tag:blogger.com,1999:blog-18953665991445009632024-02-02T00:31:38.907-06:00Exile in GoyvilleI was born and raised in and around New York City, and I lived in the tri-state area for over thirty years. But I met and fell for a shiksa, and my exile began in earnest in March of 2006. Now we live in Minneapolis, Minnesota, with our son and daughter.Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.comBlogger290125tag:blogger.com,1999:blog-1895366599144500963.post-12087853161198257002014-06-03T20:43:00.001-05:002014-06-03T20:46:02.813-05:00BEA wrap-up!I swear I'll get back to my top-hundred songs series eventually, not as if you care, but for this evening I'm just grabbing a few minutes to blog about BEA.<br />
<br />
We go most years. I'm from New York, and I'll take almost any excuse to get back there. This time, though, my mother is in the midst of packing up the Long Island house she's lived in for 38 years--the house I lived in from two to eighteen, and then sporadically even after that, during summers, long visits, and for a year when I was 26, very soon after my father died. This was our last trip back east staying in my childhood home.<br />
<br />
Anyway so that's weird.<br />
<br />
It was also our first trip back east with the new baby, who turned six months old during the trip. Also weird. But primarily a big pain in the butt when her nursing mother has to be on the floor at Javits for like 16 hours over two days.<br />
<br />
I've digressed like crazy. Here was my literary time in New York, in a nutshell:<br />
<br />
Last Wednesday, my esteemed editor Jordan Brown and I had a conversation/reading thing at McNally Jackson books in SoHo. I think it went pretty well. The writers in attendance included three of my faves--<a href="http://www.crissajeanchappell.com/" target="_blank">Crissa Chapel</a>, <a href="http://www.bennett-madison.com/" target="_blank">Bennett Madison</a>, and <a href="http://novaren.com/" target="_blank">Nova Ren Suma</a>--so that made the evening special right off the bat. And a very cool surprise for me: an old friend and former bandmate of mine who happens to be called Greg and happened to inspire (to a small degree) a character of that name in GUY IN REAL LIFE also showed.<br />
<br />
Crissa took a photo while I was reading!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://pbs.twimg.com/media/BpPKyXMCUAAeTJP.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://pbs.twimg.com/media/BpPKyXMCUAAeTJP.jpg" width="320" /></a></div>
<br />
<br />
Nova took a photo too while Jordan was talking and glared I guess!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://pbs.twimg.com/media/BowjJtMIcAAYnwd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://pbs.twimg.com/media/BowjJtMIcAAYnwd.jpg" width="240" /></a></div>
<br />
<br />
On Thursday morning, I was back in the city again, this time for a half-hour signing at BEA proper.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://pbs.twimg.com/media/Bo0LVdJCcAAjAWe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://pbs.twimg.com/media/Bo0LVdJCcAAjAWe.jpg" width="320" /></a></div>
<br />
<br />
When Jordan informed me they'd scheduled a 30-minute slot for me, I was all, "Whew, because once I had an hour slot and no one came hardly and that is super depressing!" As it happened, though, the line was pretty strong this year, and I got to meet some people I've only ever tweeted with in the past, such as <strike>Katie </strike><a href="http://katherinelockebooks.com/" target="_blank">Katherine Locke</a>, aka <a href="https://twitter.com/Bibliogato" target="_blank">@bibliogato</a>.<br />
<br />
Jordan took a photo of us!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://pbs.twimg.com/media/BpPQBYvCQAAmYTM.jpg:large" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://pbs.twimg.com/media/BpPQBYvCQAAmYTM.jpg:large" width="240" /></a></div>
<br />
<br />
THEN, after the 30 minutes were up and I still had a stack of books and a nice long line still waiting, the good people of BEA moved me to a vacant line so I could continue signing books for another 20 minutes, at which time we ran out of books.<br />
<br />
And speaking of running out of books, the last three people in line--too late for the books, actually--were Sarah, Mandy, and Mandy of <a href="http://foreveryoungadult.com/" target="_blank">Forever Young Adult</a>, the freshest YA review blog around. Jordan took a photo of us, too!<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://cf.foreveryoungadult.com/_uploads/images/14330847911_30331cb95b_z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://cf.foreveryoungadult.com/_uploads/images/14330847911_30331cb95b_z.jpg" height="214" width="320" /></a></div>
<br />
And have you seen <a href="http://foreveryoungadult.com/2014/05/27/guy-in-real-life/" target="_blank">their review</a>? I'm a little into it.<br />
<br />
<br />
Sadly, here endeth my BEAdventure this year, for with a mother packing and tossing and sorting through nearly 40 years of memories, and with a 5-year-old child who was growing more and more irritated with his parents' absence and the dusty boringness of Grandma's packing and tossing and sorting, I didn't do seriously a single iota of extra socializing with book people and missed a lot of really cool stuff. <br />
