Chu-Bops

Sometime between 1980 and 1983, probably on a road trip with the family between Alberta and Manitoba, I picked up these two Chu-Bops. Each Chu-Bop was a 3x3-inch album sleeve reproduction containing a pink bubblegum record. I was never much of a gum guy, but at just 35 cents each, these were a cool little novelty. I really love that Blue Oyster Cult art! 

Delta Bluesman

I'm a wand'rin delta bluesman
Miles and miles from home
'Cept for my bedrool and my guitar
I wander all alone 

Stickin' close to the Ole Miss shoreline
Catfishin' for my meals
Singin' 'bout my dear Mary
And how her loss still feels



 

Brave Mountaineer

Like brave mountaineers
We never were much bothered by the climb
 

Jinx Johnson's Harlem Jazz Quartet

 

Flash! Oww-wwww!

Just a man
With a man's torn shirt
Nothing but a man
Covered with bruises and blood
No one but this pain-wracked guy
Can save our wo-orld
Oh, Flash
Oh, Flash
 

Courageous Mountaineer

Like brave mountaineers
We never were much bothered by time

 

Lego Advent Calendar Haiku 2024 Day 16

Ghostly choir, Ghost ship 

PC, cactus harmonize

But no audience

 

This One Is Lovely

While driving from Leduc to Edmonton on Saturday night, YouTube music's algorhytim slid "This One" through my speakers. To the best of my memory, never before had I heard "This One," and it captured my heart immediately; since that day I've played it dozens of times. 

There's always something new and beautiful to discover, isn't there? 
 

The Motion Picture

"Just a Motion Away," from Gino Vanelli's 1984 album Black Cars, tells the story of two people in the process of possibly reconnecting after many years apart. Perhaps they were former lovers, or merely potential lovers who remained apart for reasons unknown to us, the listeners. 

The point of view of the singer-narrator makes it clear he's hoping the person he desires feels the same way, and encourages them to leave the past behind and start a new chapter. To paraphrase some of the lyrics, "Chance is knocking on our door to open up our ailing hearts once more . . . it's just a motion away." 

Whenever I hear this song, I wonder about the nature of that motion, the one that will set our lovers on a new (and perhaps more fulfilling) path. Do they reach out to hold hands? Do they hug? Smile? Nod yes? 

For several decades now, I've thought of fictions, large or small, as simply things that really happen on some other plane of existence (or, conversely, whatever we imagine springs into being on those other planes). When a story ends ambiguously, or when it's missing key details, I can't help but wonder about these things. Because somehow, somewhere, they happened or will happen. 

Is that madness? 

 

Don't Shoot the Miniature Piano Player

Old West Upright Piano

I could have painted the stool black to match the piano, but I figured some saloons didn't have the luxury of being really picky about their furniture. I'm so happy that you can discern the black and white keys on the instrument! 
 

Dumpsters Three

We're dumpsters three oh me oh my 
With trash we're filled to reach the sky
But never mind, we three
We're useful as can be
In this magic land we all know our cause! 
 

Night Caravan Guitar Player

Decent hands, face, and beard! Huzzah! 
 

Trump's Song(s)

I've been following electoral-vote.com since 2004; it's my go-to site for reasoned analysis of politics in the United States. A few days ago the site's writers asked readers to suggest appropriate theme songs for Donald Trump. I did so, and they ran my choices today: 

https://www.electoral-vote.com/evp2024/Items/May11-3.html

I'm "E.W. in Edmonton, AB, Canada," around the bottom third of the page. My choices were "Entrance of the Gladiators" and "Frolic," for those who don't care to follow the link. My reasoning is explained at the electoral-vote link above. 

Nyah Nyah

 

Misinterpreting "Green Light"

Last year I discovered Lorde's "Green Light," and it won me over instantly. The song's beat and melody feel so bright, so joyful, and the effect is buoyed by the singer's barely contained furious energy. According to my YouTube Music year-end wrap-up, it was the song I played most in 2023. 

But when I investigated the genesis of "Green Light," I found that I had completely misinterpreted Lorde's message--and the discovery made me ruminate on the male gaze. 

When I first heard "Green Light," I heard the music and lyrics as barely contained excitement over a young woman's determination to pursue a new love interest. She sings: 

I do my makeup in somebody else's car
We order different drinks at the same bars
I know about what you did and I wanna scream the truth
She thinks you love the beach you're such a damn liar

By this point, you might wonder how I could have mistaken Lorde's intent, because the last two lines of this stanza clearly indicate the nameless man may have some character deficiencies. But she goes on: 

Those great whites, they have big teeth
Hope they bite you
Thought you said that you would always be in love
But you're not in love no more
Did it frighten you
How we kissed when we danced on the light up floor?
On the light up floor

I thought the "great white with big teeth" was the other woman referenced in the previous stanza, and that Lorde's character was reacting with jealousy. Then, she reveals the man isn't in love anymore--presumably, his relationship with the "great white" has ended, and the singer's character has a chance: "Did it frighten you, how we kissed when we danced on the light-up floor?" 

