Hoy mientras rascaba la guitarra sin más destino que distraerme un rato, he llegado a una rueda de acordes que era la de la canción de los Beatles “With a little help of my friends“. Una canción del  álbum Sgt. Peppers Lonely Hearts Club Band (1967) y escrita por el binomio Lennon/McCartney para Ringo Starr, con el objetivo de que fuera él quien la cantara. 

Ésta es una canción que fuera de la novedad de que fuera para cantada por Ringo (Lennon y McCartney insistieron que Starr cantara la canción, incluyendo la alta nota del final) y de las anecdotas de los cambios de letra ( Starr accedió con una condición: la introducción tuvo que ser cambiada de “What would you do if I sang out of tune? Would you throw ripe tomatoes at me?” (¿Qué haríais si cantara la nota incorrecta? ¿Me arrojaríais tomates maduros?) a “What would you do if I sang out of tune? Would you stand up and walk out on me?” (¿Qué haríais si cantara la nota incorrecta? ¿Os levantaríais y me abandonaríais?) dice la leyenda que porque en algunos conciertos las fans le tiraban realmente tomates…pues al margen de curiosidades no es una de esas que me apasionan, sobretodo la de los Beatles y ya es raro.

En cambio es una canción que da un giro radical en las versiones que han hecho otros artistas, en especial destacar a Joe Cocker que sometió el tema a una reestructuración radical de la original, en un más lento, compás de 6/8, en un tono diferente, con diferentes acordes en el ocho del medio, y una larga introducción instrumental (con batería de B.J. Wilson, del grupo Procol Harum, y líneas de guitarra de Jimmy Page). Se utilizó como tema musical de apertura para la serie de televisión americana Aquellos maravillosos años y es  uno de esos temas que pone la piel de gallina.

Aqui os dejo como lo interpretaba en un estado de seminconsciencia Joe Cocker el año 1969 en Woodstock.

Una versión más actual del año 2002 con Bryan May a la guitarra.

Y una de las versiones que a mi particularmente me gustan y es la realizada por Bon Jovi en muchos de sus conciertos…digamos que es uno de sus covers favoritos y de los mios…

Con estás adaptaciones el tema subiria bastante del número 304 que la situó la revista Rolling Stones en su lista de “Las mejores 500 canciones de todos los tiempos” de la cual hablaremos en otro post.

Joe Cocker 40 lat temu… Kto by pomyślał? Wyłączyć dźwięk i ni chu chu nie poznałbym tego chuderlaka w długich włosach.  Kawał czasu, a on wciąż alright

Chart Position: 22

• Written by Joe Cocker and Chris Stainton
• Produced by Denny Cordell
• Instruments: Chris Stainton Band

I grew up listening to the Beatles and for a long time considered them my favorite band. In hindsight, the fact that they were iconic and popular even decades after breaking up may have influenced that decision. The Beatles wrote their songs, worked on them, performed them and recorded them. The final result seemed as though each song had to be the perfect incarnation of the original thought that was its genesis. If it was intended to be any different, it would have been done that way. For this reason, any remake of a Beatles song could only be inferior to the original. It could never have the same authenticity as the original or truly embody the intentions of the authors.

For what reason I am not really sure, but I have always held originality and authenticity in the highest regard. When it came to music, any artist that wrote his own songs felt more authentic than one who did not. When it came to movies, I gave more credit to those that seemed most fresh and showed me images, effects and stories that I had not been introduced to before. Authors had to impress me with their style or plot in a new and interesting way in order for me to hold them in the absolute highest regard.

But why? When a person creates something original, they are inevitably just combining  their own unique influences in their own unique way. They may be brilliant for doing so but whether or not their work is interesting or beautiful or meaningful has absolutely nothing to do with their “originality”. It has everything to do with the manner in which the reader or viewer interprets the subject and his own personal interests and definitions of beauty and meaning. Once a thing is created, the intentions of the creator are irrelevant. The work will always contain a blend of intended and unintended elements and be perceived in many different ways. And if they are truly the first to do something, does that necessarily make them the best at it? I would argue not.

I still fall into those patterns but I try to be aware of my biases and account for them when I can. I find that when you aren’t preoccupied on some level separating the thieves and plagiarists from the owners and artists, the world is a far more interesting place.