<br />
Maybe next year.Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-65897242350906710562014-03-18T17:06:00.003-05:002014-03-18T17:09:22.971-05:00"Love Will Keep Us Together" by Captain & Tennille, 1975(I'm not sure if <a href="http://carriemesrobian.com/" target="_blank">Carrie</a>'s repeatables thing is still happening, but I can't go back to the regularly scheduled alphabetical programming without focusing on this song.)<br />
<br />
I had planned to highlight this song--written by Neil Sedaka, recorded by loads of people, a huge smash hit for Captain & Tennille, and parodied (sort of) by Joy Division--because it's the only song in my Top Hundred that is also a Grammy winner. How outta sight is that?<br />
<br />
It's also the newest repeatable on this list. When I wrote <i>Guy in Real Life</i>, one scene in particular which anyone who's read that book will easily identify, I listened to this song incessantly. It stands out on a book-writing playlist filled otherwise with deathcore, Bjork, and Berlioz. After the book was done--like, done done: drafted, revised, copyedited, proofread--it is the only song on that playlist I can still listen to on repeat for an hour or more at a time. I cannot explain this, except that the keys are totally danceable and the bass line is a blast. Also it modulates I think, which is so fun sometimes. Shut up. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/1G0sOA6hTg0?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-43433639855466777212014-03-12T10:26:00.003-05:002014-03-12T10:28:08.226-05:00"I'm in the Mood for Love/Moody's Mood" by King Pleasure, 1952(Like yesterday, I've skipped ahead in the Top Hundred to the next selection that was at one time or another in my life eminently repeatable, as I'm joining my friend <a href="http://carriemesrobian.com/blog/" target="_blank">Carrie</a> in her series on aural obsessions.) <br />
<br />
This entry writes itself. Or, more accurately, I already wrote this entry a couple of years ago for the soon-to-be-resurrected (so sayeth Bryan Bliss) BoysDontRead.com. I'm going to paste the story here, but first, here's the song. It's not the exact recording that I listened to repeatedly as a young man--old King Pleasure recorded this thing like a hundred times--but it's close.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/ejCXUe2uV0s?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:DontVertAlignCellWithSp/>
<w:DontBreakConstrainedForcedTables/>
<w:DontVertAlignInTxbx/>
<w:Word11KerningPairs/>
<w:CachedColBalance/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:200%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div class="MsoNormalCxSpFirst">
I’m a shy Boy. I always have been. Open-house
parties—the local parlance for “keggers” where and when I grew up—were an
intimidating prospect, but an appealing one just the same. Where else could I
expect to expand my social circle, pee in the woods, and kid myself into
thinking I might work up the bravery to smooch some girl?</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Anyway,
aside from peeing the woods, those things never happened. But I did learn a
little about what I could expect from myself, anyway. And beer helped a lot.</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Sorry,
Mom and moms. Yes, I had beers. Beers aplenty, all before I was even eighteen,
and that wasn’t even the drinking age anymore anyway. So you can imagine how
many beers I had before I was twenty-one! Oh my word. </div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Where
was I? Oh yes. Open-house parties and social lubricants. </div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>I’d
better back up a moment and tell you this: The Gap ran a lot of TV ads back in
the early 1990s. I imagine they still do, but who the hell sits through
commercials on TV anymore? Not this guy. Back then, though—sure. We had five
channels. We watched whatever they hell they put in front of us. Anyway, one
such ad featured a montage of black-and-white photos of models in Gap clothes,
I think. The music, though, I’ll never forget, because it was tune that has
become so a part of me that to this day I know every word, every shift in
pitch, every breath. I even sang it at my brother’s first wedding in a duet
with my aunt. </div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>The
commercial didn’t feature the whole song. It merely featured the first thirty
seconds—not enough to even reach Blossom Dearie’s vocal part. My father,
though, had quite a jazz vinyl collection, and it included no fewer than three
versions of this apparently hit jazz tune by King Pleasure and Blossom Dearie.
So I listened to the whole thing—constantly. I forced the song and all its
lyrics and its melody deep into my gut and my heart. I was one with the song.</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>So.
Open-house party. Kegger. I think I remember whose house it was at. I know this
was the night I first heard of “Special K,” aka cat tranquilizer, aka Ketamine.
