Living the “Rock of Ages” (Monthly Mixtape)

A Tribute to a Classic Hair Band

MTV in full swing with videos galore–CHECK!
Hard rock storming the late ’80s–CHECK!
Hairspray by the truckload–DOUBLE CHECK!

Rock music began to transform in the late 1980s with a rougher sound and a tougher edge. Guitars sounded faster and dirtier while power ballads instantly became fan favorites. The pioneers of this shift in rock music had an identity all their own: they were classified as hair bands.

Hair bands, also known as glam-metal bands, paved the way for heavy metal, which would emerge as a definite genre in the ’90s. Wild hair and make-up soon became a normal look for heavier rock bands. The appearance and the sound seemed inseparable.

Among these hair rockers were groups like Poison, Whitesnake, Bon Jovi, Ratt, Mötley Crue, Warrant, and Dokken. Of course, there is always Def Leppard.

When I asked my readers to help decide which hair band I should focus on for July’s Monthly Mixtape feature, Def Leppard was the clear winner among all social media channels. Whitesnake and Poison didn’t receive near as many votes.

What makes Def Leppard so legendary as a powerhouse hair band? Not only will I review two underappreciated Def Leppard songs for this mixtape, but we’ll take a look at several of the band’s momentous songs and how these songs helped to shape the rock legacy that continues to live and breathe today, especially for younger generations.

What’s Monthly Mixtape? Each month on Confessions of a Classic Soul, Nicole reviews an underappreciated song from decades past. Her love for underrated songs, plus her literary analysis skills, allow her to find hidden gems within songs.

Let’s Get To It!

**Whitesnake’s reaction to not gaining enough votes for this**
**Monthly Mixtape**

“Truth?”–1996

Listen to “Truth?”

A mysterious-sounding instrumental leads to a very heavy guitar introduction, which will play a role in the song’s overall meaning. Lead singer Joe Elliott jumps in with opening verses that quickly flow together as the song’s story begins to unfold. The intensity of the guitar background immediately coincides with the intense imagery of “burning” , “dousing”, and “whiplash.” These feelings are physical, not to mention painful, and they help set both the tone and mood of the song. The lyric “backlash,” however, is a key word here, simply because listeners aren’t sure of what type of backlash is at play. Just as the lyrics keep coming, the mystery of truth keeps unraveling for listeners as well.

The anger in Elliott’s signature gravelly voice also keeps the song moving. Again, imagery is a key driving force. He was burning, and later he melts into sleep. These images call to mind youth–an energy and enthusiasm that pushes forward. As a result, the “feet of clay” belong to an older adult who is an authority. As the anger builds, listeners can make the connection that Elliott is addressing someone like an employer. More often than not, young adults have to work their way up the ladder of employment and status. They have to start at the bottom of the totem pole because this system has been normalized in modern culture. Experience and age are deciding factors of success. So, Elliott repeats the essential question: is he truly being victimized simply because he is young?

The questions unravel more complex ideas as Elliott enters the second half of the song. He implies that, with age, conscience is thrown away. Neither logic nor morals play a part in life, whether actions are good or bad. There is a sense of automation here, as older people tell lies and deceive youth. At this point in life, elders are just rolling along with no rhyme or reason. They have been disillusioned and can no longer dream.

Color is used as an extended metaphor in the next verses, bringing in even more intense visual imagery. Instead of decisions being black or white, Elliott mentions that he sees the black in the white. Scientifically, the lyrics do not make much sense since white is devoid of any color, including black. Metaphorically, Elliott refers to being able to view all sides of an idea, person, object, etc. When there is gray, he sees color. There is positivity and hope. While the modern world would rather bleach away all the color to eliminate possibilities and dreams, Elliott would rather hold onto the color, even if he only sees it because he is young.

Overall, this song takes a stab at the power of youth. Elders have a tendency to focus on reality, while youth have a tendency to dream. This song pits old pessimists against young optimists. Elliott begs for the truth, and he questions whether or not he should compromise and give in to what everyone else tells him. Should he become absorbed into the natural way of thinking? The anger and intensity of the song escalates through the guitar riff, amplifying the imagery and reflections embedded in the lyrics.

“Have You Ever Needed Someone So Bad?”–1992

Listen to “Have You Ever Needed Someone So Bad?”

All rock bands have a string of ballads in their discography, and Def Leppard is no exception. Their 1992 track “Have You Ever Needed Someone So Bad?” is very relatable and emotional, giving it reason to stand out among the band’s power ballads.

Right from the start, weakness and defeat are outstanding themes. Just as Elliott sang of being victimized for his youth, he is also victimized here by the woman who keeps shutting him out. Rock groups are known for their “tough” appearances. Def Leppard is naturally one of those rough and tough groups, but this song shows how a man can feel defeated. Elliott’s persona on this track is that of a man who experiences heartbreak and deep emotions. The gentle tone in his raspy voice contributes to the pain and highlights the difference between upbeat songs and ballads.

Unrequited love, the true focus of the song, is clear through the chorus. Although listeners do not know the entire story behind this failed love, they can easily relate to the questions Elliott poses in the lyrics. The “have you ever?” and “did you ever?” show that he’s looking for connection and hopes someone else can understand his heartbreak. The beauty of all music is the ability for listeners to personally and emotionally connect with lyrics. With this song, the listener is taken along this journey with Elliott.

On the other hand, what if the questions in the chorus are directed to the woman instead? Again, relatability is important, as Elliott presents a familiar pain known to others. By asking the woman “have you ever needed someone so bad?”, there is hope that she will come around and surrender her heart to him.

Time is another interesting ingredient in this song of familiar, yet complicated pain. The woman wants to keep moving, despite Elliott’s plea for her to stay in the present moment with him. Right now, Elliott is frozen in time, not moving forward. Instead, he can only relive the moments he had with her, even though she didn’t plan on staying around. Stagnancy and urgency battle each other as the song progresses, whether it is midnight or dawn. Her apathy keeps her going while his empathy keeps him still.

By the bridge of the song, emotions are still running high…for Elliott, at least. He reflects on how he is addicted to this woman, and he has been trying his hardest to give her his love. He is reckless with his emotions for her, but she either doesn’t see them or simply doesn’t want them. He even goes so far as to promise devotion to her if he never finds the right woman for him. This love drives deep, even if it wasn’t meant to be. As he sings, he’s damned if he tries and damned if he doesn’t. He is frozen in a never-ending battle. His need is not her demand.

Living “Rock of Ages”

In looking at Def Leppard’s career, specific songs cannot be ignored. COACS readers love a variety of tracks, both iconic and forgotten. With Def Leppard comes honesty, universality, and reflection. Ordinary emotions and situations are amplified by the heavy guitars and unexpected lyrics. In Def Leppard songs, persuasions of love result in referencing “stagefright” and equating love’s healing power to that of a “medicine man.” Infatuation leads to “hysteria” while “love bites” and draws out personal weakness. Not only does the band tackle themes of love, but also time, youth, tangibility, and the nature of rock and pleasure. The “photograph” will never be able to substitute a real love, but “rock [will be around] for ages.” And although pouring actual sugar on yourself will only make you look like an idiot, the metaphor of “Pour Some Sugar On Me” captures raw human emotion. Def Leppard’s legacy, which involves loud guitars and a typical “hair band” look, impacts listeners of all ages. Instead of getting lost in the guitar riffs and heavy drumming, listeners become swept-up in the imagery, commonality, and human intensity that is, and always will be, Def Leppard.