As for the Beatles, I still enjoy their music greatly. But part of what prompted this change in thinking is that I have heard three songs by Joe Cocker in which he covers a Beatles original – “With a Little Help From My Friends”, “She Came In Through the Bathroom Window” and “Come Together”. In my opinion, all three are better than the originals.

L’evento musicale più importante degli anni sessanta, ma non solo, è stata la tre giorni di pace, amore e musica di Woodstock. Il più imponente festival rock che si ricordi, il simbolo di una generazione, quella hippy, che ebbe vita breve ma tutto sommato felice. Il momento culminante di quella manifestazione, a parte i figli dei fiori nudi in mezzo al fango, è la straordinaria esibizione di un giovane Joe Cocker, riccioli al vento, basettoni improbabili, che interpreta With a little help from my friends dei Beatles (qualcuno dirà che è stato Jimi Hendrix il momento culminante, qualcun altro gli Who. va beh).
È difficile trovare interpretazioni di brani dei Beatles all’altezza degli originali, per una serie di buoni motivi. Questa versione strapazza l’originale, è forse l’unico caso. Per i Beatles era un episodio nel loro album più importante, un giochino da mettere in bocca a Ringo Starr, Joe Cocker l’ha resa soul e arrabbiata e con quella sua voce abrasiva e quelle movenze da pazzo si è guadagnato un posto nell’Olimpo del Rock, prima di perdersi nell’alcool e in una carriera spesso banale.

Fook, har jeg sovet? Ja litt, men ikke mye.. Mye tanker som svirrer nå som jeg kommer nærmere og nærmere flyttedatoen. Shit jeg gleder meg. Lord. Er litt skummelt også… Jeg kjenner jeg har litt sommerfugler. Jeg får vell prøve å få sove litt til.. Siden jeg bør stå opp om 6 timer-ish

You’re everything I hope for, you’re everything I need!

Después de un exahustivo estudio sociológico y unas encuestas realizadas a pie de facebook, comienza aquí una serie de posts mostrando las versiones de canciones que son mejores (o por lo menos igual de buenas) que las originales. Comenzamos pues.

With A Little Help From My Friends, canción escrita por Lennon y McCartney para que la cantara Ringo. Como pasa siempre con las versiones de los Beatles es complicado discernir entre si es mejor la original o la versión. De todas formas, en lo que no hay discusión es que Joe Cocker cambia totalmente el ritmo de esta canción, canción que por cierto, grabó con Jimmy Page.

The Beatles.

Joe Cocker en Woodstock del 69.

Harry Potter Fan Sean Buban writes another beautiful song about love.

Quote:
That feeling you get inside when you think about someone you loved but never found the chance to be with them, or the feelings about knowing that vibe a special person can make you feel. This video visually is to give that feeling and describe the lyrics. This is a love song.

Sean’s made an interesting video with clips from different movie characters to be a part of his music video.

hermoine granger emma watson the idea girl says

sean buban is superman the idea girl says

Billy_Preston songwriter you are so beautiful emma watson the idea girl says

joe cocker you are so beautiful to me emma watson the idea girl says with billy preston bruce fisher sean buban youtube

Bruce-Fisher-99 singer songwriter guitarist you are so beautiful to me joe cocker billy preston the idea girl says

Galleria Selätyksen avajaisbileet olivat eilen suuri suksee, oli tuttuja ja paljon uusia tuttavuuksia saimme mukaan. Kuhina ja porina oli kutkuttavan huikeaa. Juomaa ja naposteltavaa riitti vielä tämän päivän rääppiäisiin saakka. Mutta ilman ystäviä ja blogistanian yhteisöllisyyttä ne kekkerit eivät olisi onnistuneet. Tämän päivän biisiksi valikoitui kuin luonnostaan tämä Lennon/McCartney klassikko ja esittäjänä tällä kertaa Joe Cocker:

- With Little Help From My Friends -

Kiitos Kaikille rattoisasta illasta!