And here, moms and Mom, you may rejoice, because I did not partake of that drug
that night, nor ever since. But many people did, as I recall, which meant my
social anxiety went absolutely through the freaking roof. </div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Keg
parties where I grew up were generally held in backyards, lest partygoers
jostle or break something important inside the house, where parents might
notice upon their return from Europe, for example. This time, though, a select
few kids were invited inside. After a few beers on the patio, I think I
probably grabbed a mutual friend’s coattails and hobbled in as well.</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>The
TV was on in a big, well encouched family room. Everyone in the room, including
myself, had by this time relaxed, either through pill or joint or beer, and the
faces in the room were nearly expressionless as what had to be Saturday Night
Live flashed before our eyes.</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Then
it happened. The Gap commercial. It happened. </div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Now
listen. I was drunk. I was really about as drunk as I’d ever been in my (I’m
guessing) seventeen years. If I hadn’t been, I might hummed along under my
breath, or lip-synced even. But sing out loud? At the top of my lungs? Even after
the thirty-second commercial was over, and well into Blossom Dearie’s
section—in falsetto, mind you—until the very last line of the song?</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>I
never would have done that.</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Not
without beer. (This probably sounds like a pro-beer story. It’s not. It’s an anti-fear
story. Which, to some degree, is the same thing. I am going to get in big
trouble. Don’t drink!)</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>With
beer, though, I sang out loud, and I sang out clear. Or as clear as you might
expect a drunk seventeen-year-old to be. And I sang every word, and probably
quite well. I’m not too shabby on the vocals, thankyouverymuch. By the time I
was done, all eyes were on me, slouched in a leather sectional with a warm cup
of beer in my hand. Saturday Night Live was back from commercial, but all eyes
stayed on me. </div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>I
grinned and took a sip of that warm beer. I hated beer then. Who didn’t at
seventeen, especially that swill we always ended up sipping—Coors Light or MGD
or Bud?</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>Now,
no one clapped. No one even smiled at me. One girl said, “Woah.” Then we went
back to watching TV. But to me, things had changed. No one would forget I was
at that party—as they probably had with every party I’d ever bothered showing
up at. And that was something for a shy Boy.</div>
<div class="MsoNormalCxSpMiddle">
<span style="mso-tab-count: 1;"> </span>A
couple of weeks later, I crashed my car into another kid’s car outside of a
kegger—I mean, just the tiniest bit—and then tried to flee the scene right down
a dead end. I didn’t get far and took a punch in the face for my trouble. So no
one would forget I was at that party either. Not as fun, oddly. </div>
<div class="MsoNormalCxSpMiddle" style="text-indent: .5in;">
Don’t drink, kids.</div>
Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-34559346689854935332014-03-11T15:14:00.000-05:002014-03-11T15:14:17.665-05:00"I Can See It in Your Eyes" by Men At Work, 1982(I've skipped ahead a bit, alphabetically, in order to post this with <a href="http://carriemesrobian.com/" target="_blank">Carrie Mesrobian</a>, who is revealing her list of oft-repeated writing tunes. When I'm done focusing on the most repeatable songs, I'll get back to where I left off. <a href="http://carriemesrobian.com/2014/03/repetition-playlists-part-i/" target="_blank">Read the first in Carrie's series</a>.)<br />
<br />
This song is kind of super important to me. I've never come up with a good explanation for why it completely devoured me when I was freaking eight years old. It makes no sense. It's a fairly mature love (end-of-love) song, lyrics-wise, by a band that, if not for a couple of (let's face it) novelty tracks, would have remained in relative obscurity outside of their native Australia.<br />
<br />
But for some reason this track--at first just its ridiculously 1980s guitar solo, and eventually the whole song--leapt out at me as something different and special, distinct from the other songs on the LP, which I've had since 1982. (It still plays all right in spite of my tossing the paper sleeve inside the cardboard sleeve because when I was eight I thought you were supposed to throw that part out. I don't know.)<br />
<br />
Anyway, in keeping with the spirit of <a href="http://carriemesrobian.com/" target="_blank">Carrie</a>'s new series, I give you "I Can See It in Your Eyes," my first musical obsession and, without question, the song that has received the most repeated plays in my lifetime--and considering that the first thousand of those were on vinyl, please appreciate what a pain in the ass that was for an eight-year-old.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/aIGetEs1ooE?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-15318660050626749952014-03-08T15:22:00.003-06:002014-03-08T15:22:48.958-06:00"Gypsy" by Suzanne Vega, 1987This might be the best song ever by anyone. I don't have anything else to say because I couldn't possibly say enough so I won't say anything. I really shouldn't have even included it on this list. It's not even fair to other songs or to my blog or even to me because I can't.<br />
