La banda de pop sueca The Cardigans se formó en el año 1992 y alcanzó popularidad a nivel mundial en 1996 cuandó editó su tercer disco, First Band On The Moon, que incluyó la canción Lovefool, que representa hasta la fecha el mayor éxito en la carrera de la agrupación nórdica.

The Cardigans obtuvo muy buena repercusión con su siguiente álbum, Gran Turismo, donde se puede encontrar el hit My Favourite Game, pero no así con los que vinieron después, Long Gone Before Daylight, de 2003, y Super Extra Gravity, de 2005.

Actualmente, la vocalista de la banda, Nina Persson, se encuentra más avocada a su proyecto paralelo, una banda que se llama A Camp y que este año sacó a la venta su segundo disco. La última noticia de The Cardigans fue una recopilación de grandes éxitos que se editó en 2008 y por ahora no hay indicios que permitan suponer una nueva reunión.

Los dejamos disfrutar de Lovefool…

Más bandas que se perdieron en lontananza…

Modjo

Fool’s Garden

Blind Melon

Bloodhound Gang

4 Non Blondes

Eiffel 65

Aqua

The New Radicals

Lou Bega

I know it’s thanksgiving and I’m sitting on a poo-poo platter of remixes that I wanted to share. So here we go! And be thankful g-dammit!

Rihanna vs Kid Sister – Disturbia vs Control
Martin Solveig – Boys & Girls (feat. Dragonette) (Bart B More Dans Tes Rave Remix)
The Cardigans – Lovefool (Barletta Edit)
Mika – Rain (Benny Benassi Remix)
Amanda Blank – Shame on Me (Viking Remix)
Little Boots – Remedy (Triple Owl Remix)
Kesha – Tik Tok (Chuck Bucket Mix)
Lady Gaga – Bad Romance (Richard Vission Club Mix)

Bubble gum, skating rings, beanies, summer heat, ice cream on a hot day, flavored chap stick, stripes .. Cyprus!

Ou

Pokemon laifeistaile

(serio não acredito que não fizeram essa piada ainda kk)

_________________________________________________________________________________

WILD BRASIL APPEARS!

GO! ITAIPU!

ITAIPU USES BLACKOUT!

IT’S VERY EFFECTIVE!

BRASIL FAINTED ):

ITAIPU EARNED 63 POINTS OF EXP

1ºMe violentem sexualmente pelo atraso na piada
2ºPaulo Coelho fica esperto vo te quebra no busão
3ºRessuscitei dentro da panela de arroz agora to de volta(acho?)

FAEL

Hace días platicaba con un amigo sobre esas “señales”   que las chicas pueden llegar a dar y que pueden servir para dar un paso más para llegarles, claro que si le gustas  esas señales pueden llegar a ser más que obvias pero en ocasiones como me pasa en recurrentemente a mí, pues me hago pendejo no se creo que será mi constante miedo al compromiso lo cual se que está mal

Y como últimamente traigo rollos con algunas chavas  y me traen medio confundido porque me hago nada mas guey y nomas nada, a veces pienso que no valgo madres porque solo le causo daño a alguien pero nel se que a  mí también lo han hecho, sobre todo esa que trayendo novio le gusta andar haciéndola de liberal, pero en fin como alguna vez me dijeron pretendo a plicarla,: para eso son las relaciones para hecharlas a perder ya llegara la indicada y en ese momento te daras cuenta por lo pronto anda con tanta pueda,ja cagado eso no. anyway   he aquí algunas de esas señales que supongo que  ya las conoces porque mis lectores imaginarios son todos unos pimps. De hecho soy el menos indicado para dar este tipo de consejos.

MIRADAS PISPIRETAS

Como dicen ñoñamente los ojos son la ventanas hacia el alma o no se qué chingados pero esta por mas que obvio que cuando una chica voltea a verte y rápidamente cambia la mirada es porque a fuerzas le gustas si no te das cuenta de esos estas bien pendejo carnal, bueno ya cuando la conoces al momento de platicar si su mirada se dirige a tus ojos o la boca ya tiene puntos a tu favor  galán.

COMO LO MENEA.

Mientras mas cerca se pega una chica a uno es mas su interes bueno es creo yo no se si difieras, al igual el contacto físico el cual es un arma de dos filos ya que hay chicas que les encanta el contacto físico sin llegar a ser putilla lo cual a mi me encabrona ya que me pude llegar a confundir ese tipo de chavas  y por alguna razón son de las que con mas me toca salir.

ELLAS

Esto se sabe desde primaria, las amigas son un punto importante cuando una chava quiere contigo, no falta l gorda del grupo que murmulla cada vez que están juntos, o las que se rien o que se van para no hacer maltercio, por alguna razón las gordas son las que siempre se quedan para seguir molestando una razón mas por lo cual odio a las mega puercas.

THE WAY SHE TALKS

Pendejamente me doy cuenta reciente mente lo cual indica mi poco interés hacia las platicas de las chicas casi siempre me pongo a pensar en capítulos de los Simpson y asiento con la cabeza amablemente mientras sonrio..pero si o será que no me gustan las chicas mal habladas o que digan tantas maldiciones como yo, si una chica dice cosas como: verga, culero y no mames, supongo que no tiene interés en ti por que trataría de verse o mas bien escucharse lo mas correcta posible y no tan vulgar.igual pasa cuando empiezan a ponerte sobre nombres cosas cursis como tontito, peque , cosi, lo cual rotundamente odio.

—————————

y es que las ultima chicas con las que he salido se muy bien que quieren conmigo pero me hago guey hasta que terminan diciendo que quieren conmigo y todo eso ( lo se que puto vdd) de hecho siempre ellas me llegan a mi.

me acorde es esa cancion, todo un clasico recuerdo cuando estaba chavito estaba enamorado en secreto de ella ja es que mira esos ojasos apoco no

Photo by Melanie Einzig

On Friday, December 11th, New Haven’s Firehouse 12 will present the penultimate event of its fifth annual Fall Jazz Series, a two-set celebration of New York-based vocalist/composer Amy Cervini’s latest release, Lovefool (Orange Grove Jazz/ANZIC Records). The record, her second with the Amy Cervini Quartet (ACQ), features distinctive arrangements of an eclectic mix of love-themed songs from The Cardigans, Blossom Dearie, Depeche Mode, Green Day, Fred Hersch, Jack Johnson and Willie Nelson among others. This performance, featuring pianist Michael Cabe, bassist Mark Lau and drummer Ernest Cervini, will be the third and final stop on the group’s East Coast tour.

