and even each song part. For instance, title track The Long Now uses picking through most of the song, creating a chilling effect. Devoid of Age uses more chords with a few rhythms below reverb-heavy riffs.

While guitars on The Long Now are superb, it’s the vocals that really push it over the top. Grown Below uses the prerequisite deep growls to give the album a heavy sound, but adds something completely unexpected – singing. Not just run-of-the-mill singing, but beautiful male and female voices singing harmonies, and just like the guitars, each voice drives a particular emotion or feeling at just the right moment.

With Grown Below, drum and bass play second fiddle to guitar, filling in rather than driving the songs. The bassist and drummer both play competently, but there’s nothing that really makes them stand out. The Abyss is their best song, where a nice bassline teams with a jazz beat, laying a foundation for the guitars and vocals to build on.

Will Grown Below change post-metal forever? Only time will tell. With The Long Now, Grown Below has laid down the gauntlet, and the rest of the world can only play catch-up. While metal fans will surely love this album, I highly recommend the experience that is The Long Now to music lovers of all stripes.

Buy the album here: http://grownbelow.bandcamp.com/album/the-long-now

Track List:

1. Trojan Horses
2. Devoid of Age
3. The Abyss
4. Minaco II – Nebula
5. End of All Time
6. The Long Now
7. Malklara

Ghosts just ain’t ghostly any more. Apparently, they are, to all intents and purposes, as competent as the living – perhaps hampered only by a touch of agoraphobia. True, they are angry, obsessional and delusional, but then again, so is every second person on the bus.

When it was announced that Glee creators Ryan Murphy and Brad Falchuk were venturing into the ghostly realm, we might have guessed that things would get a bit crazy. Subtle they are not. The point which seemed to escape the writers was, that the dead cease to be chilling when they completely lose their mystery and crassly insist on becoming virtually indistinguishable from the living, making nuisances of themselves by behaving as if they were. Riding about in police cars, having cosy coffees in the kitchen, visiting their shrinks, pestering their ex-boyfriends, copulating with the ingenuous living, killing people with knives, guns or whatever implements come to hand – this might as well be an episode of ‘Desperate Housewives’ as a ghost story.

Read the full article here

It took weeks to figure out what I liked about Beyond the Lightless Sky. I enjoyed the album from first listen, then played it over and over, enjoying it more each time. But what defines Hull? What makes them unique? They’re certainly talented and excellent songwriters, but there are tons of talented bands who write good songs. That isn’t enough to stand out. It hit me while listening in the car that in a genre defined by excess, Hull is, dare I say, measured and consistent. They incorporate many styles and techniques in their music, but never sound gimmicky. When screaming, they scream in the context of the song. Bluesy, acoustic guitar riffs aren’t interludes; they are integral parts of the sound.

Hull is commonly described as stoner metal or sludge metal, but these descriptions do a disservice to the band. While the grooves and long songs may appeal to those partaking in certain natural herbs and Doritos, Beyond the Lightless Sky does not fit into a small subgenre. Instead, it’s more like a heavy rock-and-roll album filled with metal riffs.

It’s not quite clear who does what in Hull. I’m pretty sure Drew is the lead vocalist. His voice ranges from hardcore to death metal, and generally fits the songs well. The engineers often mix him into the background, making an interesting effect. If you’re listening while working, the voice doesn’t disturb your train of thought, but forces you to pay attention when you want to hear him.

Beyond the Lightless Sky is a guitar-heavy album. Drew, Nick and Carmine mix it up a lot. Some songs feature doom-laden riffs with long, drawn-out chords, others include bright solos, and even acoustics. These guys do everything but shred. Like the vocals, guitars have an interesting mix on the album. They are turned up higher than usual, often louder than the drums.

Energetic drummer Jeff teams with Sean in the rhythm section. Jeff does a good job with his crash-heavy approach, but I couldn’t often distinguish any bass on the album. Most songs seemed to be driven by guitars with drum and bass as a fill-in.

