Category Archives: eclectic music

Herman Cain’s Greatest Hits

01 Tuesday Nov 2011

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Mr. Herman "Get A Job!" Cain, at Republican Party of Florida Presidency 5 Convention, Orlando, FL , September 24, 2011. (AP).

Since the allegedly sexually harassing, racism and classism denying, Republican presidential candidate leader of the moment Herman Cain likes to sing, I decided to make a short list of Cain’s greatest hits. Trust me, they’re all doozies. They draw on the experiences of a man about as in touch with average Americans as Marie Antoinette was with French peasants on the eve of the French Revolution.

1. “The Way It Is” (1986) — Bruce Hornsby and The Range: Here, he puts special emphasis on the line, “Just for fun he says, ‘Get a job!,” not out of sarcasm, but out of sincerity.

2. “Another Day In Paradise” (1989) — Phil Collins: Cain tries to get a bit of social consciousness, at least, in emphathizing with “the man on the street,” the poor guy subjected to a worn-out homeless women begging for help.

She calls out to the man on the street
“Sir, can you help me?
It’s cold and I’ve nowhere to sleep
Is there somewhere you can tell me?”

He walks on, doesn’t look back
He pretends he can’t hear her
He starts to whistle as he crosses the street
She’s embarrassed to be there

The real test with this song would be whether Cain’s whistling is as good as his crooning.

3. “O.P.P.” (1991) — Naughty By Nature: Here Cain would need help from ex-RNC head Michael Steele to get his rap game together, as well as from Supreme Court Justice Clarence Thomas in interpreting the sexual laden lyrics. But in light of the accusations — and in Justice Thomas’ case, evidence — of sexual harassment and general insensitivity of Cain, Steele and Thomas, figuring out “who’s down with O.P.P.?” is an appropriate question in their bubble.

4. “Cigarettes And Coffee” (1966) — Otis Redding: Cain’s tribute to his campaign manager in his recent commercial as he slows down the pace a bit. “And please, darling, help me smoke this one more cigarette,” Cain baritones to Mark Block.

5. “Ain’t That A Kick In The Head” (1960) — Dean Martin: Cain’s theme song for his campaign. The main lyrical refrain for him would be as much about his rise to the top of the Republican heap as it would be about the people he’s stereotyped, vilified, denigrated and ultimately exploited over the course of his career and campaign.

My head keeps spinning;
I go to sleep and keep grinning;
If this is just the beginning,
My life’s gonna be beautiful.
I’ve sun- shine enough to spread;
It’s like the fella said…

“Ain’t [I] like a kick in the head?” And the 99 percent of us say, “Hell, yeah, where’s the aspirin?”

A Question of My Blackness, Sexuality and Masculinity

01 Thursday Sep 2011

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Boyz N The Hood (1991) Screen Shot, September 1, 2011. (Source/http://freeinfosociety.com). 20 years since this movie, and we still inquisition Black males about their masculinity. By the way, I was NEVER this cool growing up.

About this time a quarter-century ago, I received regular reminders from the people in my life as family and classmates that I didn’t fit their definition of how a heterosexual Black male should behave. At least in Mount Vernon, New York. You see, I didn’t have to be a young Barack Obama or Lenny Kravitz to learn at an early age that I wasn’t Black enough, man enough or heterosexual enough for many folks in my life. The fact that I didn’t run around with the other boys skipping school and sniffing skirts was evidence enough of how different I was.

One of the more subtle forms of interrogation I experienced occurred at the end of eleventh grade, going into the summer of ’86. That day I walked into English class, and Crush #2 asked me about that song of the day, which happened to be Level 42’s “Something About You” Something About You. When I told her who it was, she started snapping her fingers to it. LJ, an on-and-off again classmate since third grade at William H. Holmes Elementary, walked by as we were talked. “Are they Black?,” she asked. When I said “No,” LJ shook her head and walked away. The group was White and from the Isle of Wight, no less, a bunch of off-shore British White guys. Somehow I’d violated some kind of code in LJ’s eyes. It was the last conversation we had before we graduated a year later.