I’d like to thank all my readers who voted in the Readers’ Choice poll for this post. I enjoyed listening to the songs you suggested! I’d also like to thank my friends and peers who, alongside me, are living proof that rock will never die for younger generations. Special shoutout to: Eileen, Theresa, Annie, Danny, Chris, Stephani, Kaylee, Matt, Levi, Natalie, and anyone I may have missed. Thank you for showing me that a community of 18-22-year-olds who love classic rock exists!

Before You Go…

Don’t forget to follow the Guilty Pleasures of a Classic Soul playlist which includes all songs featured on Monthly Mixtape. You can now listen on either YouTube or Spotify!

Cunning, Complex, Compelling: Complementary Villains

Misunderstood and Relatable

No matter the novel, film, TV show, or play, the audience immediately learns who the antagonist is and what he or she desires from the protagonist. These villains are often ugly in appearance, symbolizing their immorality on the inside. These villains are unforgettable and ruthless. Even though some may be attractive with their luring powers, nearly all villains are vanquished by the resolution of the story.

However, not all villains are purely evil like the Wicked Witch of the West, the Joker, or Emperor Palpatine. The most compelling evildoers are those characters who complement the main villains.

In other words, these characters behave immorally, often working with the main

villains, but they also grapple with their morality at the same time. They are unsure of themselves and try to find a balance.

These characters can be tricky to find, and they also may be considered antiheros instead of direct antagonists. Nonetheless, these characters are cunning, complex, and utterly compelling.

In analyzing this type of character, I have identified four specific examples of characters who demonstrate the “complementary villain”: Drake Stone, R.M. Renfield, Xander Cook, and Charlie Dale.

Drake Stone

Meet Drake Stone! At around age fifteen, he was partly trained in sorcery by his Morganian mentor who left abruptly. Unsure of what to do with his new powers, Drake Stone became a well-known illusionist. Although a very minor character in The Sorcerer’s Apprentice, Drake Stone (played by Toby Kebbell) is no doubt a complementary villain who still retains bits of his own morality.

The 2010 film focuses on the battle between sorcerers who support Merlin and sorcerers who support Morgana le Fay. While Balthazar trains Merlin’s prime successor, Horvath, a Morganian, aims to destroy the world. To assist him in his malicious endeavors, Horvath enlists the help of Drake Stone. Stone is honored to meet Horvath, but his turning sorcery into commercialized magic disappoints Horvath from the moment the two meet.

Without a doubt, the movie is cheesy at times, which is why it so entertaining. In the cheesy moments, however, Stone’s morality shines through. For instance, when Horvath demands that Stone make sure the satellites are arranged properly, Stone is not paying attention, but is instead interacting with his fans and signing autographs. When he finally trudges over to Horvath, he’s frowning. The next bit of dialogue shows how unsure Stone truly is:

Drake: “…It’s just nice for them [the fans] to see a genuine icon like me.”
Horvath: “Fortunately they’ll all be dead soon.”
—The Sorcerer’s Apprentice, 2010; director: Jon Turtletaub

After this conversation, Stone’s facial expression reflects pain, as if he’s unsure of Horvath’s plan. Why would he want to annihilate his own fans? After all, Stone didn’t grow up as an authentic Morganian. He made the best of the situation after his mentor disappeared, but he’s not a pure Morganian at heart. For Stone, the performances, fans, and publicity are what truly matter to him. At the end of the day, he didn’t have a choice when Horvath stepped into his gaudy apartment and lavish lifestyle. No one says “no” to Maxim Horvath. End of story.

Additionally, Stone’s interactions with Dave, Merlin’s successor, are also not very villain-like. One of the most iconic scenes from the film is the bathroom scene where Stone is sent to threaten Dave into giving up the dragon ring, which is essential for Horvath’s ultimate evil plan. At first, Stone struts in with his high-heeled boots, black cape, and wild hair. His appearance is threatening to Dave, but the threat itself isn’t deadly. Once Stone gets Dave to pull out the ring, he starts cracking jokes, asking Dave to use a spell on him. By the end of the amusing scene, Stone is rambling as he fails his one task. He began the evil deed so well, but, by the end, he didn’t succeed. Therefore, Stone is not purely evil.

Drake Stone being a somewhat evil villain!

Later on in the film, when Stone helps Horvath find the Grimhold (another piece of the evil plan), Horvath finds it using magic, making Stone look dumb for using his human eyes. Stone’s only other truly “evil” acts are his impersonating Dave to attack Balthazar and driving a getaway car. In the end, Stone is no longer valuable to Horvath, so Horvath kills him with the “Parasite Spell.”

Overall, Stone isn’t the most innocent character of the bunch, being Horvath’s assistant, but he had the ability to turn into a dynamic character because of his uncertainty about Horvath and his devotion to performing and pleasing his fans. Drake Stone was actually a cool dude before Horvath killed him, but nothing good ever comes with Morganians.

A Raving Lunatic with a Heart

Meet poor R.M. Renfield! Dwight Frye’s portrayal of the lunatic Renfield in the 1931 film version of Dracula is so eerily spot-on that Renfield’s character springs to life from the pages of Bram Stoker’s classic novel.

Let’s be clear: Renfield has always been a victim, whether he’s under Dracula’s spell due to his already present lunacy (novel version) or he’s the solicitor sent to take care of Dracula’s travels to London (film version). Either way, Renfield cannot escape Dracula’s power. The intrigue behind Renfield is not simply his zoophagous nature of eating flies and spiders, but the way he can care about others.

In the novel, Renfield attacks Dr. Seward, proving that Renfield is indeed dangerous. In both adaptations, however, Renfield warns the other characters that Mina is in danger. Frye’s portrayal of Renfield in the scene where Dracula commands that Renfield attack Mina is heartfelt; he pleads for Dracula to not make him do this. Renfield has true emotion here. He is disturbed at Dracula’s request and wants nothing more than to disobey it. He refuses it so much so that he starts spilling the secret to Dr. Van Helsing. Renfield has a heart and a sense of morality.

In terms of evil, Renfield, to reader and viewer knowledge, does not actually consume any human blood. On the The Minnow, it is unclear who killed the crew, at least in the film. Was Dracula the only culprit, or did Renfield join in? Given that, in the sanitarium, Renfield only consumes flies and spiders, the audience can assume that he is not purely evil. On the other hand, when Dr. Seward’s maid faints in the film, Renfield begins to crawl over to her with a creepy fascination. Had he not been caught in his act, he may have taken his first sip of human blood. Therefore, Renfield can be persuaded to evil, especially as he still does Dracula’s bidding for a while, but Renfield is not purely evil at all!

Renfield almost takes his first sip of human blood

The Soaps

Soap operas show the development of various characters over time, and Days of Our Lives has been allowing the audience to watch Salemites change for over fifty years. While some characters such as Stefano DiMera and and Victor Kiriakis will always be stubborn and somewhat cold-hearted, other characters are insecure and flip-flop personalities–literally! In considering which complementary villains change the most, I couldn’t help but choose Xander and Charlie, and I think most DOOL fans will agree!

Meet Xander (Paul Telfer)! The long-lost nephew of tycoon Victor Kiriakis, Xander popped up in Salem one day, unwanted and unloved. All he wanted was to become a bigshot in his uncle’s business, but Xander would have to prove his worth over the years in order to do so. In fact, Xander started his time in Salem as being Victor’s gardener.