Critics have credited Ms. Cervini with a “freshly appealing voice” (Geoff Chapman, Toronto Star) and “enough heart to convince a listener of her sincerity and enough musical talent to make it worth listening” (Bob Karlovits, Pittsburgh Tribune-Review). The Ottawa Citizen’s Doug Fischer adds, “what she does is sing terrific, gimmick-free jazz…with poise, intelligence and an unforced honesty that made every song ring like it was her own. Despite the sweeping changes—perhaps because of them—Cervini approaches the songs in a precisely crafted way that leaves little to chance. But that doesn’t mean her music doesn’t contain surprises, like an unforeseen upturn in a phrase, a deliciously drawn out ending or a humorous vamp.”

A native of Canada, and graduate of Boston’s New England Conservatory, Ms. Cervini has lived and worked in New York for most of the past decade, regularly performing at such venues as 55 Bar, Birdland, Cornelia Street Café, The Jazz Standard and Joe’s Pub. In addition to her quartet, she is a member of ensembles including Couples Therapy, Jazz Country, Monday Off and Joseph C. Phillips, Jr.’s Numinous. She has also worked as a back-up singer with the group Pharaoh’s Daughter and recently paid tribute to Blossom Dearie with an all-star band at The Blue Note. By day, Ms. Cervini is the proprietor of Orange Grove Artists, which represents Marty Ehrlich, Frank Kimbrough, Myra Melford and Matt Wilson among others. Learn more at http://www.amycervini.com

2009 Fall Jazz Series Schedule:

09/18 :: Brandon Ross & Blazing Beauty
09/25 :: Matt Wilson Quartet
10/02 :: Mauger: Rudresh Mahanthappa/Mark Dresser/Gerry Hemingway
10/09 :: Steve Lehman Trio
10/16 :: Gretchen Parlato Band
10/23 :: Whirrr! The Music of Jimmy Giuffre
10/30 :: Taylor Eigsti Trio
11/06 :: ODE: Larry Ochs/Trevor Dunn/Lisle Ellis/Michael Sarin
11/13 :: The Peter Evans Quartet
11/20 :: Darius Jones Trio
12/04 :: Mary Halvorson Quintet
12/11 :: Amy Cervini Quartet
12/18 :: Daniel Levin Trio

Tickets and more information available at:
http://firehouse12.com/performance_space_calendar.asp

Well.

Today we delve into the realm of popular music. Or, to be slightly more accurate, music that was briefly very popular, but is now an embarassment to the very idea of sound – yet somehow, still remains AWESOME.

Which brings me to today’s list – Thirteen Guilty Pleasure Songs You Hate to Love. (Or Love to Hate.)

Thirteen: The Sign. (Ace of Base.)

Ah, 1993. A simpler time. A time before balloon boys and black presidents and lady gagas ran amok, choking our nightly news with the same tenacity as a green Jolly Rancher in a child’s throat. And the non-grunge soundtrack to that bygone era would no doubt be peppered with plenty – puh-lenty – Ace of Base.

It what pretty much came down to a coin toss, I went with “The Sign” over “All That She Wants.” Both are maddeningly catchy  pop anthems from the early nineties, but I suppose it will truly be “The Sign” that this weird, and oddly sexy, Swedish band will be remembered for.

And nothing else.

Twelve: Stay (I Missed You). (Lisa Loeb.)

One year after Ace of Base broke into North American homes, depositing their sugary sweet sound into teenage ears like some weird Swedish Santa Claus, a local girl with trendy glasses also made a bit of an impact.

Let’s face it…if you were a dude in the early nineties old enough to understand the basic differences between men and women – you had a thing for Lisa Loeb. Her girl-next-door image, her sweet voice, her awesome pre-Tina Fey eye gear…this girl was all that. Just ask Ethan Hawke.

And while her big hit single “Stay” may not neccessarily be a guilty pleasure for the feminine set, I often get strange looks from people whilst blaring it from the speakers of my Toyota Tercel while driving.

Though it may just be because I’m wearing those wicked glasses.

Eleven: Toxic. (Britney Spears.)

Say what you will about Brit – and there’s a lot to say, I’m sure – this song kicks ASS. From the offbeat synth/violin riff to the onbeat sweet percussion, this is a song full of hooks that gets under your skin and into the meat of your brain no matter how embarassed you might feel listening to a damn Britney Spears track.

Oh, and the video, like most of Brit’s visual work, is also something of a guilty pleasure. At least, I always feel strangely guilty three or four minutes after watching it…

Ten: Lovefool. (The Cardigans.)

While the opening choppy guitar may be reminiscent of Television’s “Elevation” (not to be confused with U2’s “Elevation”, which is neither as good as the Television song, nor as catchy as “Lovefool”) this song nevertheless reamains a remarkably potent pop nugget. Made famous for it’s appearance in Baz Lurhman’s “Romeo & Juliet” MTV “opus,” it became a pretty big hit for this Swedish band, and the mere mention of it too this day still get’s her bizarrely accented voice stuck in my head.

Interesting that this is the second Swedish band to make the list – though not the last. Which brings me to….

Nine: Anything by ABBA. (ABBA.)

Even if you change your mind, they’ll still be first in line. North America took a chance on Sweden’s ABBA, and by gumption, they stepped up to the challenge – delivering pop tunes so sweet that they gave our ears cavities, sending us all rushing to our dentists. Or ear doctors. Well, whoever you would see about damaged ear enamel.

“Take a Chance on Me,” “Mamma Mia,” “Waterloo,” “Dancing Queen” – the hits didn’t stop. Even today they’re still making musicals and movies based on ABBA’s long gone career. Catchy as hell, these are songs that everyone seems to know the words too – but of course, would never be caught dead singing them out loud.

Eight: Fields of Gold. (Sting.)

What do you get when you combine a peaceful melody, lush production and a friggin’ lute?

Sting, of course.

Let’s go back a bit. To, say…1979. When Sting was considered “cool”. Here was a white Englishman fronting the world’s biggest and coolest reggae band…and, let’s face it, one of the biggest bands in the world. Then the band broke up, and the other two dudes from “The Police” kind of just disappeared. This was the coming – the hearkening, if you will – of Solo Sting.

Not content to just sing and play bass anymore, Sting decided to add a few new weapons to his arsenal. The guitar. The piano. And THE LUTE.

And then you get “Fields of Gold” a gentle, yet delicate song that transcends beauty in every pluck of the lute string. But, it’s by Sting, so I’m not allowed to like it.

Quick crib note for anyone paying attention: listening to “The Police” = COOL. Listening to Sting = NOT SO MUCH.

Sorry, Sting.

Seven: Invisible Touch. (Genesis.)

“She seems to have an invisible touch, YEAH!

She reaches in and grabs right hold of your heart!”

And, with those words, Phil Collins single-handedly destroyed the legacy that was Genesis, forcing Peter Gabriel to go all solo and weird.

But damn if it ain’t catchy.

Six: The Power of Love. (Huey Lewis and the News.)