South 10th Avenue, Mount Vernon, New York, November 19, 2006. (Source/http://weichert.com). The egg-shell white house in the center of the photo is where my father Jimme lived in ’86, an attic room. Looks better now than it did then.

I received a far less subtle hint that made LJ’s disgust look like romance by comparison. It was an incident just a week before the start of my senior year at Mount Vernon High School, something I’ve posted about before. By the time I’d gotten a crush on Crush #2, my sexuality was no longer in question, although I’d never seriously questioned it before. My father, though, still had his doubts. I’d hardly seen Jimme most of the summer of ’86, only coming over occasionally to see how he was doing or to bum a few bucks off of him. I found Jimme that last Saturday morning in August, hanging out on the street around the corner from his place, having already drunk his fill.

His mood was especially foul that day, like his body odor. He refused to give me any money. “I don’ give my money to no faggats!” Jimme yelled at me as he came walking and stumbling down his block toward me. He’d seen me come out of the front yard of the house in which he rented a room. I wasn’t in the mood for his crap. “I’m not a faggot and I’m not gay,” I yelled back. When he got closer, I could see that he’d been out too long already. Jimme’s clothes were a mess, and his face was in a twisted rage. He grabbed me by my arm.

“Did you get yo’ dict wet?,” he asked as usual.

“Even if I did, I wouldn’t tell you,” I said.

“YOU’RE A FAGGAT,” he yelled again.  (see my “In the Closet, On the Down Low” from June 1, 2009 for the full conversation and incident)

As I saw it then, I was a year away from college, and I was still in the streets dealing with my drunk ass father, my jealous and institutionalized older brother, a sham of a marriage at 616 and four younger siblings who were high on sugar all of the time. I’d done so much to change my life and yet almost everything in my life was the same. Up to this point the only things that had kept my head from exploding were God and school. As my senior year approached, I wondered how much longer I could maintain emotional control before I finally just lost myself in years of growing pain, like a volcano about to super-erupt.

As I see it now, it remains a shame that we as Black males have to run a gauntlet in our communities in order

A Question of Freedom (2009) Hardcover Cover, September 1, 2011. (Source/Donald Earl Collins).

to become Black men, at least in the eyes of others. We can talk about the K-12-to-prison system that is public education in many a community of color. Or the drug trade. Or the sheer lack of quality public services and interventions in our communities or lives, other than police forces. Or even the daily images that tell so many of us that aspiring to be a rapper, football or basketball player, or just to be cool is so much better than knowing anything. The latest good memoir on this is R. Dwayne Betts‘ A Question of Freedom (2009).

But we must also admit that the people who attempted to raise us — our families, relatives, neighbors and classmates — are just as often at fault for turning out Black males who aren’t ready to be Black men, human adult males with ideas and aspirations outside of the box. Until we get serious about the fact that those closest to us have put such idiotic notions of masculinity, heterosexuality and Black coolness in many a Black male’s head, we get nowhere in helping to transform the lives of people like me when I was a teenager.

For we can’t depend on people like me becoming homeless, embracing solitude, and leaving my community as the best way to learn how to be a man, an adult, a really serious yet compassionate (and goofy) human being.

Crazy

13 Saturday Aug 2011

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Seal, CD Cover (1991), August 13, 2011. (Source/Donald Earl Collins).

There’s no doubt in my mind that I’m a late bloomer. I came to find myself a teenager in a twenty-one year old’s body twenty years ago, just as I’m a thirty-five year-old in a forty-one-and-a-half year-old’s body now. As the summer of ’91 began to wind down, though, I realized that I needed to go into my first year of grad school at Pitt with some inspiration, with a chip on my shoulder, really.

It didn’t take more than a simple thought to find that inspiration and chip, either. Between working for a bunch of folks at my Western Psych job who still thought that hunting down half-and-half was the extent of my work there on the one hand. And professors like Reid Andrews telling me after I’d received my grad school stipend award letter that I wasn’t “graduate school material” on the other hand. Livid is the minimal word I’d use to describe my mood in the three weeks before the start of my five-and-half-year odyssey. One of doing cartwheels at least three times better than my colleagues to prove that I was as good as anyone.