Alun alkujaan biisi ilmestyi Stg. Pepper’s Lonely Hearts Club Band -albumilla vuonna 1967. Joe Cocker vetäisi biisistä ikimuistoisn esityksen vuonna 1969 Woodstockin festareilla ja biisi löytyy hänen samana vuonna ilmestyneeltä ensimmäiseltä studioalbumilta, nimeltään ‘With Little Help From My Friends‘.

earlier this week, i droned on in a post about my ears being blessed with the sweet sound of william fitzsimmons. from there, a twitter exchange began between myself and two other ladies, janey and mia, a blogger, writer and interview-extraordinaire for all things music, tattoos and lesbians (read some of her interviews and hilarious quips here: afterellen.com and chicagonow.com — am i missing any?)

what i found out during this exchange: apparently, i have a penchant for bearded men. and thus, this week’s top 5 bearded beasts of wanderlust was born.

joe cocker :: delta lady

i would be remiss to not include the legendary joe cocker. my absolute number 1 of his, is delta lady. in fact, if ever my buds and i step inside the infamous dive bar tin-n-lint here in ‘toga (THE very spot where don mclean wrote american pie. no foolin’.), i MUST play this song on the jukebox. if someone threatens to leave before it plays, all hell breaks loose. viva el cocker!

ray lamontagne :: jolene

(come on, you obvy knew i’d include him.) jolene was my initiation into ray. it is what made me fall madly in musical love with him, and i will never forget how it hit me right in the ticker with such a powerful thud. i mean, who writes this beautifully? “a man needs something he can hold onto / a 9-lb hammer / or a woman like you / either one of them things will do.” STOP IT.

the black keys :: things ain’t like they used to be

this song really needs no explanation. maybe it’s the emotion behind his voice, maybe it’s just the incredible way he manages to soothe a broken heart. all i know is that i play it over and over and over and …

bob schneider :: a long way to get

i posted this song before, i know. but yes it’s so good, it deserves a double-take. when i think of schneider, i think of home. and i think of her. but mostly, i think about how much life–even at 31–is left to live. this song just manages to keep my head above water, and there are many days when i need that as much as leo needs to drop boonies in eli’s box immediately upon arrival at aunt carey and uncle robby’s.

the black crowes :: nonfiction

if i would be remiss not to include joe cocker, i would be a bloody fool to leave out the man, chris robinson. this beauty of a song makes me want to lie down in the warm summer grass and make out between sips of beer.

enjoy, friends. and happy friday.

because

and

“You’re just to good to be true!”

Nu pot sa iti spun decat

About a month ago, I felt as though we were being teased by a single off the solo debut of Julian Casablancas. Listening to “11th Dimension” left me wondering if the finished product would be nearly as good. As it turns out, it’s a gem of an album and one that will surely be making the top ten in several “best of 2009″ lists. I know it will be in mine

YDP Reviews Talks About:

Julian Casablancas : Phrazes for the Young

I'm so 70s it hurts

Do you remember where you were when you first heard the Strokes debut record, Is This It. It was the fall of 2001 and I know exactly where I was; in a friend’s car jamming out to DC 101. God, that was a fantastic rock album. Do you remember the follow-up album Room on Fire (2003)? While less fun than their debut, it was a more complex album that left us with fantastic tracks like “Reptilia,” and “12:51.” Three years passed and First Impressions of Earth (2006), an under appreciated work, came and left just as quickly. And now, facing down the end of the first decade of the 2000s, we’ve only been gifted three records from one of the most promising rock bands of the last ten years. But what if you’re hungry for more? Well it’s too bad, wait a little longer because I’m sorry but this is not a new Strokes record. REPEAT. This is not a new Strokes record. No, what you get is an awesome solo debut from Julian Casablancas titled Phrazes for the Young. REDUNDANT WARNING: Do not think this is a Strokes album…otherwise you might be disappointed.

So what is Phrazes for the Young? In a nutshell it’s vintage Casablancas over a synth infused pop rock sound that straddles the soulful folk ballads of the late 60’s/70’s and the dance music of the 80s. Yes, by definition that would not be vintage Casablancas, but trust me, I have no other way to explain it, and it works. It works very, very well. You see there are only 8 tracks on this 40 minute record and while it’s no masterpiece it’s a hell of a good album. I can’t stress enough, do not compare this record to any of The Strokes’ releases. Jam packed with an amazing array of wonderful compositions, these songs are not stripped down, but instead they’re layered rather meticulously with few exceptions; perhaps a nod to the contemporary classic (80s) music it’s emulating. This album is Julian Casablancas experimenting with sounds and styles, stretching beyond the rock ballad singer archetype he’s so far been bound to.

