Kitty Litter

3:08 minutes

Issues
Julia Michaels

I’m jealous, I’m overzealous
When I’m down, I get real down
When I’m high, I don’t come down
I get angry, baby, believe me
I could love you just like that
And I could leave you just as fast

But you don’t judge me
‘Cause if you did, baby, I would judge you too
No, you don’t judge me
‘Cause if you did, baby, I would judge you too

‘Cause I got issues
But you got ’em too
So give ’em all to me
And I’ll give mine to you
Bask in the glory
Of all our problems
‘Cause we got the kind of love
It takes to solve ’em

Yeah, I got issues
And one of them is how bad I need you

You do shit on purpose
You get mad and you break things
Feel bad, try to fix things
But you’re perfect
Poorly wired circuit
And got hands like an ocean
Push you out, pull you back in

‘Cause you don’t judge me
‘Cause if you did, baby, I would judge you too
No, you don’t judge me
‘Cause you see it from the same point of view

‘Cause I got issues
But you got ’em too
So give ’em all to me
And I’ll give mine to you
Bask in the glory
Of all our problems
‘Cause we got the kind of love
It takes to solve ’em

Yeah, I got issues
And one of them is how bad I need you

(I got issues, you got ’em too)
And one of them is how bad I need you
(I got issues, you got ’em too)

‘Cause I got issues
(I got)
But you got ’em too
So give ’em all to me
(You got ’em too)
And I’ll give mine to you
Bask in the glory
(I got issues)
Of all our problems
‘Cause we got the kind of love
(You got ’em too)
It takes to solve ’em

Yeah, I got issues (I got)
And one of them is how bad I need you (You got ’em too)
Yeah, I got issues (I got issues)
And one of them is how bad I need you (You got ’em too)
Yeah, I got issues (I got)
And one of them is how bad I need you

Whispered

2:04 minutes

It seemed like a miracle that he was there, his arms still waiting for me. He reached out to me, and my heart thumped unsteadily.

“Welcome back,” he murmured, caking me into his arms.

He rocked me for a while in silence, until I noticed that his clothes were changed, his hair smooth.

“You left?” I accused, touching the collar of his fresh shirt.

“I could hardly leave in the clothes I came in — what would the neighbors think?”

I pouted.

“You were very deeply asleep; I didn’t miss anything.”

His eyes gleamed. “The talking came earlier.”

I groaned. “What did you hear?”

His gold eyes grew very soft. “You said you loved me.”

“You knew that already,” I reminded him, ducking my head.

“It was nice to hear, just the same.”

I hid my face against his shoulder.

“I love you,” I whispered.

Scarlet Laundry – Salvaged

6:30 minutes

“Does Anybody Hear Her”

by Casting Crowns

She is running
A hundred miles an hour in the wrong direction
She is trying
But the canyon’s ever widening
In the depths of her cold heart
So she sets out on another misadventure just to find
She’s another two years older
And she’s three more steps behind

Does anybody hear her? Can anybody see?
Or does anybody even know she’s going down today
Under the shadow of our steeple
With all the lost and lonely people
Searching for the hope that’s tucked away in you and me
Does anybody hear her? Can anybody see?

She is yearning
For shelter and affection
That she never found at home
She is searching
For a hero to ride in
To ride in and save the day
And in walks her Prince Charming
And he knows just what to say
Momentary lapse of reason
And she gives herself away

Does anybody hear her? Can anybody see?
Or does anybody even know she’s going down today
Under the shadow of our steeple
With all the lost and lonely people
Searching for the hope that’s tucked away in you and me
Does anybody hear her? Can anybody see?

If judgement looms under every steeple
If lofty glances from lofty people
Can’t see past her scarlet letter
And we never even met her
Never even met her
(Never Even Met her)

Does anybody hear her? Does anybody see?
Or does anybody even know she’s going down today
Under the shadow of our steeple
With all the lost and lonely people
Searching for the hope that’s tucked away in you and me

Does anybody hear her? Does anybody see?
Does anybody even know she’s going down today
Under the shadow of our steeple
With all the lost and lonely people
Searching for the hope that’s tucked away in you and me
Does anybody hear her? Does anybody see?

He is running
A hundred miles an hour in the wrong direction

Peace

5:46 minutes

I do some weird things with recorded music creating sound tracks.

For example, on “Children” I used three different pieces of music.

