Beth Ditto - I Wrote The Book (Bitch)

I put you up, I treat you well
Tell you secrets I never tell
We pretend, it's all ok
But there's one thing we never say
The world is full of good intentions
Paradise is hard to find
Say they love you but fail to mention
Who they were with again last night
Revenge, regret, I wrote the book
Forgive, forget, I wrote the book
Keeping secrets, I wrote the book on it, don't test me

Heartbreak and then some, tell me where is a friend when you need one
Before you take a second look, remember I know every trick in the book

It never stops around the clock
When I'm there, you speak so soft
The runaround will wear you out
You break it off, I'll break you down
The world is full of good intentions
Paradise is full of lies
Tell you they love you but fail to mention
Who they were with again last night
Cheating, sneaking, I wrote the book
Begging, pleading, I wrote the book
Find More lyrics at www.sweetslyrics.com
Lying, crying, I wrote the book on it, don't test me

Heartbreak and then some, tell me where is a friend when you need one
Before you take a second look, remember I know every trick in the book

Heartbreak and then some, tell me where is a friend when you need one
Before you take a second look, remember I know every trick in the book

I wrote the book, I wrote the book, I wrote the book on it, don't test me
I wrote the book on it, don't test me now
I wrote the book on it

I pledge my allegiance to The Moon.

I just can't deny the effect that The Moon has on me.

Since the first time I looked up to the night sky.... I have fallen in love with her, over and over again. She is the brightest thing in the sky and the one thing that guide us thru the dark night. She is more than the planet earth's natural satellite, she is a symbol , a constant enigma for the mortal ones. The Moon is like a magnet for mi eyes.

Late at night when the stars began to shine, I used to go to my balcony and spent hours looking at the sky.  The best part? when the moon is at its highest point in the sky, shining on everything but I feel I am the only one looking at her. It feels like your body is floating and the universe is ready to swallow me.

If you watch the Moon for too long, you will begin to feel that you are getting lost in her shine and probably you will never come back. People of some cultures often fear the Moon because there are many myths that involve her. The most popular one : the werewolves and the vampires, free during the night to kill everything they want but slaves of the sun. We cannot deny that -She- is the silent witness of everything that happens in the realm of darkness. Another quiet witness of mankind's history. The Moon appears to be the only constant thing in our lives, in the lives of those who walk at night and thru time.... unchanging, loyal and reliable, the only ones that will keep our secrets save forever.

There is such a fascination with her that we can find movies, books and art with The Moon as a main character.

-Myths about the queen of the night........

Werewolves are one of the creatures that we often see depicted in films about myths and legends of these "monsters". This creature is, of course, affiliated with the full moon. Typically it is believed that these are creatures that have human form but  morph into a wolf-like (typically violent) creatures when the full moon is in the sky. There are many different variations on this because of all of the books and movies that have been made about werewolves.

Various methods for becoming a werewolf have been reported, one of the simplest being the removal of clothing and putting on a belt made of Wolfskin, probably as a substitute for the assumption of an entire animal skin (which also is frequently described). In other cases, the body is rubbed with a magic salve. To drink rainwater out of the footprint of the animal in question or to drink from certain enchanted streams were also considered effectual modes of accomplishing metamorphosis. The 16th century Swedish writer Olaus Magnus says that the Livonian werewolves were initiated by draining a cup of specially prepared beer and repeating a set formula. Ralston in his Songs of the Russian People gives the form of incantation still familiar in Russia.

In Italy, France and Germany, it was said that a man or woman could turn into a werewolf if he or she, on a certain Wednesday or Friday, slept outside on a summer night with the full moon shining directly on his/her face.

This is only one example of some of the powerful stories that people across time and across the world associate with the moon. Using many different forms of symbolism, the moon itself has become a symbol for love, desire, change, passion, fertility, and violence.