Let’s get one thing out of the way. Huey Lewis is not cool. Huey Lewis will never be cool. Huey Lewis is the opposite of cool, and the News is just there to reiterate the fact. Having said that…

“The Power of Love” IS cool. Granted, it had the good fortune of appearing in a film (“Back to the Future”) that was and shall always be cool (despite featuring Huey Lewis in a cameo acting – wait for it – uncool) but that doesn’t detract from the fact that this song is an anomaly. It shouldn’t be cool – all power chords and inane lyrics- but it damn well is. Maybe it’s just because I associate it with skateboarding and time travel and Michael J. Fox…all cool, by the way. Whatever it is, it is what it is.

Cool.

Five: Kiss From a Rose. (Seal.)

Another soundtrack song makes the list, and, like “The Power of Love”, maybe I just have fond memories of it due to its association with BATMAN. Albeit, in one of the worst Batman outings ever. It’s grandiose and corny and peppered with stupid lines like “but did you know/when it snows/my eyes become large and the light that you shine can be seen” which is barely even coherent. Whatever though – it was in a BATMAN movie, and Seal could and still can emote like no other. And, since I’m sure this song had at least something to do with his hooking up with Heidi Klum, I can only assume that it’ll work the same for me. Karaoke, here I come!

Four: Karaoke Songs. (Various, but mostly Journey and Bon Jovi.)

Karaoke, here I am!

This entry is less about the act of karaoke as it is about the songs people choose to karaoke with. Songs that you would never find yourself listening to at  home alone, or possibly even at a party, but dump a few cocktails down your throat and throw in a creepy dude with a microphone and songbook on hand, and suddenly you’re singing every damn lyric without even glancing at the screen.

“Living on a Prayer” and “Don’t Stop Believing” are usually the most well documented. For instance:

Yeah. Just like that.

Three: It’s All Coming Back To Me Now. (Celine Dion.)

This is what happens when you give Celine Dion a Meatloaf inspired song attached to a Meatloaf inspired theatrical video:

And it’s AWESOME.

Two: Do You Really Want To Hurt Me. (Culture Club.)

“The Wedding Singer” may have helped this one, but whatever. This song was ALWAYS awesome. It’s a weird song (to say the least) that should probably come off as horrendously creepy, but somehow Boy George manages to sell it legitimately. Nowadays however, with Boy George’s recent drug woes and wrongful imprisonment of male escorts (seriously), the song has achieved a darker tone, and has finally reached its destiny of being the weirdly creepy song we all knew it could be!

One: The Rose. (Bette Midler.)

I’ll let this one speak for itself:

“Some say love it is a river
that drowns the tender reed
Some say love it is a razor
that leaves your soul to bleed

Some say love it is a hunger
an endless aching need
I say love it is a flower
and you it’s only seed

It’s the heart afraid of breaking
that never learns to dance
It’s the dream afraid of wakingthat never takes the chance
It’s the one who won’t be taken
who cannot seem to give
and the soul afraid of dyingthat never learns to live

When the night has been too lonely
and the road has been too long
and you think that love is only
for the lucky and the strong
Just remember in the winterfar beneath the bitter snows
lies the seed
that with the sun’s love
in the spring
becomes the rose”

Was anybody else singing along while reading that? Because god knows I was.

And I honestly don’t even feel that guilty about this one.

Well.

That is that. Stay tuned for more blog updates, where I hopefully discuss good music.

Although, seriously…some of these count.

Also, if any of these songs are now stuck in your head – or, god forbid, if ALL of them are stuck in your head, battling it out for supreme annoyingness – I personally shoulder none of the blame.

I can’t remember if the drive back from the Sarasota Medieval Festival was the first time I had heard Oasis. But I do remember sitting in the back seat of Mrs. Idelson’s car, staring down at my wax hand mold, hardened into the shape of a peace sign and crumbling at the base. And “Wonderwall” was playing. 

I can’t remember if “1979″ by The Smashing Pumpkins reminded me of my babysitter because she was born in 1979, or if she reminded me of the song because I had just listened to it on a cassette tape in her car. But I do remember staring up at the telephone lines as we rolled down the street towards my neighborhood, filing through all her other tapes in a large bin. “Kids in America” was written in green pen on one.

I can’t remember sneaking into Romeo + Juliet, or if we chickened out at the last minute. But I do remember buying The Cardigans’ First Band on the Moon album the day after I saw it, and bringing it into art class, we were making paper mache that week, and one boy named Jerry asked to sit next to me. “The only guy for me is Leonardo Dicaprio,” I responded.  

I can’t remember why we called each other names on the basketball court at P.E. or stopped being friends, but I do remember singing “Killing Me Softly” by The Fugees in drama class before everything fell to pieces, while we sat in the entrance to the theater, on that cold floor, in Airwalks, plaid skirts and baby tees, in the land before time, as pre-teens, when we had grown up on backyard birthday parties, swimming pools, and jelly shoes, just before we all grew up, and I left.

Nina Persson, of The Cardigans, sings a great song called “Black Winged Bird.”

After The Show thinks that Persson’s vocals are much better than Emm Gryner’s version of the song.

The Cardigans are most famous for “Lovefool”:

:: Home: Amalia ANGELLINNI “Lovefool”

:: Home: Amalia ANGELLINNI “Lovefool”

I took my chances, but I lost.

I thought maybe… just maybe… but it remained just a maybe.

I wished he was  “the ONE”,  but it wasn’t meant to be.

I tried fixing it, but it’s hard when it’s already broken in the first place.

I thought that him and I were in the same place, but I was left standing on my own.

I hoped that we could somewhat still be friends, but I was a fool to believe so.

I was hurting and broken but I’m all glued back together now.

And I make no apologies for how I chose to repair what he broke. I know I’m better off.

Tequila, anyone?

xoxo

If only had I known…. would’ve I taken that leap of faith?

If  only had I trusted my gut, I wouldn’t have fallen that deep.

If  only had I caught that look in your eyes… that look that said it all, then I could’ve spared myself a world of hurt.

If only had I listened… but that’s the trouble with love,  it can make your heart believe a lie. 

If only I had been less blind…

If  only I could’ve spoken my mind… would’ve it made a difference?

Ifs…..

Bottom line is that, it doesn’t really matter now does it?

But what if….

What if I never met you?

xoxo

ich liebe es einfach.
Bin ich einer? Ja natürlich und zwar gerne, wenn mein Partner auch einer ist

Geniesst es und seid ein Lovefool

Here I am on a chilly Saturday evening. The weather has certainly changed and I can already smell and feel the crisp autumn air.  As the seasons changed, I have finally started to move on.

Has it almost been three months?  Time surely flies by so fast that it seemed like everything now is a blur. I guess I’m healing nicely. I don’t cringe or wince anymore just thinking how it all went down the drain.  Like what  Hope has written, all that’s left is the sweet,  sweet sadness of almost.  How I almost got him. How he almost got me. Wait, he did get me. How we almost got it right. Almost, but not quite. Close, but no cigar.

