I gave myself a year, and after a year I gave myself another. Now after another year I’m giving myself a number (but I’m not taking away my name).

It was 7:45 a.m. on 23 February 2011, in the middle of School Vacation Week and I had a good portion of the cast of Concord Carlisle High School’s pending production of “The Producer’s” asleep in my rec room. Figuring I wasn’t going to get any work done between then and 8:00 when it was time to holler “Rise and Shine!” and make everyone a healthy breakfast, I decided to start a simple hobby.

I thought it might be fun to see if I could come up with a year’s worth of interesting popular songs, which I could e-mail every day to a small group of friends.  I began with “House at Pooh Corner” by Kenny Loggins, figuring at the very least I’d end up with an interesting circuit of music.

I was pretty diligent and had posted 340 songs by the time 23 February 2012 had rolled around. Those 25 missed days represented time away from my desk.  Fervently hoping that a hobby that’s all about research and commentary without personal profit somehow squeezes into the “Fair Use Doctrine” of copyright law I decided to turn my hobby into a daily blog, Thisrightbrain.com.

I also decided to adopt Henry David Thoreau’s idea of taking two years worth of material and condensing it into one year’s worth of really good material, as he did with “Walden, or a Year in the Woods.”  Figuring to make one more circuit around the calendar, I selected the best songs from the previous year (let’s face it, there were some “misses”) while adding some new ones and burnishing my write-ups in hopes of coming up with one really good collection. It was also an opportunity to get creative with a lifetime’s worth of photographs by trying to match (mainly) old pictures with a lyric from that day’s song.

And now we’ve circled around to 23 February 2013 and this is posting Number 695.  This year there were 36 missed days (factoring in the leap year) again representing time away from the desk. But as the blog postings only amount to 295, my goal is to post 70 more songs and write-ups.  Considering I have three book projects going, some will be delighted to know that I then plan to take a break. In the mean time, what shall we cover today?

Released in 1994, “Return to Pooh Corner” is an album by Kenny Loggins. Described as “music for parents and children to enjoy together,” it features songs written by John Lennon, Jimmy Webb, Paul Simon and Rickie Lee Jones among others, as well as several traditional children’s songs. Re-written for those parents among us (and featuring Amy Grant) this is an updated version of a once and future featured song…

 LISTEN TO THIS SELECTION – Sunday 24 February

Return to Pooh Corner

 Christopher Robin and I walked along

Under branches lit up by the moon

Posing our questions to Owl and Eeyore

As our days disappeared all too soon

But I´ve wandered much further today than I should

And I can´t seem to find my way Back to the Wood

 So help me if you can I´ve got to get

Back to the House At Pooh Corner by one

You´d be surprised there´s so much to be done

Count all the bees in the hive

Chase all the clouds from the sky

Back to the days of Christopher Robin and Pooh

 innie the Pooh doesn´t know what to do

Got a honey jar stuck on his nose

He came to me asking help and advice

And from here no one knows where he goes

So I sent him to ask of the Owl if he’s there

How to loosen a jar from the nose of a bear

Help me if you can I’ve got to get

Back to the House at Pooh Corner by one

You’d be surprised there’s so much to be done

Count all the bees in the hive

Chase all the clouds from the sky

Back to the days of Christopher Robin and Pooh

 It’s hard to explain how a few precious things

Seem to follow throughout all our lives

After all’s said and done I was watching my son

Sleeping there with my bear by his side

So I tucked him in, I kissed him and as I was going

I swear that old bear whispered, “Boy, welcome home.”

 Believe me if you can I’ve finally come

Back to the House at Pooh Corner by one

What do you know there’s so much to be done

Count all the bees in the hive

Chase all the clouds from the sky

Back to the days of Christopher Robin

Back to the ways of Christopher Robin

Back to the days of Pooh

Perhaps you too are “marked by the imaginative or emotional appeal of what is heroic, adventurous, remote, mysterious…” which is how one dictionary defines one who is a “Romantic.”  If so, you no doubt realize that Romanticism (which came in part as a reaction to the Industrial Revolution) is only a few hundred years old.

But what may surprise you is that the concept of romantic love itself (i.e. romance) isn’t much older, dating back only as far as the late Middle Ages, when “of the Roman style” referred to the advent of chivalry, which eventually incorporated the notion of courtly love. Prior to that there were fertility rites.