Where does one begin with Xander? He’s had many entrances and exits since his time began on the soap, but that doesn’t mean that his character hasn’t been soapy. He’s worked with most of Salem’s bad eggs. He’s lied, killed, manipulated, double-crossed, and tortured. The only thing Xander hasn’t done is die and come back to life like the majority of Salemites–although he did help Kristen and Dr. Rolf revive a string of dead villains.

Besides his evil acts, he is quite the ladies’ man (or thinks he is) and knows how to sweet-talk the ladies into bed. Quite simply, Xander’s motto has always been “do what’s best for Xander.” However, some of those bad boy ways changed when Xander met Sarah, a goody-two-shoes doctor who also happens to be the daughter of Victor’s wife. Eventually Xander falls head over heels with Sarah, and is committed to having her no matter the costs. During this time, Xander cozies up to Uncle Vic and earns a job at Titan. The uncle and nephew get along very well, even when they coordinate a baby-swap so Sarah doesn’t have to deal with the fact that her actual baby died in a car accident (not the best plan in the world). Needless to say, that plan blows up, proving that Xander is moral in that he loves Sarah and is loyal to her, but he’s still able to hatch devious plans from that brain of his.

Time rolls on and Xander and Sarah are back together. Xandy’s still a bigshot at Titan–that is, until Uncle Vic’s son Phillip comes back into the mix looking for a highfalutin position. Victor makes Phillip and Xander co-CEOs, which, unsurprisingly, doesn’t go well. Phillip tries to get dirt on Xander, and vice versa; in this case, however, Phillip is actually playing dirty, and Xander is a good guy trying to save the company. He’s cleaned up his act, for the most part, and he is an admirable character.

Most recently on the soap, Xander is having major issues. After Sarah “stood him up” at their wedding (even though it was Kristen impersonating the real Sarah), Xander has sunk back into his evil ways. Really, he can’t help it. Sarah was the best part of him, and, with the real Sarah missing, Xander can only resort to his old ways in order to take care of himself. He began waving guns around again, not to mention some classic blackmailing and cheating with a married woman.

Yet, Xander still isn’t purely evil. Jack Devereux, the local newspaper editor, is Xander’s only true friend. Like with Sarah, Xander will do anything for Jack, even if that means ruffing up a doctor who blackmailed Jack’s daughter, Gwen, into selling drugs. Gwen, who also has a jaded past, talks Xander out of killing the doc. She tells him that they are both outsiders who are misunderstood. She’s very correct here. However, Xander’s “ruffing up” causes the doc to have a fatal heart attack. Now there’s another dead body in Salem. Surprise, surprise!

Xander is simply a compelling character to watch. He amuses himself when he cracks jokes! Xander lives his “best life,” even if it’s not the best he wants it to be. He is a badass, but he’s also a total sweetheart.

Meet Charlie Dale (Mike Manning)! He’s an innocent-seeming young lad who comes from a rocky childhood. What most Salemites didn’t know was how much that negative childhood affected his self-esteem and mental health.

Charlie has mommy issues. Son to ex-Italian mobster Ava Vitali, Charlie soon learns to feel unloved by his mother, who longs for the firstborn son she was taken away from. As a result, Ava couldn’t care less about Charlie and would rather have him spy on the now adult firstborn son she’s trying to reach.

When Charlie enters town, he winds up working for Titan as an intern, meaning he becomes planted in the middle of (wait for it) Xander and Phillips’ co-CEO feud. Each CEO asked Charlie to find dirt on the other. In this situation, Charlie is innocent because he doesn’t want to get on either CEO’s bad side. He plays both sides of the deal, trying not to get himself in trouble. Eventually, his “innocence” leads him to coming clean and confessing to Phillip that he’s been spying for Xander. Sweet Charlie just wants to be on everyone’s good side.

Then enter the girlfriend. Charlie and Claire find themselves falling for each other, especially after an unplanned kiss. Even on their first date at the Brady Pub, Charlie is a gentleman, and there is no cause for alarm. He jokes, he smiles, he compliments; he’s perfect…

Until the viewers witness him talk to his mother. His conversation with Ava shows how Charlie isn’t totally on the up and up. His tone of voice hardens as he talks to his mother. He is jealous and resentful that his half-brother gets more attention than he does.

So his mother doesn’t spill the secret that he raped a beloved Salemite, even though the community thinks his half-brother did, Charlie drugs his own mother and ties her up in his apartment. Ava goes “missing” for weeks as Charlie tortures her.

The glasses are off, so Charlie must be bad today!

When he’s at a party with Claire, he comes face to face with the girl he raped, and he clams up. He devises a way to excuse himself, but Claire gets suspicious. Various members of the community seek the truth of who is rapist, especially because a child’s involved.

Sadly, Charlie is shot by another crazy Salem villain, who doesn’t even kill Charlie because of what he did. On one hand, Charlie’s disgusting and unforgivable deeds earned him the impersonal murder, but, on the other hand, Charlie’s abnormal childhood left him predisposed to emotions and misgivings about women. Viewers can’t help but feel some sympathy for Charlie Dale.

What’s my True Confession when it comes to soap operas? Click here to find out!

Misunderstood Outsiders

Complementary villains are misunderstood. They have a lot of thoughts bouncing between their ears as they try to decide whether or not they’re on the side of the law. In many cases, these villains assist the prominent, purely evil villains, but they are unsure of themselves. They have not completely sold their souls, and they will keep fighting to find who they are!

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I’ve Got to “Learn to Say No” (Monthly Mixtape)

In 1987, voracious music fans were treated to a variety of new music as the decade grew hotter with heavier beats, wilder hair bands, and groovier RB/Soul hits. The year also paved the way for two powerhouse singers who each formerly left their original bands.

George Michael and Andrew Ridgeley dissolved Wham! in 1986, a mutual decision that allowed George to grow as a solo artist. Before releasing the Faith album, Michael experienced a “bridge” period of music where he performed two duets, the first being the Grammy-Award winning “I Knew You Were Waiting (For Me)” with Motown sensation and icon Aretha Franklin.

Meanwhile, Jody Watley was the female singer in the band Shalamar, who formed in 1977. After several albums, including the song “Dancing in the Sheets,” Watley left Shalamar in 1984 to pursue her own solo career. She would, later in the year 1987, chart with famous songs such as “Don’t You Want Me” and “Looking for a New Love.”

In ’87, Michael and Watley teamed up to sing an emotionally and vocally outstanding cover of Richard “Dimples” Fields 1981 “I’ve Got to Learn to Say No.” However, when comparing the two versions, the duet has a different set of lyrics, so it’s not an exact cover, and the title was shortened. Both songs are executed brilliantly, but the duet allows for each singer to show-off the voices they have grown into.

Today would have been George Michael’s 58th birthday, so, as always, June’s Monthly Mixtape review celebrates Michael, today by featuring this often forgotten duet.

“Learn to Say No”–The Duet

There’s an energy that comes with the opening instrumental of the song, and it will pave the way for the emotional lyrics. A curiosity lives in this instrumental, as well as an attraction. Immediately, the song emits a strong gravitational pull for the listeners.

Cue George and his powerhouse voice! The first lyrics the audience hears are “Too strong”, followed by a “Whoa” that soars; fans who are used to hearing George Michael’s higher pitches in Wham! songs get a taste of how Michael will grow as a vocalist in 1987 and 1988.

The chorus is introduced right away, and the word “strong” is both eye and ear-catching. Here, “strong” isn’t used as muscular strength, but of course mental and emotional strength. This strength is sensual, where lust and desire overpowers logic. Singing together, Michael and Watley admit that “something is wrong.” They know that the attraction is so great that they need to “learn to say no” and curb those desires.