Don’t be fooled into thinking that Hull’s moderation makes them boring – it’s quite the opposite. Instead of having a few brilliant moments, Beyond the Lightless Sky impresses from beginning to end, drawing you in and never letting go. Metal fans need to get this album.

Track List:

1. Earth From Water
2. Just A Trace of Early Dawn
3. Curling Winds
4. Fire Vein
5. Wake The Heavens, Reveal The Sun
6. False Priest
7. A Light That Shone From Aside The Sea
8. In Death, Truth
9. Earth From Water

2011 was an interesting year. I’ll stay out of politics for now, and just give you my favorite two or three of everything. What are your favorites? What did I miss? What made you say, “You’re crazy?” Let me know in the comments.

Books: I read a lot of indie books this year. Some were great, some were horrible, most were fine.

1. Abandoned Places: Abandoned Memories (Desert Edition) by Sharon Day and Julie Ferguson: You could cry foul here since I know the author through my writers group. I tell everyone from the group I only write honest reviews, and this is a legitimate five-star book. If you don’t read it, you’re missing out on something truly unique and interesting.                                                       
2. Seed by Ania Ahlborn: It was difficult not to put this number one. Seed received the only other five-star review I gave all year. This is horror at its best as practiced by masters Poe, King, McCammon and now Ahlborn. Remember that name; you will hear more of it.                                                                                                             

Fiction Podcast Episodes: 2011 gave us too many great stories to list. I could probably make this list fifteen stories long.

1. Lonely At the Top – 19 Nocturne Boulevard: Two girls in very different times and places both make their way to the top – One finds exaltation, the other merely death. This story isn’t just great; it’s important.
2. Tupac Shakur and the End Of the World: Great writing voice mixed with amazing voice acting make this a one of the top stories of the year.
3. You Had Me At Rawwwr: There just aren’t enough zombie/human love stories out there.

Short Stories:

1. Movement – Nancy Fulda: I can’t imagine writing so beautifully as Nancy, but the excellent writing is only icing on the cake. Movement delves into the mind of a girl who views time and space differently than everyone else. It makes a fascinating and poignant read.
2. Playlist at the End – Weston Ochse: When do we love someone the most? When we have them or after we lose them? It’s a great question asked in a great story. The author has a reading on Youtube, or you can buy Shock Totem issue #4 for $0.99.

Movies:

1. Rise Of the Planet of The Apes: I didn’t expect much from this movie. I went into it thinking it might be interesting and have some cool special effects. Instead, the movie delivered a fantastic story with the most compelling non-human character I’ve ever seen.
2. Warrior: This movie came out of nowhere. An MMA movie about a broke teacher fighting to save his house may sound cheesy, but Warrior is a great example of character-driven storytelling.
3. Insidious: Great classic horror movie feel. Relied on a fantastic setting instead of special effects. Titles like this and the upcoming Woman in Black give me hope for the future of horror movies.

Short Horror Films:

1. The Harvester: I’m not a fan of serial killer stories, but this one is terrific. Great music and professional quality make this my favorite horror short of the year.

2. Red Baloon: This one just had a creepy feel throughout. Cool premise and good acting.

Albums:

1. La Dispute – Wildlife: This album blew me away, and literally made me cry. If you can listen to King Park or I See Everything with dry eyes, you have no soul.
2. Faun – Eden: Usually renaissance folk music comes off sounding gimmicky, but Eden is real music played with traditional instruments. A beautiful and unique album.
3. Flogging Molly – Speed Of Darkness: Celtic rock with an American attitude played with enthusiasm. Nothing pretty, just a lot of good music. Might be the best bar band out there.

Songs:

1. I See Everything – La Dispute: Great song. Made me think, made me cry. Simply amazing. I can’t get enough of this band.

2. Adam Lay Ybounden – Faun: I could just listen to this song over and over. It’s fun, interesting, has a good beat and beautiful singing. What more can you ask?

