Today’s theme music is another feline inspired choice from last night.
I’d opened a tin of food for them. “Here it is. Come and get it.”
The three floofs sat there with ‘the look’ on their expressions. The look claims, “Who are you? Why should I trust you?” Do you know this look?
“Seriouslyre you kidding? This is food. I’ve been feeding you for years.”
The three cat expressions soured. “Food? What is that?”
I had to walk away. “It’s there when you want it,” I threw over my shoulder. Meanwhile, I’d begun humming the Badfinger song, “Come and Get It“, (1969). It always seemed like an odd song to me, this McCartney ditty, but it stays with me.
After a few minutes, I checked on the food, verifying, et. The three boys were off grooming themselves like nothing had happened.
Today’s song was selected with some floof input. While in the kitchen during operation brekkie, the resident panther shoved against me calves and yelled at me. “stand back, please,” I replied. “Let me finish this and I’ll give you a treat.” As the cat tottered away, Peter Gabriel sang, “Stand back,” from “Steam” (1993) filled my mental stream.
Read a QAnon post yesterday about how JFK Jr’s secret son could be Donald Trump, Jr. JFK Jr isn’t dead; secretly still alive, he escaped the assassination attempt that was the plane crash which purportedly killed him.
In response, I thought of “De Do Do Do, De Da Da Da“, a 1980 song by The Police about simple words and logic that ties you up.
“Come as You Are” always spoke to a oneness for me. Friend, enemy, memory? These matters become fused, and speaks to trust and messy agendas. “Why are you urging me to come there? What are you up to?”
Today’s theme music, “Every Breath You Take” by the Police (1983), was an obvious and unoriginal choice. Coaxed out of the cerebral cortex by images on the TV and net of law enforcement officers watching and attacking protesters, it works on multiple levels about watchers, watching, and being watched. Besides those confrontations, we’re watching COVID-related numbers, election events, and government actions as we gyrate about the best course to kickstart the money machines and normalize life as the case numbers rise.
The Police’s stalking song feels about right on this day in 2020.
Yeah, a free association flow today ended up with this song. It started with writing.
Yesterday morning…stalled on writing a scene. Overthinking it, my home-grown inner writing coach screamed. “Do it!”
Despite that exhortation, I resisted and fiddled. Knowing self, though, finally opened doc, went to scene, started reading and fiddling with words. Then, ah…sweet relief as sentences flowed in and out.
Then, pop: revelation. Surprise. Unseen connections and directions illuminated. Go: write like crazy.
Done with the one-handed writing for the day, the writing continued in my gray space — the brain, yeah, but also those nano vacancies visited while watching TV, petting a cat, searching the sky, scrolling the news — and new nuances proliferated. As it happened (continuing in dream material), it came at last as another piece in the characters’ stained- glass personae: desire.
Who they think they are, claim to be, try to be, fail to be, are seen to be, were before, dream to be, and are said to be punched together.
So, today’s theme music is U2’s “Desire” from 1988.
Nominating a cocky upbeat song from de ol’ days (1990) that spurted into the music stream this AM for today’s theme ditty. Has an infectious espresso-shot dance rhythm that picked me right up like a cheap distraction for a new affair. Glory to you, glory to you, take me there. As happens too consistently in this time of my life, recollection about the song is loaded with that sadness that another talented performer, this time Michael Hutchence, died before we were ready. He was definitely a rock star.
This is sort of an unusual choice, via a circuitous route.
First, outside, looking for the comet, NEOWISE. About 10:30ish PMish. The sky is og, so clear, and the night is empty church quiet,
Up visiting comes the house pantera, whining, whining, whining for attention as is his way. He gets some head skritches, as is my way. Exception is suddenly taken by him, as is his way. A warning is issued: you’re doing it wrong. Stop, or I’ll bite.
I stopped. He tottered off (as is his way). Now I’m looking at the sky but thinking about him getting ready to bite the hand that feeds you, a stream that conjured Nine Inch Nails and “The Hand That Feeds” (2005).
On one side, when thinking of the song, I think of mask slackers. They claim that maskers are sheeple. By stepping out of line, mask slackers believe they are fighting the system. Masks are only useful (to them) as signs of oppression.
Maskers, of course, say, no, this isn’t a symbol of oppression, it’s a willingness to protect and be protected. It’s not about oppression at all.
Addressing another point I see in the song, dropping down to one knee is a protest against the system. But the song — and history — will have you on your knees if you’re being subjugated. This gives taking a knee it’s power; while others stood, Kap dropped to one knee. He did it to make the point, I’m not standing for this anthem. But dropping to a knee reminds us of being subjugated, and also says (in sports), hold up; pause. Take a break. But by taking a knee — especially in the modern NFL, that was interpreted by many as biting the hand that feeds.
Whoa. That was Lou Dobbs promoting the idea that SCOTUS justices Gorsuch and Kavanaugh were part of the deep state out to ‘get Trump’. I craughed, which is a cringe modified by scoffing laughter. Into this came a 1983 Human League song, “(Keep Feeling) Fascination“.
Just looking for a new direction In an old familiar way The forming of a new connection To study or to play
And so the conversation turned Until the sun went down And many fantasies were learned On that day
Michael Seidel, writer 