Or something.

I’m beginning to think it’s just the opposite. On the surface, it’s trying to be slightly revolutionary – the first musical show that’s really made it big, a ‘realistic’ portrayal of teenage pregnancy, a gay kid with a supportive jockish dad, Idina Menzel as a surrogate mother for two gay dads.

Wait a second…

See, it’s that last bit where I start to notice a problem. Whatever ‘theatricality’ might have been going on during the rather hyped Lady Gaga episode, I honestly couldn’t make myself care, let alone identify with. I suppose we were supposed to find Rachel’s ‘I am your daughter’ moment moving, or funny, or something. I just rewound and listened to Menzel sing ‘Funny Girl’ twice more (so I’m a bit obsessed – big deal). And then skipped to the commercial and ‘Bad Romance’. (Hulu = very useful!) See, on the surface, there’s the appearance of depth, but it’s really just showtunes all the way down.

The finale was just the same. I suppose they thought intercutting the birth scene with a musical number was cute or artistic. It really wasn’t (I think it’s been done before, just the same way). And then we were back to Emma acting weird, Sue insulting Will to complement him, and the convenient near-reset for next season.

You know what would have been really interesting? Glee club loses, gets shut down, the series ends. Bang. But then we wouldn’t get to hear Lea Michele remake any more pop hits. Which is what it’s all about, campy drama aside.

I wasn’t really sure what to expect. Their online videos sound decent, but not incredible, and the album is processed enough that you might question whether they could pull it off live. Besides, even really excellent bands with years and years of experience often sound less than perfect live. It’s just the nature of rock music.

Not to worry – I was completely blown away.

Live, Sick of Sarah sounds every bit as good as on the album, plus all the additional energy you expect from a live performance. It was practically note perfect, but still managed to be spontaneous and plenty indie rockish (not overly glitzy, etc.) The crowd ate up every word, despite being utterly tiny (100ish). Which is why I’m writing this – I don’t know what kind of draw they get elsewhere, but they deserved a much bigger crowd than that! So if you’re considering going to one of their shows, but haven’t decided to yet, here’s five reasons you definitely, absolutely should (slight gush alert!):

• First, there’s Katie: Not just the rhythm guitar, as she’s sometimes listed. (In fact, she seems to play about half the lead parts – you wouldn’t guess it from the album) She’s got an impressive ear for everything she plays, and rocks out in all the appropriate places. Most of all she blends and trades off with Jessie perfectly. I’ve been a huge fan of the ‘two equal guitars’ concept ever since I fell in love with Sleater-Kinney, and they pull it off here while still including a bass. Which brings me to…
• Jamie – she’s so… stoic? serious? Something. Whatever it is, it complements Abisha’s crazy and Jessie’s silly perfectly. I think what I’m trying to say is that she’s a ’statuesque’ bass player. Or something. It looks awesome in any case. And sounds great too.
• Jessica, on the other hand is a much a whirlwind as she looks in the videos, and her drumming is every bit as powerful as you could want (she’s a step up, power-wise, from Brooke), and nuanced enough to make it work live (I’ll be interested to hear how she sounds on the new album).
• Jessie is a consummate rock guitarist. She’s got the hair, the attitude, and the on-stage pose to pull it off. And when she digs into a tricky guitar riff, feet set, fingers flying, it’s something to behold (especially from five feet away!). Not to mention, she’s laid-back, even downright goofy the rest of the time (which also rocks).
• But Jessie’s goofiness is nothing next to Abisha, who I’ve decided is completely insane (in the most positive of ways). She somehow managed to pull off her ‘water spout’ trick, dance all over the stage (and down in the audience), constantly manipulate a reverb unit, and down a remarkably large number of shots, all while hardly missing a note. Not to mention letting a couple of (very inebriated) fans feel her up in the middle of the song, randomly steal one of said fans’ cap (I was a bit confused by that – aren’t baseball caps a big no-no at indie rock shows?) and throwing it across the room. And last but not least, she climbed up on the kick drum, sang through to the climax of the song, and finished by jumping off and doing a 360 degree turn – without getting tangled up in her mic cord. Did I mention she sounds just as awesome live as she does on the record? Incredible.

And that’s why you should go see Sick of Sarah.