3. Fear The Beard – Heavy Lord: With a name like that, what’s not to love? Plenty, actually. There’s slow 70s heavy guitar, a groove and a great beat. Metal fans need to check out the burgeoning scene in Russia. They are putting out some awesome music lately.

]]> http://leogodin.net/story-in-life/story-in-life-top-two-or-three-of-everything-in-2011/feed/ 1 http://leogodin.net/story-in-music/music-review-novembers-doom-aphotic/ http://leogodin.net/story-in-music/music-review-novembers-doom-aphotic/#comments Fri, 30 Dec 2011 23:17:05 +0000 Leo http://leogodin.net/?p=1074 Continue reading →]]>

The 2000s should be known as the decade of boring metal. More passionless music poured out of those ten years than any other I can remember. In purging the flamboyancy of the 80s and early 90s, metal bands lost their passion and originality. That’s why I’m so excited about albums like Aphotic. In a subtle direction shift, Novembers Doom adds a dose of creativity to its latest release.

The members of Novembers Doom have been around the block a few times. These experienced musicians enjoy total control over their sound. You get the feeling they could throw out some Lynyrd Skynyrd or Neil Young in a Texas bar or play Metallica and Slayer in L.A. just as easily as they play their own flavor of doom metal. Aphotic demonstrates this musicianship in varying the styles of music they play throughout the album. From the violin and classical guitar in What Could Have Been, to the dreamy ambiance of Shadow Play, the band shows its talents extend beyond standard death and doom.

Of course, a Novembers Doom album wouldn’t be complete without the growling vocals of Paul Kuhr. In Aphotic, he mixes in actual singing and a bit of a goth sound with mixed results. Harvest Scythe showcases his talents best, while the talking parts in Of Age and Origin – Parts 1 and 2 don’t do the songs justice. Just a little more range would give Paul one of the top metal voices out there.

Guitarists Vito Marchese and Lawrence Roberts mostly play slow and heavy, but they’re anything but boring. Along with their doom riffs, they mix in short interludes with guitar solos, picking and various enhancements that add to the overall sound. This talented duo plays well, but always seems to fit into the flow of the songs.

The biggest departure from the traditional doom metal sound comes from drummer Sasha Horn. Each song has its own rhythm. While Harvest Scythe gives us a driving beat, Six Sides, delivers more textured drums. Six Sides also includes great bass lines from Mike Feldman. It’s nice to hear distinctive bass, which is a rarity on metal albums. Just like the band’s guitarists, Sasha and Mike play within each song, adding depth and feel instead of showing off.

With Aphotic, Novembers Doom ushers out the lifeless music that characterized the 2000s, and because of bands like them, the 2010s may be a golden decade for metal. I highly recommend this album to metal fans, or anyone looking for something new and different.

Track List:

1. The Dark Host
2. Harvest Scythe
3. Buried
4. What Could Have Been
5. Of Age and Origin – Part 1: A Violent Day
6. Of Age and Origin – Part 2: A Day of Joy
7. Six Sides
8. Shadow Play
]]> http://leogodin.net/story-in-music/music-review-novembers-doom-aphotic/feed/ 0 http://leogodin.net/story-in-film/story-in-film-american-horror-story-oh-how-you-vex-me/ http://leogodin.net/story-in-film/story-in-film-american-horror-story-oh-how-you-vex-me/#comments Thu, 22 Dec 2011 13:35:11 +0000 Leo http://leogodin.net/?p=1054 Continue reading →]]>

Listen to these two story concepts. The first sets a small-town sheriff in an America infested with zombies. He joins a group of survivors. Together, they make their way across the country, fighting off hungry hordes, bandits and each other. The second starts in an old house with a dark past. A family tries to come together after a miscarriage and a husband’s affair. The house is haunted by ghosts and weird neighbors. Its history is unexplored, and completely open.

Which of the two has more opportunity for deft storytelling? Which elicits a more interesting background? How about characterization? Which story promises compelling and complex character possibilities?