There may have been complex forms of courtship (and the ever-ready libido), but feelings of emotional intimacy and attraction, aka the “sweet new style” (as 14^th century troubadours called it) is something rather new to our species.  So take heart you dreamers, you idealists, you modern romantics with your heads stuck in the clouds. You’re living in the right age and this song’s for you.

Written and sung by Tim Lopez of Chicago-based Plain White T’s, “Rhythm of Love” was included on the band’s six album “Wonders of the Younger” in 2010 and has since sold over a million copies. It marks Lopez’s first solo lead with the group.

Formed by high school friends Tom Higgenson (who normally sings lead) and Ken Fletcher in 1997, Plain White T’s spent much of their first decade generating an underground pop punk following.  All that changed in 2007 with the release of their Number 1 hit, “Hey There Delilah,” which Higgenson wrote as a romantic paean to nationally ranked steeplechase runner, Delilah DiCrescenzo… And the “sweet new style” soldiers on.

 LISTEN TO THIS SONG – Saturday 23 February

Rhythm of love

 My head is stuck in the clouds

She begs me to come down

Says, “Boy, quit foolin’ around”

I told her, “I love the view from up here

Warm sun and wind in my ear

We’ll watch the world from above

As it turns to the rhythm of love”

We may only have tonight

But ’til the morning sun

You’re mine, all mine

Play the music low

And sway to the rhythm of love

 Well, my heart beats like a drum

Guitar string to the strum

A beautiful song to be sung

She’s got blue eyes, deep like the sea

That roll back when she’s laughin’ at me

She rises up like the tide

The moment her lips meet mine

We may only have tonight

But ’til the morning sun

You’re mine, all mine

Play the music low

And sway to the rhythm of love

When the moon is low

We can dance in slow motion

And all your tears will subside

All your tears will dry

 And long after I’ve gone,

You’ll still be humming along

And I will keep you in my mind,

The way to make love so fine

 We may only have tonight

But ’til the morning sun

You’re mine, all mine

Play the music low

And sway to the rhythm of love

 Play the music low

And sway to the music of love

Yeah, sway to the music of love

Sometimes you can’t hurry these things. In 1958 a Detroit junior high school student named Florence Ballard befriended Paul Williams of the male singing group, The Primes.

Ballard was a good singer, as was Williams’ girlfriend Betty McGlown, so The Primes’ manager decided to create a sister group and Ballard quickly recruited her friends Mary Wilson and Diana Ross.

Soon the Doo-wop singing “Primettes” were gaining a following around the Detroit area where they performed at sock hops and talent shows. Eventually Ross asked an old neighbor, Smokey Robinson, to help the group land an audition with Motown executive Berry Gordy, who allowed them to contribute hand claps and background vocals for other Motown artists such as Marvin Gaye and Mary Wells.

When Gordy finally agreed to sign the girls to his label (by which point McGlown had left the group to get married), it was under the condition that they change their name, as The Primes were now called The Temptations. And so in 1961 The Supremes were born.

Written and produced by the Motown team of Holland/Dozier/Holland for the then-prime-time Supremes, and soon featured on “The Supremes A’ Go-Go” (the first LP by an all-female group to reach Number 1 on the Billboard Album charts) “You Can’t Hurry Love” crowned the Billboard Singles charts and peaked at Number 5 in the UK in the summer of ‘66…where it got a second breath sixteen years later when Phil Collins topped the UK  Singles charts with it for two weeks in 1983.

Still, despite his clever video with white socks, shades, multiple selves…and just pure fun, Collins never managed to match the panache of Mademoiselles Ross, Wilson and Ballard who went on to release their own Italian cover of the song “L’amore verrà”.