But I’m jumping ahead of the story here. I found some inspiration from music, as usual, in this case, on one of my daily walks home from work in Oakland to my studio apartment in East Liberty. Still searching for more new music for my ’90s collection, I found a radio station playing Seal’s first big hit, “Crazy.” I’d heard parts of the song before, all during that summer, but never from start to finish. As I reached the end of Ellsworth Avenue, where I’d walk up the steps to a bridge on Highland Avenue, one that went over the train tracks and busway into East Liberty, I heard the lyrics, really for the first time.

“In a sky full of people only some want to fly/Isn’t that crazy
In a world full of people only some want to fly/Isn’t that crazy/Crazy
In a heaven of people there’s only some want to fly/Ain’t that crazy”

Seal, "Crazy" 45 Single Cover (UK), January 8, 2009. (Source/http://cover6.cduniverse.com/MuzeAudioArt/140/141811.jpg). Qualifies as fair use under US copyright laws, as version is of low resolution for reproduction, and is part of larger commentary.

And yes, I wanted to fly. Besides, as far as most people were concerned, I was crazy anyway. For wearing that godforsaken kufi to school for three years. For becoming a newborn and sanctimonious Christian after that. For trying out for football, and later, baseball instead of basketball. For listening to Mr. Mister and Tears for Fears and Sting instead of bopping to Run-D.M.C. For walking way too fast, and talking a little too slow. For going off to college out-of-state, to a no-name school no less. For taking a grad course my junior year at Pitt. For deciding to go to grad school in history instead of law school or Black studies.

The list is as long as an introspective Eminem rap sequence, airing every negative ever tossed my way. I was crazy, and still am. But, as far as my first year of grad school was concerned, I made two deals with myself about the process. One was to not compare myself, my abilities, my limitations, to anyone else in the program. The other was to put aside all of my preconceptions about my professors, or the difficult courses ahead, or whether I would complete the master’s degree and move on to the doctoral portion of the program.

I didn’t want to limit myself to what others may have expected of me, or to what I could’ve possibly expected of myself at the time. I didn’t even like my friends saying that “the sky’s the limit,” because I didn’t want to limit myself to the sky. I simply wanted to be crazy enough, humble yet arrogant enough to know my limits, but push the envelope as hard as I could in order to make graduate school work for me.

Howard Hughes standing in front of his new Boeing Army Pursuit Plane, Inglewood, California in the 1940s, May 31, 2005. (Source/Library of Congress, LC-USZ62-63333 - In public domain). One of the craziest, yet great, innovators of the 20th century. Guess it works better when you're a rich White male.

That kind of thinking affords a very single-minded intensity — to the point of a near-psychotic passion — that leads to excellence, miracles and the exceeding of what may have been your craziest expectations. I know it was that way for me. It had to be. If I’d bought into all that my most hateful Humanities classmates, my mother and ex-stepfather, my father Jimme, my fellow Mount Vernonites and some of my teachers and professors thought of me, who’s knows? I’d likely become a sexually confused and frustrated Black male, a college dropout, wandering from one minimum wage job to another, living alone in a boarding room, as miserable as a character in Fyodor Dostoyevsky’s Crime and Punishment.

I’d become a psychopath, not just crazy enough to believe in myself and the miracles of God in my life. I need to do be a little crazy now, even at this stage of my life. We all need to be a little crazy, not in a Tea Party sense, but much more in an Arab Spring kind of way. After all, “we’re never gonna survive unless we get a little crazy.”

Time, Love & Goofy-ness

21 Thursday Jul 2011

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Time, Love & Tenderness Album Cover, July 18, 2009. (Source/Donald Earl Collins)

Sometimes I have no choice but to confirm how weird I am. Especially when it comes to what moves me, including in my choices of music. It wasn’t hard for me to become a Michael Bolton fan when his first solo album dropped in ’87. “That’s What Love Is All About,” a minor hit, was something I enjoyed then, but appreciate much more now as a married man than I possibly could’ve as a freshman at Pitt. “Sittin’ on the Dock of the Bay,” well, that’s another story. It’s a fine cover version (something that Bolton grew all too fond of doing in the late-’90s), but nothing will ever replace the Otis Redding original.

