I Give It All To You (1982) – Kenny Marks

Posted on February 14, 2026 by observationblogger — 3 Comments

If I could journey back through time
And gather all I once called mine
I know today that You would find
It all belongs to You

I Give It All To You is a contemporary Christian song from the late American Christian singer-songwriter Kenny Marks. Ever since I first heard it in my early adolescence, I found it touching and poignant in its modest and quiet presentation. It is a beautifully humble song and so well written. Kenny Marks sings from the perspective of a man who has never had much material wealth, but declares that if he did, he would give it all to God. He is willing to turn everything over to God – including himself.

I Give It All To You is a refreshing change from much of the more popular Christian music in the form of “worship” or “outreach,” which can sometimes be bold and brash in its proclamation of love and adoration for God. Don’t get me wrong – some of that music is very inspiring, powerful in its devotion, and draws people closer to God. It has also featured here quite prominently. But what I have always liked about Kenny Marks’ music is that it often focuses on simple, real-life themes. As a result, both the music and the man felt more relatable and grounded.

I have made no secret on this blog that I have a strong appreciation for Christian music, and Kenny Marks is the first artist I can remember listening to in what became a long line of Christian musicians who have since featured here, including Hillsong, Michael W Smith, Marcela Gandara and Elenyi. Kenny came from the Evangelical and Charismatic branches of Christianity and played for fellowship groups as well as at Billy Graham events.

I first came to know Kenny Marks’ music when a good friend in high school, Eric, loaned me some of his albums. I connected with it straight away. Some years later, I bought his “best of” compilation titled Absolutely, Positively (1994), which also features I Give It All To You. The song was first released on his debut album Follow Me (1982).

Is this song – or any of Kenny’s music – going to win awards for best-ever Christian music or go down in history as one of the greats of the genre? I don’t know, but it should hardly be worth of consideration. Kenny is not a household name, even in Christian music circles. And assuredly his name isn’t known to a younger generation of Christian music listeners, but he was at his height in the 1980s and 1990s – something of a Christian star, with a loyal following and a string of U.S. Christian radio hits.

To me, Kenny Marks will always remain something of a giant because of how much his music impacted me as a young person. My appreciation for his songs has not faded in the slightest – I still feel the same personal connection as I did all those years ago. His music marked an important chapter in my youth, and I cannot help but feel some sense of nostalgia toward it.

I was also saddened to learn, early in my music library project while researching his work to present here, that he had passed away in 2018 from a heart attack at just 68 years of age.

As always, thanks for reading.

I’ve never been a wealthy man
Owned boats and planes and lots of land
But if I did, You know I’d plan
To give it all to You
I’ve never been able to buy
All the stars in the sky
But if I did, You know that I
Would give it all to You

I give You all, all You see
Even though there’s not much to me
And all I ever hoped to be
Is everything to You
I give You all, all I’ve got
Even though there’s not a lot
All I am and all I’m not
I give it all to You
I give it all to You

If I could journey back through time
And gather all I once called mine
I know today that You would find
It all belongs to You
If I should ever be a king
Own the world and everything
You know it still would be my dream
To give it all to You

I give You all, all You see
Even though there’s not much to me
And all I ever hoped to be
Is everything for You
I give You all, all I’ve got
Even though there’s not a lot
All I am and all I’m not
I give it all to You
I give it all to You

References:
1. Kenny Marks – Wikipedia

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War Scenes from ‘Saving Private Ryan’ – A Friday’s Finest Special

Posted on February 13, 2026 by observationblogger — 4 Comments

It’s said that Steven Spielberg’s war film Saving Private Ryan is one of the greatest war films ever made. The opening scene at Omaha Beach, in particular, is often cited as the benchmark for throwing the audience headfirst into what occurred. Many veterans who survived D-Day have said they cannot watch it, even after seeing only a short clip. I remember watching it on the big screen in Canberra and being taken aback by its realism.