Lyrically, the record has the depth of a wading pool. With tracks like “Out of the Blue” Casablancas drags us through light poetry with lines like “Yes, I know I’m going to hell in a purple basket/At least I’ll be in another world/But you’ll be pissing on my casket.” But, keep in mind, we don’t listen to him for his mind bending lyrics, but it’s his delivery style that has us hooked (I mean go back and read the lyrics for every song on Is this it, I dare you). But that’s the point, his delivery style is an effortless motion where the track is more like a playground that he dances around and sometimes along the way he may or may not address some sort of social absurdity.

On “Glass,” Casablancas delivers a minimalist lyrical effort, over what I can only describe as Animal Collective-y sound. I’d say the focus is on the sound of the lyrics and less in the content. And really, that bleeds this discussion into the general sound of this record.

As straightforward as I can say it, this is way more English 80s Electronic movement than late 50s garage rock sound. Obvi. But there are still a few curveballs. “4 Chords of the Apocalypse” completely changes the tone and sounds like a cover of a Joe Cocker. Immediately following it is “Ludlow Street,” an alt-country composition. The textures of each track are poppy enough to grab hold, yet maintain enough substance to discover something new on each return. I love it.

I say this is a fantastic and adventurous debut release from a very talented rocker. I dont want to see him give up The Strokes, but I wouldn’t mind hearing more solo releases from Casablancas in the future. Really, this album isn’t perfect by any stretch of the imagination, but it’s a nice coda to a fantastic decade of sound. It’s almost poetic really. So Julian Casablancas, you’re already the epitome of Gen Y cool, but the world will continue to welcome you and your music with arms wide open.

3.5/5 high fives

Take a listen to a few great tracks courtesy of TheHypeMachine:

Left & Right in the Dark

Out of the Blue

… Findes der mænd, som i de amerikanske film. Mænd, der er solbrune, veltrænede, uden hår på brystet og med de helt rigtige skægstubbe. Alle er de arbejdende mænd, med et job som naturligvis kræver en uniform – piloten, brandmanden, håndværkeren eller livredderen. Mændene er omsorgsfulde, følsomme, har glimt i øjet og så kan de synge med på Joe Cockers ”Up Where We Belong”.  Det er budskabet som Fleggaard i år, ovenpå sidste års kæmpe succes med halvnøgne/nøgne kvinder i røde bikinier og faldskærme, forsøger at lokke i os kvinder.

Mændene var solgt sidste år og en af reklamefilmene blev en viral succes og kåret som verdens bedste af Michael Arrington, den indflydelsesrige blogger fra Silicon Valley. Læs mere her

Virker reklamen?

Som kvinde sidder jeg tilbage og tænker – jeg har sgu da været lige over grænsen (læs i Tyskland/ Fleggaard) mange gange og de mænd har jeg aldrig set – tværtimod! Det jeg så var nok mere noget a la høj og ranglet eller lille med ølvom og pølse i hånden…

Selv synes jeg, at sidste års reklame var lige i øjet og lige til grænsen. Men årets reklame til kvinderne er i min optik lige under grænsen. Måske bliver jeg bare ikke fanget af knaldtilbuddet: Omo 6,4 kg. Color eller White til 75 kr.? Måske er der for lidt sex i reklamen, i hvert fald i forhold til sidste års reklame? Eller måske er kvinder bare ikke ligeså lette at narre, som mænd?

Det bliver interessant at følge den nye reklame og Fleggaardmændene og deres Facebookprofil. Kommer I til Fleggaard piger?

Dette års reklamefilm:

Sidste års reklamefilm kan ses her 

You are so beautiful to me
You are so beautiful to me
Can´t you see
You´re everything I hoped for
You´re everything I need
You are so beautiful to me

Such joy and happiness you bring
Such joy and happiness you bring
Like a dream
A guiding light that shines in the night
Heavens gift to me
You are so beautiful to me

I’ve mentioned a few times that my fella is a current source of musical knowledge. But back in high school, it was someone else entirely, a friend I’d had since first grade. She was tall for her age, always, and advanced both physically and culturally. Thanks to a hip dad and a hip brother, she possessed an immense familiarity with the music of the ’60s (in fact, both her first and middle names were tributes to classic songs of the era). And she was eager to share.

