Tag Archives: Fleetwood Mac

The #45 Mix Tape

28 Sunday May 2017

Posted by in 1, Academia, Boy @ The Window, Christianity, culture, Eclectic, eclectic music, music, Patriotism, Politics, Pop Culture, race, Religion, Youth

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Then candidate 45 hugging US flag at campaign rally (remember, he’s the anti-Midas, everything he touches turns to crap), Tampa, FL, June 11, 2016. (Chris O’Meara/AP, Times Free Press).

I’m changing it up a bit this weekend. With so much focus on the apocalypse that is 45 and his band of greedy, racist, misogynistic, Islamophobia, and Russia-helping yes-men, I have something goofy and meaningful to say. There are already several comprehensive syllabi on Donald J. Trump out, though, so adding my scholarly musings and sources to this almost inexhaustible topic would be a futile exercise. Instead, I have a mix tape (sort of), one that highlights the changes in my music tastes over time and a group of songs that I mostly despise. Just like I loath most of America’s knee-jerk arguments over 45 and his minions from the past two years.

1. “Little Lies” (Fleetwood Mac, 1987). From their Tango In The Night album. Christine McVie sounds like a shot dog on this song (and Lindsey Buckingham doesn’t sound much better). But this was a Top-5 hit on Billboard in 1987, around the same time Trump was likely being turned by Vladimir Putin and the KGB in the former USSR. And, the song’s theme is pretty obvious.

2. “Live to Tell” (Madonna, 1986). Not exactly my favorite artist, but a one-time favorite song from the one-time “Material Girl” for me three decades ago. After several sources quoting the deposed Michael Flynn, “he has a story to tell,” I remembered Madonna’s lyrics, “I have a tale to tell.” Come to think of it, doesn’t Jared Kushner have a tale to tell about his and 45’s “thousand lies?”

3. “Spies Like Us” (Paul McCartney, 1985-86). Proof positive that Baby Boomers will vote for anything, this piece of poop was a Top-10 hit in January 1986. It’s also emblematic of the theme of ineptitude and macabre humor that runs through the song, representing the movie by the same title, and Flynn, Kushner, Carter Page, Roger Stone, and the rest of the monolithic bloc of 45’s White men.

4. “Russians” (Sting, 1985-86). Why? Because Russians (maybe with the exception of Josef Stalin and Putin) “love their children too” — didn’t you know? But they love messing with our corrupt democracy even more.

5. “Oops!…I Did It Again” (Britney Spears, 2000). God, I have no idea why anyone would’ve ever liked this zit-popper. But the then-eighteen-year-old Spears was prescient with the line “I’m not that innocent.” Neither is 45. He made be a narcissistic buffoon who can’t put two coherent sentences together with a pen, two pieces of paper, Scotch tape, and a flashlight. But he knows where his money’s coming from, no?

6. “Just A Friend” (really, “Jus’ a Friend,” Biz Markie, 1989-90). Same theme as Britney Spears’, with a twist of crossover appeal, a ridiculous baroque get-up, and off-key singing that could only be topped by NBA Hall-of-Famer (and internalized racist) Charles Barkley. But it captures perfectly the love affair between ditto-headed supremacist Americans and 45 (it doesn’t go the other way, of course).

7. “White, Discussion” (Live, 1994). A bit of my favorite grunge, which I have used before. It applies to the folks, the so-called American liberals ready to blame non-voters, third-party voters, and Trump supporters for the rise of 45. Still, many of them are to blame also, because most of them aren’t liberal. If you supported Hillary Clinton in 2016 based on principles, and not out of pragmatism, you are not a liberal, and have been voting in center-right candidates for decades. As the song goes, “look where all this talking got us, baby.”

8. “Stranger In Moscow” (Michael Jackson, 1996-97). Jackson’s introspective song applies here as well, because, well, he uses Russia and the theme of isolation throughout. Except in 45’s case, he likes it that way. And apparently, so does Russia.

9. “Lies” (En Vogue, 1990). Trust me, it fits! (s/o to Dawn Robinson).