Easier said than done, of course! Michael dives into the first verse, articulating the fact that giving up on this relationship is far from simple. “Playing games” is a topic and phrase that Michael would eventually reference in songs on the Faith album, but it is introduced here, and Michael makes very clear that not taking the relationship seriously or even looking elsewhere for love isn’t an option. Only this his relationship can heal that “hole in his heart.” However, this love doesn’t make sense, and even he admits that he has no clue what he is doing. A battling love/hate feeling arises here as Michael says he can’t leave this relationship, yet he keeps coming back for more. He wants it, but then he doesn’t. The last line of that verse is one of the most powerful, especially with Michael’s release of the note, jumping into a higher octave. This love is like a gun, and he wants it pulled away. The mental and emotional battle is underway, and Michael has enough logic to know he should get away and “say no.” But will he do it?

Jody Watley takes over the second verse with as much passion as Michael in the first. She explains that this battle has been ongoing. It’s the same old story time and time again, yet they always fall back into each other’s arms. She analyzes her own logic by admitting that she often plans to leave. Desire, however, overpowers the will, especially because Watley knows that she can eventually get over the heartbreak of ending the relationship. The body, instead, takes control and logic is tossed out the window. Meanwhile, focusing on vocals, Watley’s silky voice and emphasis on specific lyrics mirror Michael’s emotional battle. The pleasure and the pain are apparent in both of singers’ voices.

The song can be found on Watley’s self-titled debut album.

By the bridge of the song, both Watley and Michael realize that they can’t win this battle. They’ll lie to themselves to keep the relationship going. The repetition of “Gimme that” reiterates that the lust is building and they can’t stay away from each other. This relationship may be toxic, but pleasure will keep winning.

Not much to say about the sax solo except that it echoes the passionate tension of the lyrics!

The end of the song features Watley and Michael repeating lines and riffing off one another. The back and forth sounds as though they are actually having the emotional battle at the same time, which is a very neat effect of a duet. In the middle, Michael sneaks in the line “I’m just a slave to your heart.” The word “slave” has a very strong connotation here. The word itself emphasizes how this battle is never-ending. “Slave” has a very negative connotation in general, but here it is almost good and bad. Because they both like and hate the relationship, the word can be positive or negative, depending on whether they are happy with the relationship or want it to end.

Overall, Michael and Watley’s duet blends their iconic voices not only to emotionally convey the meaning of the song, but to show how each singer would come to stand-out tremendously with their solo albums.

“Dimples'” Original

As mentioned previously, Richard “Dimples” Fields’ version of the song has completely different lyrics, although the instrumental is very similar. Fields’ version was recorded in 1981, but a ’70s disco vibe still rings true throughout the song. Unlike the duet, Fields’ isn’t having issues with one lover, but all of them. Quite simply, he has too darn many of them! He needs to quit being a ladies’ man and settle down with only one of them. This song is very light-hearted and even humorous, where the duet is more emotionally charged and serious.

Both versions of the song still tell the tale of a mental and emotional conflict that has too many tightly-wound knots!

Oops, I Said “Yes” Again!

Sometimes, saying “no” is important for sanity, but the body can overpower the brain. Both the duet and original versions of the song are a joy to listen to. The premise of each one is generally the same, but the duet features two powerhouse singers who make the song just as addicting as the toxic relationship! Who can say “no” to George Michael and Jody Watley?!

Before You Go…

Be sure to follow the Guilty Pleasures of a Classic Soul playlist that contains all of the songs featured on Monthly Mixtape reviews. You can listen on either Spotify or YouTube. Also, please remember that we’re looking for YOUR input on July’s Monthly Mixtape. Keep an eye out on social media for the poll where you’ll help select which Hair Band is featured next month!

What is my True Confession #7 involving Jody Watley? Click below!

True Confession #7

Once an English Major, Always an English Major!

Yes, we will always secretly check your grammar! A degree in English doesn’t end with the physical piece of paper that’s framed on the wall. Instead, the skills and loves English majors develop during their studies continue on.

As a recent graduate with a degree in English, I can confirm that English majors will never change their stances on the following topics.

The Personal Library Grows…

Not only do English majors accumulate tons of books from their college classes, but they will continue gathering books throughout their lifetime. Overrun bookshelves are a guarantee, as English majors are lifelong readers. We will never put down our books, nor will we stop trying to cram them all in every crevice of the bookshelf that we can. Take it from me, I have a stack of poetry books, creative nonfiction books, and American classics from college that line one entire shelf. The Norton and Bedford anthologies for American Literature and Shakespeare also take up quite a bit of room. So what do I do when I have to return the leisure book I’ve just finished to the appropriate shelf? Stuff it in or lay it on top! English majors have a will, and they will find a way to make room for the books. When the going gets tough, the library is still available; sometimes borrowing is better than owning!

The Grammar Nazis

Ahem! Are you sure you need a comma in that sentence? Did you use “amount” instead of “number”? Do you know where your punctuation goes after a citation? Don’t worry, English majors are watching and observing (with their hawk-like precision), but they’re not truly judging you.

As English majors, we tend to know many rules of writing and conventions. However, we also realize that we cannot point out every error, nor is it our place to ridicule you. The English language is complicated and confusing enough, and we also mess up the grammar rules, especially in informal conversations. So if you say “more stupid” instead of “stupider,” we won’t be too harsh on you.

Literary Theory Fanatics

Freud, Foucault, Woolf; Formalism, New Criticism, New Historicism, Feminism, and Ecocriticism. English majors can let their geeky colors show when literary theories are involved. Literary theories are perspectives that can be applied to literature and life. These theories are like magnifying glasses of varying colors. Each glass represents a new theory, and each new theory comes with its own characteristics and guiding questions, thanks to beloved literary scholars.

Literary theories are important because they allow for multiple meanings of a text, unless Formalism is at play (which is another story). The ability to think both critically and flexibly is invaluable, especially to employers, and it makes individuals more well-rounded. Even more, literary theories can also be applied, in some instances, to social situations; so, literary theories are multi-purposeful!

Song Lyric Analyzers

Music = poetry. English majors like myself love to analyze different texts, songs included. Because songs are poetry, lyrics can be analyzed for deeper meaning. Some lyrics are highly figurative, using lots of imagery, similes, and metaphors. For example, if I were handed Duran Duran song lyrics, I could analyze them for hours. In fact, I have several theories about the meaning of “The Reflex.” On the other hand, an English major’s tendency to dive in can lead to overanalysis, in which case a song can lose its essence, especially with simple songs such “Wake Me Up Before You Go-Go” or “I’m a Believer.” Nontheless, we English majors tend to also be songbirds.

2+2=5, Right?

English majors love words, so numbers aren’t always their strong suit. Now, some English majors are great at math, especially those who took on a double major in engineering or science. In general, however, we English-minded people rely on a calculator and do everything in our power to avoid mathematics. In fact, perhaps the best part of algebra class was the use of variables in an equation. Solving for X can be fun, after all.

Photo by Karolina Grabowska on Pexels.com

Math involves abstract thinking (don’t get me started on absolute values), but so does literature and writing. While English majors don’t occupy themselves with determining the value of “i,” they do focus on deeper meanings in a text. Poems, more often than not, are abstract and require deeper analysis (insert Shklovsky’s defamiliarization theory). Math and English are very much alike in this sense, and some individuals are more adept at one versus the other.