Thus it was that she played Cream’s “White Room” for me, which I pretended to like. And “Reach Out of the Darkness,” which I really did like — it was so groovy now, that people were finally gettin’ together! Both of these songs I still associate with high-school gym class, and with a shared set of Walkman headphones. Those were the days when the gym teacher had given up all hope of getting any of us to participate, and let us saunter around the gym perimeter or lounge on the bleachers instead. Your tax dollars at work.

My friend also educated me on other matters musical, such as when I asserted that “Hello, I Love You …” was by the Beatles. Or when, as a fan of “The Wonder Years” and its mellow, aching theme song, I reported with disgust that I’d heard another band try to pull off a bouncy version of said song. The songs in question were, respectively, Joe Cocker’s take on “With a Little Help From My Friends” and the Beatles’ original.

If I dwell, my memories of this friend are wrapped up in all sorts of teenage conflict and heartache, because she was also busy having s-e-x and going to parties and this was the era when we, after years and years of friendship, started to split ways. But I didn’t go so deep this morning. Instead, I thought about happy times listening to Cream and the Beatles and lounging on bleachers — if not a physical education, a musical one to be sure.

Mijn fantasie neemt vaak de overhand. Gek zijn is gezond zeker, of tenminste , dat beweren ze toch. Wel, ik kan jullie zeggen: indien dit een vaststaand feit is, ben ik een zeer gezond iemand, geloof me. Fantasie brengt me naar de gekste plaatsen, ik maak er de meest fascinerende dingen mee, en bovendien, het verveeld me nooit …

Gisteren nam een ui me mee naar een meeslepende striptease, gelukkig had ik mijn fotomakerke mee en kon ik alles mooi vastleggen. Want ik wil jullie allemaal laten meegenieten van het spektakel …

Baby, take off your coat …
Take off your shoes …
Baby, take off your dress …
Yes, yes, yes …
You can leave your hat on …

“A song for you” es una hermosisima canción que canta Karen Carpenter, (hagan click en las ligas que aparecen en diferente color al texto para escuchar las canciones) -”A song for you“- ya se acordaron cual era, bueno pues ahora dejenme comentarles que este bello tema es original de Leon Russell (cantada por él) a quien tuve la suerte de conocer en un festival que hubo en el Toreo de Cuatro Caminos en 1999 con motivo de los 30 años de Woodstock, lo encontre en “back stage” alto y gordo y con su sombrero de copa y baston, su blanco pelo largo sobre los hombros, me detuve y lo salude, le comente la gran admiración que le tenia y me asegure que supiera que me gustaban mucho tres de sus canciones: “A song for you”, “Mascarade” y “Lady Blue”, asombrado me pregunto mi nombre y que hacia, le dije que programaba una emisora de radio, entonces en su perfecto ingles me dijo, cuando las toque en mi presentación considera que son dedicadas para ti, luego cuando sentado al piano se disponia a iniciar, como por un milagro, su mirada se encontro con la mia y alzando la mano como los toreros y me brindo su interpretación. Pero qjuien es Leon Russell, bueno pues nacio en Lawton, Oklahoma el 2 de abril de 1942, su nombre original es Claude Russell Bridges, comenzo a estudiar piano clásico a los tres años y luego a los 13 adopto la trompeta y formo su primer banda, mas tarde se convirtio en musico de apoyo de  Jerry Lee Lewis, a los 16 se fue a vivir a Los Angeles y alli estudio guitarra y participo en sesiones con Glen Campbell, pronto se convirtio en un reconocido musico de sesion y se integro al grupo de musico del estudio de Phil Spector. Russell participo en muchas grabaciones de los mas importantes exitos de los 60’s, tambien hizo arreglos para canciones clasicas de Ike & Tina Turner como “River Deep, Mountain High”; exitos de The Byrds como “Mr. Tambourine Man,” de Gary Lewis & the Playboys la canción “This Diamond Ring,”  y el tema de Herb Alpert -”A Taste of Honey.” Asi su primer gran exito llego con la interpretacion de Joe Cocker a “Delta Lady” y en 1970 organizo la gira de este artista conocida como “Mad Dogs & the Englishmen” que seguramente muchos conocen y si no conocen ese album doble seria bueno que lo compraran ¡es excelente!.
Tambien aparecio en el Concierto para Bangladesh al lado de George Harrison, seguidas de sesiones con B.B. King, Eric Clapton y Bob Dylanm luego hizo gira con los Rolling Stones, todo lo anterior se los comento solo para que vean el tamaño y la importancia de este musico y compositor y con ello poder fundamentadamente recomendarles varias canciones para que las escuchen y las compren no se van a arrepentir: “This Masquerade” con George Benson y “A song for you” con cualquiera de los siguientes interpretes: Ray Charles, Whitney Houston, Mariah Carey que viene incluida en su nuevo album 2009, Christina Aguilera, Donnie Hathaway, The Temptations , Michael Buble y por supuesto con The Carpenters.