The first story is obviously The Walking Dead. If you haven’t seen it, you should. The second is the lesser known American Horror Story. Both shows aspired to greatness, but only one achieves it. What makes this interesting is American Horror Story has the most potential for strong character development, atmosphere, subtlety and background, but underachieves in every aspect. The Walking Dead is an A effort, while American Horror Story barely makes a C+.

The early episodes of American Horror Story showed so much promise. That cool, creepy house hid so many mysteries, and Ben, Vivian and Violet brought so much conflict. Before long, we met the crazy neighbors, the unbelievably-cool Tate and the old maid who looked different to men than she did to women. If you haven’t seen the old lady hit on Ben, you’re missing some truly disturbing television. The creators filled this wonderful, American gothic setting with interesting, believable characters. What a great start.

If only it could have stayed that way. We haven’t watched a full season, but we already know everything about the house and its cast of characters. That once-sinister house holds nothing worth searching for. All the ghosts walking about make it like spirit Grand Central in there. We have a gay couple painting the nursery, a dead woman trying to steal a baby, a spurned lover seeking revenge, and all sorts of subplots taking place right in the kitchen. Sadly, most of the storylines aren’t even interesting.

The problem is, we lost the mystery. There’s nothing to fear. When ghosts are that common, we just call them characters. Even the house, which used to be scary, is just sort of cheesy now. The show’s most compelling early character, Tate, turned into a whiny brat. We no longer wonder about him. We don’t love or hate him. Instead, we just hope he’ll go away.



Now look at The Walking Dead. Season two started off with a bang, and slowly built until the last five minutes of the season left my family speechless. We were on our feet before the end, mouths agape in utter amazement. The Walking Dead finished strong, while American Horror Story drags on a tired plot, and wasted the one great moment of the past six episodes. I won’t spoil it for those who haven’t watched, but you’ll know what I’m talking about. The most shocking moment of the season is ruined because they spent five minutes showing us exactly what would happen.

Another big difference between the two shows is how they handle controversial themes. The Walking Dead introduces abortion by placing a character in an untenable situation, letting us experience the drama. They make us think. They ask questions that beg answers, and force us to actively engage in the show. American Horror Story took the opposite approach with gay parenting. Instead of weaving the issue into the storyline, they created a scene with the sole purpose of allowing a soliloquy on how gay parents are just as good as straight parents. It was awkward and contrived, more like propaganda than drama. They didn’t ask questions. They didn’t show the issue in a new light. No, they created an in-episode public service announcement, which turned us into passive spectators.

Even with all these issues, American Horror Story can achieve greatness, but chooses not to. Good horror is about placing real characters in strange environments while torturing their wellbeing. In American Horror Story, the only character who can’t cope is Ben, the father. Everyone else gets along reasonably well considering the circumstances. Unfortunately, he’s the least interesting character on the program. That is the fatal flaw, the killing blow that dooms the show. With such a great setting, there’s always hope for next season, but it’s more likely to get worse than better.

When does The Walking Dead season three start?

]]> http://leogodin.net/story-in-film/story-in-film-american-horror-story-oh-how-you-vex-me/feed/ 2 http://leogodin.net/story-in-film/story-in-film-great-short-horror-film-love-hurts-with-interview/ http://leogodin.net/story-in-film/story-in-film-great-short-horror-film-love-hurts-with-interview/#comments Sun, 18 Dec 2011 16:00:45 +0000 Leo http://leogodin.net/?p=1013 Continue reading →]]> Sharriff Nasr is a talented filmmaker who creates both short films and commercials. He films for pleasure and to support social causes. Watch this great short horror film, Love Hurts, and let me know what you think.

What excites you about filmmaking?

There are so many stories to tell and I believe film is the most intense medium to use to tell your story.

How would you describe the perfect mix of personal, commercial and activist interests in your filmmaking career?