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="375" mozallowfullscreen="" src="//player.vimeo.com/video/21607327" webkitallowfullscreen="" width="500"></iframe> <br />
<a href="http://vimeo.com/21607327">Suzanne Vega - Gypsy</a> from <a href="http://vimeo.com/user2365073">Ryan B.</a> on <a href="https://vimeo.com/">Vimeo</a>.Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-55029824909000051632014-03-04T06:34:00.001-06:002014-03-04T09:40:53.207-06:00"Groove Is in the Heart" by Deee-Lite, 1990It's got everything: most danceable beat of all time, hot vocals, Q-tip rap, Bootsy and Maceo, and the maddest video on Mtv in 1990.<br />
<br />
I drove with a friend of mine to Albany to visit the SUNY there in 1991. The only tape we had in the car was the cassingle of "Groove Is in the Heart" and we listened to it over and over. In 1991, you can believe that was waaaaaaay outside the box for me, since I'd been a classic rock fan and specifically a Dead Head for the last several years. Modern music seeped very slowly into my brain, and something featuring sampled beats and rapping was so out of my comfort zone . . . seriously I can't overstate how weird it was at the time. <br />
<br />
Anyway it's obviously ridiculous and perfect so here's the mad video.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/zmZ08V4GFQg?feature=player_embedded' frameborder='0'></iframe></div>
Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-20779587860817120622014-02-28T11:41:00.004-06:002014-02-28T11:41:43.987-06:00"Gorecki" by Lamb, 1997(Boy was I off on the year with this one. I didn't hear this song until about 2001.)<br />
<br />
As I work my way down this list, I've been pretty confident with my choices. A few absences, and a few cuts I might replace with a different cut by the same artist, have been apparent, but not glaring and I'm not even 100 percent confident that I'd make any change. With this track, though, I'm a little hesitant to include.<br />
<br />
Until I opened my iTunes and put it on. And from the very first trip-hop strain, it's pretty perfect and impossible to turn off. It's all atmosphere and beats and sultry breathy vocals and symphonic (Henryk Górecki's Third, to be specific) samples, more and more intense as it climbs through its almost three and a half minutes. I only wish it didn't fade out at the end. It ought to have a proper finish.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/PILJRHjUVEw?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-78819927379307337422014-02-27T14:19:00.001-06:002014-02-27T14:19:19.813-06:00"Get Older" by Matthew Sweet, 1995This is my favorite Matthew Sweet song, unless my favorite Matthew Sweet song is "Someone to Pull the Trigger." It probably depends on how morose I'm feeling at any given time.<br />
<br />
Right from the jangly opening into the blast of (Richard Lloyd's? Robert Quine's? Anyway some brilliant lead player from the CBGB scene) lead guitar line to the vamping and throbbing one-piano-note finish, this song is pure Matthew Sweet pop perfection. Also its lyrics are straight-up It Gets Better like fifteen years before the It Gets Better campaign.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/D_UKneXkAjk/0.jpg"><param name="movie" value="https://youtube.googleapis.com/v/D_UKneXkAjk&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/D_UKneXkAjk&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-20526987018235651072014-02-26T06:36:00.000-06:002014-02-26T06:36:05.978-06:00"Frank Mills" by James Rado, Gerome Ragni, and Galt MacDermot, 1967<i>Hair </i>was a great obsession of mine, somewhere in the middle of my high school years. I saw it produced live twice, but opportunities to do so were rare, so typically I appeased myself by listening to the Broadway soundtrack over and over. And over. (Never the movie soundtrack, which was deeply inferior.)<br />
<br />
Most of that LP I can take or leave nowadays, preferably leave, but "Frank Mills," being an understated, sweet-without-being-sickly, perfect little pop song, has stuck with me. In college, when I'd probably all but forgotten about <i>Hair</i>, I stumbled across the Lemonheads version, and it all came rushing back to me. (Evan Dando has a talent for picking great songs to cover.) Still, in spite of my love for all things Lemonheads, the original soundtrack recording is still and by far the best version I've heard. Shelley Plimpton's voice is the perfect one for this song, and she kills it.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/jlN6GwZtTkI?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-7458479339885920732014-02-24T09:49:00.001-06:002014-02-24T09:49:17.811-06:00"Fool in the Rain" by Led Zeppelin, 1979The last single of the band's lifetime, and never performed live, "Fool in the Rain" is not a typical Led Zep song. It's in 12/8 time, and has a little bit of a samba feel happening, far removed from the heavy blues-based sound we normally think of as Led Zeppelin. Sure, it's 1979, so we've already seen <i>Houses of the Holy</i> and <i>Physical Graffiti</i>, both of which were nothing like the blues-only days of the turn of the previous decade, but "Fool in the Rain" also has a sense of humor, in its melody, rhythm, and lyrics, which is something Led Zeppelin hadn't done much before, but did plenty of on <i>In Through the Out Door</i>, their 1979 LP and the album I listened to most toward the end of my intense Zeppelin fandom.<br />
<br />
How much do I really have to say about Led Zeppelin? The music:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/t2015S3A-lg?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-90404996562366082392014-02-22T12:02:00.000-06:002014-02-22T12:02:30.515-06:00"Children Will Listen" by Stephen Sondheim, 1986(This song caused an alphabetizing burp because the version on my iTunes is called "Finale: Children Will Listen.")<br />