 LISTEN TO THE ORIGINAL – Friday 22 February

You Can’t Hurry Love

 I need love, love to ease my mind

I need to find, find someone to call mine

But mama said you can’t hurry love

No you just have to wait

She said love don’t come easy

It’s a game of give and take

You can’t hurry love

No, you just have to wait

You gotta trust, give it time

No matter how long it takes

But how many heartaches must I stand

Before I find a love to let me live again

Right now the only thing that keeps me hanging on

When I feel my strength, yeah, it’s almost gone

I remember mama said

 You can’t hurry love

No you just have to wait

She said love don’t come easy

It’s a game of give and take

How long must I wait how much more can I take

Before loneliness will ’cause my heart, heart to break

No, I can’t bear to live my life alone

I grow impatient for a love to call my own

But when I feel that I, I can’t go on

These precious words keeps me hanging on

I remember mama said

 Can’t hurry love

No you just have to wait

She said love don’t come easy

it’s a game of give and take

 You can’t hurry love

No you just have to wait

She said love don’t come easy

It’s a game of give and take

No matter how long it takes

 No love, love don’t come easy

But I keep on waiting, anticipating for that

Soft voice to talk to me at night

For some tender arms to hold me tight

I keep waiting; I keep on waiting

But it ain’t easy, it ain’t easy when mama said

You can’t hurry love no

You just have to wait

She said trust, give it time

No matter how long it takes

 You can’t hurry love

You just have to wait

She said love don’t come easy

It’s a game of give and take

Although Johnny Mercer is said to have written the lyrics with Judy Garland in mind, this song was first sung by that “bombshell of bombs,” Dorothy Lamour in the 1942 film “The Fleet’s In.” With music composed by the film’s director, Victor Schertzinger, and featuring the Jimmy Dorsey Orchestra, it became one of Lamour’s signature themes…until Francis Edward Ifield ran away with it 20 years later.

Born in 1937, Ifield taught himself to yodel as a young teen while milking the family cows, about 30 miles outside of Sydney.  By the age of 19 he’d become the biggest recording star in Australia and after venturing to ‘Ol Blighty in 1959 he became the first person ever to have three consecutive Number 1 British hits.

Of course the streak began with Dorothy Lamour’s old signature song. While it peaked at Number 5 in the States, “I Remember You” topped the British charts for a full seven weeks in 1962, making Frank Ifield the first person ever to sell one million records in UK, along the way.

LISTEN TO THIS SONG – Thursday 21 February 

I Remember You

 I remember you

You’re the one who made my dreams come true

A few kisses ago

 I remember you

You’re the one who said “I love you, too”

Yes, I do, didn’tcha know?

I remember, too, a distant bell and stars that fell

Like the rain out of the blue-ooh…

 When my life is through

And the angels ask me to recall

The thrill of it all

Then I will tell them I remember you-ooh…

 I remember, too, a distant bell and stars that fell

Just like the rain out of the blue-ooh…

When my life is through

And the angels ask me to recall

The thrill of it all

Then I will tell them I remember, tell them I remember

Tell them I remember you

The bumper sticker on the Dodge Charger says, “Proud Parents of a ‘D’ Student” and the camera follows a group of ’70s suburban teens (in bad need of a hobby) while they meander through their seditious day. In the backseat sits the nearly beatific Billy Corgan, front man for the Smashing Pumpkins.

Entitled “1979” it won the 1996 MTV Video Music Award for Best Alternative Video and it’s fitting to know that after it was shot in suburban Chicago someone left the footage on top of a car before driving away. The band (everyone had a bit part) had to fly back from New York, where they were performing, and reshoot the entire video.

Formed in 1988, the (Cure-influenced) Smashing Pumpkins started out with vocalist, Corgan, guitarist James Iha, and a drum machine. In time bassist, D’arcy Wtretzky and jazz drummer, Jimmy Chamberlain joined the group, which released its debut album, “Gish” in 1991.  Although critically acclaimed, it was their second album, “Siamese Dream” in 1994 that brought them breakthrough success…paving the way for a grinding international tour schedule.

In 1995 the slightly despondent Corgan took a break from the road and wrote dozens and dozens of songs, 28 of which would be included on the Smashing Pumpkins’ double-album, “Mellon Collie and the Infinite Sadness” in 1996. One that wasn’t initially slated for the album was (the partially completed) “1979” which the producer felt wasn’t good enough.

But of all the dozens and dozens of songs he’d just written, Corgan considered this one to be the most important, so he did enough revising for it to become a track on the second disc.  When it was released a single “1979”  reached Number 12 on the Billboard Charts in ‘96 and is by far the group’s biggest (and some might say, most accessible) hit.