According to Matt Damon, in the Omaha Beach landing craft scene, Spielberg chose to strip away almost all dialogue, aside from brief lines like “See you on the beach“. My reason for posting today is to highlight two other scenes in the film: ‘Winning the Omaha Beach battle’ and much later, a segment of the final battle when German forces attack the small defensive position at the bridge.

After having just watched them again, my regard for the movie has risen to another level. In the comments, you won’t find many people disputing its realism; on the contrary, it’s widely regarded as about as authentic as one could imagine – even within the confines of a fictionalised WWII battle. You can watch here a World War II historian rating ‘Saving Private Ryan‘ for realism.

So today’s Friday’s Finest pays homage to a film that will go down in the annals of cinema – not merely as a great movie overall, but as one that achieved near-perfection in its depiction of key action scenes from the Allied offensive in World War II.

Warning: Viewer discretion is advised due to scenes of war violence.

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Posted in Movies and TV

It Don’t Come Easy (1971) – Ringo Starr

Posted on February 12, 2026 by observationblogger — 7 Comments

In a 2005 interview with Rolling Stone, Paul McCartney recalled Keith Richards saying to him:

“Do you know the difference between your band and ours, man? You had four frontmen, and we only had one.”

After The Beatles split in 1970, each member quickly established himself as a viable solo artist – and yes, even the drummer. Ringo Starr’s early post-Beatles success remains one of the biggest surprises and here we are today.

Starr later admitted that finding the right song to define his solo identity wasn’t easy. He felt he had to “combat the original image of me as the downtrodden drummer,” adding, “You don’t know how hard it is to fight that.”

One might have expected at least one Beatle to step back for a while, to disappear and recalibrate. Instead, all four released substantial solo work almost immediately. The songs weren’t just commercially successful – many were genuinely strong. History has been kind to that first wave of solo releases. More broadly, I think I enjoy more of their music as solo artists than I do as The Beatles.

Many people might be surprised to learn how prolific Ringo Starr’s solo career has been. He has released 21 studio albums and 54 singles in his solo career, with his most recent album being Look Up in 2025.

Now, turning the clock way back to where his solo career all began, today’s featured track It Don’t Come Easy was released in 1971 as a non album single being his first release since the break-up of The Beatles. It was heavily promoted by Apple Records, and the song was a commercial success, peaking at No. 1 in Canada and No. 4 on singles charts in the UK and the US.

It Don’t Come Easy is musically buoyant and direct – a catchy, upbeat track with an easygoing charm. Ringo’s former bandmate George Harrison also produced the record and helped write the song although only Starr is credited.

When referring to his early songwriting efforts in a 2003 interview, he described himself as “great at writing two verses and a chorus” but often unable to develop the ideas further.

In another interview he went on to say that Harrison suggested the last verse be about God. When Starr protested, Harrison suggested Hare Krishna. Starr protested again, and Harrison suggested “peace” as a topic, and they settled on that.

Harrison and Starr performed It Don’t Come Easy together in 1971 at Harrison’s Concert For Bangladesh concert and Ringo would perform it in the subsequent decades with his All-Star Band.

Ringo Starr began writing It Don’t Come Easy in late 1968, having recently completed his first composition, Don’t Pass Me By which the Beatles released on their 1968 White Album record. Starr completed It Don’t Come Easy as the Beatles were heading towards disbandment in early 1970.


[Intro: Tom Evans & Pete Ham]
It don’t come easy
You know it don’t come easy
It don’t come easy
You know it don’t come easy

[Chorus: Ringo Starr]
Got to pay your dues if you want to sing the blues
And you know it don’t come easy
You don’t have to shout or leap about
You can even play them easy

[Verse 1: Ringo Starr]
Forget about the past and all your sorrow
The future won’t last
It will soon be your tomorrow

[Chorus: Ringo Starr]
I don’t ask for much, I only want trust
And you know it don’t come easy
And this love of mine keeps growin’ all the time
And you know it just ain’t easy

[Verse 2: Ringo Starr]
Open up your heart
Let’s come together
Use a little luck
And we will make it work out better