Vampiric Connection (Wikipedia)

In Medieval Europe, the corpses of some people executed as werewolves were cremated rather than buried in order to prevent them from being resurrected as vampires. Before the end of the 19th century, the Greeks believed that the corpses of werewolves, if not destroyed, would return to life as vampires in the form of wolves or hyenas which prowled battlefields, drinking the blood of dying soldiers. In the same vein, in some rural areas of Germany, Poland and Northern France, it was once believed that people who died in mortal sin came back to life as blood-drinking wolves. This differs from conventional werewolfery, where the creature is a living being rather than an undead apparition. These vampiric werewolves would return to their human corpse form at daylight.

Mayan Moon Goddesses. 

The Mayan people have several stories about different moon goddesses. One goddess frequently associated with the moon is Ixchel who is associated with the moon because she is a fertility goddess. However, it is believed that she may actually be the “grandmother of the moon” and represent aging and the drying up of fertility in old age so she is most commonly linked with the waxing of the moon and not the moon at all times.

Selene / Luna. 

These are the names of the Moon Goddess in Greek and Roman mythology respectively. In the myths associated with these goddesses, the goddess is paired with the god of the sun. He travels throughout the day and she takes over the journey at night. She is typically considered to be a passionate goddess who takes many lovers and who represents the desire associated with the moon.

Victorian Mourning and Post-Mortem Photography: A Cultural History Pt. 1

Here: Victorian Mourning and Post-Mortem Photography Pt.2

Death in the Old Town: A Century of Change

In the modern era, the experience of passing is largely sequestered from daily life. For most, death occurs quietly within the clinical confines of a hospital, with families often receiving news after the event has concluded. However, a little over a century ago, the reality of mortality was an integrated, visible part of the domestic landscape.

A Life Surrounded by Loss

Despite the rapid technological and industrial strides of the Victorian era, the population remained intimately acquainted with death. High infant mortality rates meant that few families remained untouched by loss. In major industrial centers, life expectancy was frequently curtailed by poor sanitation and the rigors of urban labor, making the presence of "the end" a common neighbor.

The Domesticity of Passing

Unlike today’s institutionalized approach, the majority of people in the 19th and early 20th centuries died in their own homes. It was common for an individual to pass away in the same house where they were born, often in the same room where they had previously cared for their own dying parents.

This proximity created a different cultural psyche:

• The Natural Arc: Witnessing the gradual decline of a loved one was a standard part of the human experience.

• Community Mourning: Neighbors and kin were directly involved in the rituals of washing and preparing the body.

• Generational Continuity: Death was viewed not as a hidden failure of medicine, but as a final, visible chapter of the family story.

Historical References & Sources

1. Life Expectancy and Urbanization: * Source: Woods, Robert. "The Demography of Victorian England and Wales." Cambridge University Press.

   • Fact: In the mid-1800s, life expectancy in industrial cities like Liverpool and Manchester could be as low as 25 to 30 years, largely due to high infant mortality.

2. The Shift from Home to Hospital: * Source: Jalland, Pat. "Death in the Victorian Family." Oxford University Press.

   • Fact: Jalland details how the "Good Death" (ars moriendi) was a domestic ritual that only shifted toward hospitals in the early-to-mid 20th century.

3. Infant Mortality Statistics: * Source: The UK National Archives (Victorian Health). * Fact: As late as 1899, the infant mortality rate in England and Wales was 163 per 1,000 live births.

Read: Victorian Remembrance: The Art of Post-Mortem Photography (Pt. 3)

Ritual and Practicality: The Victorian Mourning Process

Mourning in the Victorian era was a highly structured social ritual, governed by strict etiquette and a blend of practical necessity and folk belief. From the moment a death occurred, the household transformed into a space of remembrance, signaling the loss to the entire community.

Community Notification and the "Wake"

The first public sign of a death was often a wreath of laurel or boxwood, tied with black crape or veiling and hung on the front door. This served as a silent "notice" to passersby to maintain a respectful quiet.

Inside the home, the custom of "waking"—watching over the body around the clock—began. While deeply spiritual, the wake also served as a vital safeguard. Before the era of modern medical diagnostic tools, the fear of premature burial was a genuine cultural anxiety; the wake ensured that if a person were merely in a deep coma, they would not be buried alive.