Lifelong Writers

Because English majors love the written word, many of them continue to write well beyond their college years. Whether it’s research, creative writing, argumentative papers, or even journalism and blogging, English majors like to stay close to their roots. Writing, as said time and time again, is very therapeutic, and helps thinkers express themselves, especially when they cannot speak their true intent. I, for example, am always afraid that I’ll say something stupid-sounding in public. So, instead, I write out my feelings–sometimes in letter-form, which is the best way for me to communicate what is on my mind.

Writing, then, at its simplest form, is communication. The world needs English majors (and writers from other majors) to effectively convey information to others, whether it be strictly informational or creative. We don’t stop our writing once we’ve receive our diplomas.

Lifelong Bookworms

True, an English major’s diploma may sound like simply a “degree in how to read and write,” but it represents a lot more. An English major will always be a reader, writer, communicator, and thinker. These skills are highly beneficial in the workplace, proving that an English degree is flexible and valuable. We may be nerds, but we’re smart, skilled nerds!

I’m Telling You, My Friend: We’re Through (Monthly Mixtape)

The Hollies, a British music group who began their career in the 1960s

Memorial Day weekend is upon us, which means summer, summer, SUMMER! And ’60s music. When I was little, I’d constantly play my mom’s ’50s and ’60s cassette tapes, so the ’60s have become my own personal summer soundtrack.

Today we’re heading back to 1965 for a classic “British Invasion” group. Music aficionados undoubtedly know of “Bus Stop” and that “Long Cool Woman (In A Black Dress),” but most won’t know another Hollies’ track called “We’re Through.” I stumbled across this song while shuffle-playing The Hollies’ essential playlist on Spotify. The song itself is fairly simple, as it depicts a breakup caused by an affair. The vocals and the lyrics, however, give the song its true essence.

“I’m telling you, my friend /…we’re through!”

“We’re Through” by The Hollies

The song kicks off with Don Rathbone’s drum roll and an easy guitar groove, a perfect way to ease into summer! When Allan Clarke jumps in on vocals, the song immediately turns serious. The first line that stands out is “You take pride in making me blue.” Instantly, the tone has become somber, and the fact that the girl is proud of cheating slices at the heart of the song. The emotion is infused into the song from the downbeat of Clarke’s first lyric.

“You take pride in making me blue”
-Allan Clarke, Graham Nash, & Tony Hicks of The Hollies

Even more, Clarke’s vocal abilities in this song intensify the emotion and the meaning. He elongates lyrics in the lower register and then skyrockets to higher pitches in later lines. This back and forth combination in each verse, as well as the duration of each individual lyric, drags the listener along through the song. As his experience of heartbreak is pronounced, listeners feel the experience as well through the varying range of notes.

Focusing on the lyrics, the word “friend” is repeated throughout the song. The lover is referenced as “friend” in the first verse, implying that the singer has accepted that this girl is indeed no longer a lover. Friendship is no doubt a part of a romantic relationship, but here the word has a lesser connotation. The girl is simply a “friend.” No more, no less. At the same time, he still cares for her as a friend, or he wouldn’t feel the need to tell her they’re through. In the second verse, “friend” is the word the girl uses to describe the “other guy.” Obviously he wasn’t “just a friend,” or the song wouldn’t exist, especially without all of Clarke’s vocal emotion. Overall, “friend” has a negative connotation in these lyrics, as it is the true cause of the heartbreak and why the relationship must be ended.

As the song progresses, listeners wonder if the girl can even be considered a “friend.” After all, friends still treat friends well, and the girl clearly is not affectionate in return. Through Clarke, we learn that he treated her as a gentleman should, and he can’t see why she would run off with a new man. The line following this one, however, cuts the deepest: “‘Cause I can’t leave you alone.” He still loves her and doesn’t truly want to let her go. The heartbreak has reached its climax in these lines; there is anger, bitterness, sadness, and guilt wrapped up in all of these lyrics. He nearly blames himself for knowing the relationship would end, but, in the end, he did keep his commitment to the girl.

These lines repeat one last time, almost a lament for this broken relationship. The last stanza of lyrics transitions into acceptance. The entire song feels like the grief cycle, and Clarke emerges at the end. He has mourned the relationship and decides to move on, without the girl.

Wait, We’re Through?

Yes, didn’t you hear the news! “We’re Through” is a Hollies’ song that has most definitely fallen through the cracks over the years. At its core, the song is simple, yet highly expressive. Although it is a typical “heartbreak” song, Allan Clarke’s vocals, the contradictory lyrics, and even Graham Nash’s strumming (yes, of Crosby, Stills, and Nash fame), give the song its extra oomph. It packs a powerful punch, but at least we can all move on after we accept that “we’re through.”

Before You Go…

Don’t forget to follow and listen to Guilty Pleasures of a Classic Soul, the playlist dedicated to all the songs featured on Monthly Mixtape. You can find the playlist on either Spotify or YouTube (see links below!). Get ready to vote on which hair band we’ll feature on July’s Monthly Mixtape. Stay tuned!

Guilty Pleasures on Spotify

Guilty Pleasures on YouTube

Star Wars: A Timeless Classic for All Kids

“A long time ago in a galaxy far far away”…those are the only words you need to hear, and you know exactly what part of the galaxy you’re in. You’re prepared to see droids, Wookies, lightsabers, and Sith lords.

The Star Wars universe is indeed another universe all its own, one that’ll likely continue expanding for generations to come. All fans remember their first time flying into the galaxy, and most were only children when they viewed it for the first time. These fans then pass down the films to their children, and the saga rolls on. In a sense, then, Star Wars is a part of childhood that never fades away.

What is it about Star Wars that makes it so timeless for kids of all ages (from ages 1-to-92, if we’re quoting “The Christmas Song”)? On this May Fourth, let’s take a closer look at why the franchise is a timeless legacy. As we journey to the galaxy far far away, you’ll also catch a glimpse of my own childhood as an enthusiastic Star Wars fan.

A Galaxy of Escape

Captain Kirk may have boldly gone before A New Hope‘s release in 1977, but to say that the Star Wars universe isn’t magnificent would be a lie. On the contrary, viewers bounce back and forth between planets, and mega fans can rattle off which characters come from which planet. The list of planets and systems itself is quite lengthy. In fact, there’s:

Tatooine
Alderaan
Naboo
Hoth
Endor
Yavin IV
Coruscant
Bespin
Mustafar
Geonosis
Kashyyyk
Dagobah

And the list goes on! As a result, it is easy to get lost in the Star Wars universe, and it becomes an escape from the real world down here on planet Earth. Plus, every minor character has a name of some sort (what was George Lucas thinking!). Super fans can name practically every minor character, from TC-14 to Salicious Crumb!

Without a doubt, the Star Wars universe is expansive, and it continues to expand now that Disney holds the rights. From the latest trilogy to the Baby Yoda and Mandalorian craze, Star Wars is here to stay as a galaxy to which everyone can escape.

“I was hooked after watching A New Hope around age 7. From then, the movie reminded me of that summer when I ‘crushed’ on Luke Skywalker. I would even sometimes pretend to be Princess Leia, trying to escape from Vader and Tarkin! My hair wasn’t up to par, though!”
-Nicole’s earliest Star Wars Memories

Imagination and Heroics

One of the reasons why kids are so mesmerized with Star Wars is because of the creative freedom it provides. With aliens, lightsabers, and the Force, what’s for kids not to love? When it comes to play, the sky is, literally, the limit. Kids can imitate whichever character they want, or they can create a new persona for themselves to play.