<br />
<i>Into the Woods</i> is probably my favorite musical. It's a close call with other Sondheim, who is really the only Broadway composer I can listen to repeatedly and often. I saw the show on Broadway twice, once with the original cast and then again when Vanessa Williams played the witch in 2002. I prefer Bernadette Peters, who opens this song in the original cast before it becomes an ensemble piece.<br />
<br />
But what's so effective about this song is its quietness, which is why I often would rather hear a singer alone perform this. The haunting lyrics warn the listener in that way Sondheim does so well. (See "Not While I'm Around" for another prime example.) Children <i>will</i> listen, Sondheim tells us, but not to lectures and rules. Rather they listen and learn those things we wish they wouldn't: Careful before you say "Listen to me," and it's all done to a lilting lullaby of a melody.<br />
<br />
<strike>I can't link to the Broadway version, but it's on Netflix and turns up with about 6 minues left in the show.</strike> Found it!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Ji6Y6LQ4MrU?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
Here's Mandy Matinkin hamming it up on Larry King: <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4a841zBsszQ?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
And here's Bernadette in a live performance:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Gey1PtXYwLI?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-3774293054348385292014-02-20T11:53:00.000-06:002014-02-20T11:56:10.099-06:00Aw, PLEASE?An (undoubtedly) incomplete list of songs sung by men in a dramatized attempt to get a woman (or girl) who has probably already said no into bed:<br />
<br />
"Only the Good Die Young" by Billy Joel<br />
"What's Your Name" by Lynyrd Skynyrd<br />
"Your Love" by the Outfield<br />
"Paradise by the Dashboard Light" by Meatloaf<br />
"Come on Eileen" by Dexys Midnight Runners (which I wish had a comma in the title but doesn't and is therefore even grosser)<br />
"Blurred Lines" by Robin Thicke, obviously<br />
"Baby, It's Cold Outside" by just about everyone<br />
"Please Please Me" by the Beatles, which is debatable but read <a href="http://www.metrolyrics.com/please-please-me-lyrics-beatles.html" target="_blank">the lyrics</a><br />
<br />
Add more in the comments.Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-35829133354618833492014-02-20T07:13:00.001-06:002014-02-20T07:13:25.942-06:00"Famous Blue Raincoat" by Leonard Cohen, 1971(This time, I had no idea of the year.)<br />
<br />
I am not a Leonard Cohen fan, and this time I'm being very upfront not about my distaste for his music, which is not the case, but about my lack of education in the man's work.<br />
<br />
This song came to me through Twitter only a couple of years ago, when I asked for help coming up with songs to add to a playlist meant to put me in mind of winter for a work-for-hire book I was writing that I wanted to have a bleak and wintery feel. (The playlist worked well. It's a very bleak book.) At the time, I knew only "Everybody Knows" and "Hallelujah," songs I'd known at least peripherally since college and that never really interested me much. If I'm honest, I don't think "Famous Blue Raincoat" would have interested me much in my younger days either. I'm sure young Leonard Cohen fans exist, but I needed a few more years of life experience to get it.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/6fMnF0Fvdpo?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-42685413764609865672014-02-18T11:00:00.000-06:002014-02-20T06:31:18.380-06:00"Fallin'" by De La Soul and Teenage Fanclub, 1993(I missed the year by one.)<br />
<br />
I knew there's be a TFC song on this list, but I never thought it would be this one. I listened to Bandwagonesque, Thirteen, and Grand Prix many times, and every track was eventually whittled off the list.<br />
<br />
This track, though, which is really more of a De La track, I suppose, refused to be cut.<br />
<br />
The soundtrack to Judgement Night, a movie I've never seen, had very high ideals. Though the rock-rap thing had begun years before (I'm thinking Run DMC and Aerosmith), the rock press has often given this soundtrack credit for a lot of the late 1990s and early 2000s rap-rock/nu-metal/Limp Bizkit sound.<br />
<br />
Maybe it's true. I can hear it a little in the Helmet/House of Pain cut "Just Another Victim." But it's definitely not apparent in this track, which is laid back and relaxed, without an iota of the aggression typical of the rest of the LP or the genre that came to be known as nu metal. ("Just Another Victim" is the only other track on the soundtrack I like, but it didn't hold up well enough to make the Top 100.)<br />
<br />
Anyway here it is, Daisy Dukes* and all. (It's mortifying how much TFC looks like the Spin Doctors in this video.)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/mOmdg3epcic?feature=player_embedded' frameborder='0'></iframe></div>
<br />
*The video I find has a fade out a little earlier than the LP track, so we don't get to here Plugs One and Two praise the girls with the Daisy Dukes on at the end, which is too bad 'cause they're having a lot of fun.Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-91450442739446615992014-02-17T19:35:00.003-06:002014-02-17T19:35:59.599-06:00"Extraordinary Machine" by Fiona Apple, 2005(Got the year right again. NBD at this point, I know.)<br />