10. “Thug Paradise” (Capone-N-Noreaga/Tragedy Khadafi, 1997). The lyrics below say it all:

I twist the truth, I rule the world, my crown is called deceit
I am the emperor of lies, you grovel at my feet
I rob you and I slaughter you, your downfall is my gain
And still you play the sycophant and revel in my pain
And all my promises are lies, all my love is hate
I am the politician, and I decide your fate

Supporters and sycophants beware: 45 is coming for you, in a steamroller with a 700-horsepower engine going one hundred.

11. “Fake Love” (Drake, 2017). I’m a Aubrey Graham fan. I can’t stand Drake. Still, this release from More Life should be required listening from 45 supporters who think they’re not racist, misogynistic, xenophobic, or narcissistic. He also has a song on this album titled “Portland,” though I seriously doubt he was thinking about this weekend or Richard Collins III.

12. “Waterfalls” (TLC, 1995). Yep, yep, yep. Both 45 and MAGA-types have been chasing illusory rainbows and torrents off jagged edges, and damning everyone who they perceive as a threat along the way. And they’re both on a one-way trip.

13. “Don’t Forget Me When I’m Gone” (Glass Tiger, 1986). This is the song 45 should play whenever he finally leaves office, whether by resignation, impeachment, and/or force. As everything 45 touches turns into crap, Glass Tiger’s Top-10 schlock cannot be made any worse. Plus, not even Glass Tiger would complain about 45 using their crappy music.

14. (Bonus Track) “No Bravery” (James Blunt, 2006). 45 is part of a continuum, one that stretches through all of American history. On the international stage, though, it has been one of constant chest-thumping while killing innocents in the name of freedom or national security. Though Blunt’s was about fighting for the UK, the song has much more applicability in the US. We have so much blood on our hands, and 45 means to add to this fetid river on the domestic and international frThe #45 Mix Tapeonts.

Sarai, A Poet In My Heart

09 Wednesday Feb 2011

Posted by in 1, Boy @ The Window, Eclectic, eclectic music, music, Youth

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Sarai, circa 2009. Unknown.

Today, if she were still alive, my sister Sarai would’ve turned twenty-eight years old. To think that I was only six weeks past my thirteenth birthday when she was born. Sarai was the one sibling I didn’t want because she was born in the middle of our plunge into welfare, my ex-stepfather’s abuse, and my mother’s inability to make any good decisions for herself and for the family.

But her life was a miracle in and of itself. Sarai was born a sickly sickle-cell anemia child, another sign of my mother’s indecisiveness and the collective stupidity of adults in my life. None of that really mattered after the first few months, though. From the time she was six months old until I went off to the University of Pittsburgh four years later, I made a point of looking after her, of getting her extra food, of making sure that everything she ate was fortified with iron.

Sarai was my little princess, the only girl I could relate to, the one I could dress and attempt to comb hair for (I say “attempt” because she didn’t have much hair before she became a teenage and my hair-doing skills were mediocre most days). I didn’t want to love her, but I did anyway.

As she grew older, her status as my little baby changed too. But only in a few ways. Whenever I came home

Sarai, Yonkers Apartment, December 23, 1995. Donald Earl Collins

to 616 for the holidays or visits, Sarai would say “hi,” give me a hug, and hold out her right hand for some money. Sometimes I gave her some walking around money, other times I didn’t — I was a poor student for most of the ’90s. It took awhile, but the little girl who was my sister grew up enough to live on her own a few short years before she died. That’s part of how I’d like to remember Sarai.

The first song I ever sang to her outside of lullabies was Starship’s “Sara.” It was the winter of ’86, a quarter-century ago, and Sarai didn’t care too much for my rendition of the song, with my high-falsetto flourishes and adjustments of “Sara” to “Sarai” throughout. (By the way, for those of you who aren’t practicing religious Jews or Judeo-Christian scholars, Sarai was the name of Abram’s wife before God ordained that their names would become Sarah and Abraham.) Of course, I usually sang it to her when she became petulant or when she was teasing her older brothers.

But what I should’ve been singing to her was Fleetwood Mac’s “Sara.” I should’ve been singing “wait a minute baby, stay a little while…” It would’ve been so much more appropriate. Sarai was a “poet in my heart.” She never really changed, and luckily, she never stopped living her life. And now she’s gone, and has been gone for more than seven months now. My life seems more empty, my family even less of a family, than it was before. Hopefully, I’ll see her again, whenever I’m finally called home.