(Killola, by the way, was pretty decent too – although Lisa’s own attempt at kick drum climbing was a bit, ummm, shaky and unimpressive. If you ever see them, though, you really should bring ear plugs – I can tolerate some pretty loud music (I was a couple feet in front of a PA speaker for all of Sick of Sarah’s set) – but Killola made my head hurt from the back of the room. I would have enjoyed it a good deal more if my hearing hadn’t been deadened by the first song!)

Not so great.

But there a few that are really… fun, even if they’re not the greatest thing ever (I’m told there’s great art, too [Revolutionary Girl Utena],  but I haven’t seen any yet).

Strawberry Panic! – the ‘!’ is actually part of the title – is one of the fun ones.

Instant summary: There’s bunch of (mostly) rich girls at a (mostly) rich girls’ boarding school. Most are lesbian to one degree or another, hilarity ensues. There’s a dead girlfriend and various love triangles involved.

Let’s get one thing straight: Strawberry Panic! not great art. It’s not even average art, or average pop culture, for that matter. It’s crap. But it’s crap of the very highest caliber. It’s melodrama out the nose, over-the-top plotting, full of romantic comedy cliches (the finale ends with a ’stop the wedding, I really love her‘ moment). There’s random fan service, implausible soap-opera style injuries (instant temporary complete memory loss!) and to make things worse, the writers take their drama way too seriously, and don’t even try to make it campy.

But somehow it works. There’s embarrassingly unintentional humor, for one thing. For example, in the second or so scene of the first episode, the protagonist – Nagisa – gets lost on her way to school and randomly meets the Don Juan-type (Shizuma) under a tree. Shizuma, being a total playa (and y’know, love at first sight) kisses Nagisa on the forehead, who… wait for it… faints. Out cold. For the rest of the afternoon. I burst out laughing at this scene, but it’s played (well, animated) perfectly straight (so to speak). There’s dramatic music and a fade to white. No ‘wink’ at the audience, nothing. Weird, but funny.

But it gets better – the completely bizarre moments are dispensed with eventually. The fan service isn’t so pervasive that it gets into male gaze territory. The characters are quite believable in their melodramatic sort of way.

And the music’s nice, too.

In the end, it’s a very fluffy, sticky sweet romantic comedy with a happy ending, played for all it’s worth. And somehow, it’s all quite strangely compelling.

So, I had high hopes when I found that they started a podcast – and wasn’t disappointed, either.

It’s called Small Screen Stakeout, and it’s pretty much the same sort of thing as She Made Me Watch This – plus more web series talk, minus the bunny rating system. Which is to say, it’s pretty fun. And very long – which I rather like. (The first episode is 99 minutes long, the second 61).

So, digression on long podcasts:

‘Traditionally’ – although podcasts have only really been around for about 10 years – not much time for a tradition to be created – but still traditionally, podcasts are supposed to be short, 10 minute or so rapid fire gems of entertainment. Except, it never seems to work out that way. You get the intro, random introduction, they hammer their way through the thing, and it’s over. There’s just no time to say anything, and to make things worse, they’re forced to make it dense with information. Which means you have to listen carefully, and can’t do too much else (or you’ll miss it!). On the other hand, with something long and rambling (like Small Screen Stakeout), you can listen and read, write, etc., so in the end, it takes less time to listen to an hour podcast than a 10 minute podcast! Plus, there’s lots more there, so you can always find something entertaining and it’s not such a waste if it’s not particularly good overall.

In other words, Rambling = good!

Anyway, the latest episode was just posted here, and I have to say that it’s quite good so far (even if they do talk about American Idol a lot…)

Vivian is under a lot of stress. New place, strained relationship, new ‘mom’, reunion with an old friend. Some people respond to stress by reaching out. Others respond by closing up. Guess which sort Vivian is! By the end, she can hardly tell Aster she still loves her, and she can’t ask her honestly to stay. More importantly, she can’t really tell her, can’t make her understand why she’s acting that way. The same things that keep her from coming out to the school keep her from explaining to Aster. It’s a cycle.

This is an unusual sort of characterization. (And one that I identify with – I act this way, very much) We see ’shy’ characters often, but usually only in stereotype. They’re scared of social interaction in general, or scared of asking someone out, or something like that. The solution is always for them to become less shy, more extroverted, whereupon they are suddenly happier. (Think of Willow from Buffy). The other ‘bottled up’ sort of character refuses to share their emotions – the typical male pattern. Their solution is to learn to share, to relate. But Vivian is neither. She expresses her emotions perfectly well, but is unable to… articulate her reasons, if you will. And Aster only sees this as abandonment.