<br />
I am not a Fiona Apple fan. I don't have anything against her, you understand. It's just that nothing she's recorded has really leapt out at me, from the very beginning to the present day, with one exception: the title track from her 2005 LP <i>Extraordinary Machine</i>.<br />
<br />
The first time I heard this was probably December of 2005. I was in Maine, in the backseat of a friend's car on the way to do some skiing, and I couldn't believe it was Apple when he told me it was. He tried to play the rest of the LP for us that ride, and maybe he did a little, but I know I had him play "Extraordinary Machines" over and over, as well.<br />
<br />
This song is magical. It's like some alternate-dimension version of what pop music on Earth sounds like. The orchestration, the style of her voice, the lyrics, the rhythm of the vocal part: it's all so distinct, not only from other popular music, but from Apple's other music. The rest of LP reaches for this quality, but never quite gets there. If the top-100 list were to be trimmed to only ten, this track would almost definitely remain. It's special.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/qWhMrLae-7Y?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-70635274741338432282014-02-16T21:04:00.001-06:002014-02-16T21:04:07.152-06:00"Drown" by Son Volt, 1995(Got the year right again. This one's especially easy because I know this record's promotional copies went out the summer of 1995 when I was an intern at Mammoth Records' New York publicity office. Son Volt weren't a Mammoth act, but publicists and PR people send each other promo copies pretty regularly, and one of the two paid people in the office, the head of press then for Mammoth, had this LP in the regular office rotation. It got under my skin.)<br />
<br />
This was my first exposure to "no depression," the genre, sometimes called alt country, and from here I got my hands on every Uncle Tupelo LP, Wilco, and then some. (I even started an alt country band the second I finished college. We weren't half bad.) But Jay Farrar has always been the best this bunch has to offer. His work with UT is their best work. His post-UT band Son Volt, though nowhere near as successful as Wilco, was to me far more compelling, and his solo LPs are more challenging, more interesting, and more important (sorry) than anything else in this paragraph.<br />
<br />
"Drown" was the single off Son Volt's first LP <i>Trace</i>. I don't think it's the best song on that LP, and I don't know why it made this top-100 list instead of "Windfall," for example, which has a much stronger significance in my mind on a personal level. The only real memory I have of "Drown," aside from its obvious rockingness, is when my then-girlfriend and then-drummer decided that it sounds like Everclear, making me hate them both for at least one evening.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/IpcB2xsXRv4?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-74205649354943142802014-02-15T19:22:00.001-06:002014-02-15T19:22:18.595-06:00"Driveway to Driveway" by Superchunk, 1994(Once again I knew the year without looking it up. I'm beginning to think the odds of that happening are tilted extremely in my favor since most of the songs on the Top-100 list hold some kind of personal significance that I can trace to a specific era of my life. In this case, I was DJing at WHRW, the public radio station on campus at SUNY-Binghamton (now Binghamton University, puke).)<br />
<br />
So. I've been looking forward to this song on the list. Not sure why. Maybe because it has a pretty sweet video to link to. Maybe because I feel like it's so atypically Superchunk: Yes, it does boast a pretty sweet lead guitar line whose time signature is a little wacky, but its aggression and angst levels are way below the Superchunk average, and it's SO SLOW. <br />
<br />
Anyway, that lick and the chiming second guitar that strolls along with it and extra guitar that rings out at the end of the lick and the drunken vibe of the whole song and the falling rhythm guitar of the chorus and the one-chord chunking to close the chorus and the lonely bass line and ding-dong rhythm guitar at the end of the song. That wasn't a sentence. Here's the video:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/dKZyEfG1nw0?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-11419004384121055532014-02-15T07:24:00.000-06:002014-02-15T07:24:10.278-06:00"Delicious Demon" by Sugarcubes, 1988I love this song from the Icelandic band's debut LP for three distinct reasons:<br />
<br />
1. <a href="http://stevebrezenoff.blogspot.com/2013/08/alarm-call-by-bjork-1998.html" target="_blank">Bjork</a>.<br />
2. My brother was three years old when I was born and for at least a little while couldn't say "Baby Steven." He said, "Baby Demon," and my family, father especially, continued to call me that well into my teens.<br />
3. The last 18 seconds, when the off-kilter drumbeat collapses into a straight back-beat as Bjork shrieks, "Delicious OH! Here he comes again! WAOHH!", is the best thing ever.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/a_NRHDaGn2U/0.jpg"><param name="movie" value="https://youtube.googleapis.com/v/a_NRHDaGn2U&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/a_NRHDaGn2U&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-14084798952112981692014-02-13T21:11:00.002-06:002014-02-13T21:12:01.210-06:00"Crazy Love, Vol. II" by Paul Simon, 1986First of all, very proud of myself for knowing the release year of <i>Graceland</i> without having to google it. Second, it is my only slightly educated opinion that said LP is Paul Simon's best work as a songwriter. His lyrics are inventive, direct, crisp, and moving. The use of visual imagery and metaphor is above and beyond most of else I've heard from him or otherwise. (See <a href="http://stevebrezenoff.blogspot.com/2014/02/cracking-by-suzanne-vega-1985.html" target="_blank">the previous entry</a> for the one singer-songwriter that I feel competes with this LP, and probably she wins, but I digress.)<br />