 LISTEN TO THIS SONG -Wednesday 20 February

“1979”

Shakedown 1979, cool kids never have the time

On a live wire right up off the street

You and I should meet

Junebug skipping like a stone

With the headlights pointed at the dawn

We were sure we’d never see an end to it all

And I don’t even care to shake these zipper blues

And we don’t know

Just where our bones will rest

To dust I guess

Forgotten and absorbed into the earth below

Double cross the vacant and the bored

They’re not sure just what we have in store

Morphine city slipping dues down to see

That we don’t even care as restless as we are

We feel the pull in the land of a thousand guilts

And poured cement, lamented and assured

To the lights and towns below

Faster than the speed of sound

Faster than we thought we’d go, beneath the sound of hope

Justine never knew the rules,

Hung down with the freaks and the ghouls

No apologies ever need be made, I know you better than you fake it

To see that we don’t even care to shake these zipper blues

And we don’t know just where our bones will rest

To dust I guess

Forgotten and absorbed into the earth below

The street heats the urgency of now

As you see there’s no one around

After Hurricane Sandy she released her EP (“Live From Laurel Canyon”) with tens of thousands of dollars in proceeds going to a relief fund. After the appalling shooting at the Sandy Hook Elementary School she recorded a rendition of “Somewhere Over the Rainbow” (and then performed it on Good Morning America) with all proceeds going to benefit The United Way of Western Connecticut and other local charities.

An ambassador for The VH1 Save The Music Foundation (dedicated to raising awareness about the importance of music education and restoring the teaching of instrumental music in America’s public schools), Ingrid Ellen Egbert Michaelson is perhaps best known for her myriad of songs featured in advertising campaigns for the likes of: Old Navy, Traveler’s Insurance, Opel/Vauxhall, Motts Apple Juice, Ritz Crackers, Google Chrome, etc.

….And on such television shows as: Grey’s Anatomy, Bones, Scrubs, The Big C, One Tree Hill, Parenthood, Ugly Betty, Brothers & Sisters, Army Wives, Hellcats, Body of Proof, In Plain Sight, The Vampire Diaries, So You Think You Can Dance, Enlightened, etc. etc.

Born in 1979 in Staten Island, Michaelson took up the piano at the age of four and “trained until seven” at Manhattan’s Third Street Music School.  After graduating from Staten Island Technical High School and Binghamton University, where she majored in Theater, she began to record her own music in 2002 and self-promoted it on MySpace, while performing at local venues and directing children’s theater.

Dubbed the “DIY Diva” by London’s “Daily Mail” she eventually self-produced her first album “Slow the Rain” (as she has since done with each of her albums) and released it on her own label, Cabin 24 Records.

Featured on her fourth album “Everybody” in 2009, this song, “The Chain” (with its truly wonderful first line and curly-cue last stanza) goes to show how studio recording itself can be an art form.

A live version was previously included on Ingrid Michaelson’s 2008 compilation album, “Be OK” which debuted at 35 on the Billboard Album Chart and sold 15,000 copies in its first week… Naturally, part of the proceeds went to the charity, Stand Up To Cancer.

 LISTEN TO THIS SONG – Tuesday 19 February 

The Chain

The sky looks pissed

The wind talks back

My bones are shifting in my skin

And you my love are gone

 My room feels wrong

The bed won’t fit

I cannot seem to operate

And you my love are gone

 So glide away on soapy heels

And promise not to promise anymore

And if you come around again

Then I will take

Then I will take

The chain from off the door

 I’ll never say

That I’ll never love

But I don’t say a lot of things

And you my love are gone

So glide away on soapy heels

And promise not to promise anymore

And if you come around again

Then I will take

The chain from off the door…

After his death in 1976, the FBI (which had maintained a 500 page file on him) still considered him to be “potentially dangerous.” Perhaps that’s one of the reasons why, beyond his mellifluous musicianship and trenchant skill as a songwriter, his music remains relevant and continues to be recorded by new generations of artists.

Despite the subsequent mental illness and drunkeness that led to a decidedly bad end when he took his life 37 years ago now, Phil Ochs’ repeated affirmation of the individual’s role (i.e. you and me, whoever we are) in the eternal fight for social justice continues to ring loud and clear. Here was a man who was gleefully adept at sizing up the hypocrisy of the entire spectrum, from left (“Love Me, I’m a Liberal”) to right (“I’m Gonna Say it Now”) in a single album.

Here’s the final track on his final all-acoustic record, “Phil Ochs in Concert,” released in 1966, which, in addition to the aforementioned numbers also includes the poignant (and center leaning) “There But For Fortune.”

