"I'm free and I love to be free/To live my life the way I want/To say and do whatever I please..."

Consider the use of the old Lesley Gore song — "You Don't Own Me" — for political, pro-Obama purposes:



Now, I love old Lesley and her classic song. And it's fine with me if the Democratic Party is her party — and she'll cry if Obama loses, cry if Obama loses, you would cry too if it happened to you. "You Don't Own Me" dates back to 1963 — pre-Women's Liberation, pre-Beatles. But let's consider the lyrics and the extent to which they express the values of the present-day Democratic Party.

By the way, Ms. Gore did not write "You Don't Own Me." It was written by 2 men, John Madara (who also wrote "At the Hop") and David White (who co-wrote "At the Hop" and was a member of the doo-wop group Danny & the Juniors who recorded "At the Hop"). Madera and White also co-wrote "The Fly," which was a dance that you could do at the hop, and here's Chubby Checker showing you how:



That was 1961, 2 years before Lesley sang Madera and White's declaration to female autonomy, which is no kind of dance song at all, though Diane Keaton, Bette Midler, and Goldie Hawn manage to turn it into a dance for the purpose of bringing a close to the execrable 1996 movie "First Wives Club":



That movie is best described by David Rakoff in "Half Empty": "A gynocentric comedy predicated on the scenario where men are cheating bastards and middle-aged women the goddesses who best them while cementing their sisterhood with Motown-scored makeover montages, vengeful shopping sprees, warmed-over Lucy-and-Ethel hijinks, and random humiliations visited upon women who are younger and therefore by definition stupid whores."

Anyway, look at the lyrics to "You Don't Own Me," words which a couple youngish guys put in the female singer's mouth, as repurposed for the 2012 election "war on women" theme:

I'm young and I love to be young
I'm free and I love to be free
To live my life the way I want
To say and do whatever I please

Sounds libertarian to me. But it's the Obama side using this, so presumably we're supposed to hear something like:

I'm free and I want my birth control to be free
To live my life the way I want
To say and do whatever I please and have the government pay for it

Woody Allen's 2 super-powers.

Over the last couple days, we watched the lengthy PBS documentary about Woody Allen. I know a lot of my readers haven't been watching his movies and think of him only in terms of his sexual misdeeds. Exclude that topic for the comments on this new post. All that has been said. Noted. If you must say that again, go to the link above and put it in that comments thread. I want to say something new, based on the documentary, which is overwhelmingly about Allen's work. If you don't know his movies or don't want to talk about the ideas about writing that I'm going to raise, please don't comment in this new thread.

Woody Allen has directed a movie a year — almost precisely — every year since 1969. He's an astounding movie-making machine. It's really quite bizarre. He's a monument not so much to hard work, but to consistently cranking out work, much of it quite excellent. As a writer, he's a lot like a blogger. He just keeps going. It's what he does, quite aligned with living itself. I love that.

Now, it suddenly occurred to me that his achievement is propelled by 2 super-powers — one which he knew he had from his teenage years and another that he discovered through Diane Keaton. (I'll try to finds the specific lines in the documentary that support my theory and transcribe them for you, but I don't have time for that now).

Super-power #1: Automatically thinking of one-line jokes. It's harder for him to stop his thoughts from taking the form of jokes than to think of them (he says). As a teenager, he got a job making $20,000 a year writing jokes. He had to write 50 jokes a day. It wasn't difficult for him.

Super-power #2: As a man, taking the woman's perspective. We see this power burst forth in his fabulous movie "Annie Hall." Allen gives credit to Diane Keaton, whom he worked with in the earlier films "Sleeper" and "Love and Death," for getting him interested in taking on the feeling of being inside the woman's head and writing from there. In this position, he experienced a flow of ideas, that let him write wonderful scenes for actresses, like this one, from "Hannah and Her Sisters," which is used in the documentary as an illustration of his style of writing from the woman's perspective:



You can say that he doesn't really achieve the female perspective or that women aren't really quite like that, but that isn't the point. The point is that his sense of being inside a woman's head empowers him to produce writing that often works for the viewer, including many, many women who love and identify with scenes like that. He's a man, with male thoughts, projecting those thoughts into women's minds. What a powerful force that is, the male with something of his own that he wants to put inside the woman. It makes the urge to write like the sexual urge. That's creative flow. If you can put that force behind your writing... it's a super-power.

Diane Keaton...

... as Nikki Finke.