We stood by the edge of the precipice, held hands even, stared down into the unknown…. but unlike Hope, instead of closing our eyes and taking that giant leap together, he let go of my hand as I jumped. I saw him at the edge, watching me fall into that giant abyss of  nothingness.

Maybe walking away is the safest thing to do. We’re better off, right?  We’re better off walking away knowing that in the end, it’ll never work out. Better now than later, when we’re both thick in the middle of it. 

Was it then naught for nothing?

Not everything has fallen by the wayside. There were plenty of reasons why we should’ve stayed together. But sadly, there were a lot more reasons why we said goodbye instead. It’s hard to fight for something when it was doomed to fail even in the beginning.  Carpe diem, right?  That’s the thing with expectations, it’s just a setup for disappointments.  

We both still need a lot of growing up to do.  They were right — fools rush in. And like the fool that I was,  I was even willing to sacrifice all that I am.  I fell for him for the wrong reasons and I tried desperately to make things work out for all the wrong reasons.  Even when in the end, all that was left in me were doubts.

He told me that I deserve to be with somebody who really wanted to be with me. Problem was, I wanted it to be HIM.

I think that that was the most cruel and most selfish thing one could ever probably say. And how ” plus one”  is the loneliest number.   What an utter, total rejection.  Oh, aside from the classic, ” It’s me, not you” when what it really meant was it was really you.  Was I that  jaded??????

Like I said, I still have a lot of growing up to do. I still have a lot of figuring out to do. But one thing is for certain, I’ve come to realize that  I am better off.  That indeed, it’s him and not me.  That I don’t need a relationship to define who or what I am anymore. 

And if he wanted me back? Ask me that same question a couple months ago and I would’ve said, “Yes!” a million times over. But now? Honestly? I don’t know. Would I really subject myself through all of that all over again? The not knowing where I stand, the uncertainty? What I  do know is that unless and until we both sort out our own personal issues, we can never be. Not unless we both learn to trust. No assumptions. I’ve accepted that.

And if someday our paths cross again? Who knows, we might even exchange a hello or two.

In a way, having your heart broken is having a myocardial infarction. It can be life threatening, depending where the infarct and how extensive the damage is.  And what you need is time. Time to heal. So after almost three months status post, I am finally there. Almost.  Not quite, but getting there.

xoxo

Amalia zgłosiła się do nas, ponieważ spodobała jej się idea naszego projektu. A nam spodobała się jej książka ‘Lovefool’. Wspieramy młode, europejskie talenty na ile możemy.

Przed premierą książki porozmawiałam z Amalią o jej książce, nastawieniu do życia, Europy i jej szczególnej fascynacji Polską.

Czytaj dalej:

:: deutsch, :: polski, :: English, :: français

At least as good as Twilight – Amalia promotes her book “Lovefool”

Amalia called us, because she likes the idea of our project Scholar Europe. And we like her book ‘Lovefool’. We support young, European talents as far as it is possible for us.

Before the premiere of her book, I talked with Amalia about her book, her attitude towards life, Europe, and about her special fascination about Poland.

Read more:

:: deutsch, :: polski, :: English, :: français

Amalia hat sich bei uns gemeldet, weil ihr die Idee unseres Projektes gefällt. Und uns gefällt ihr Buch „Lovefool“. Wir fördern junge, europäische Talente soweit wir können.

Vor der Buchpremiere habe ich mit Amalia über das Buch, ihre Einstellung zum Leben, Europa und ihre besondere Faszination über Polen geredet.

Lese mehr:

:: deutsch, :: polski, :: English, :: français

At least as good as Twilight – Amalia promotes her book “Lovefool”

Amalia called us, because she likes the idea of our project Scholar Europe. And we like her book ‘Lovefool’. We support young, European talents as far as it is possible for us.

Before the premiere of her book, I talked with Amalia about her book, her attitude towards life, Europe, and about her special fascination about Poland.

Read more:

:: deutsch, :: polski, :: English, :: français

I have a large majority of male friends and more than my fair share of … admirers.  They come from a variety of different social groups – athletes, brains, punks, etc. – but the common thread uniting most of them is their ability to play guitar.  Not all of them can play well (not that you’d ever be able to convince THEM of this), but most of them can play.  This means that the last five years of my life have been filled with boys singing songs for me; at this point, I’m a bonafide expert on what is an acceptable song choice and what is NOT.  Most think I’m evil, but in this case I’m going to use my powers for good to help the amateur crooners out there pick an acceptable song for their next heart-pouring session.  Take notes.

RULE #1

I don’t care how many hours you’ve spent perfecting “Wonderwall” or “Crash Into Me“; forget you ever heard them.  They are EXCELLENT songs, and you’re RUINING them.  I’ve lost count how many times these have been played for me and while some were good and some were (really) bad, they were all the same:  UNWANTED.  As much as I enjoy being told that you’re a hott mess and your fate possibly rests on my shoulders (“Maybe you’re gonna be the one that saves me” – Wonderwall) or being told to show you my lady parts (“Hike up your skirt a little more and show your world to me” – Crash Into Me), there are more creative options out there.  Every frat boy and hipster in the U.S. of A. with access to Daddy’s credit card and a local pawn shop has used these two songs to slay some cooch – GET NEW MATERIAL!  If the girl is worth wasting your time on, they won’t (or shouldn’t!) work and if they DO work on her, there are guaranteed easier ways to get into her pants.  Take a quarter to the plastic ring machine at Pizza Hut and call it a day.

RULE #2

Don’t sing it if you don’t mean it.  Nothing good can come from pouring your heart out if it’s not legitimately FULL.  Scenario A:  she’s overwhelmed with emotion and feels the same way, even though you DON’T necessarily want to marry her on the spot and produce an epic litter of children.  In this case, you’ll either hurt her feelings or get annoyed because she’s “crazy” and dump her.  Scenario B:  she’ll be terrified that you’re singing to her, think you’re a crazy breeder, and dump your ass.  Either way, you’re going to do serious damage to your rep.

RULE #3

You are not John Mayer.  Just sing the damn song.  Even if it’s sweet and heartfelt and appreciated, it’s going to be awkward; don’t make it more awkward by dragging it out and trying to do puppy dog eyes.  Don’t take it super-seriously, either.  I’m not suggesting you end it with a fart joke or anything, but acknowledging the awkwardness and having fun with it, rather than acting like you’re auditioning for a spot on Idol will make it easier for both of you.  Also, don’t have expectations regarding her reaction.  She won’t rave about it to her friends and you won’t have various undergarments flung at you the next day as you cross campus.  There’s a good chance she’ll be embarrassed, but that doesn’t mean you didn’t do a good job or that she didn’t appreciate it; it means that it’s a little embarrassing.  It’s not the most important thing you’ll ever do in your life – take it all in stride.