The main piece of music has instrumental with it and angelic voices of women. It is a cover by Sandra Turley. It’s 118 BPM and in C major. I changed that to 129 bpm to match the G major Three Dog Night version of “Prayer for the Children.” The piece that is overlaid and causes the most dissonance with the Tabernacle Choirs version in C major and 118 bpm. I change the bpm to 129 to match Three Dog Night.

So I can get all the beats per minute to match just fine or close enough.

I had some other covers but they were in minor keys. So I didn’t use them.

Audacity allows you to change bpm and key.

I measured the clips with an online tool: https://tunebat.com/Analyzer

But when I open each file in Audacity, it never matches the same reading. So I count the steps difference and relatively increase or decrease the pitch. It never matches. A guessing game.

I would have liked to have gotten all these into C major like the main vocal part.

Prayer Of The Children

by Kurt Bestor

Can you hear the prayer of the children
On bended knee, in the shadow of an unknown room?
Empty eyes, with no more tears to cry
Turning heavenward, toward the light

Crying, “Jesus, help me
To see the morning light of one more day;
But if I should die before I wake
I pray my soul to take.”

Can you feel the heart of the children
Aching for home, for something of their very own?
Reaching hands, with nothing to hold on to
But hope for a better day, a better day

Crying, “Jesus, help me
To feel the love again in my own land;
But if unknown roads lead away from home
Give me loving arms, away from harm.”

Can you hear the voice of the children
Softly pleading for silence in a shattered world?
Angry guns preach a gospel full of hate
Blood of the innocent on their hands

Crying, “Jesus, help me
To feel the sun again upon my face;
For when darkness clears I know you’re near
Bringing peace again.”

Last Rocket

7:24 Minutes

Thought I’d share this conversation with Ed Jenkins who did the male voiceover for “Longday”:

Ed Jenkins
Mar 19, 6:15 AM

Oh wow, that sounds amazing! Whoever you got to voice Kahira really puts me to shame.

Steve’s reply:

Female voiceover is Chloe Wigmore: Fiver talent because of Covid. I’ll be improving the visuals and some sound effects. So it will go through another iteration. And your voice is perfect for what we’re doing. Don’t compare. It will only bring you unhappiness and dissatisfaction. Of course, anxiety can be a great motivator.

Never use Chloe as your benchmark. Just look and see if you improved your own journey. When you see someone at the top of the ladder, you know they didn’t fall there.

The original 2017 short story “Last Planet from Planet Longday” is a 45-minute read. I took one scene as an excerpt – the one you just made. It was the scene with the most interesting dialog. It’s about 4 minutes. Visually boring.

But the script was lost. I had a transcript made. That took one day with Fiver talent in India. I built an MP3 as reference for pronunciation of fabricated names and places. The synthetic voices are Amazon Polly. That probably cost 15 cents.

“Last Rocket from Planet Longday” is a sci-fi conversation between a marooned man and woman. In reality, I think they’re two of my internal voices. Self-talk.

Longday was my first video attempt and so dismal my son Levi and brother Brad (both creatives) gave it a thumbs down. I didn’t do another video for an entire year. It was long and I used male and female synthetic voice for the voice track. I had no money for voice talent at the time.

I decided I’d adopt the mantra “Embrace Mediocrity.” And I started producing one “mediocre” video per week. This version of “Longday” is my 129th video.

Jade the poetess said: “I love the rocket video. The voiceovers are amazing.”

Fallible

4:23 minutes

This poem is dedicated to Julie Hadley.

On 3/19/21 6:34 AM, Jade Rawlings wrote:

i LOVE “fallible” the music is perfect, your voice with the feminine voice is really great and flows amazing! “the solution… run, run until you ache in your side, and then laugh at the fright that made you run” that line hit me hard. i want to get that as my next tattoo.

i resonated with it, because something in me tells me to run when i’m afraid but something in me says dare them to try harder.

so many times have i looked into sadistic empty eyes and laughed with a mouth full of blood, taunting him, “if your going to hit me, hit me harder. because hesitation is a dead mans game” almost wishing he would have the courage to end my suffering, but he was never so kind, or maybe he just wasn’t brave enough. “laugh at the fright that made you run” that was powerful. that was timeless. my soul connected to those words. thank you for being a genius.

I replied:

Your words are encouraging.

“Fallible” was made for two people in particular. It helps to have an imaginary audience when building something like that. You and me. And anyone like us.

I’m glad you think I’m a genius. It only counts when you say it. Because it takes one to know one.