[Break: Tom Evans & Pete Ham]
Ahh, ahh, Hare Krishna
Ooh, ahh, ooh

[Chorus: Ringo Starr]
Got to pay your dues if you wanna sing the blues
And you know it don’t come easy
You don’t have to shout or leap about
You can even play them easy

[Verse 3: Ringo Starr]
Please remember, peace is how we make it
Here within your reach
If you’re big enough to take it

[Chorus: Ringo Starr, Ringo Starr, Tom Evans, & Pete Ham]
I don’t ask for much, I only want trust
And you know it don’t come easy
And this love of mine keeps growing all the time
And you know it don’t come easy

References:
1. It Don’t Come Easy – Wikipedia

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Saint Dominic’s Preview (1972) – Van Morrison

Posted on February 11, 2026 by observationblogger — 5 Comments

Saint Dominic’s Preview begins as a rich, piano-driven piece before gradually unfolding into a folk-rock song with strong elements of soul and jazz. It moves forward as a loose, stream-of-consciousness narrative, giving Van Morrison’s voice plenty of space to shine. The song is thick with atmosphere, built from vivid images and shifting scenes.

Van’s true voice is rooted in soul, and the song slowly drifts toward that core. It ebbs and flows, building to a powerful climax marked by near-gospel backing vocals and warm, swelling brass.

A friend of mine – someone more conversant with Van Morrison’s music than I am – recently told me Saint Dominic’s Preview was their favourite Van song. As soon as I heard it, I understood why they held it in such high regard. What still surprises me is how few views the official release has.

The following was abridged from the Wikipedia reference below:

Saint Dominic’s Preview is the title track from sixth album by the Northern Irish singer-songwriter Van Morrison. Rolling Stone declared it “the best-produced, most ambitious Van Morrison record yet released.” It was recorded at the Wally Heider Studios in San Francisco in April 1972, with overdubs made later on.

The song’s narrative moves from France to San Francisco, Morrison’s place of residence at the time, to Belfast, where he grew up, to New York City (“52nd Street apartment”). Morrison revealed to journalists in 1972: “I don’t think I want to go back to Belfast. I don’t miss it with all that prejudice around. We’re all the same and I think it’s terrible what’s happening. But I think I’d like to get a house in Ireland. I’d like to spend a few months there every year.”

The song remains one of his most allusive. Brian Hinton believes the lyrics in “Saint Dominic’s Preview” are “the most Dylanesque Van ever gets“, while Peter Wrench claims that “Saint Dominic’s Preview” “is, by some distance, the densest and most allusive songs on the record and one of the most striking in the Morrison canon.”

Saint Dominic’s Preview contains wide-ranging references including The Troubles (an ethno-nationalist conflict in Northern Ireland that lasted for about 30 years from the late 1960s to 1998), Morrison’s pre-fame career cleaning windows, Notre-Dame cathedral and the vicissitudes of the recording industry. The song also mentions Edith Piaf, Irish poet W. B. Yeats, country singer Hank Williams and the California supermarket chain Safeway.

Morrison told John Grisham:
I’d been working on this song about the scene going down in Belfast. And I wasn’t sure what I was writing but the central image seemed to be this church called St Dominic’s where people were gathering to pray or hear a mass for peace in Northern Ireland. A few weeks later I was playing at a gig in Reno, Nevada. I picked up a newspaper, and there in front of me was an announcement about a mass for peace in Belfast to be said the next day at St Dominic’s Church in San Francisco. Totally blew me out. Like I’d never even heard of a St Dominic’s Church.

