Bolero

You loved me on Monday,
On Tuesday, Wednesday, Thursday and Friday.
Come the weekend,
You didn’t love me anymore.

I dance with a stranger.
She is not you. She is not you.
The music is crying,
Tears run red, bleeding from her soul.

The river runs dry,
The river a river no more.
The bed beneath,
parched and praying for rain.

My heart cracks
a thirsty earth longing for drink
from the goblet el amor
The days, the nights, oh the nights.

You loved me on Monday,
On Tuesday, Wednesday, Thursday and Friday.
Come the weekend,
You didn’t love me anymore.

So you want to be a comedian

There’s comedy, and there’s comedy, and then there’s more comedy. As they say in the comedy business, one man’s floor is another man’s ceiling. Here’s four approaches you might want to consider:

Telling It Like It Is

Sports

Folk Songs

Animals

Language

Five for Listening: Celebrating Robert Burns & the Scots

Next Wednesday’s Robert Burns Day. Here’s a few for the great poet and his homeland.

Ca’ the Yowes

The Slave’s Lament

Ye Banks and Braes by Holly Tomas

My Love is Like a Red, Rose by Eva Cassidy

Scots Wha’ Hae by Dougie Maclean

Root-a-toot Tavi, Ideas and All

Writers are asked, “Where do you get your ideas?””

The thing is every one of us get ideas all the time. The difference between the creative artists and the rest? We listen. When we have an idea we think is interesting, we don’t judge whether it is a good idea or a bad one. We take it out and play with it for a while.

And don’t forget it’s all about the play. We say musicians play, not musicians work. Actors role play, not role work. When we writers forget we are playing, not working, that is when we have a case of the writer’s block.

Once we are finished playing, we are not the best judge of whether the results are good or bad. Whether it worked or not.

I once heard the screenwriter William Goldman assert the same thing. He said that making movies was always risky. No one knew whether a movie would be well-received or not. Then he told the story about a movie he wrote the screenplay for: “Butch Cassidy and the Sundance Kid”. After the movie was released, he and the director were walking down the street in New York City one evening. They saw this line around the block. When they found out that the line was to “Butch Cassidy”, they were surprised. Pleasantly so. But still surprised.

And when you play, accidents happen. During a session in a recording studio, Bob Dylan was working on “Like a Rolling Stone”. The musicians took a break. Al Kooper was just hanging out. During the break, he sat down at the organ and started playing around. Dylan walked back into the room and said, “That’s it.” That organ music Kooper played became the beginning of the song.

All creativity is risky. So take a chance and be brave. Nothing is more fun, and rewarding, than playing with an idea. If you don’t believe me, look at how many creatives have long lives. That kind of playing keeps us young.

And the more you listen the more the ideas come. It’s a big sandbox out here. So do yourself a favor. The next idea you have, try playing with it. Who knows? You might be just as surprised as I was when I got “Root-a-toot tavi, I’m so savvy,” I just had to play with it. Here are the results:

Root-a-toot Tavi

Root-a-toot tavi
I’m so savvy
So savvy as all

Swinging on a star
Being who I are
Having me a ball

Root-a-toot chili
Burgers on the grilly
Cook’s standing tall

Running up the hilly
Jack and Jilly
Going to the mall

Root-a-toot billy
I’m so silly
Dancing down the hall

So just look up
Drink from the cup
Spring, summer and fall

Root-a-toot wavy
Stir up the gravy
Step out for the call

Lighter feet, baby
Don’t step heavy
Do give it your all

Root-a-toot tootsy
Don’t give a hoot-sy
Go break down that wall

Kick up your boot-sy
And doodley scoot-sy
Never ever stall

Root-a-toot dabby
Be kind of fabby
John, George, Ringo, Paul

Go catch a cabby
Take a trip happy
Have yourself a ball.

How about you? Any ideas lately?

The Mail Order Bride

The farm. Well, it’s not a farm really. It’s where we live. My five children and I. My wife died a year ago when she was having Eleazar. We buried her over by the well house behind that small smattering of trees. Esther was twenty-four. We had been married ten years. I thought about leaving and moving to town, but this here farm is our livelihood and our life.

This farm which I inherited from Papa. Papa’s brother, my Uncle Elisha, said that I needed a new bride—a wife for me and a mother for the children, a woman to keep my loins warm.

I found this here Mail Order Bride Catalog at the General Store, looked through it, found myself a good woman—someone who looked like she could hold up through the winter—and I sent for her.

Tomorrow she arrives on the train from St. Louis. Me and the children and Uncle Elisha will hitch up the buggy and go into town and meet the noon train. That will give us enough time to get home before dark.

The Preacher will come and marry us next month. Me and my new wife and the kids and the neighbors will have ourselves a picnic to celebrate.

Next month is planting. She said in one of her letters she was raised on a farm. She knows all about farms. She is sixteen and seems plenty eager for a husband and children.

Before we leave for town, I visit Ruth’s grave as I do every Sunday. I thank her for the life she gave me in this here wilderness and tell her I miss her and tell her that she will never be replaced in my affections by another. She will always be my first love. I tell her of this new woman, how it was Uncle Elisha’s idea, how she will be my bride and the children’s other mother. I tell her that the children need a mother and hope she understands.

Then we hitch up the horse to the buggy and head on in to town.