Don’t forget the lightsaber duels! Young Padawans are ever eager and willing to duke it out with lightsabers, even if theirs doesn’t light up.

“My green lightsaber didn’t light up, but I was still over the moon to have it! I used to pretend I was a Jedi filming a new episode or film for my imaginary TV channel, called ‘The Everything Channel.’ When our elementary school teachers finally allowed us to bring our lightsabers to school one day for recess, all of us Star Wars gurus were ecstatic. However, it didn’t go too well, because I don’t think we made it more than a day or two without having to give up the lightsabers.”
Nicole’s lightsaber memories

All children need heroes to look up to, so what better choice than to look up to the Rebel Alliance? The Alliance (and the Resistance in the latest trilogy) show kids that it can be okay to stand up for what you believe in. These groups give kids hope that they, too, can grow up to save the world and inspire others. Whether its fighting in the Clone Wars, pulling off a master escape plan from Jabba’s barge, or destroying not one, but TWO Death Stars, Star Wars allows kids to dream, even if their full fantasies are only recreated during play.

Additionally, Star Wars is full of intriguing and memorable characters, all of which attract moviegoers, kids included. No matter the age, viewers can’t simply forget Han Solo’s sarcasm, Darth Vader’s metallic breathing, Emperor Palpatine’s eerie laugh, C-3PO’s ramblings, Admiral Ackbar’s “Trap” warning, or even that dude that wants to offer you death sticks (“you want to go home and rethink your life”). Forgetting Jar Jar would be a blessing, but no one can. In sum, the unique personalities of the characters and the chemistry between them open up countless doors for kids. These characters are different, and they teach kids that being different is okay. They show various personalities and world views, including insights on politics when it comes to the Trade Federation. The films also introduce kids to the balance of good and evil, dark and light, as contrasted between the Jedi and the Sith. Underlying morals show kids correct ways to act, so they don’t turn into smugglers and cranky ship part dealers!

“I used to have a purple rain jacket with a hood. Every time I put that hood over my head, I pretended to be a Jedi. Mind you, I was a Jedi Knight hanging out with Obi-Wan. Nobody wants to be a Padawan–Anakin sure didn’t!”
The “Jedi” cloak memory

“The Force Will Be With You…Always”

Obi-Wan wasn’t kidding with these words! Star Wars has become such a massive icon in pop culture, and the boom isn’t dying down. Merchandise has been around since the beginning of the saga, and more is produced today with Baby Yodas and BB-8’s galore! Kids of all ages can even act out their Star Wars fantasies at Universal Studios. The video gaming industry has definitely boomed thanks to Star Wars, with a multitude of games that expand the universe even further for players.

“One year for Christmas, my parents got me a Star Wars ‘Plug n’ Play,’ you know those video games that you connected to the TV with the yellow and white wires? I used to be so good at the lightsaber duel. Every once in a while I blow off the dust and let off some steam by blowing up the Death Star or flying around in an X-Wing. Needless to say that one of the buttons sticks now…”
The ‘Plug n’ play

Meanwhile, don’t forget the music! John Williams’ legendary score (which he has composed for all the major Star Wars films) is timeless in and of itself. When the main theme begins or when the menacing “Imperial March” enters, so does familiarity. Star Wars has become so familiar to popular culture, that it has become a comfort. No wonder kids carry that piece of “home” and “childhood” along with them into adulthood!

Ewoks and Wookies are Here to Stay!

Clearly, Star Wars, although many many light years ahead of us, is not going anywhere anytime soon. The impact it has had on viewers all around the world is amazing, but not surprising. It is a universe that is an escape, a joy, a thriller, an adventure, a tragedy, and an inspiration. What would a world without Star Wars look like? Fortunately, our kids will hopefully never have to find out, because Star Wars is a timeless classic!

May the Fourth be With You!

Happy Star Wars day to one and all. Before you go, please check out the Hilsmaniacs’ latest YouTube episode, Star Wars Trivia. I’m grateful for the opportunity to guest star in the video and play a trivia game with a few very good friends. Think you know Star Wars? Better see for yourself below!

“Have You Never Been Mellow?” (Monthly Mixtape)

When I was 10-years old, I couldn’t get enough of Grease. Although I was too young to comprehend half of the innuendos throughout the movie musical, I knew I loved the music. One time, I attempted to compose my own song that had remnants of Olivia Newton-John’s “Hopelessly Devoted to You.” I was devoted all right!

Now that I’m older, I admit that I still can’t get enough of Danny and Sandy, but I’m also able to scope out more of Olivia Newton-John’s work, as she has clearly become one my favorite female vocalists. In a recent bender of listening to her other songs, I came across “Have You Never Been Mellow,” which is derived from the 1975 album of the same name. As someone who worries way too much, this song easily hit home for me. “Mellow” is in the name, and it is certainly the message of the track. By the end of the song, listeners will be wondering why they, too, aren’t mellow!

“Have You Never Been Mellow”

Listen to “Have You Never Been Mellow”

Naturally, the beginning instrumental is, well, mellow. It sounds a bit sad at first, but as soon as Newton-John’s vocalizing comes in, the song starts to take its shape. The message of this song relies on personal experience, as she relates that she used to be like “you,” or like us. The message, then, becomes a classic warning of “don’t let history repeat itself.” Humans like to hurry, especially because the stresses of everyday life are very demanding and overwhelming. Humans also like to stick their noses in and give their opinions. What Newton-John instantly explains in these first lines is that we don’t have to hurry or be heard. We can simply live.

The “mellow” mood continues in the chorus, and I particularly like how the word “mellow” is slowed down and emphasized. In fact, the other lines in the chorus are drawn out: enunciated and elaborated. Newton-John’s voice rises and falls as she literally sings her message. Here, humans don’t have to be strong all of the time. The world is restless, with its constant demands, and Newton-John urges us to slow down and take our time. Instead of diving from one fleeting pleasure into the next, we can look inside ourselves and simply be ourselves. We don’t have to have all the answers, and we are allowed to take time for ourselves; we’re not superheroes, we’re humans. The lyrics in the chorus are sung as questions. Newton-John is directly asking listeners to reflect on these ideas. She’s not pointing fingers, but tenderly suggesting.

What strikes me in the second verse is the line “head up in the clouds.” Normally, this cliche refers to daydreamers. However, here, the line shows that a person who’s head is up in the clouds is oblivious to peace and relaxation. This person, instead, is too busy running around and trying to get all of the work done. This person cannot realize that the world just asks way too much sometimes.

The “I was like you” repetition emphasizes that Newton-John doesn’t want listeners to be like her. She wouldn’t be singing this song if she hadn’t come to her own realization that it is okay to be mellow. Therefore, the more she repeats these lyrics and allows her vocals to soar, the better chance she has of getting her point across.

In the end, people who just keep running from one activity to the next aren’t hard to understand because it’s human nature. Most of us have grown up in a hard-working family, and the adult world demands that we work double-time. We need someone to “take our hand(s)” or we’ll continue to run along at full speed. We don’t need burnout, we need mellow!

The chorus is repeated one final time at the end of the song. One last time, Newton-John reminds listeners that we can find joy and peace inside of ourselves, inside our own hearts. If we take time to just be mellow, then we can live one moment at a time and stop stressing about the future. She doesn’t say that living for one moment at a time is easy, but it is certainly possible to do. Humans have weaknesses, and one of them is the ability to become tired-out. As Newton-John so gently and sweetly comforts with her soft lyrics, listeners can learn that to be mellow is perfectly acceptable.