[Verse 1]
Chamois cleaning all the windows
Singin’ songs about Edith Piaf’s soul
And I hear blue strains of “Ne regrette rien”
Cross the street from Cathedral Notre Dame
Meanwhile back in San Francisco
We’re trying hard to make this whole thing blend
As we sit upon this jagged
Story block with you my friend

[Pre-Chorus]
And it’s a long way to Buffalo
It’s a long way to Belfast city too
And I’m hoping the joist won’t blow the hoist
‘Cause this time they bit off more than they can chew

[Chorus]
As we gaze out on, as we gaze out on
As we gaze out on, as we gaze out on (Yeah)
Saint Dominic’s preview
Saint Dominic’s preview
Saint Dominic’s preview

[Verse 2]
All the orange boxes are scattered
Against the Safeway supermarket in the rain
And everybody feels so determined
Not to feel anyone else’s pain
No one makin’ no commitments
To anybody but themselves
Talkin’ behind closed doorways
Tryin’ to get outside, get outside of empty shelves

[Pre-Chorus]
And for every cross-cuttin’ country corner, country corner
For every Hank Williams railroad train that cried
And all the chains, badges, flags and emblems
And every strain on the brain and every eye

[Chorus]
As we gaze out on, as we gaze out on
As we gaze out on, as we gaze out on (Yeah)
Saint Dominic’s preview (Look at the man)
Saint Dominic’s preview (Look at the band)
Saint Dominic’s preview

[Verse 3]
All the restaurant tables are completely covered
And the record company has paid out for the wine
You got everything in the world you ever wanted
And right about now your face should wear a smile (Doin’ alright)
That’s the way it all should happen
When you’re in, when you’re in the state you’re in
Have you got your pen and notebook ready?
I think it’s about time, time for us to begin

[Pre-Chorus]
And meanwhile we’re over on a 52nd Street apartment
Socializing with the wino few
Just to be hip and get wet with the jet set
But they was flyin’ too high to see my point of view

[Chorus]
As we gaze out on, as we gaze out on
As we gaze out on, as we gaze out on
Saint Dominic’s preview (Look at the man)
Saint Dominic’s preview (Look at the band)
Saint Dominic’s preview (Set their freedom marching)
Saint Dominic’s preview (Out in the street, freedom marching)
Saint Dominic’s preview (Out in the street, look at the man)
Saint Dominic’s preview (Turn around)
Saint Dominic’s preview (Turn back, come back)
Saint Dominic’s preview (Turn around and look at the man)
Saint Dominic’s preview (Said, “Hold on”)
Saint Dominic’s preview (Hey, hey)
Saint Dominic’s preview (A soul meeting)
Saint Dominic’s preview

References:
1. Saint Dominic’s Preview – Wikipedia

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Tonight Will Be Fine (2005) – Leonard Cohen (Ft. Teddy Thompson)

Posted on February 10, 2026 by observationblogger — 2 Comments

One of my first proper forays into the life and music of Leonard Cohen was the tribute concert documentary I’m Your Man (2005), which I’ve mentioned here on many occasions. One of the first performances from the concert that made an indelible impression on me was Teddy Thompson’s rendition of Tonight Will Be Fine. I remember playing it over and over; such was its impact. I still love hearing it, and to this day I consider it one of the best cover versions of a Leonard Cohen song I’ve come across.

Teddy is not the first from his musical family to appear here. His father, Richard Thompson – whose music has long enjoyed a cult-like folk-rock following – was introduced to me by a work colleague when I was based at Creswell (kookaburra territory) on Australia’s south coast. He lent me Richard’s album Mock Tudor, and the track I really took to, just as much as today’s featured song from his son (which came later), was Cooksferry Queen. In fact, you can see Teddy playing alongside his father in that live performance.

Tonight Will Be Fine is one of the more straightforward songs in Cohen’s catalogue. Its unadorned lyrics speak of a sad and ascetic existence, gently softened by the comfort of coming together at night. I’ll include Cohen’s high-spirited, folky original – unusually upbeat for his early period – at the end of this post, below Teddy’s more sensitive Country version from I’m Your Man (please excuse the poor video and sound quality from the concert, though it does include Spanish subtitles for my local guests).

Teddy Thompson, the son of British folk-rock legend Richard Thompson, has built a solid career by blending classic pop songwriting with folk and country influences. Born in 1976, he grew up surrounded by music and began performing early, later touring with his father before striking out on his own.