Gone To Texas

4:37 minutes

GONE TO TEXAS

In 1830, William Dewees wrote to a friend, “It would amuse you very much could you hear the manner in which people in this new country (Texas) address each other. It is nothing uncommon for us to inquire of a man why he ran away from the States! But few persons feel insulted by such a question. They generally answer for some crime or other which they have committed; if they deny having committed any crime, and say they did not run away, they are generally looked upon rather suspiciously.”

When Southerners began leaving their homes, many would simply scrawl “GTT” with chalk on their cabin doors or fence posts — for “Gone To Texas.” In time, GTT became shorthand for “at outs with the law.” Frederick Law Olmsted wrote that residents of other states “appended the initials to the name of every rascal who skipped out.” In 1884 Thomas Hughes observed, “When we want to say that it is all up with some fellow, we just say, ‘G.T.T.’ as you’d say, ‘gone to the devil,’ or ‘gone to the dogs.’ ”

“Gone to Texas” lyrics and vocalization by Steve Teare.

Introductory guitar solo: Edie Van Halen from “Beat It” by Michael Jackson slowed to 136 beats per minutes.

Intro drums “Crazy Hard Rock Metal” drum track excerpt.

Story voice: “The Gunslinger” by Stephen King

ZZTop sound alike: “Texas Techno” by Audionautix

Outro music: “Skinny Leonard” by Audionautix

Illustrations and interpretations by many artists of “The Gunslinger”

GONE TO TEXAS

Over yonder Skinny Elijah

should oughta heard him play

rockin’ in the tool house

Hurricane Cowboy

y’all Gone to Texas

playin’ like there’s no tomorrow

solid rhythm so fine

y’all Gone to Texas

Behind the wranglin’ rocker

plumb pushin’ upbeat

reckless riff rockin’

Gone to Texas

playin’ like there’s no tomorrow

fixin’ to be a legend

might could change the world

Hear what I say

Gone to Texas

Gone to Texas

playin’ like there’s no tomorrow

Gone to Texas

Gone to Texas

over yonder Skinny Elijah

should oughta heard him play

rockin’ in the tool house

Hurricane Cowboy

playin’ like there’s no tomorrow

Y’all Gone to Texas

Y’all Gone to Texas

Y’all Gone to Texas

playin’ like there’s no tomorrow

Deep

2:39 minutes

DEEP

Last night as I lay in the black of night, away from the collective consciousness of the world, deep in slumber, I had a dream:

We danced with our hearts close,
rather than separated by oceans of defenses,
of pretenses, of fears,
of towering walls of mistrust.
So afraid of the other’s truth.

Rather we pulled each other in close.
And placed our warm hand on the thumping heart of the other
and talked and shared,
and trusted and cared.

I deep into you. You deep into me

We stripped “naked.”
Dropped our defenses;
forgot our pretenses;
lay waste to our fears and flattened those towering walls.

Our souls bare and defenseless to each other,
exposed to the gaze of the other for just a moment…
or an eternity.
Protective of one another.

You deep into me. I deep into you

Our eyes were open like those of a newborn babe
gazing on the world for the first time;
our ears waited patiently;
our arms open, beckoning, eager to be filled;
our hearts already full.

I deep into you. And you deep into me.

Mmm…

Then, I turned to go deeper into my dream, but instead I blinked and squinted at the bright light of a new day peeking through my bedroom window. It was already morning.

And I realized, oh, it was just a dream… and I was very sad — for it was a sweet, sweet dream while it lasted.

Water revisited

2:43 minutes

SOFTER….
Come to me with the sweetest embrace,
teach me how to be tender,
at the shore of the ocean,
waves gently lapping our fingertips,
do you want to dive in?
tell me you do.
tell me,
tell me,
tell me softer.
Look into my eyes,
caress my cheek like milk porcelain,
Open your mouth,
whisper my name,
sweet poison on your tongue
holy holy holy
cannot save you now,
is it a sin to love me?
is it a sin i long for you?
let me fall on my knees in worship,
sweet kisses of my lips,
close your eyes,
do you feel me?
my sweet breath on your neck?
softer,
softer,
Till all my pain is gone,
Till my dying heart is brought back to it place,
push and pull like the waves…
do you want to dive in?
tell me you do.
tell me softer.

WATER

smooth surface
deep water
slide a hand
slapping sound

ripples
circles
ever expanding
bouncing

down deep
there you are
siren
mermaid
temptress

the deepest abyss
still has a bottom
Let’s go there
float
illuminate
dance in slow motion

Do you hear the music?
It sounds your name
gentle and soft
silent communication
interlocking fingers

private
bubbles