Managing the Physical Reality

In a time before professional embalming became the standard, families utilized ingenious methods to manage the physical decline of the deceased:

• Floral Tributes: The tradition of bringing fresh flowers to a funeral originally served a functional purpose: masking the odors of the natural decaying process during the multi-day home viewing.

• The Cooling Board: Caskets were often placed atop a "cooling board," a device resembling a crate or tub filled with ice, specifically designed to slow decomposition until the day of the funeral.

Superstition and the Spirit World

Victorian mourning was also deeply tied to the supernatural. These customs were intended to protect both the living and the spirit of the departed:

• Stopping the Clock: Clocks were halted at the exact moment of death to mark the end of earthly time for the deceased.

• Draping Mirrors: Mirrors were covered with black cloth or turned to the wall to prevent the spirit from becoming "trapped" within the glass.

• Feet-First Exit: When the time came for burial, the body was always carried out of the house feet first. This was believed to prevent the spirit from "looking back" into the home and beckoning a family member to follow them into the afterlife.

Victorian Mourning and Post-Mortem Photography 

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The Art of Remembrance: Post-Mortem Photography

In the Victorian era, the high rate of infant mortality and a lower overall life expectancy created a unique cultural need for lasting mementos. For many families, photography was a rare luxury. Consequently, when a sudden death occurred—particularly that of a child—parents often commissioned a post-mortem photograph. In many instances, this would be the only physical likeness of the individual the family would ever possess.

Capturing the "Last Sleep"

These portraits were typically handled with immense sensitivity. A common aesthetic was the "Last Sleep" pose, where the deceased was photographed resting on a bed or sofa, often cradled by flowers or favorite toys. These images were designed to project peace and provide a tangible object for the family’s grieving process.

Artistic Retouching and the "Life-Like" Aesthetic

When a family lacked any previous images of their loved one, they sometimes requested that the photographer create a "life-like" appearance. This required significant technical skill during the early days of the medium:

• Hand-Tinting: Photographers would often add a light pink wash to the cheeks of the subject in the final print to suggest a healthy glow.

• The Challenge of the Eyes: Because the eyes are among the first features to lose their luster after passing, photographers developed specialized retouching skills. This included carefully painting pupils and irises onto the closed eyelids of the subject or directly onto the photographic plate (the glass or metal negative).

• Varying Skill Levels: The success of these "eyes open" portraits depended heavily on the photographer’s artistry. The most skilled practitioners could create a startlingly realistic gaze, providing the family with a comforting, albeit reconstructed, image of their relative as they appeared in life.

Read:Post-Mortem Photography: A Historical and Cultural Ritual of Grief ( Pt 4 )

The Social Life of Memorial Portraits

When memorializing older adults, Victorian photographers employed various techniques to create a dignified and "life-like" appearance. While modern observers often mistake the heavy iron posing stands of the era as tools for propping up the deceased, these heavy rods were actually standard studio equipment used to help living subjects remain perfectly still during the long exposure times required by early cameras.

For post-mortem portraits, ingenuity was instead found in the arrangement of the environment. The deceased were often carefully positioned in seated chairs or supported by pillows and specialized frames hidden beneath their clothing to suggest a natural, upright posture.

A Public Display of Remembrance

Unlike the private, often hidden nature of grief today, these photographs were a visible and normalized aspect of 19th-century American culture. They were integrated into the fabric of daily life:

• Home Decor: Families proudly displayed these portraits in their parlors alongside images of the living.

• Social Sharing: Copies of these "memorial cards" were frequently mailed to distant relatives and friends to share the news of the passing and provide a final likeness.

• Wearable Mementos: Images were scaled down to fit into gold lockets or the backing of pocket mirrors, allowing the bereaved to carry their loved ones with them.