 LISTEN TO THIS SONG – Monday 18 February

When I’m Gone

 There’s no place in this world where I’ll belong when I’m gone

And I won’t know the right from the wrong when I’m gone

And you won’t find me singin’ on this song when I’m gone

So I guess I’ll have to do it while I’m here

 And I won’t feel the flowing of the time when I’m gone

All the pleasures of love will not be mine when I’m gone

My pen won’t pour a lyric line when I’m gone

So I guess I’ll have to do it while I’m here

And I won’t breathe the bracing air when I’m gone

And I can’t even worry ’bout my cares when I’m gone

Won’t be asked to do my share when I’m gone

So I guess I’ll have to do it while I’m here

And I won’t be running from the rain when I’m gone

And I can’t even suffer from the pain when I’m gone

Can’t say who’s to praise and who’s to blame when I’m gone

So I guess I’ll have to do it while I’m here

 Won’t see the golden of the sun when I’m gone

And the evenings and the mornings will be one when I’m gone

Can’t be singing louder than the guns while I’m gone

So I guess I’ll have to do it while I’m here

 All my days won’t be dances of delight when I’m gone

And the sands will be shifting from my sight when I’m gone

Can’t add my name into the fight while I’m gone

So I guess I’ll have to do it while I’m here

And I won’t be laughing at the lies when I’m gone

And I can’t question how or when or why when I’m gone

Can’t live proud enough to die when I’m gone

So I guess I’ll have to do it while I’m here

 There’s no place in this world where I’ll belong when I’m gone

And I won’t know the right from the wrong when I’m gone

And you won’t find me singin’ on this song when I’m gone

So I guess I’ll have to do it

I guess I’ll have to do it

Guess I’ll have to do it

While I’m here

At the dawning of the 1970s I was a newspaper boy, delivering “The Oneonta Star” in the Catskill Mountain town of Stamford, NY. When you’re thirteen years old and you have to get up at 5:00 a.m. you invariably learn to become a “morning” person, which I am to this day.

There seemed to be a lot more snow back then and I used to envy my mutt-of-a-dog, Tep (that’s “Pet” as in Pettingell, spelled backwards), for her fur coat and ability to rise and shine, without having to get out of bed, get dressed and then get bundled up. This is leading somewhere, honest.

By 5:15 Tep and I would be trudging the mile or so to the Star’s drop-off spot where we’d meet up with the Van Hueson brothers (the other two paper boys, neither of whom made it into adulthood) and their dogs. And after filling our newspaper bags, we’d all venture across the street to the coffee shop next to the Western Union, where we three would chat over hot chocolate, while the proprietor fed the dogs stale donuts, as they patiently waited for us outside in the elements.

When the clock struck 6:00 we’d take turns paying the tab and head out in three different directions for our appointed rounds.

In addition to a Survival Coat parka and a fine pair of mukluks, one of the Christmas presents I received around about then was a transistor radio that you could clip to your belt.  It was high-tech for the time, but in rural, mountainous Delaware County, NY pretty much the only radio station I could get was WGY (AM 810) out of Schenectady.  One of the oldest stations in the country, WGY was then the Flagship Station of General Electric’s Broadcasting Group and featured an eclectic mixture of “Easy Listening” and “Soft Rock.”

“That explains a lot,” I hear you say, and perhaps it does. Anyway, mine was a long, circuitous route and the only way to deliver newspapers in winter was by foot. Because Stamford lies in the shade of Mt. Utsayantha (aka “The Queen of the Catskills”) and because I kinda’ needed my hands for the job, I would often have to walk sideways, or even backwards if I was to maintain the WGY signal on the radio clipped to my belt.

Having laid this all out, perhaps you can understand why this high stepping Chet Atkins number called “Chaplain in New Shoes” was a favorite, as one can imagine a little chaplain, light on his feet and pleased as punch with his new shoes. A splendid newspaper delivery song, it comes from the great picker’s 1971 album, “For the Good Times.”

 LISTEN TO THIS SONG – Sunday 17 February

Born the daughter of California-based missionaries in 1986, Nataly Dawn spent a good portion of her childhood attending Lycées Français in France and Belgium prior to returning to the States to study art and literature at Stanford.  A multi-instrumentalist, it was at Stanford that she met her future partner (and fellow multi-instrumentalist) Jack Conte.