RULE #4

It doesn’t have to be mushy-gushy-lovey-dovey.  Play a song that MEANS something to both of you, even if it’s not necessarily derivative of your relationship.  For example, someone once played Everclear’s “Amphetamine” for me and it was one of my favorite performances … EVER.  For those of you who don’t know, the song is about a mentally-disturbed (possibly drug-addicted) girl who “came out West … to sit beside my window and listen to the sirens“; also, it states that she is “perfect, in that fucked up way“.  Not necessarily the lyrics of true love, but it had meaning to the person who sang it for me and, therefore, was a success.

Other than those four tried and true rules, I can only give you this:  don’t over think it, don’t over-accessorize it, JUST DO IT.  What’s the worst that could happen?  She hates it and breaks up with you for being yourself?  Then she didn’t like YOU anyway and you just saved yourself time and stress.

Favorite songs ever sung to/played for me and why (in alphabetical order, because I can’t put them in favorites order; I try not to make a habit of hurting feelings):

Aerosmith – “Crazy”  This was sung to me by a friend who seriously hearted me.  Unfortunately for him, I didn’t feel the same way.  It makes the list because at this point, he had pretty much accepted that I didn’t feel the same way and he decided to poke fun at it with his entire band in front of a packed room.  I appreciate people who can laugh at themselves and make me laugh as well.  Also, it’s not easy to cover Aerosmith or to impress me, but he and his band managed to do both. 
Alan Jackson – “Chasing That Neon Rainbow”  This is one of my all-time favorite songs.  I had been having a rough couple of weeks and a friend learned this song just because he knew it would make me smile.  He did a really good job with it and I still ask him to play it every time we hang out.
Alan Jackson – “Gone Country”  Again, with the Alan Jackson.  I LOVE country music and this is another favorite song of mine.  A friend of mine has a bit of a family band (don’t worry Haley; it wasn’t Heafie), and they play this song pretty regularly.  They invited me to dinner and played a few songs, but finished the “set” with this one, just because they knew it would make me smile.  Mission accomplished.
Bill Withers – “Ain’t No Sunshine When She’s Gone”  Once upon a time, a very nice boy sang this a capella in a talent show, in hopes of getting my attention.  He succeeded in getting me to notice him (although we were never more than friends) and this performance still ranks pretty high up on the list of the coolest shit I’ve ever seen.  You have to be able to SERIOUSLY sing to pull this one off.
Black Crowes – “She Talks To Angels”  This is a good example of the song not having to be derivative of the relationship you have with someone.  A very good friend once played this for me via Skype because it “reminded him of me”.  Although that’s a bit odd and possibly even a little offensive (“She never mentions the word ‘addiction’ in certain company.  Yeah, she’ll tell you she’s an orphan after you meet her family ...”), it flattered me that such a powerful song made someone think of ME.  Plus, he KILLED it.  I’m even tempted to say he did a better job than the Crowes, themselves.
Blink-182 – “I Miss You”  First of all, if you can play Blink-182 as well as Tom, Travis, and Mark, then you’re one of two things:  a GOD … or Tom, Travis, and Mark, themselves.  An excellent song, played really well; what more could you ask for?  … Other than to live like Jack and Sally, that is.
Brad Paisley – “She’s Everything”  My best best BEST friend played this song for me in the middle of the night once.  He wrestled on the team I worked for and I was up all night with him, trying to help him through his hunger pains.  This had always been “our song” and, unbeknownst to me, he had been learning to play it to keep himself busy.  Even though he’s refused to play it for me or anyone else since that night, it was easily one of the greatest things that ever happened to me and I’ll NEVER forget it.  SO GOOD.
The Cardigans – “Lovefool”  You’re probably very confused right now and you have every right to be.  This is a very odd song to make the list, but there IS an explanation.  I have a very odd, very hyper, very exaggerative friend who likes to make me laugh (and who also has a bit of a crush on me).  I keep pretty odd hours and he’s always travelling for work, so we often find ourselves talking via Skype in the middle of the night.  One night he told me was going to sing a song for me.  I was prepared to mock him mercilessly, but he turned his on his iTunes and proceeded to dramatically sing into a beer bottle, stroke the screen, and sing “Love me, love me, SAAAAY that you love me” in his best girly voice.  I haven’t laughed that hard in a long time.
Carrie Underwood – “Get Out Of This Town”  This was sung by the same person that sang “Crazy” for me, again, with his band.  We had a whole CD of songs about running away that we used to play while we drove around for hours with the windows down.  This was “our” song and though it was originally sung by a lady with killer pipes, he did an excellent job of slightly altering it for his vocals.  It was an awesome performance that awed everyone in the bar.
Chris Ledoux – “Thank The Cowboy For The Ride”  I don’t have a lot of friends who are into country music, so when I find one, I hang onto them.  I went to Jamboree in the Hills with this particular friend and one night after I had slaved over the campfire to make a delicious feast, he pulled out the guitar and surprised me with this song.  It was absolutely fantastic.  If you’re looking for something to sing to a country girl, you can’t beat a Chris Ledoux tune.
Del Amitri – “Roll To Me”  The explanation for this one is simple:  it’s one of my favorite songs from my youth and the band did an excellent job with it.  Nothing more is needed.
Fall Out Boy – “Nobody Puts Baby In The Corner”  The acoustic version of this song is so beautiful, even though the lyrics are a bit troublesome (“Wear me like a locket around your throat.  I’ll weigh you down, I’ll watch you choke.  You look so good in blue ...”), but if you can REALLY play the guitar (I mean REALLY) and can sing REALLY well, give this one a shot.  It was one of the coolest things I’ve ever heard.
Garth Brooks – “She’s Every Woman”  Oh, the poor little guy that sang this to me!  If you’re not an excellent musician, don’t try to cover Garth Brooks.  He’s a legend (despite his douchiness) and you’re likely to make a fool of yourself.  This one makes the list simply because it took a lot of fucking nerve to sing such a difficult song with such intense lyrics in front of so many people.
Jack Johnson – “Banana Pancakes”  I was friends with a guy in a band who was/is an unknown musical GENIUS.  He can hear a song once, pick up his guitar, and recreate it; I’ve never seen anything like it.  I had spent the night at his house after his team had a party and when everyone woke up to go to class the next morning, it was freezing and POURING.  No one wanted to leave, so I decided to make everyone banana pancakes.  They were all sitting in kitchen while I was at the stove, and he just picked up his guitar and started playing this song.  It became an instant sing-along staple when we hung out there.
Journey – “Don’t Stop Believin’”  Despite Haley’s hatred for Journey and this song in particular, it has a lot of meaning for my life.  The word “believe“, alone, is something that I carry with me everyday (although not in a religious sense) and this song is an obvious classic.  To hear someone cover it accurately and well was surprising and enjoyable.  When this song is played, I always feel like it’s just for me; it just so happens that THAT time, it was.