[Verse 1]
Sometimes I find I get to thinking of the past
We swore to each other then our love would surely last
You kept right on loving, I went on a fast
Now I am too thin and your love is too vast

[Chorus]
But I know from your eyes
And I know from your smile
That tonight will be fine, will be fine
Will be fine, will be fine
For a while

[Verse 2]
I choose the rooms that I live in with care
The windows are small and the walls almost bare
There’s only one bed and there’s only one prayer
I listen all night for your step on the stair

[Chorus]

[Verse 3]
Oh sometimes I see her undressing for me
She’s the soft naked lady love meant her to be
And she’s moving her body so brave and so free
If I’ve got to remember, that’s a fine memory

[Chorus]

References:
1. Teddy Thompson – Wikipedia

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Posted in Music

2/02/26 – 8/02/26 – Mavis Staples, Dostoevsky & Analogue Mind

Posted on February 9, 2026 by observationblogger — 1 Comment
news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Mavis Staples Triumphs with Double Win at the 68th Annual Grammy Awards

– Music article by Timothy Yap at Jubilee Street

To be honest, the Grammys haven’t been on my radar for a while, apart from Nathy Peluso raking it in 2024. This short Rick Beato video, Proof Music is Getting Worse, pretty much sums up why I’m so nonchalant about the whole affair. But sometimes – just sometimes – they manage to get it right.

On January 29, I presented Mavis Staples’ gorgeous title track from her 2025 album Sad and Beautiful World. Good timing because just two days later, Staples won two Grammys at the 68th Annual Grammy Awards for two other songs from the same record: Godspeed and Beautiful Strangers.

Below is Timothy’s article where I learnt about Mavis’s big night at the Grammys:

Gospel and Americana legend Mavis Staples proved once again that age is only a number, taking home two GRAMMY Awards at the 68th Annual Grammy Awards, held on February 1, 2026.

Staples won Best Americana Performance for her stirring rendition of “Godspeed” and Best American Roots Performance for “Beautiful Strangers,” underscoring her enduring influence and continued excellence across roots, gospel, and Americana music.

These latest honors add to an already remarkable legacy, bringing Staples’ career total to five GRAMMY Awards, including three previous wins. The victories further cement her status as one of the most respected and beloved voices in American music.

Best known for timeless classics such as “I’ll Take You There” and “Respect Yourself” with The Staple Singers, Staples has also enjoyed a celebrated solo career with acclaimed releases like You Are Not Alone and If All I Was Was Black. Her music-rooted in faith, justice, and hope-continues to resonate across generations.

Now in her eighth decade, Staples remains a powerful reminder that passion, purpose, and authenticity do not fade with time. Her 2026 GRAMMY wins stand as a testament to a life devoted to song, service, and soul.

Congratulations, Mavis Staples, on a truly inspiring achievement.

Dostoyevski Documentary to Fall Asleep To

– Audio documentary at Mind Palace

The Russian author Fyodor Dostoevsky is one of my favourite literary figures. This is not the first time I’ve featured a documentary about his life in my News on the March segment.

Back in 2021, I shared the documentary Biography: Dostoyevsky (1975), which offers a fairly taut and abbreviated account of his life. While the video and sound quality is somewhat dated, it remains a distinctive viewing experience and can be enjoyed on a TV or PC.

Today’s documentary, however, offers a rich listening experience – ideal if you just want to lie down and relax, or listen while out on a long walk. It also provides a more thorough examination of Dostoevsky’s life, placing key moments in his personal timeline within the broader historical and socio-political context of Russia. I have a political science major (focusing on the Bolshevik Revolution), so this was right down my alley.

There are few figures in literature whose lives were as intriguing and confronting as the novels they wrote. Apart from Dostoevsky, Ernest Hemingway is another giant whose biography is deeply intertwined with his literary output.

Hemingway’s life included a hedonistic youth in Paris, heavy drinking, big-game safaris, bullfighting, war reporting, and multiple serious accidents, including plane crashes. The list seems endless.