The summer of  ’91 was the clincher for me regarding Bolton and other artists from that period. I was in the midst of getting over myself getting over E (see “The Power of Another E” posting from April 2009) when I first heard Bolton’s “Time, Love and Tenderness.” 02 Time, Love and Tenderness.wma I was on my way home from work at Western Psych that hot and sweaty July evening, walking at Warp 3 like I always did back then when the local pop station began playing the song. I also knew the moment I heard it how schmaltzy it was. But it was exactly what I needed to hear and at the time I needed to hear it. I fell in love with the song immediately, and would eventually by the album. “Time, Love and Tenderness” remained one of my pre-iTunes playlist songs for the next three years.
Thus began a year-long odyssey of inviting new music into my life, music that would represent the more adult, contemporary, cool, eclectic and schmaltzy graduate school me. Bolton’s Time, Love and Tenderness album was just the first step. The months of July and August ’91 included music from Seal

My iPod, July 21, 2011 (Source/Donald Earl Collins). Every song named here is on it, but rarely do I play them consecutively.

(“Crazy” — I’ll talk about more in another post), Lenny Kravitz (“It Ain’t Over ‘Til It’s Over”), Vanessa Williams (“Comfort Zone”), and Mariah Carey (“Make It Happen”). Not to mention PE (“Can’t Truss It”), Naughty By Nature (O.P.P.), and Boyz II Men. It was the beginning of a new period of music experimentation for me, all caused by me tiring of being the odd wheel in a sea of dating friends.

It was the early ’90s, and I could already see how much music was changing. Fewer synthesizers, a faster more rhythmic pace, a much greater fusion of genres and styles. Heavy metal was morphing into grunge and White booty-call songs were turning into passion tales of White male (and female) angst. Whitney Houston’s music was becoming hip, and Michael Jackson was steadily making himself less popular. With me weeks away from beginning grad school, I felt like I’d found theme music that would fit nicely with my times.
Within a year and a master’s degree of “Time, Love and Tenderness,” I would add Grover Washington, Jr. and Jon Secada to my growing and eclectic music collection. Jon Secada? For many fans of the Miami Sound Machine (Gloria Estefan, et al.) not to mention various subgenres of Latino music and Latino fusion, Secada might as well have been Neil Diamond or Michael Bolton. But for me, it gave me a window into other forms of music that I didn’t have or understand before. The dogged and soaring passion with which Secada sang his “Just Another Day” I’d only heard in gospel or with divas like Patti LaBelle, Chaka Khan, Whitney Houston and — in the first two years of the ’90s — Mariah Carey. Men didn’t sing like that, certainly not in pop music!
I became enthralled with Secada and Bolton, Grover and Mariah, so much so that I continued to branch out. Coltrane, Celine Dion, The Cranberries, Sarah McLachlan, Pearl Jam, Tupac, grunge, world music, New Age — Deep Forest, Enya, Enigma — along with neo-soul — Maxwell and Erykah Badu — were all in my collection by the time I finished grad school.
Still, I needed my schmaltz, and I still do. Michael Bolton, for all of his vanity and overestimation of his voice (he’s done duets with Patti LaBelle and Celine Dion, for goodness sake’s), has been a part of my musical memory for twenty-two years. “Time, Love and Tenderness,” for all of its ’80s-esque quirks, is by far my favorite song by Bolton. It made the second half of the summer of ’91 not only bearable, but fun. It reminded me of how innocent I still was, of how it was a must that I keep my heart open to the possibility of love, even though I would undoubtedly get hurt from time to time.
Life is like that sometimes, and in my case, most of the time. I find myself learning more from loss, more determined because of betrayal and more committed when others tell me I can’t do something, like earning an advanced degree or doing a job successfully. For those times, schmaltzy music is often where I revert to for strength and encouragement, for the ability to move forward.