Least favorite sons ever sung to/played for me and why (again, in alphabetical order, although if you’re reading this, your feelings are probably already hurt):

Aaron Lines – “You Can’t Hide Beautiful”  Something about this song has always struck a nerve with me.  I just don’t like it.  And to have it applied to ME?  As if I would ever try to hide my fabulousness.  He meant well, but no dice.
Alan Jackson – “Remember When”  “Remember when 30 seemed so old?  Now looking back, it’s just a stepping stone to where we are, we’ve been …”  Really?  Because I’m pretty sure that I’m only in my early twenties (I believe it was late teens at that point) and have no intentions hearing “the sound of little feet” with you.  Ack.  NonononoNO!
Backstreet Boys – “Helpless When She Smiles”  This was sung during a drunken karaoke night so, while I don’t hold it against him, it still makes the list.  I LOVE the Backstreet Boys (despite the mocking), so you CANNOT drunkenly sing one of their best songs to me and expect swoonage.  Nick Carter, you ain’t!
Blessid Union of Souls – “I Wanna Be There”  This was sung by the same boy who so excellently pulled of the Chris Ledoux tune, but it was a FAIL.  First of all, Jambo is no place to invoke The Souls.  Second of all, if you want to “be there when my baby cries“, then just turn in your application with the rest of the nannies when (heaven forbid!) I birth my future children.  Creepy and weird; do NOT want.
Brad Paisley – “Little Moments”  This really wasn’t this poor boy’s fault – it was just rotten luck – but it’s an excellent learning experience.  I was VERY good friends with a boy in high school whose family moved suddenly; I still don’t know what happened to him, but he severed contact with all of his hometown friends.  This was “our song“.  Hearing this brought back a lot of sadness and even though it wasn’t the poor guy’s fault, I couldn’t control how upset I was.  You should probably know about things like traumatic events in someone’s life and the songs that correlate with them before you try to play something for them.
Carlos Santana – “Why Don’t You And I”  Really?  You’re going to attempt to play the guitar as well as Carlos motherfucking Santana?!?  I still don’t know if it was ballsy or ludicrous but the performance was not on par with dear old Carlos and therefore, an epic fail.  Also, you probably shouldn’t suggest to someone that the two of you “take on the world and be together forever” or tell a girl who can make a sailor blush with shame that they won’t let you into heaven without her; it’s nonsensical.
Carter Twins – “Heart Like Memphis”  I SECRETLY love this song.  I SECRETLY love this band.  Calling someone out on their guilty pleasure musical choices in front of people they don’t know very well is just bad form.  I was mocked for weeks.
Counting Crows – “Big Yellow Taxi”  This song is EPIC; it’s also REALLY overdone.  In fact, it’s nearing DMB/Oasis status.  Put it to rest.  There are infinite song choices out there – TRY to be original.
Gloriana – “Wild At Heart”  I literally knew this person for six hours when he and his friends played this song for me.  First of all, the fact that you can whip a song out that fast leads me to believe that it was in the recycle bin and had been sung for someone else.  Second of all, don’t ever tell someone that you’ve known for a quarter of a day to “stick your hand into my back pocket, light me up like a bottle rocket“.  That’s just weird.
Johnny Cash – “I’ve Been Everywhere”  This is a hard song with tricky lyrics.  If you aren’t 1000% percent certain of the lyrics to a song, DON’T SING IT.  That goes double if you’re singing a song to someone who WORSHIPS the artist.
Neil Young – “Unknown Legend”  Not only was this sung poorly, it didn’t make any sense.  I never worked in a diner, my daddy never kept on moving, and I have yet to ride a Harley-Davidson through the desert.  His heart was in the right place, but it was very odd.
Poison – “Fallen Angel”  The 80’s hair band wild child in me LOVES Poison.  I also LOVE this song.  My mom always said this was my song and to have it mutilated by an untalented drunk person in my honor was annoying, to say the least.
Tim McGraw – “Blank Sheet of Paper”  This is a great song, but the situation was a bad one, all-around.  Sung to me by someone who I don’t like (in fact, very nearly HATE), who can’t play the guitar AT ALL, while he was drunk off his ass, in front of all of our old friends.  A little liquid courage never hurt anyone, but don’t take it too far; you’ll embarrass EVERYONE involved.

With that, grab your guitar and learn a new tune.  I hope these tips and examples will be of assistance and save you from future embarrassment.

I’m proud to say that all the things I said when I was floating on a 110 foot white hunk of crap in the Persian Gulf (with amazingly well maintained weapons) I have lived up to. I told myself that I’d buy a motorcycle and ride with my Dad all around California. Well I’ve completed my drivers course (see last blog) and just today he rode back halfway with me through Cleveland National Forest which was a great ride and very fun to ride with a guy I really admire. There will certainly be trips when I get back from dive school. I said that I’d learn how to surf, and well I’ve not only done that, but I’m completely enthralled in the whole thing. I smile every time I have my board slung under my arm and the ocean wraps itself around my feet, I only smile more when I manage to be granted a nice little ride from mother nature. It sounds cheesy to those who have never surfed, but I assure you it’s changed my life. In fact I take that back, I assure no one nuthin’ about that. I’m keeping that feeling for me, I certainly do not have to prove to anybody how sacred surfing is to me.

I said I’d spend time with my family and I’m doing that more than I have in the last 6 years, which is also good. As my Mom said this weekend, “It’s so nice to have you come down and just talk.” and I agree! A pretty damn good start at reinvention I’d say. By doing all of the above my life has become so entirely simplistic and joyful. I’m completely happy with surfing and not being understood by my friends on how great it makes me feel. I’m content with being a self proclaimed bore and nerd, I’ve accepted myself for the most part at the age of twenty six… it feels good. I can only hope the transition of being with Patricia when she gets back stateside goes well and that things work out as well as I can imagine, where she too is just as satisfied as I am living simply, being spontaneous, simple pleasures, earning a beach tan from surfing at least every weekend, and not letting anything keep us from being down, bored, or upset.

Overlooking Lake Elsinore

Cover of Movie Music: The Film Reader; image courtesy of routledge.com

So, one thing I didn’t mention in my indictment of (500) Days of Summer is the soundtrack. While I may have mentioned my thoughts on how music culture is configured in the movie, I didn’t discuss the soundtrack itself: how it serves to bolster the narrative, enforce the movie’s indie-ness, or its commercial success as an ancillary product.