Before You Go…

Be sure to listen to and follow Guilty Pleasures of a Classic Soul, a playlist dedicated to the songs featured on Monthly Mixtape. You can follow or subscribe on either Spotify or YouTube. See links below!

Guilty Pleasures of a Classic Soul (YouTube)

The Pangs of a Young Old Soul

Have you been told numerous times that you’re an old soul? That’s wonderful news! However, being a young old soul can also be a curse, especially when you feel that you don’t fit in with others your age. Old souls are known for their empathy and deep relationships with others, but old souls can also find themselves lonely. Of course, there are pros and cons to every personality type, which don’t make one personality better or worse than another. Let’s take a closer look at young old souls!

“She’s an old soul with young eyes, a vintage heart, and a beautiful mind.”

–Nicole Lyons

Alone Time and Sensitivity

Old souls are bleeding hearts, and they are not only great listeners, but they are also very self-aware. Therefore, social interactions can be exhausting, whether old souls are generally introverted or extroverted. No matter the personality, old souls need time to recharge after long social engagements, mainly because they have absorbed others’ emotions. Old souls are very empathetic, and they have to process others’ emotions.

On the flipside, old souls are aware of their own emotions. Not only do they bear the load of listening to and feeling for their friends, but they must grapple with how they feel about personal situations. At times, the mix of both sets of emotions becomes overwhelming. Without time to recharge, old souls become burned out.

For young old souls, especially those who are just emerging into adulthood, it can be difficult to balance all of the high emotions, hormones, and stresses that come with day-to-day living. Even at the college age, young old souls are overwhelmed by their emotions and their peers’ emotions.

How do old souls recharge? The method, of course, depends on the old soul, but silent activities such as reading and writing are two great methods. Simply watching a favorite TV or listening to a favorite song can do the trick as well!

Wisdom and Maturity

For the most part, old souls are known for their ability to be knowledgeable and wise at a young age. At this point, young old souls truly begin to diverge from their peer group. They may feel like outcasts, or they may be frequently sought out for advice. In some cases, old souls feel lonely and popular. While they don’t want to be like a magic eight ball that has all the answers, they don’t always mind helping others. In fact, old souls do thrive off helping others, especially because they are empathetic. However, this does not mean that old souls can’t feel the effects of giving too much of themselves. When this occurs, they are more inclined to retreat and recharge.

What exactly is wisdom? With philosophy aside, old souls are mature in the sense that they speak as though they’ve had lots of life experience. In some cases, they have actually had experiences that forced them to grow up early. They take time to think situations through. While some old souls see the big picture, others are detail-oriented. Either way, old souls are thinkers.

Young old souls, then, struggle sometimes to understand their peers. They are more inclined to scoff at college parties and instead spend time studying and earning good grades. Their values differ from their peers, often veering toward more traditional values and customs.

Classic Interests

Classic interests may just be the most complicated undertaking for old souls. Many enjoy spending time with classics, whether it be books, songs, films, or anything else. These older interests appeal to the maturity and wisdom old souls possess, and they provide both comfort and relief when it’s time to recharge.

It should come as no surprise that old souls have a thirst for knowledge, and they often take on their own educational projects out of sheer curiosity. Whether it be researching an actor form decades past or diving into ancestry records, old souls are invested because they care. Empathy extends into all their projects and situations, not just social situations. Thus, their need for knowledge contributes to their maturity and wisdom, and it makes them even more credible. They use the past to provide advice and to live in the present.

However, for young old souls, the thirst for knowledge and the love of classics can be both exhilarating and depressing. Often, young old souls feel lonely and separated from their peers because of these classic interests. Their peers do not value the same songs and books, making them feel like outcasts. Meanwhile, they wonder how their peers can like modern interests, and they wonder what it is that makes themselves so special and odd at the same time.

The truth is, old souls are important and necessary. Classics are classics because they stand the test of time. Without younger generations who appreciate these classics, art would fade away without receiving the same type of recognition it used to. And while young old souls often suffer the painful loss of musicians, actors, artists, and authors who pass away, they continue to support their idols in order to help keep history alive and well.

Young Old Souls Have Power!

Young old souls may feel negative effects of their personalities, but they continue to blossom and celebrate life. They appreciate traditions and values that are taken for granted, and they use their empathy to better other lives besides their own. Old souls have a healing power, not to mention that they’re also pretty groovy!

Think you might be an old soul? See the video below to find out!

Rick Springfield “Speak(s) to the Sky” (Monthly Mixtape)

Before fans ever heard about “Jessie’s girl,” they were told to “speak to the sky.” Rick Springfield’s music career began in the late 1960s when he was a member of the band Zoot. Fast-forward to the early ’70s, and Springfield went solo, only to take a brief hiatus and pursue an acting career. In the early ’80s, he took up music again and grew in his fame with the likes of “Jessie’s Girl”, “Affair of the Heart”, “Love Somebody”, and “Don’t Talk to Strangers.” Although his first few albums practically go unnoticed, at least here in the U.S., it’s time to blow off the dust and head back to 1971. Read more about Springfield’s career here: https://open.spotify.com/artist/6IFXsrXBpwbIqtOUOiAa3p

With the Christian season of Lent nearly over and Easter right around the corner, “Speak to the Sky” is a poignant song to review this month, as the song references praying and speaking directly to God.

“Speak to the Sky”

Rick Springfield’s “Speak to the Sky,” 1971

What is particularly striking about this song is the difference in style ’80s music fans hear from Springfield in the early ’70s. This song does not have a hard rock feel, but is instead a very soft rock that almost lends itself to folk. In fact, this song sounds very ’70s! Even more, it is gentle but upbeat, characteristics that set the mood for a song about prayer and God. Yet, through it all, Rick Springfield’s voice sounds just the same!

Humans tend to turn to God when things go wrong, which Springfield very simply mentions in his opening lyrics. For as simple as the song is, it still feels very personal. After all, not many popular songs focus on religion. The repetition of “the air” is a nice touch that emphasizes who Springfield is addressing. Naturally, “the sky” and “the air” are references to God, and the repetition in this first verse is a soft reminder. Interestingly enough, Springfield notes that the world will look better from the air. Humans aren’t in the sky, God is. God views the world differently than humans. Springfield uses these opposing viewpoints and mindsets to show how prayer is beneficial. By praying and relying on God, he is able to see the world more positively, and he is reassured that everything will be fine.

The next set of lyrics captures the same idea and mood of the world looking better with God, but there is also an informal tone at play here. God is to be revered, glorified, adored, worshipped. Can weak humans simply “talk” to God like talking to a friend? Yes! This is Springfield’s point. He is able to converse with the Lord with honesty, while also revering, glorifying, adoring, and worshipping!

The following verse covers more on human weakness. Springfield talks of stumbling, being blind, and getting lost. As taught in Christianity, God is a shepherd, and humans are lost sheep. Here, Springfield lightly touches on these themes as he confides in the Lord. He places his trust in God so he can find the true path, where God needs him to be.

Still light-hearted, Springfield points out that his words don’t always rhyme. Sometimes they’re not right. How imperfect humans are! In other words, Springfield is saying that his language does not have to precise or fanciful. He can simply be himself while he talks to God. He can be open and brutally honest. He can be human.

The song continues to repeat and remains easy-going, just like prayer and God’s love. All is simple and sweet.

Although God is technically everywhere, not just in the sky, humans have become accustomed to saying that God is “up there in the sky, in Heaven.” No matter where the faithful are looking or speaking, God will be listening!