Sometimes, I Am Walter White

17 Sunday Jul 2011

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Bryan Cranston as Walter White Screen Shot, Breaking Bad, Season 1, Episode 1. Qualifies as fair use under US copyright laws because picture is part of post describing the character and series.

Season Four of Breaking Bad begins tonight at 10 pm EDT on AMC in my part of the world. I’m a late comer to the show, and only because my wife had sat on her Netflix delivery of the first two disks of the first season back in March. But boy did I catch up, watching the first two seasons in a span of ten days! Overall, I find the first six episodes of Breaking Bad the most intriguing. Those episodes provide me the reasons for why I support Walter White (the main character played by Bryan Cranston), because I can see some of myself and my life in his.

For those of you who haven’t watched or aren’t fans, Walter White is a brilliant yet foolish has-been-who-really-should’ve-been-somebody high school chemistry teacher in Albuquerque, New Mexico. He’s fifty years old, married for seventeen years, with a fifteen-year-old who has cerebral palsy, and with a surprise baby well on the way, as his wife’s in her third trimester. When he discovers after collapsing at his other job (at the local car wash) that he has advanced lung cancer and maybe six months to live, he decides through serendipity to use his training as a biochemist to produce high-grade methamphetamine, or crystal meth, in order to provide for his family before kicking the bucket.

I’m not terminally ill, at least as far as I know. Nor am I a biochemist. But like Walter White, I am an over-educated person with tons of skills and experience, but woefully under-applying them in my current work as an adjunct professor and consultant. I wasn’t pushed out of a venture with a biotech company in which the other partners made billions of dollars off of my ideas. But I’ve had people in my life who’ve attempted to keep me from expressing my ideas, from getting a job, even made up stories to derail my career.

Unlike Walter White, I’m at least teaching college students, if only in the technical sense that the students I teach are in college. Although, given the sporadic nature of my consulting when combined with my teaching, it may be time to do like Walter White and obtain certification to teach high school social studies. For unlike in Albuquerque, teaching at the high school level out here often pays better than being a college professor, and can yield better results academically for the students involved.

Given where Walter could’ve been in life by the time he reached middle age, it’s small wonder that he has a

The Hulk Screen Shot, May 1, 2008. (Source:Lawrence Cohen/http://www.apple.com/trailers/universal/theincrediblehulk/large.html). Qualifies as fair use under US copyright laws because its a low-resolution depiction of a character as described in this post.

deep well of pent-up rage to draw from throughout the series. I understand that rage because I’ve seen it in myself over the years. But my rage comes from a life of deprivation and working my ass off to overcome it, only to feel as if there’s still tons’ more work to do. With the struggle to become a successful writer, and not just an academic one with a book and a couple dozen articles to my credit, I’m already tired. But the struggle for more work in a field in which you know you’re well qualified and already have done a ton of work can lead to Walter White rages. Or, for that matter, Bruce Banner each time he turned into Hulk.

Really, I realize that on the whole, I’m not Walter White. I’ve been written off too often in life to see myself that way. But I can understand after spending the better part of three decades working to turn “No!” into “Yes!,” to prove myself as a thinker, educator, historian, manager and writer. Not only to myself, but to my God, and those manning the gates to jobs, publishing, grants and degrees. I get it as to how and why rage can build up. I guess that if I found myself with Stage 3 lung cancer, I could use my talents to write other people’s books and dissertations, or even to write scripts for porn, but that wouldn’t exactly be me.

No, under Walter White’s circumstances, I’d probably call in every favor that I’ve been owed since seventh grade. I’d contact every writer that I’m a fan of, every contact I know associated with publishing books, magazines, scholarly journals, and make myself a royal pain in the ass. That is, until getting a book contract for Boy @ The Window, publishing several pieces I’ve been working on with occasional bursts of writing for the past two or three years. I’d do whatever I could to make sure that Noah and Angelia were taken care of before I passed.

Come to think of it, what I’ve just written should be my mantra, impending death or otherwise. As Nickelback says in “If Today Was Your Last Day,” “against the grain should be a way of life.” That’s been me for the past thirty years. So I’m really only sometimes Walter White.