I really enjoy making commercials. You produce a short product with a high production value in a short time, but you always have to think about what is best for the product and the target audience you need to reach. For personal projects you come back to the essence of how you tell your story in the best way. Recently a client wanted me to make choices that I thought were not good for the commercial and not good for the target group. I got really angry, I was getting too attached to my work and then I realised I have been making nothing else than commercials for almost a year. You need to make personal projects in between as well to keep a small distance that is necessary in the commercial business. Of course you try to make the best product as possible, but client is king.

What movies, long or short, inspire you?

I get really inspired by films that are not just to amuse, but also have relevance, like social criticism. I don’t mean films that are just negative. I like it when there is a spark of hope, even if it is bittersweet. I don’t have a specific genre I prefer. I can enjoy realistic drama, but comedy too.
Comedy can be a powerful tool to criticise big issues. People can laugh about the fouls of characters in the movie and suddenly realise that they act in the same way sometimes.

Do you have any upcoming projects you’d like to promote?

I would say: just visit my website from time to time.

]]> http://leogodin.net/story-in-film/story-in-film-great-short-horror-film-love-hurts-with-interview/feed/ 0 http://leogodin.net/story-in-music/story-in-music-a-woman-scorned-5-best-angry-white-chick-songs/ http://leogodin.net/story-in-music/story-in-music-a-woman-scorned-5-best-angry-white-chick-songs/#comments Sat, 17 Dec 2011 15:13:01 +0000 Leo http://leogodin.net/?p=1031 Continue reading →]]> They say hell hath no fury like a woman scorned, but I don’t believe it. There are many things more furious than a woman scorned. Take hurricanes and tornadoes for instance. That’s some serious fury. How about a politician who isn’t bribed? Is anyone more furious than that? Just ask Microsoft. Seriously now, we know it’s true. A woman scorned is a terrible thing to behold. Look at this delicate flower. She isn’t even scorned. Instead, she received the desire of her heart.


Ok, really seriously now. I love anger in music, and women just do anger better than men. Angry men give us Nickelback. Angry women give us awesomeness. So, without further ado, here are the top five angry woman songs.

5. These Boots Are Made For Walking. It doesn’t get much clearer than that. Oh yeah, “One of these days I’m gonna walk all over you.” I guess it does get clearer. Gotta love Nancy Sinatra. Out of my great love for you all, I’ll spare you the Jessica Simpson version.

   How about this version. Make you want to gouge your eyes and ears out?

   Don’t forget the Megadeath version. A bit cheesy, but still good.

4. There’s just something about killing an abusive man that smacks of poetic justice. Still, death is a harsh penalty, and enforcing that penalty lands the Dixie Chicks on this list with Goodbye Earl

3. Mess with Vicky Lawrence’s brother, and she’ll put you in the ground. In the ground, dirtbag! Yeah, this is revenge at its best. I recommend Reba’s version. She’s one of the best country singers in the history of yeehaw music, and just adds a bit of passion to the story Vicky couldn’t achieve. The Night the Lights Went Out In Georgia remains one of my favorite songs.

2. It’s tough not to put Alanis Morissette number one. It’s also sad that this cool, funny and bitter song is her song of record. Alanis is a fantastic singer/songwriter who is much more than the “angry white chick,” this little ditty portrays her as. In fact, she is a soulful singer, with great talent. Oh well, she recorded it, and we loved it. Now she will forever be the Elizabeth Berkley of singers, talented but known for a gimmick. You Ought’a Know is her most famous song.

1. You’re So Vain is the first angry woman song. It is the angry woman song of note. It is the standard that all angry women will be judged by, now and in the future.

   Might I add that James Taylor is a jerk. He is conceited, and morally corrupt. Carly is right to be so pissed off. That’s +1 spousal points for empathy, but -2 spousal points for gloating. Dang, I’m down a point.

So, am I just a chauvinist pig? Is angry white chick music real? What are your favorite angry woman songs? Let all of us know in the comments.

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