The song's tempo and beat climb exuberantly, and she sings: 

But I hear sounds in my mind

Brand new sounds in my mind

But honey I'll be seein' you 'ever I go

But honey I'll be seein' you down every road

I'm waiting for it, that green light, I want it

I read this as excitement and joyous anticipation; the singer thinks she's on the verge of connecting with this man, and all she's waiting for is the green light (from him). 

This is followed by: 

'Cause honey I'll come get my things, but I can't let go

I'm waiting for it, that green light, I want it

Oh, honey I'll come get my things, but I can't let go

I'm waiting for it, that green light, I want it

Yes, honey I'll come get my things, but I can't let go

I'm waiting for it, that green light, I want it

Oh, I wish I could get my things and just let go

I read this as yearning for consent to connect. The singer goes on: 

Sometimes I wake up in a different bedroom
I whisper things the city sings them back to you
Those rumours they have big teeth

Hope they bite you
Thought you said that you would always be in love
But you're not in love no more
Did it frighten you
How we kissed when we danced on the light up floor?
On the light up floor

I read this as jealousy at the prospect of other potential partner for her man, followed by a reaffirmation that she thinks he's scared of the intensity of their nascent love. 

But I hear sounds in my mind
Brand new sounds in my mind
But honey I'll be seein' you 'ever I go
But honey I'll be seein' you down every road
I'm waiting for it, that green light, I want it

Again, I read this as reaffirmation of her desire. The song concludes in this vein, with Lorde's character singing about how she'll get her things as soon as she gets her green light. I was left hoping that the song's character would soon get that green light, and she and her beau would live happily ever after. That first, problematic stanza? Given the tone of the rest of the song, I thought perhaps the guy had been a jerk in some mild way, and that Lorde's character hoped that minor sin would be enough to foul up the prospects of his hookup with the song character's rival. 

After listening to the song about a dozen times, I searched for information about the origins of "Green Light." And to my surprise and embarrassment, I found I had turned the song completely on its head. In interviews, Lorde has said "Green Light" is about heartbreak and finding the strength to move on. She's "seeing (him) 'ever I go," so she can't go forward; the green light she needs isn't from a man, it's from herself. 

Missing the intended meaning of a song might not seem like a big deal, but I thought I was brighter than this. It makes me wonder, not for the first time, how many times I've misinterpreted women's stories, particularly the stories of women close to me. It's a daunting prospect. 

For what it's worth, my relationship with "Green Light" began with empathy and well-wishes for Lorde's character, even if my thoughts were misplaced. My good feelings and hopes remain, though for different reasons. 

Sorry, Lorde! And sorry, the many other women who I've doubtlessly read wrong over the years. 

Night Sniper

I see a soldier and I want to paint her black. I'm feeling lazy now, I want to paint her black. 
 

How Many Can I Identify?

Taylor Swift: I know who she is - I became a Swiftie with "Shake It Off" and the 1989 album. 
Bad Bunny: No clue.
The Weeknd: I recently discovered The Weeknd thanks to the Ms. Marvel show. I only know one of his songs, though: "Blinding Light." 
Drake: I think this is a Canadian rapper, but I don't know any of his songs.
Peso Pluma: No clue.
Feid: No clue.
Karol G.: No clue. 
SZA: No clue.
Kanye West: I know Kanye because he said Beyonce deserved the Grammy more than Taylor, and because he later embraced the alt-right. But I don't know his music.
Lana Del Rey: Never heard of her, but is she perhaps heir to the Del Rey publishing fortune?
Eminem: I know him, he's the real Slim Shady and he has that one song that goes "meep, moop, meep, moop...gangster's paradise" 
Metro Boomin: No clue.
Junior H: No clue.
Ed Sheeran: I believe this fellow has very orange hair, and I think he collaborated with Taylor Swift once. Don't know his music, though.
Arijit Singh: No clue.
Ariana Grande: The name is familiar, but I don't think I can count her because I can't think of any of her music.
Travis Scott: Judging by the name, must be a country and western artist? No? No idea.
Morgan Wallen: No idea.
Billie Eilish: I know the name because it's one of my Photoshop Express filters, but couldn't tell you about any of her songs.
Rihanna: She wrote a cool song for Star Trek Beyond, and she's a Trekkie!

9 out of 19, if you're feeling generous. I try not to fall out of touch with modern popular culture, but clearly I'm failing when it comes to 2020s pop.  

 

Collision Alarm

Imagine this: new safety rules mandate that all vehicles be required to start playing the chorus of Kenny Loggins' "Danger Zone" whenever some kind of accident is about to happen, or has the potential to happen. How pumped and powerful and ready for action would you feel if your car or 747 suddenly started blaring "Highhhhway to the DANGER ZONE" at maximum volume? Adrenalin would flood your system, giving you the split-section reaction time you need to pull yourself straight out of that danger zone! Plus, you can enjoy the screams of your passengers. 

Special thanks to Sylvia for workshopping this idea with me. 

Lego Advent Calendar Haiku 2023 Day 5

Droid train whistles through
As Ginny raises her trophy
Snowman sings "Gaudete"