<br />
"Crazy Love, Vol. II" begins with perhaps my favorite lyric of all time: "Fat Charlie the Archangel sloped into the room." As an author it has been my career-long dream to work "sloped into the room" into a manuscript without blowing it. I hold out hope.<br />
<br />
Beyond that, the playful lead guitar line, the song's sense of humor, the rich cast of characters, including Fat Charlie, the narrator (probably one and the same), and their soon-to-be-ex-wife, create a song that is, at its heart, deeply unfunny, yet manages to feel like the lightest--the airiest--track on this LP. (Maybe "You Can Call Me Al" is lighter. It's certainly poppier. Lighter is debatable, but I think it's unfair to call that song lighter because Chevy Chase is in the video and I know that's what you're thinking.)<br />
<br />
Anyway, here's "Crazy Love, Vol. II":<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/z27tdogalGA?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-18487423322206427532014-02-06T09:51:00.002-06:002014-02-06T09:51:33.068-06:00"Cracking" by Suzanne Vega, 1985It's an odd little song. It's short at two and a half minutes, but feels much shorter, and Vega talks the lyrics like a poet, rather than sings them, and it's on her eponymous debut, which also has the minor hit "Marelene on the Wall" and the song that should be on my top-100 but for some reason isn't, "The Queen and the Soldier."<br />
<br />
"Cracking" opens the LP, and it does it masterfully. Because it's mostly spoken instead of sung, and because it's so sparsely arranged, with almost no drums, and with a casual bass line and long-sustaining synth calls, "Cracking" brings the listener into the record carefully, like the lyrics say--walking on ice. And between each verse, Vega coos a lilting "ahh," until the last verse (there is no chorus), when the bass begins striking its fifths.<br />
<br />
The listener has the impression that our narrator--the voice we'll listen to for the next 35 minutes--is afraid, tentative, and that mood pervades the whole album, with one major exception, which this song sets up: those lilting "ahh"'s, and that last verse, which Vega sings instead of speaks, bringing out the melody as if it had been there all the time if only she hadn't been so afraid. Throughout the LP, the melodies are either stark and jagged, or they are lilting and beautiful, and where one feels afraid, the other feels in love.<br />
<br />
That's the theme of the song's lyrics, too, of course: finding the beauty after moving tentatively through the fear.<br />
<br />
I could go on and on about this LP. It's one of the best ever recorded. The following track, taking its cue from "Cracking"'s ice themes, is called "Freeze Tag." That track snaps, "I will be Dietrich and you can be Dean," and is followed by that minor hit "Marlene [Dietrich] on the Wall."<br />
<br />
Here's "Cracking" live:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/gBjqtAjSYzY?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-75139968594696350702014-01-22T08:19:00.002-06:002014-01-22T08:21:48.117-06:00"Circle" by Edie Brickell and New Bohemians, 1988One of the reasons I started this list was to see what songs my brain and body and heart really went for if all the potential embarrassment went out the window.<br />
<br />
I was a freshman in high school when <i>Shooting Rubberbands at the Stars</i> came out, and I was already slipping comfortably into a neo-hippie, tie-dying wearing idiom, listening to the Dead and Pink Floyd and classic rock radio. As modern bands went, Edie Brickell and New Bohemians was a pretty easy step for me. You'll recall the guitar solo from the LPs lead single, "What I Am," was essentially a Jerry Garcia homage.<br />
<br />
Most of that LP--and this isn't my pride talking--I can take or leave nowadays, preferably leave. But "Circle," which was everyone's favorite song on that album back in the day, still sticks with me. The LP turned up again in my life as a freshman in college, when groups of us neo-hippies would sit around listening to or singing "Circle" in particular along with our Indigo Girls favorites, and I associate the song vaguely with independence and new crushes and all that sort of freshman-in-college stuff. <br />
<br />
Also I still really like her sultry hippie voice. So sue me.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/q_GkjymuQ9U/0.jpg" height="266" width="320"><param name="movie" value="https://youtube.googleapis.com/v/q_GkjymuQ9U&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/q_GkjymuQ9U&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-91042671590201477812014-01-20T09:15:00.002-06:002014-01-20T09:15:25.518-06:00"Call Me" by Throwing Muses, 1986I've <a href="http://stevebrezenoff.blogspot.com/2013/11/beestung-by-kristin-hersh-1994.html" target="_blank">already talked about Kristin Hersh</a> in this series of posts. This song, from her band's eponymous debut in 1986, is a perfect representation of the band's sound in its earliest years: Dave Narcizo's nearly cymbal-less drumming pounds like Hersh's bipolar heart; Leslie Langston's driving bass lines guide the song from mountaintop to valley in spite of Hersh's angular and sort of formless guitar playing; and Hersh's voice and lyrics are haunting, complex, and mad.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/6MwAShC1rnI?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-40650091905103757872014-01-18T23:49:00.001-06:002014-01-18T23:49:30.464-06:00"Brass in Pocket" by the Pretenders, 1979What can you say about Chrissie Hynde and the Pretenders? As far as I'm concerned, she's the first lady of rock and roll, the ultimate hard-working, ass-kicking rock vocalist and songwriter, and the only permanent member of the Pretenders. She <i>is</i> the Pretenders. I hear her influence in everyone from Pat Benatar to Kristin Hersh to KT Tunstall.<br />