The Shift in Cultural Response

Nineteenth-century society had a clearly defined "vocabulary" for responding to these images; they were seen as acts of devotion and essential tools for mourning. Today, in a culture where death is largely institutionalized, we lack a "culturally normative" response to these photographs. What was once a comfort is now often viewed with a mix of curiosity and unease, highlighting the vast shift in how we process loss over the last century.

Historical Sources and Fact-Checking

On the "Standing Deceased" Myth:

Source: The Thanatos Archive. (A leading repository of early medical and post-mortem photography).
Fact: Expert analysis of thousands of period photos shows that while deceased individuals were sometimes seated, the "standing" post-mortem photo (using iron rods) is largely a modern internet misconception. The rods could not support the dead weight of a human body.

On Social Sharing and Jewelry:

• Source: Lutz, Deborah. "The Victorian Worth of Objects." (University of Virginia).

• Fact: This text explores how "memorial objects," including photographs and hair jewelry, were used as social currency to maintain emotional bonds.

On the Evolution of Mourning:

Source: Ariès, Philippe. "The Hour of Our Death." (Oxford University Press).

Fact: Ariès tracks the "taming of death" from a public, domestic event to a hidden, professionalized one.

Read: Victorian Mourning and Post-Mortem Photography Pt.2

Silverchair knew what I was thinking and feeling

On 1997 my borther’s friend gave him a CD as a present for his birthday …. It was very weird but artistic, it had this green frog on the cover with a white background, very simple but interesting at the same time. The name of the band was Silverchair.

At that time my brother didn’t want me to touch his stuff so I hardly ever had the opportunity to play the CD and hear that grunge-ish band, beside at the time I wasn’t into that kind of music bit I slowly started to like it. The next year we got cable at home so I had the chance to see music videos on Mtv and Much Music, this last channel … made me fell in love with Silverchair and their song : Tomorrow.

This Australian band began as many other bands in the 90’s, with a grunge sound, it was clear the influence Nirvana had on the 15 year old boys! But hey! Let’s be clear about this, they never copy them, they always had a different sound …this “something” special, that to this day, I can’t describe. Frogstomp was a success and introduce them to new followers around the world.

After that album I couldn’t stop,then Freak Show was released on 1997, I bought it in a Miami record store. I’ll never forget that day, specially because my mother and father freaked out when they saw the album cover (an illustration of Grady Stiles, Jr., a sideshow performer afflicted with ectrodactyly. His stage name was "The Lobster Boy") . I remember my mother looking at the songs tittles like : Freak and Abuse me. She looked at me like “WTF” she was disgusted and said “Oh my God, I can’t believe you are buying this” (but it was for my brother-he gave me the money, that way I could listen to it too).

Freak Show had this very dark songs, I could say ... depressing but very strong at the same time. FS was not a grunge album, it was a garage sound, if you know what I mean. It said many things I though or felt, but as many Silverchair fans know, the lyrics were not literal or plain simple, there were sentences written in code,codes which made us imagine and dream.

When Neon Ballroom came out in 1999 I was committed to good bands and rock sounds, so I bought the album, the first SC I owned!. This album was more alternative and experimental, this album was definitely a bet on a new sound, something that separated them forever from their grunge background.

Then It came 2002 ,we survived the end of the world, and Diorama was born. The band showed how mature SC was with a symphonic sound. Another ballsy album that made them win many awards, the album wasn’t that popular on the U.S. but who cares! Who are they anyway? I loved this album because it has many artistic and experimental songs, and great videos came with this album.

On 2007 Silverchair after 5 years the FINALLY made another great album; Young Modern. This time the songs and sound were more intellectual and uber mature, it was very different from their last album. I have to admit that I wish they made albums steadily, I missed them and I needed a familiar sound throught the 2000’s.

All I have to say, is that from the first time I heard Silverchair and their song Tomorrow, I was irrevocably in love with them, with that special sound that they always had.

Today, fans are sad over the "indefinite hibernation" they decided to take and the “deep sleep” we will have to ensure for…who knows how long, but as long they give us hope for Silverchair waking up from their "break", we will be waiting.

Sweet Dreams.

The Fans.