I didn’t discuss it because I don’t really have any opinion on it. I wasn’t particularly familiar with or blown away by the songs in the movie — I thought the music was pleasant. I’d imagine it’s doing a respectable job as its own product and as an extension of the movie’s marketing campaign, though say this while qualifying that running the numbers is now a completely different game than it was, say, in the 1990s, when soundtracks were big business that could easily be reflected by a quick glance at the Billboard charts. Now, we have iTunes, YouTube, Twitter, Facebook groups, online ad campaigns, innumerable blogs, and several other outlets fragmenting the marketplace. But I’d imagine the soundtrack is doing well.

All this is to say that I wondered what the scholars who contributed to Movie Music: The Film Reader would make of the movie’s soundtrack. The anthology is a slim collection of essays edited by Kay Dickenson that was published in 2002 but primarily feature pieces from the 1990s, a decade that I’ve already defined (along with many others) as a peak time for soundtracks, which is reflected in some of the scholars’ inquiries. Perhaps it drove home for me just how temporal the objects of analysis in media studies can be, particularly music. A good reminder, if still a frustrating dillemma.

With that said, I thought I’d briefly highlight some essays that I found useful.

Jeff Smith’s “Structural interactions of the film and record industries” is a fascinating and concise industrial history of the relationship between record labels and film studios from the 1950s on. Starting out as a mutual-benefit relationship, film studios tried to form their own record labels with the intent to fashion albums and recording talent in-house, which was met with little success. As a result, record labels kept the upper-hand from the 1970s on, but left movie studios the opportunity to further develop cross-promotional and synergistic strategies without having to worry about A and R. 

This is interesting to read alongside romanticized notions that the 1970s was a renaissance period for maverick filmmaking that eschewed studio control (I specifically like to think of this story while working out the bureaucratic steps that may have been taken in order for Martin Scorsese to get the rights for The Ronnettes’ “Be My Baby” for Mean Streets).

And, as Smith’s piece was originally published in 1998, I also think of it as a harbinger of deregulation measures and conglomeration to that defined the culture industry at the end of the 20th century.  

Lawrence Grossberg’s “Cinema, Postmodernity, and Authenticity” gives a cursory glance at the importance of rock music in teen pics from the 1950s on, but pays particular attention to movies from the 1980s (specifically the ones aligned with the Brat Pack). He argues that while rock music is meant to indicate an intergenerational upheaval of value systems between establishment parents and rebel kids, movies from the 1980s actually saw teen protagonists questioning and grappling with identity politics while ultimately (or presumably) toeing the line, doing very little to break down gender norms, class divides, racist ideologies, and heterosexist agendas. At the same time, these movies incorporating more a post-modern political sensibility through irony, parody, and reference.

I wonder what Grossberg would say about how French electronic act M83 hails the 1980s, specifically in 2008’s Saturdays = Youth, an album heavily indebted to both the sound and style of the Brat Pack movies and soundtracks. I’m sure he’d get a chuckle out of learning that Anthony Gonzalez, the man behind M83, is in his mid-20s and too young to remember these movies “authentically.”

Kay Dickinson’s “Pop, Speed, Teenagers, and the ‘MTV Aesthetic’” is an interesting look into how teen movies and their soundtracks incorporate the look and sound of MTV, specifically looking at Baz Luhrmann’s 1996 adaptation of William Shakespeare’s Romeo and Juliet, starring Leonardo DiCaprio and Claire Danes (a movie dear to my heart — I still have a copy of the soundtrack and nursed a brief crush on DiCaprio when he was at his most androgynous). Dickenson is particularly interested in three aspects:
1) The symbiotic relationship between the highly stylized movie, its soundtrack, and the music videos that accompany both.               
2) The deliberate uniformity of each text’s aesthetic and how they maximize youth-oriented marketing potential for what was widely regarded as a teen movie.
3) How the fast editing style of the movie and music videos popularized by MTV result in visual imperceptability (i.e., that the eye cannot keep up with the images); while a bit of a tangent, this phenomenon reminded me of John Cline’s Flow column about the increasing incomprehensibility of many segments in action films shot on digital camera.

I think there are limits to Dickenson’s argument — the Brat Pack movies or the Hughes-influenced teen pics from the late 1990s, which were not so reliant on fast editing as they were on soundtracks, trendy clothes, slang, and photogenic young actors, talking about their feelings still uphold the MTV aesthetic in my mind, perhaps suggesting that the network did not have a uniform visual style.  

Also, there’s minimal discussion of how Luhrmann’s kinetic style heightened the story’s romantic elements and how this might have played into its intense popularity among teenagers (seriously, I saw this movie dozens of times during my junior high and high school days; I also assume that DiCaprio’s vaunted teen idol status as a result of the movie led him to be cast in Titanic, a movie beloved by kids of my generation, including my friend Brandi, who saw the movie at least sixteen times in theaters and taped the ticket stubs to the wall by her bed). I’d be very curious how Dickenson reads Luhrmann’s visual style against Hughes’s (and Dawson’s Creek creator-wordsmith Kevin Williamson’s) use of dialogue, particularly regarding matters of the heart. 

Lisa A. Lewis’s “A Madonna ‘Wanna-Be’ Story on Film” is a piece I was already familiar with because, as I’ve mentioned numerous times on here, Gender Politics and MTV: Voicing the Difference, from which the essay originally emerged, was a formative text for me as a media studies scholar. 

In this piece, Lewis does a formidable job mapping out a multitude of texts surrounding Madonna in the mid-1980s. There’s star text (Madonna). There’s film text (Susan Seidelman’s 1984 classic Desperately Seeking Susan, starring Rosanna Arquette, who plays a young suburban housewife who becomes obsessed with and later develops a liberating friendship with Susan, a mysterious club denizen, played by Madonna). There’s soundtrack analysis (Lewis particularly pays attention to the club scene where Susan dances to Madonna’s song “Into the Groove”). There’s fan discourse (teen girls and young women — maybe unmentioned young men as well – appropriating the Material Girl’s iconic look, while mutating and individuating it; this development is read alongside the movie, which shows Rosanna’s Roberta becoming Susan, as well as behind-the-scenes goings-on, as Rosanna and Madonna became friends off-camera). There’s even consideration made for how corporate culture feeds into all this, coming to a head when MTV and ABC document a Madonna lookalike fashion show at Macy’s to coincide with the film’s release. In short, a dizzying but lucidly plotted out argument about the power female artists (and their fans) can exert within and outside of an increasingly synergistic media culture. 

Hmmm. Also a reminder of how much I love Desperately Seeking Susan, which I would catch on Comedy Central from time to time when I had cable. I haven’t watched it in a while. May warrant a repeat viewing ASAP.