In real life, as in the show, it’s just not so simple as suddenly being more outgoing, or anything like that. For one thing, you can’t just change yourself, and even if you could it wouldn’t necessarily be better!

It’s all just just one hurdle, one decision at a time, and Vivian needs to find her path among them. Hopefully without driving the people she cares about away.

Things I liked:

• Vivian yelling at the surprised bystanders – one again, no problem expressing her emotions!
• The overall realism. Breakups aren’t all about angry yelling and dramatic exits. And sometimes they just drag on and on.
• It’s good to see that the homophobes are out in full force. I was beginning to thing that Viv was overreacting to the whole situation.

Things… not so much

• I’m confused about Sophie. Hopefully, her story thus far will be cleared up soon.
• The scene on the bench. I think it might have been the camera angle, or the sound, or something, but it felt a bit disconcerting and distracted.

The one-off weird bit:

• “Get me another drink?” Really? Really? Loser.

What made me cry a bit:

• Vivian in bed alone near the end, as the counterpoint to the opening of the two parter.
• “Pride.”

First, Legend of the Seeker:

I really, really wanted this show to be good. The first episiode was good enough that I started reviewing it… but it never got any better, just kind of sat there. I’ve officially lost interest. Which is a shame – I love high fantasy. Someday there will be a good high fantasy TV show. LotS just wasn’t that show.

Oh, well.

Sarah Conner:

I wasn’t really sorry to see T:SCC canceled. It never seemed particularly… focused, I think. Was it supposed to be about Sarah Conner? Or John Conner? Or Cameron? Or The Future Aussie Chick who’s name I can’t remember? In retrospect, the problem with T:SCC was that neither Lena Headey nor the actor playing John Conner were suitable to focus an entire show on. So they brought in Brian Austin Green (who stole far too many scenes!) and lots of other characters to spice it up. And the best actor on the show (Summer Glau) was playing the robot! (I would have liked to see Glau as Sarah Conner.) As a result, the show wasn’t really about anything or anyone, and the only reason to watch was to see Summer Glau beat up everybody!

Nothing against Lena Headey, by the way – she was amazing in Imagine Me And You, but she’s not great action hero material. She did a solid job as Sarah Conner, of course, but unfortunately she didn’t do an outstanding job. And the show needed an outstanding job.

Dollhouse:

I’m not crazy about Dollhouse yet. I don’t hate it, but it’s no Buffy or Firefly. Perhaps it will be eventually, but in the mean time it annoys me a bit that of the short-lived almost-canceled shows I like (Firefly, Wonderfalls, Pushing Daises, etc.) the one that makes it is the one I like the least!

In Plain Sight:

I love this show! For one thing, the protagonist is a badass woman who’s NOT supernaturally gifted in any way. For another, the show manages to be entertaining without always being serious, and yet not making overt jokes. The only bad part of the show is Mary’s family. They who make no sense to me, and the drama is seems senseless and overblown. Happily, it doesn’t take up the bulk of the show.

Bones:

Speaking of jokes, I am competely ticked off at Bones (the show, not the character!). Bones was an unusual and interesting show once upon a time. It featured a highly rational woman who, while lacking certain finer social graces, managed to show an uncanny understanding about the world. Sure, her awkwardness was played for laughs, but if she told somebody, “You’re only saying that because you want to have sex with her,” or “Love is only a chain of chemical reactions in the brain,” it was probably true! She was blunt, but often right. Booth was sometimes right as well – and the mutual learning between the two kept the show interesting. Now, the writers have seemingly become scared of the rationality. They constantly go out of their way to show that Booth (equals feelings!) is right and Brennon is wrong. Brennon is nothing more than a big joke. Worse, they are also trying to show us that Booth is smarter than he looks – i.e. it’s possible for a ‘lab rat’ like Brennon to be just as successful without the rationality. Thus her need to change.

As a moderately rational person, I strongly resent this!

Fear of reason (on the part of the writers, in this case) belies an essential insecurity about one’s environment and nature, leading to unintended negative results. (In other words, I’m not watching Bones anymore.) Bah.

Fringe:

…is the best show on television.

It does have its moments. Walter’s sense of humor is just annoying. Peter serves no function at all. And the boss-man having to talk Olivia down only worked the one time! But it’s all worth it to see Olivia either: A. find some piece of the puzzle, or B. beat the crap out of some really evil guy.

