I don't wanna fall
I don't wanna fly
I don't wanna be dangled over the edge of a dying romance
I don't wanna fly
I don't wanna be dangled over the edge of a dying romance
Matt Alber |
Matt Alber |
Take a song such as “You’d Be So Nice To Come Home To”, and
it’s achingly romantic lyrics:
You’d be so nice to come home to.
You’d be so nice by the fire.
While the breeze on high sang a lullaby
You’d be all that I could desire.
Under stars chilled by the winter,
Under an August moon burning above,
You’d be so nice, you’d be paradise
To come home to and love.
It became an anthem for World War II soldiers about their
girls back home, but how many of them would feel the same if they knew that
Cole Porter’s inspiration for the lyrics came from his relationship with
choreographer Nelson Barclift?
All was different with the women. No matter what their self-proclaimed sexual orientation, they showed, on the whole, strong and swift genital arousal when the screen offered men with men, women with women and women with men. They responded objectively much more to the exercising woman than to the strolling man, and their blood flow rose quickly — and markedly, though to a lesser degree than during all the human scenes except the footage of the ambling, strapping man — as they watched the apes. And with the women, especially the straight women, mind and genitals seemed scarcely to belong to the same person. The readings from the plethysmograph and the keypad weren’t in much accord. During shots of lesbian coupling, heterosexual women reported less excitement than their vaginas indicated; watching gay men, they reported a great deal less; and viewing heterosexual intercourse, they reported much more. Among the lesbian volunteers, the two readings converged when women appeared on the screen. But when the films featured only men, the lesbians reported less engagement than the plethysmograph recorded. Whether straight or gay, the women claimed almost no arousal whatsoever while staring at the bonobos.