After graduation the couple had the idea of performing, recording and editing popular songs and then distributing their “VideoSongs” on YouTube directly from their Corte Madera home. And so in 2008 they formed Pomplamoose, an English approximation of pamplemousse, the French word for grapefruit.

According to Conte, they also gave themselves a couple of rules to perform by: “What you see is what you hear, no lip-syncing for instruments or voice – (and) – If you hear it, at some point you see it, no hidden sounds.”

By the following year they had sold over 100,000 songs. And with only a few live performances (and the occasional television commercial) Pomplamoose has since acquired over 337,000 subscribers on their YouTube channel, …which (as of this month) has received more than 85 million viewings.

Written by Freddie Mercury, and covered here as a solo by Nataly Dawn, this song was originally the first track on Queen’s 1980 album “The Game”

 LISTEN TO THIS SONG – Saturday 16 February

Play the Game

 Open up your mind and let me step inside

Rest your weary head and let your heart decide

It’s so easy when you know the rules

It’s so easy all you have to do

Is fall in love

Play the game

Everybody play the game of love

When you’re feeling down and your resistance is low

Light another cigarette and let yourself go

This is your life

Don’t play hard to get

It’s a free world

All you have to do is fall in love

Play the game, everybody play the game of love

My game of love has just begun

Love runs from head down to my toes

My love is pumping through my veins

Driving me insane

Come, come, come play the game

 This is your life – don’t play hard to get

It’s a free world all you have to do is fall in love

Play the game, everybody play the game of love

Once again I remembered the flowers and chocolates and cards and wine and cheese, and even made the fire, but I nearly forgot to post this bittersweet song.

Born in 1929 and raised in Oklahoma, Chesney Henry “Chet” Baker, Jr. began his musical career as a child, singing in a church choir.  Not long after, his father presented him with a trombone, which was soon replaced by a trumpet when the trombone proved too big and ungainly.

Posted in Berlin in 1946 with the 298th Army band after he’d left school at the age of 16, Baker was later a member of the Sixth Army Band at the Presidio in San Francisco.  Discharged into the burgeoning Bay Area Jazz Club scene, it wasn’t hard for the talented musician with the chiseled features to find work and Hollywood soon came knocking.

But after a few forgettable films Baker missed the musician’s life and declined a studio contract offer.  It was an excellent choice and by 1955 he had become an icon of the West Coast “Cool School” of Jazz. Unfortunately he had also become a heroin addict.

Barely in his 30s his world began to tumble and the Jazz icon became a pawnshop regular, pawning his instruments to maintain his habit.  After making his way to Europe in the early 1960s, Baker was expelled from both West Germany and the UK for drug-related offenses and then ended up in an Italian prison for a year.

Things grew even more dire upon his return to San Francisco when he was savagely beaten after a 1966 gig, leaving him with a mouthful of broken teeth and, even worse for a trumpet player, gashes on his lips, all of which was so severe that his embouchure was ruined and he could no longer play his horn.

And yet hope remained for Chet Baker, who took whatever jobs he could find (including pumping gas) to save up enough money for a set of dentures.  He then took up the flugelhorn and, after developing a new embouchure, moved east to New York where he and his new instrument were suddenly in demand.  By the mid-70s Baker had returned to Europe and, with a new lease on life as a mature and prolific artist, had his most rewarding decade as a bill-topping recording artist. And then it was over.

At about 3 a.m. on a May morning in 1988 the woeful musician’s body was discovered on the street below his second-story room in Amsterdam. The autopsy revealed both heroin and cocaine in his system and death was ruled an accident.

Certainly one of Chet Baker’s most memorable numbers is this one, from the 1937 Richard Rodgers and Lorenz Hart musical “Babes in Arms.” A Jazz standard ever since, “My Funny Valentine” has been recorded by more than 600 artists and has appeared on over 1,300 albums.  Baker himself performed it on numerous releases throughout his career, although this, his moodily romantic 1952 recording with the Gerry Mulligan Quartet, endures.

LISTEN TO TODAY’S NUMBER – Friday 15 February 

My Funny Valentine

 My funny valentine

Sweet comic valentine

You make me smile with my heart

Your looks are laughable

Unphotographable

Yet you’re my favorite work of art

Is your figure less than Greek?

Is your mouth a little weak?

When you open it to speak

Are you smart?

Don’t change a hair for me

Not if you care for me

Stay little valentine stay

Each day is Valentine’s Day