“Speak” to the Sky, Don’t Shout (God can Still Hear You!)

As the Lent of another crazy year winds down, I wish all my readers a happy and blessed Easter season. As we enter Holy Week, you can bet I’ll be speaking to sky, and hopefully Rick will be, too!

Before You Go…

Be sure to listen to and follow my playlist dedicated to all of the songs reviewed on Monthly Mixtape. You can either play and follow on Spotify or YouTube. And make sure you subscribe to the Confessions of a Classic Soul YouTube channel for teasers for upcoming posts!

Guilty Pleasures of a Classic Soul (Spotify)

Guilty Pleasures of a Classic Soul (YouTube)

What’s Your Classic TV Catchphrase?

Thanks to our beloved TV characters, we have an array of one-liners that we can exclaim or spout off in nearly any situation. Which catchphrases we choose, however, depends on personalities, our values, and, of course, our favorite shows. Are you cool like the Fonz, or are you always butting in and asking odd questions like Columbo? It’s time to learn which classic TV catchphrase is your best fit!

“Up Your Nose with a Rubber Hose”

It’s not the most pleasant experience (not that I’d know!), but it is an iconic catchphrase from the ’70s show Welcome Back, Kotter. In this show about teenagers in high school, Vinnie Barbarino (John Travolta) is a member of the Sweat Hogs. Barbarino is always playing it cool and winning the ladies. Push his buttons, though, and he threatens you with the ultimate comeback: “up your nose with a rubber hose!” Viewers never see this feat performed on the show, thankfully.

If this is your catchphrase, then you don’t tolerate any shenanigans! You defend yourself with words, even if you don’t follow through with the threat. You have a bit of sass, and you see yourself as “cool.”

“Aaay”

Vinnie Barbarino is cool, but no one is cooler than the Fonz. Arthur Fonzarelli (AKA Fonzie or the Fonz) is the coolest character on Happy Days. The ultimate ladies’ man, with his greased back hair and leather jacket, Fonz is the one the other teens consult for help, especially romance tips. He’s admired and respected.

Therefore, his famous “Aaay” is a positive expression. It’s undoubtedly a sign of being cool. So, if you’re an optimistic, cool ringleader, then you might just find yourself saying “Aaay” to anyone and everything. You’re not going to sweat the small stuff, that’s for sure!

“Oh, ______!”

Oh, the exclamation of a housewife! Alice Kramden from the Honeymooners always exclaims “Oh, Ralph!” Wilma Flintstone is always exclaiming, “Oh, Fred!” The “Oh” is used both positively and negatively. It can signify either an “I love you” or a criticism. Whether husbands are acting like heels or bringing home bouquets of flowers, wives will remain so speechless that all they can utter is “Oh, _____!”

What does this mean for you? If you’re a woman who finds herself in the same situation, then you can fill in the blank with your own man’s name. On the other hand, this one-liner could also mean that you are surprised easily. Maybe you’re always searching for words and “Oh, _____” is all you can say, even if it’s simply “Oh my!”

“I’m Coming, Elizabeth!”

How many heart attacks has Fred Sanford had? Well, every time he has a shock or wants to escape a self-inflicted bad situation, he grabs his heart and tells his deceased wife that he’s coming to join her. In Sanford and Son, Fred Sanford is an iconic exaggerator, alongside his junk/antique business. He’ll do anything to get out of a jam, even if that means saving himself and leaving his son Lamont behind.

If you find yourself saying this catchphrase, then you might tend to exaggerate or tell long, elaborate stories. You may love yourself a bit too much, but we’re not judging. After all, we still love Fred, although we pity Lamont!

“Did I Do That?”

Oh, Steve Urkel, yes, you did do that! Family Matters is all about family, including the next door neighbor. Steve is an eccentric teen who winds up irritating the Winslows as he tries to court their daughter. A good-natured and seemingly innocent lad, Steve never intends to break or ruin things. In the end, he always ends up asking, “Did I do that?”

If you, too, are asking this question fairly often, then you may be a bit of a clutz. However, it doesn’t mean that you’re not a decent person. On the contrary! You own up to your mistakes, and the last thing you want to do is hurt the people you love. Maybe being a Steve Urkel isn’t such a bad thing!

“Just One More Thing…”

Lt. Columbo will never run out of questions! In Columbo, the detail-oriented lieutenant solves murder cases, all while the audience is aware of who committed the murder. Columbo haggles suspects and asks a series of strange questions as he puts together the entire story.

If you’re always asking follow-up questions, then you might be nosy or simply inquisitive. Maybe asking questions is an essential part of your job. You are dedicated, and you care about what you are doing. You are also very detail-oriented and observant. You have questions, and you need answers! You don’t want to bother people; you just want knowledge.

Just one more thing…will we ever catch a glimpse of Columbo’s wife?!

“Danger, Will Robinson!”

Space is dangerous, and the Robinsons are stuck in the galaxy. Luckily, they set up their home on the spaceship and make the best of life. The robot is always protective of young Will Robinson. When danger is afoot, the robot repeatedly warns, “Danger, Will Robinson.” A personal warning system to foretell danger? That’s a reason to look forward to the future!

You may not be a robot, but if you’re logical, observant, and can tell when something is not right, then you may be a great asset. You can help others see what’s real and what isn’t.

“Da Plane, Da Plane!”

Welcome to Fantasy Island! Nothing is truly real, but Mr. Roarke and Tattoo, who always shouts “De plane, da plane” as new guests arrive, are waiting. Tattoo’s excitement is so hopeful, even though the guests will have their dreams fulfilled and shattered during the course of their weekend on Fantasy Island. Perhaps Tattoo is just ecstatic that the guests will change during their stay. They will come to understand what they need in life, and what they don’t. They ultimately find their true purpose.

While you’re likely not shouting about planes, unless you live near an airport, you might be like Tattoo in that you are easily excited by new objects, people, and experiences. You want the best for others, even if they are total strangers. Your optimism shines through, and you are rooting for happiness.

“You Rang?”

Have you ever wondered if Lurch loves his job at the Addams’ house? His corpse-like manner will never lead to an answer, but his classic phrase “you rang?” shows his obedience. He does what he is told and comes every time Gomez or Morticia rings the bell. He’s not a dog, he’s just Lurch.

Okay, so you’re not a dead (?) doorman or butler, but you might be very loyal to your job, friends, and family. You are content with your life and are not greedy. You follow rules and do your best.

“Book ‘Em, Danno”

On the sunny islands of Hawaii, Steve McGarrett and Danny Williams work in law enforcement. Whenever the two defeat criminals and are ready to make an arrest, McGarrett always says, “Book ’em, Danno.”

You may not be arresting anyone, but if you consider yourself a very serious person who means what you say, then you’re a McGarrett kind of person. You are absolutely no nonsense, and always get the job done, even if you make your partner clean up afterward.

“Live Long and Prosper”

Put up your best Vulcan salute and say the words–you know them by heart! Mr. Spock always wishes well when he proclaims “Live long and prosper.” The words are never said in vain, and the second in command of the Enterprise always says what he means, as he’s a logical person.

So you might not be a green-blood, pointy-eared Star Trek character, but if you are usually sincere in your words, then you’re a “live long and prosper” kind of person. You wish others well in a polite, genuine way. You’re not going to fake your greetings, but instead be well-mannered and respectful.

Which Classic Catchphrase are You?

Which catchphrase matches your personality the most? Let us know in the comments!