Rajon Rondo, ultimate against the grain drive before hard foul, 2010 NBA Eastern Conference Finals, May 1, 2010. (Photo by Nathaniel S. Butler/NBAE via Getty Images).

GOP/TPers’ Theme Music for Election 2012

30 Monday May 2011

Posted by in 1, culture, Eclectic, eclectic music, music, Patriotism, Politics, Pop Culture, race

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Huckabee with Ted Nugent on guitar, Huckabee Show, FOX News Channel, May 14, 2011. Source: http://dailymail.co.uk

Ever since Mike Huckabee announced that he wasn’t running for POTUS in the Election ’12 cycle (after playing chords with Ted Nugent), I’ve been thinking about an appropriately snarky and sarcastic way to understand the GOP/Tea Party candidacy process. It’s been a bit confusing. Between Trump and Huckabee, Newt Gingrich and Herman Cain, Pawlenty and Romney, Palin and Bachmann, I’d have a hard time finding a candidate I’d vote for even if I were a true American conservative.

But I do know what would help. Theme music to get our juices flowin’, to rile us up about how excited we should be that among these candidates is a challenger worthy of President Barack Obama. Heck, it’s worked before. Ed Meese and Don Regan used Bruce Springsteen’s “Born In The U.S.A.” and John Mellencamp’s “Pink Houses” as theme music in ’84. This despite the fact that these were protests songs of an America anti-common man and pro-war.

GOP/TPers can do the same in ’12. Here’s a list of songs to usurp — oops, I mean use — between now and November 6 of next year.

1. Genesis, “Illegal Alien” (1983), as in, “It’s no fun/being an illegal alien” — especially if the GOP/TPers take over in ’12.

2. James Blunt, “No Bravery” (2005), a truthful description of what it takes to run on the GOP/TP ticket, i.e., no independent thought.

3. ABC, “How To Be A Millionaire” (1985), which should be retitled, “How To Be A Billionaire,” since that’s the ultimate goal of the leaders of the GOP – “a million is not enough” could be the party’s new slogan.

4. U2, “Crumbs From Your Table,” (2004), which, if these folks are elected next year, will be all we’ll have to eat by the ’16 election cycle.

Crumbs on my table, courtesy of Noah's old elephant and a Lipton tea bag wrapped around trunk, May 30, 2011. Donald Earl Collins.

5. Chicago, “Hard Habit To Break,” (1984), especially in the refrain, “I’m addicted to you,” meaning easy money from top 1%, debt and low taxes, and oil, oh, sweet crude oil!

6. The Cranberries, “Zombie,” (1994), the sincerest hope of the GOP/TPers when it comes to what’s left of our voting populace.

Herman Cain, They Think You're Stupid Book Cover (more like We Think You're Stupid), 2009. Source: National Black Republican Association, http://nbra.info

7. Al Green, “One Of These Good Old Days,” (1972), a tribute to the way the Party of Corporations wants things to be for rich – it’s their climax song!

8. Prince, “1999,” (1983), except they would definitely change it to “1899,” the height of affluent largesse, corporate greed and monopoly-building (until the ’00s), and acceptable racism.

9. Creed, “My Own Prison,” (1997), one of the ultimate dreams of the GOP/TPers, that we’d build our own prisons and then put ourselves in them so they don’t have to worry about job creation.

10. Grover Washington, Jr., “Summer Chill,” (1992), what the party hopes their paid-off scientists can “prove” in a new study funded by the John M. Olin Foundation, the Heritage Foundation, and the Scaife Foundations, making “Drill, baby, drill” a reality in ANWR.

11. Public Enemy, “Welcome To The Terrordome,” (1989), most likely would be used by the GOP/TPers to promote gladiator-like games as a way to bring the unemployment rate down for those they can’t get to build their own prisons.

12. Sade, “The Sweetest Taboo,” (1985), a tribute to all of their in the closet and anti-gay party members willing to sacrifice the civil and human rights of LGBT Americans everywhere for a seat in Washington.