<br />
I might have chosen "Don't Get Me Wrong" or "Chain Gang" if I'd made this list in a different mood. In fact, Learning to Crawl and Get Close are two of my favorite LPs of all time, and any number of tracks from either record wouldn't be a huge stretch to show up on this list.<br />
<br />
The original video for "Brass in Pocket" is a classic, and it's below, but I'm also adding a recent live performance so you can see how much ass Hynde still kicks.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/-7Hy7uAb_eU/0.jpg"><param name="movie" value="https://youtube.googleapis.com/v/-7Hy7uAb_eU&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/-7Hy7uAb_eU&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/WKe4j0uT_38/0.jpg"><param name="movie" value="https://youtube.googleapis.com/v/WKe4j0uT_38&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/WKe4j0uT_38&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-38687149366512823262014-01-17T11:24:00.003-06:002014-01-17T11:24:47.591-06:00"Brand New Love" by Sebadoh, 1992<span style="font-size: x-small;">[I actually thought I'd finish blogging about my top-100 songs some time in the fall. Whoops.]</span><br />
<br />
I first heard this song on <i>Tossing Seeds</i>, the compilation of Superchunk early 7-inch and EP releases. They covered Sebadoh, as a lot of the great artists of indie rock did back in the mid 1990s. I remember my cousin saying, "Have you notice how many people cover Sebadoh?" I had not noticed. I was not a Sebadoh fan until I picked up <i>Bakesale </i>in 1994, and I still think of that LP as their best. (Sorry, Gaffney.)<br />
<br />
I bought <i>Smash Your Head on the Punk Rock</i> years later. By then I'd heard "Brand New Love," owing to how much I'd wore down the digital grooves on my copy of <i>Tossing Seeds</i>, but the original Sebadoh version is an entirely different experience. It begins empty and far away, with one sad little guitar lick, and then the bass and drums that make it somehow sadder. Lou Barlow is in typical indie-emo form, his voice as emotionally low as it gets. The lyrics, too, are angry and stark, cynical and decidedly anti-love. When the snare roll and overdrive guitars come in for the chorus, with a decent pair of headphones or your speakers way up and the couch and house to yourself, the noise and melody and drone is a singular experience.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/0RoHeHo84hg?feature=player_embedded' frameborder='0'></iframe></div>
<br />Steve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0tag:blogger.com,1999:blog-1895366599144500963.post-35007322766502055442014-01-01T12:02:00.003-06:002014-01-01T12:03:52.254-06:00New YearHappy New Year.<br />
<br />
2013 was a big year, but all of it was about as personal as it comes. Some of it was awful (medical stuff; we survived), and some of it was awesome (baby girl born two days before Thanksgiving), so all in all it's a year that I can't sum up with "great" or "terrible" or even something as basic as memorable, simply because there was so much I'd like to forget. It was simply BIG.<br />
<br />
2014 can't be as big, and that's fine. We're hoping for a basic year: a book release, a new kindergartener, a baby who will smile and walk and maybe talk--all good things, but things that won't strike us at the very marrow, that won't be life or death, that won't have us lying in bed at all hours, staring into the blackness, quiet together, wondering if the next day will bring a precipice or sturdy bridge, a guillotine or a stay of execution.<br />
<br />
Wow, that was dramatic. I'll get back to that top-100-songs list any day now. Meanwhile here's a wish:<br />
<!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="267">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
line-height:200%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri","sans-serif";
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
</style>
<![endif]-->
<br />
<div style="text-align: left;">
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<a href="http://www.poets.org/viewmedia.php/prmMID/21758" target="_blank"><span style="mso-fareast-font-family: "Times New Roman";">Really I began the day </span></a></div>
</blockquote>
<blockquote class="tr_bq">
<a href="http://www.poets.org/viewmedia.php/prmMID/21758" target="_blank"><span style="mso-fareast-font-family: "Times New Roman";">Not with a man's wish: “May this day be different,”</span></a> </blockquote>
<blockquote class="tr_bq">
<a href="http://www.poets.org/viewmedia.php/prmMID/21758" target="_blank"><span style="mso-fareast-font-family: "Times New Roman";">But with the birds' wish: “May this day</span></a> </blockquote>
<blockquote class="tr_bq">
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<a href="http://www.poets.org/viewmedia.php/prmMID/21758" target="_blank"><span style="mso-fareast-font-family: "Times New Roman";">Be the same day, the day of my life.”</span></a></div>
</blockquote>
</div>
--Randall JarrellSteve Brezenoffhttp://www.blogger.com/profile/17974929351763422930noreply@blogger.com0