I only wish that Fringe wasn’t quite so disgusting. It’s as if they are overpaying their FX crew, and want to get their money’s worth!

So finally, the moral is:

Anyone But Me is officially better than anything currently on TV. I’ll review the latest episode tomorrow!

Aaaaand we’ve got drama! Or at least drama, ABM style.

Episode 7 was the mirror image of episode 4, only more so. Both began with Aster and Vivian in bed together. In both, there was a party, which Vivian did not want to attend. And both ended with a fight. In ep4, Vivian was sad and hurt that Aster didn’t want to spend time alone with her. In ep7, Aster is more than hurt – she seems almost devastated. She says “I won’t be the friend again. Not even for you.” And she walks off. It seems this has happened to Aster before. And she won’t let it happen again.

To make things even worse, there’s something… not really flirting, but just something, between Vivian and Sophie. (Don’t do it, Vivian!)

I was hoping (but not really – that would be boring!) that this wouldn’t happen. It almost seems inevitable, though. Vivian was completely out in NYC. She moves, and she’s not out anymore. I get the impression that it took her a long time to come out in the city – perhaps she didn’t start with Aster until after she was out. Now, she wants to do it slowly all over again, but Aster’s not having it. It’s almost like Vivian is trying to start a new relationship with Aster right on top of their old one.

Fascinating.

I personally can’t blame Vivian. New places are scary, especially for an introvert like Vivian (or me!). I can hardly blame Aster, either – she is ‘right’, after all. It’s just life; a bad situation.

Things that were wonderful:

• The opening mirror shot – which, now that I think of it, reflected this episode’s relationship with ep4!
• The aunt’s question. I take it she bit her tongue and said something else?
• Archibald. Can’t dance. That was so me, it’s not even funny.
• The overall feeling. I know I’ve said this a million times, but it’s even better than ever. Some of the early episodes had scenes that just seemed… awkward, especially in the camera and sound work. This episode had no such problems.

Things that were not-so-good:

• The scene with the Dad and Aunt seemed out of place. I wish there was time for more about Dad, but you can’t have everything!
• Is Jonathan really that big of a jerk? Yuck.

Little touches that made me laugh:

• Archibald trying to dance.
• Aster’s relationship advice. “She knows.”
• The expression on Jonathan’s buddies’ faces when Sophie started going off.

Little touches that made me cry:

• Vivian pushing Aster’s hand away from her waist as they walked into the party. It all went downhill from there.

Amazing as usual.

(Warning – this is more of a series review than an episode review. It’s long, and very spoily.)

Technically speaking, the finale was breathtakingly perfect. It was exciting. The special effects were gorgeous. The emotions were powerful. The final outcome (Would they rescue Hera? Would they all die? Would Cavil get away with his plan?) was always in doubt. Tory was finally punished for killing Callie, Boomer for, well, everything. Anders finally amounted to something. Starbuck fulfilled her destiny. Most of the plot lines, and all of the recent ones, were wrapped up in a nice little ball. And when Roslin died, I broke down and cried for the rest of the episode.

So BSG ‘worked’, if you will. It was an emotional, powerful story. It had strong, interesting characters. The plot was coherent, for a TV show at least. The music and cinematography were beautiful. But in the end, it all came down to the biblical book of Ecclesiastes. “There is nothing new under the sun.” = “All of this has happened before, and all of this will happen again.” Yeah, yeah. History repeats itself. Life is a cycle. Can we break the cycle? And since they intentionally forgot their history, we’re probably doomed to repeat it too. Oh – and the god who is “beyond good and evil” still conveniently wants to stop violence. They took the easy way out.

I’m not sure what I was expecting. BSG was like a big mystery novel, or perhaps like a serious Hitchhiker’s Guide. The question: What is life? What is its meaning? What defines humanity? Throughout the series, they kept dropping clues. Prophecies. Harvey Six and Harvey Baltar. The time capsule/disease thing. The ‘final five’. Starbuck generally. The Eye of Jupiter. The Arrow of Athena. The magic cave, complete with its star chart. Kobal. The opera house. And on and on. They were building up endlessly, each new discovery a piece of the secret, a new revelation, enough to provide insight while still building up the importance of the final discovery. I expected some incredible revelation, some insight into what it really means to be human. And all we got was “All of this has happened before, and all of this will happen again.” All of that buildup, all that tension? It was nothing but a big red herring, with a slight hint of Deus Ex Mechina.