Waw minggu pagi yang hebat, kenapa? Karena pagi yang indah ini diawali di kamar mandi. Iya, lagi-lagi kena diare. Tapi posisi saya pas nulis ini gak lagi nongkrong di kloset koq. Karena berbagai alasan, pertama : em laptop saya gede banget sih, khawatir kalo malah nyemplung. Kedua : speedy is not available in bathroom, ya secaraaaaa. Ketiga : agak gak comfort juga ya ngeblog di kamar mandi. Atas pertimbangan yang bijak itulah, secara etis saya tidak membawa laptop ke kamar mandi.

Jadi, tidak penting dengan posisi. Yang jelas saya duduk anteng di meja makan, ngeset muka mama lapar-mama lapar-makanannya manaaaa? Ya sudahlah, daripada mbantu masak malah ngobong dapur, mending duduk aja

Jadi,

Kenapa 1000 bahasa perempuan?

Jadi inget lagi pas baca novel jomblo, yang juga difilm-in, salah satu scene favorit (di novel, lupa di filmnya ada apa gak), pas si agus (ringgo agus rahman) ngajak jalan pacarnya, neneng (….). Nah mereka lagi window shopping gitu, pas di outlet sepatu-sepatu, si neneng berhenti, diem lama banget ngeliatin salah satu sepatunya…

Agus	: “eneng suka sepatunya?” agus nanya
Eneng	: “iya lucu tuh Aa’, kayak yang eneng pengenin”
Agus	: “eneng mau Aa’ beliin?”
Eneng	: “emm…gak usah deh Aa’”

Ya udah, si Agus langung ngajak pergi lagi ke tempat lain. Karena menurut Agus, si eneng bilang kalo dia gak mau dibeliin sepatunya. Eh ternyata masalahnya gak selese sampe disitu, selama jalan, si eneng jadi diem-diem mutung piye gitu. Setelah ditanya-tanya, ternyataaaa….

Agus	: “eneng teh kenapa? Tadi pas ditanyain, katanya gak mau dibeliin?
Eneng	: “iya, tapi harusnya Aa’ maksa-maksa eneng. Eneng kan udah bilang kalo eneng suka, lagian kan bentar lagi eneng ulang tahun. Eneng tuh kecewa, Aa’ gak peka, harusnya Aa’ tanya berulang kali, emang gak liat ekspresi eneng apa???!
Agus	: “ya udah atuh kita balik lagi ke tokonya ya?”, serba salah
Eneng	: “gak usah, udah telat”
Agus	: diem

Salah satu scene favorit lainnya,

eneng	: Aa’, eneng keliatan gendut ya?
Agus	Lagi-lagi ini adalah pertanyaan rawan, yang kalau salah jawab, bisa aja di eksekusi mati, “egak ah sayang”
Eneng	: “liat sini atuh Aa’ kalo ditanyain teh,,,”
Agus	: “emm mungkin perlu olahraga aja kali neng?”
Eneng	: “oh jadi menurut aa’ eneng gendut gitu? Eh kalo seukuran eneng ini teh ideal, eneng kan juga gak pendek-pendek amat, aa’ tuh gimana sih balabalabalabaabalaba
Agus	: diem

Emang gak semua perempuan kayak gitu, ada perempuan-perempuan unik yang punya cara berbeda buat ngutararin maksudnya. Misalnya muter-muter dulu, push-up dulu, back-up dulu, nyangkul dulu, mandiin kebo dulu, lari marathon dulu, atau mungkin … -cut-

Ibaratnya, jalan mau ke SMAN3 dari mirota godean, tapi muter dulu lewat jalan kaliurang km 14, -nek itu mati wae- so what’s the point of the tulisanngalorngidulini?

Ada perempuan yang kalo ngomong tuh implisit, gak eksplisit. Tapi fenomena ini kayaknya -sok tau mode on- cuma kejadian sama pasangan cowoknya, gak berlaku sama temen-temen ceweknya. Kalo dia bilang egak, belum tentu maksudnya egak beneran. Kalo bilang iya, siapa tau maksudnya dia egak. Ya gitulah, tinggal diputer-puter sendiri.

Hampir sama kayak kejadian di atas, baru aja tadi malem saya ngalamin ini….

Kan janjian sama bebek buat CMBS, saya baru pulang dari perjalanan yogya-cilacap-yogya selama 8 jam, abis ngelayat anaknya temen ayah yang meninggal. otomatis gak dateng PTTA dan dia janji buat nyeritain. FYI, ini adalah momen favorit saya

Jam 22.30

New message from bebek

Be	Adek dimana?
Bri	Udah di rumah ni, barusan makan, hoahm
Be	Bobooook, capek kan?
Bri	Denger suara bebek bentar ya?hehe :p -eksplisit sekali, gatau malu-

Trus dia nelpon dah, tapi tak interupsi, mau sholat dulu, nanti telpon lagi

Be	Udah denger bentar kan? Wkwkw
Bri	Wah jadi geer ni bebek wkk, yaudaaah deh , -menangkap gejala kalo sepertinya dia enggan, yaudah saya bilang gitu-
Be	Yaelah, terlanjur nunggu nih, haha, yaudah bobok ya sana
Bri	Bingung nih jadinya, -jujur aja saya bingung beneran, iya atau egak sih? Mau atau tidak?-
Be	Ndodok kalo bingung. Trus lompat…jadi kodok deh. Maap gak penting
Bri	-kesel- bz
Be	Yuk bobok, jangan malem2 ya boboknya

Ini maksudnya apaaalagi? Kayaknya koq udah janjian, tapi koq gini ya? Apa saya kurang jelas ngomongnya? Abis itu saya nunggu inisatif dia buat nelpon, yaaaa gak adaaa, Yah selanjutnya bisa ditebak, saya gak bisa tidur sampe jam 01.30 hahaha

Stelah bisa menenangkan diri, saya neror dia dengan 4 sms, njelasin maunya saya tuh gimana, yah orang tidur di sms mah percuma aja, tapi gpapa, Cuma njelasin aja . Tadi pagi sebelum saya diare, baru kita mbahas lagi, oo ya gitu deh, dianya emang udah ngantuk dan gak mau saya kecapekan. Atau mungkin salah saya juga, saya bilang kan pengen denger suaranya bentar. Bentarnya disini dia artikan sangat denotasi, 1 menit? jadi there was no CMBS for last night

Jadi, ya itu 1000 bahasa perempuan. Banyak jalan menuju roma, banyak cara untuk mencampai ke satu titik, mungkin muter-muter dulu, push-up dulu, back-up dulu, nyangkul dulu, mandiin kebo dulu, lari marathon dulu, atau mungkin … -cut-

Kalo bisa saling ngerti dan gak pake emosi, bisa koq menghadapi perempuan-permpuan unik macam ini

Nb : scene jomblo dikutip dari novelnya dengan perubahan seingetnya, secara novelku ini dipinjem orang dari kelas 1 smpe sekarang belom dibalikkin