13. Maxwell, “…Til The Cops Come Knockin’,” (1996), the general plan for all elected GOP/TPers until they’re caught in illegal activities.

In addition, there’s Alexander O’Neal’s “When The Party’s Over” (1987), another example of what would happen to us, our country and our world if the GOP/TPers reclaimed and remained in charge. They’d suck the bottom ninety-nine percent of us dry until the good times are over, and then blame us for not letting them steal the plumbing, too. Please add to this list. I could’ve created an iPod list of a hundred appropriate songs, but fourteen’s just a start. Eat your heart out, Ted Nugent!

One Good Woman

28 Thursday Apr 2011

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My Wife, Angelia Levy, April 2010. Angelia N. Levy

Today is our eleventh wedding anniversary. Tomorrow is a Crush #1 day. The next month covers a series of events that includes my first “date” with my now wife nearly sixteen years ago. Not to mention my last “dates” with the woman who’s the subject of my blog post, “The Power of Another E” (April ’09) from twenty years ago.

And then there’s my Mom, somewhere in the background, distant but still there, reminding me of all that made me, well, me. At least the me that wanted Crush #1, thought too highly of the twenty-two year-old version of “Another E,” and was ready to be involved with my eventual wife. Things have grown so much more complicated since the days when I couldn’t say “Hi” to a woman, much less date or be married to one.

One of my favorite adult contemporary songs about how women can inspire in relationships is Peter Cetera’s “One Good Woman” (1988). It was the first song I’d heard that really summed up the way I’d felt about my first crush back in ’82. And it provided a stark contrast to the way I felt about my second crush/obsession by the time the fall of ’88 rolled around. I bopped to the feelings in that song for much of my sophomore year at Pitt.

But I wasn’t a fool. I knew that there wasn’t anyone in my life at the time, or had been at any time, who could measure up to those lyrics. While Crush #1 definitely “brought out the best in me,” it certainly wasn’t because of her “love and understanding.” The two things I longed for in my life from others I cared for and about was love and understanding. My mother had little of either by the time I was a teenager, even though I know that she did the best she could. It just wasn’t close to good enough. So I put some of my faith in those lyrics, my romantic side in singing those words, eventually with no one in mind.

Even with dating and the ’90s, and even though I played “One Good Woman” less and less, I sought someone in my life who’d fit those lyrics. The problem with a country full of arrogant narcissists — me included — is that most of us present with DSM-IV neuroses (and in some cases, psychoses) long before we reach the stage of love and understanding. For better and certainly for worse, my mother was really the only woman who approximated any sense of the feeling Cetera releases so well in his song. And by approximate, I mean less than one-tenth of the full strength of the music and lyrics of “One Good Woman.”

This isn’t necessarily a bad thing. Sons shouldn’t really think too often of their mother in a romantic light. It certainly would’ve helped to have known how deeply or how superficially I was loved by my mother, but I had nothing in my dating life really to compare it to.

That was, until I met my eventual son’s mother. Angelia was everything in Cetera’s “One Good Woman” lyrics. She wasn’t a dream of it like Crush #1. Or an obsession like Crush #2. Or someone who could be that for a moment like “Another E” or be a trifling ass the next minute like so many women I dated between ’91 and ’96. She was a real woman, good, bad, warts and all.

So when we married eleven years ago, with the Napster era that was, I downloaded Cetera’s “One Good Woman” and made it a permanent part of the collection that would end up on my iPod in ’06. Except that in recent years, my “One Good Woman” image feels more like John Legend’s “Ordinary People,” proving that even women that inspire you to love, cherish and understand are human beings as well.

When I listen to “One Good Woman” these days, I do think of my wife. But I also think of all of the other women who’ve inspired me over the years. Including my mother. Including even some of my more trifling exs. I love my wife, and I hope things in our marriage continue to work even as we work through whatever issues we have from time to time.

Still, I need to remember that romance comes and goes, but marriage only works when people work hard to communicate when they don’t understand, despite their love for each other. If either of us were to quit, it shouldn’t diminish all of the good that I saw and see in that woman, my wife, and the life we’ve had over the past fifteen plus years.