I had honestly thought that, “All of this has happened before, and all of this will happen again,” was the red herring. After all, that’s not interesting, is it? If you can’t affect the future, if it’s all futile, then why even try? Yes, there was some indication that they might have changed something (via the Harveys), but then they showed an extended shot of a dancing robot (we’re doomed). And so, the potent images of the previous seasons amounted to nothing. The opera house scene had been so strange so threatening. Caprica Six and Baltar were taking Hera, taking her away from Athena and Roslin, and from the human race. All hope was lost, it seemed. The replay/projection of the opera house scene, running through Galactaca, was beautiful, provocative – but Six and Baltar were on the same side as Roslin and Athena. They just didn’t notice them. The scene didn’t mean anything, and lost its bite. The same with D’Anna apologizing to the image, and the Arrow, the ramblings of the hybrids, even Starbuck’s death, came to little or nothing. Leoben’s obsession with Starbuck was apparently nothing more than his realizing that Starbuck was some sort of angel. It was all just so… pointless.

I suppose I had hoped, foolish computer scientist me, that the series would try to provide insight on what it means to be human, and the Cylons relationship to that. Why are the ‘humans’ human, and the Cylons not? What defines it? Do humans have souls, and Cylons not? What is emotion, do Cylons really have it, and is that the humanizing factor? In the end, the humans accepted as human only those Cylons (Athena, Caprica, and the final five), for whom they had developed emotional attachments to before they knew they were Cylons!

Now, they certainly tried to make the Cylons humanized to some extent – the Cylon repair crews, the Cylon seat on the Quorum, the Cylon acceptance of human military leadership, the Centurions being given their freedom, etc. But all of this fall under the category of ‘telling’ rather than ’showing’. We didn’t ever see anything from a Cylon perspective. In the end, they were still ‘other’, still machines. Humans are still the ‘real thing’, and we still don’t know what that even means!

Just to make this point, here’s an off-the-top-of-my-head chart of noticeable Human characters vs. noticeable Cylon characters, ordered very roughly in order of importance. I’m not including the final five – although they’re really humans, just in Cylon bodies. X’s mean the character is dead, ?’s mean I wasn’t sure if the character merited inclusion.

I know I’m missing some other important humans, but here’s the point. Except for Caprica, Gina, Boomer, Athena, and D’Anna, there aren’t any real Cylon characters. They are as faceless as the Centurions, or as the red-shirt deck hands (who usually at least had names!). And this is where I think BSG missed the boat. In the beginning, it worked – the Cylons have a sort of shared existence, per model. Then Caprica, Boomer, and Athena ‘broke away’, and then D’Anna (who was still working as a hive mind, just often at odds with the other Cylons). And that was it. D’Anna was the only Cylon not defined by her relationship with humans. Sure, they had the random scenes with the repair teams, and the Six in the council, but it was too little, too late. They didn’t give any names, any numbers, we couldn’t distinguish them, they didn’t seem. well, human. The question of defining humanity, or even worth is left almost untouched.

To be sure, there were flashes. The group scenes with the Cylons on New Caprica, Adama bonding with Athena, Baltar interacting with Gina. But it all fell short. Here’s what I think: instead of those endless dead-weight episodes about Lee, Lee and Kara, Anders and Kara, etc. (You know – the I want to be a lawyer bit), etc., they could have introduced some different Six characters – some who weren’t defined by having been mistaken for a human. Tricia Helfer looks so different with different hair, it would have been easy. And we all know that Lucy Lawless can portray an amazing array of characters, even when they all look alike – why didn’t they write that? Leoben, too – I really would have liked to understand his perspective. All we have now is that he’s creepily obsessed with Starbuck. Was is just one Leoben? All of them? If just one, what do the others think about it? What do the Leoben group discussions sound like?

In other words, the Cylons started out as machines. The humans saw them that way, they saw themselves that way. As time went on it became clear that either it was more complicated than that, or that it didn’t really matter (and in that case, what does? They never tried to touch that either.) But all we got were exceptions. A few humans fall in love with a few Cylons, and vice versa. There was no universal ’sentientizing’ (for lack of a better word) of the Cylons. Even more, by the Significant Eight having been created by the Final Five, the eight were robbed of much of their remaining individuality.