“For me, the focus are songs, which really get the audience moving.”

Joe Cocker – With A Little Help From My Friends

Joe Cocker – Darling Be Home Soon (1969)

“This is Tom Jones” feat. Joe Cocker and the Grease Band

Joe Cocker Mad Dogs – Cry me a River 1970

Joe Cocker – Delta Lady (Mad Dogs & Englishmen, 1970)

Up Where We Belong JOE COCKER & JENNIFER WARNES

http://www.youtube.com/watch?v=CFYtpTot7hQ

Joe Cocker – “One”

http://www.youtube.com/watch?v=p_Cp8l396Lw

Eric Clapton Joe Cocker Worried Life Blues Live TV Recording

Joe Cocker – Unchain my Heart [1987]

Joe Cocker – Something

joe cocker – a woman loves a man

You Are So Beautiful

Alex Britti, Joe Cocker & Pavarotti

Joe Cocker – Whiter Shade Of Pale Live

Joe Cocker – The Letter (London 2007)

Joe Cocker – Edge Of A Dream

Joe Cocker “The Letter” in live 1970 (MAD DOGS & ENGLISHMEN)

http://www.youtube.com/watch?v=4RnjWLVyMps

Joe Cocker – Just Like Always

Joe Cocker – Simple things

“The world is a tougher place to live in than it was back then, as we come into the computer age.”

AllStars & Joe Cocker live “Every kind of people”

Background Articles And Videos

Joe Cocker

“…John Robert “Joe” Cocker OBE (born 20 May, 1944) is an English rock/blues singer who came to popularity in the 1960s, and is most known for his gritty voice and his cover versions of popular songs, particularly those of The Beatles. He is the recipient of several awards, including a 1983 Grammy Award for his song “Up Where We Belong”, a duet which he performed with Jennifer Warnes. …”

http://en.wikipedia.org/wiki/Joe_Cocker

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(a previous post from the former NuPoppa blog)

INT: Portland International Airport. It’s the Continental overnight flight from Portland to Newark. People are milling about, attempting to wipe the sleep from their eyes as they prepare to board. DOUG had just come from California earlier in the day, where he was working for three days. He had about a couple of hours to drive out to his in-laws to have a quick dinner with his wife, in-laws and son. He is on his way back to Philadelphia to go to the funeral of his 101-year old grandfather. He is tired, bags under his eyes, but seems to be rallying. The elite passengers are called to board and DOUG ambles to the gate and meekly hands his boarding pass to the agent. A wan smile is all that can be mustered as he lopes to his seat on the plane. As is his habit, DOUG leans his head down on the window and tries to get shut-eye. He has always seemed to have had bad luck with seatmates and this is his way to show that he’s really not interested in conversation.

(Music up: “A Wink and a Smile” by Harry Connick, Jr.)

A mop-headed boy walks towards the seat next to DOUG. He looks to be around 8 or 9 years old. He is carrying a green backpack. His MOM and SISTER settle in the seats across from the boy named TOBY.

TOBY
Hello.

DOUG
Hi. How are you?

TOBY
I’m good.

(Music up: “Make Someone Happy” by Jimmy Durante)

TOBY pulls a handheld video game out of his bag. He fires up a basketball game. He is also a big Celtics fan, being from New England. DOUG leans over to see what’s going on. TOBY notices that DOUG is watching the screen and politely tilts it towards DOUG so that he can get a better look.