At the very end, they free the Centurions – thus recognizing them as having worth as well. But none of the Centurions had names or were individuals, so this just doesn’t have any impact. BSG simply missed it. They missed the question of strong AI, of defining humanity, of discussing why we think it’s important to treat people as people.

You know what would be interesting? Instead of this Caprica prequal series, what about a series about the Centurions. Make them individuals, and take it seriously. Not like a Wall-E, etc. or like the robots on Star Wars, but make them real characters, with real problems. I don’t know what changes that would take (voices, perhaps?), but it would be very interesting and enlightening.

I think that individualizing the Cylons, even to the point making the series half Cylon would have been so much more interesting. For one thing, it’s never been done before, not so far as I know. For another, it would help with this complaint about the fate of the women on the show (they’re either dead or coupled, if you didn’t notice). A dozen named Sixes and Eights, would have changed the demographics of the ending dramatically.

One more example of how individualizing the Cylons would have been interesting: The Gina/Cain story. Gina was mostly interesting first as the rape victim who impacts Baltar, and second as having dramatically influenced Cain to be a horrible person (and they messed that up too). But they constantly refused to let us see it from Gina’s point of view. She was just – well, not a machine, but more of a creature, something to be pitied. I always felt like Gina really loved Cain, but felt she had to ‘do her duty to her people’. She didn’t want to betray Cain, and thus felt betrayed in turn. Sort of a mirror of the Baltar/Caprica Six relationship, if you will, only more tragic. But we missed all that (if that was indeed the intention), since Cain was portrayed as a monster and then killed, and Gina was completely opaque. For that matter, even Caprica was mostly opaque – we mostly see Baltar’s side of the story.

I’ll stop rambling now. I think I’ve made my point.

In the end, BSG was an excellent series. It was well made, riveting, and at least a bit more equitable than most series. But I just can’t help but wish that they had been a bit more groundbreaking, that they had tried to answer the hard questions, instead of falling back on a trite theme.

I sorry, but I don’t believe that repetition is the meaning of life. If it is – life’s pretty stupid.

Once again, understatement is the theme of the day. Aster is depressed about her relationship with Vivian. She skips school. She lies in bed. I love that she’s not overtly mad, not obviously depressed – it’s just she just won’t get up, and won’t answer the phone. And yet, she’s fully dressed, so we know she thought about getting up and doing something. Loved all the details. (But it makes me so sad! Waah! Which means that it’s really good.) The cut to to Vivian hanging up her phone worked amazingly well.

On to Archibald: I still can’t figure out why he’s always hanging around the principal’s office. Perhaps I missed that. Still, it says a lot about his character: he’s an articulate loner. Who has a crush on Elizabeth – which we found out about in one short scene, and one line. Love, love, love the brevity and density. And Archibald and Vivian bonding over girl troubles was sooo cute!

Speaking of cute, I thought it fit perfectly that Vivian is a Buffy fan! Oh – and she is also prone to ramble – not incoherently, but awkwardly (“… because I always get ravenously hungry when things aren’t going right.”) I completely do this! Yay! for introverts.

The only thing I didn’t care so much for in this episode, was the scene with the dad and the aunt. It just… didn’t seem to add anything, especially considering how long it was. (It was interesting to know that the aunt was a bad girl. That explains her inability to be a mother figure to Vivian, I suppose.) I was also really surprised that Vivian didn’t call them. We know that Aster is irresponsible – I thought Vivian was the responsible one. Still, she has a lot on her mind, so it’s certainly understandable.

Finally, cliffhangers! What’s up with Vivian and her old friend? And more importantly, what’s in the note…

Anyway, I still absolutely love Anyone But Me. Can’t wait for the next episode!

My Fourth Wave Feminism post which discusses this blues, among others, is here.

Cold In Hand Blues:

I’ve got a hard workin’ man
The way he treats me I can’t understand

He works hard every day
And on Sat’day throws away his pay

Now I don’t want want that man
because he’s done gone cold in hand

Now I’ve tried hard to treat him kind
Now I’ve tried hard to treat him kind
But it seems to me his love is gone blind

The man I’ve got must have lost his mind
The man I’ve got must have lost his mind
The way he treats me I can’t understand

I’m gonna find myself another man
I’m gonna find myself another man
Because the one I’ve got has done gone cold in hand