TOBY
It’s an NBA game. But there are WNBA players and you can’t really pick the players that you want. See? Ray Allen is playing for the Warriors and some WNBA player is on the team.

DOUG
Yeah, that’s kind of weird.

TOBY
Yeah, but it’s still a fun game. What team do you like?

DOUG
Portland Trail Blazers.

TOBY
Yeah, they’re good.

(Music up: “Dreams” by The Cranberries)

DOUG turns his attention to his iPhone, where he begins playing Tiger Woods PGA Tour. TOBY leans over to get a better look. DOUG tilts it towards TOBY and shows him how to play the game. DOUG, who usually ends up with 400-pound, sweaty people next to him on flights, smiles because he’s enjoying sharing video games with his seat-neighbor. DOUG starts thinking about his little son.

(Music up: “Over the Rainbow” by Harry Nilsson)

TOBY’S MOM leans in from the other row to make sure that he’s not bothering DOUG. DOUG gives her a little wave that implies, “nah, everything is cool.” By this point, DOUG is showing TOBY pictures of his son on his iPhone. DOUG tells TOBY why he’s headed back to New Jersey. MOM leans over again to say something to TOBY but he beats her to the punch.

TOBY (loudly)
HE’S GOING BACK TO NEW JERSEY BECAUSE HIS GRANDFATHER DIED!

MOM winces at that comment but DOUG laughs it off thinking, “ah, kids.” DOUG finds out that TOBY is almost 9 and he begins to think about his own son and what he might be at 9 years old. He also thinks about the things he would say to his son at 9 years old.

(Music up: “Over the Rainbow” by Harry Nilsson again)

Before the flight takes off, DOUG teaches TOBY how to keep electronic devices on and hidden from flight attendants. If here were older, he would teach him the “briefcase trick” where you can get more legroom in coach. In gratitude, TOBY pulls up his green backpack and opens it.

TOBY
You want some candy? I’ve got Nerds, Twizzlers, Sour Patch Kids. Oh, and a juicebox.

DOUG
No thank you, I’m cool.

TOBY
Really?

DOUG
Yep.

TOBY
How did your grandfather die?

DOUG is taken aback a little, but pauses. Now that DOUG is a father himself, he sees this as what all of the fu**ing books like to call a “learning opportunity.”

DOUG
Well. He was just old.

TOBY
How old was he?

DOUG
101.

(Music up: “In the Wee Small Hours of the Morning” by Carly Simon)

It takes TOBY a second to absorb that large number. He leans over to his MOM.

TOBY
HE WAS 101!

TOBY’S MOM gives a quasi-approving nod with that move where the eyes get wide open out of fear that someone (DOUG) was offended. She mouths “I’m sorry” to DOUG. DOUG, now realizing that TOBY is very nice and looks like the kid from “Sleepless in Seattle,” his favorite movie, just lets it slide and mouths “no problem” to MOM.

(Music up: ah hell, let’s go with “Bye, Bye, Blackbird” by Joe Cocker)

The plane’s door is about to close and the flight attendants ask that all electronic devices be shut off. DOUG and TOBY look at each other, smile and bury their games under their arms.

(Music up: “Gotcha”, The Theme From Starsky and Hutch by Tom Scott. What? I ran out of relevant songs on the “Sleepless in Seattle” and “You’ve Got Mail” soundtracks — cut me a break.)

(END OF SCENE)

—————

Script Notes

The part of DOUG is played by John Cusack. Or Tom Hanks — whoever is available. Or, if neither of them are around, maybe David Spade.

TOBY is played by Ross Malinger, the actual Jonah Baldwin in “Sleepless in Seattle,” but he is somehow magically transported back to what he looked like back then.

MOM is played by the ever cool Kathy Najimy.

We couldn’t find a role for Meg Ryan. Sorry.

However, we gave five roles, in later scenes, to the world’s coolest person, Zooey Deschanel. All of those roles were Zooey just acting like Zooey but she’s so cool, it doesn’t really matter now, does it?

This script was not done using Final Draft, but I do know how to use the program.

I do like Nora Ephron and I wish her, Meryl Streep and Amy Adams the best of luck with “Julie and Julia.” Please note, the chances of Nora Ephron reading this are highly remote. But, in case you are, let’s have a lunch at The California Canteen on Cahuengua, I’d like to pitch you this story. It was really cute.