Dostoevsky’s life was equally eventful, but far darker and more punishing in nature. In his early adulthood he endured years of hardship as a struggling writer and political idealist. He was arrested, condemned to death, and made to wait before a firing squad, only to be spared at the last moment. He then spent years as a political prisoner in Siberia, often close to death from illness, hunger, and brutal conditions.

These ordeals profoundly shaped his worldview and philosophy, and directly influenced the depth, suffering, and moral intensity of his greatest works.

The Last Analog Mind: A Psychological Autopsy of Generation X

– Short video documentary at Soft Thesis (AI / synthetically generated)

The following comments in response to this video resonate strongly with me as a member of Generation X – those born between 1965 and 1980:

‘You were told to go out and play, and don’t come back till sunset’.

‘The torture of listening to the staid tick of the grandfather clock and only 2 boring tv channels was enough to drive you into the early daylight, seeking mischief, discovery and new friendships. It’s hard to believe now that we were left unsupervised for so many hours; playing under bridges and making our way into derelict buildings to investigate.‘.

Baby Boomers (and those before), Generation X (inc. yours truly), and the early Millennials are the first humans in history to have faced the sudden intrusion of digital technology and social media into daily life. Meanwhile, younger Millennials and Gen Z (and now Gen Alpha) have never known life without these technologies.

I can’t speak on behalf of my fellow Xers, but when I reflect on how well I managed that transformational change in my own life, it leaves me with a sense of unease and disillusionment. I’ll always be thankful for growing up before everything went digital – when music, movies, and even waiting brought us together, and life felt more shared and less chaotic. I can only feel disheartened and concerned for those who never knew life before it, which of course was absolutely no fault of their own, nor anyone except big Corp.

Video description:

Why does Generation X see the world differently? It isn’t just nostalgia – it’s psychology. In this documentary-style deep dive, we explore the “feral” childhoods of the 1970s and 80s to understand how a lack of safety regulations, benign neglect, and a “zero moderation” environment forged the last truly analog minds in history.

From the unsupervised freedom of latchkey kids to the raw physics of playground culture, we analyze how the pre-digital era created a unique form of resilience and “internal locus of control” that is becoming extinct in the modern world. This is not just a look back; it is a psychological autopsy of the bridge generation.

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Posted in Music, News, Reflections

Insensata (Foolish) 2025 – Nathy Peluso

Posted on February 8, 2026 by observationblogger — Leave a comment
Nathy at the 2025 Latin Grammys in Miami

Argentine diva and Latin Grammy–winning artist Nathy Peluso goes crazy for love in this song – so much so that it leaves her confused and dizzy. Her obsession with an absent lover makes her act foolish, unable to control herself, hence the title of today’s featured track, Insensata (Eng. senseless / foolish).

Such is his hold over her that he burns her even from a distance. She doesn’t care what others think about how crazy she is. In fact, she submits to the heartbreak left by his absence; it has become part of her identity, and she is not ashamed of it. As she declares at the end: “Crazy in love – why not? Let them talk, let them talk, let them say whatever they want about me.”

Those of you in Europe can catch Nathy live this coming week at Palau Sant Jordi in Barcelona and Movistar Arena in Madrid. These venues are no joke and regularly host major international acts.

Peluso is one of the most versatile and innovative artists I’ve come across, and one of my favourite modern performers. She moves confidently across rap, pop, hip-hop, salsa, and ballad. What’s remarkable is that within each genre she bends and reshapes it, treating it as something flexible and often blending styles at the same time.

Today’s song Insensata is a strong example of how she plays with the Salsa form. Believe me, many Latinos are very particular about their Salsa. Traditionally, it’s rhythm-forward, groove-driven, and built on fairly consistent patterns that don’t change much from start to finish. It can feel predictable and formulaic.

Peluso, being a rebel who avoids doing things by the numbers, completely shakes this up. On Insensata, she constantly shifts the song’s dynamics, structure, and emotional tone. The genre is usually defined by a steady rhythmic progression, but here she keeps disrupting expectations – and it sounds much better for it.

I’m picky about my Salsa too, but Peluso ticks all the boxes: it’s original, adventurous, and cheeky. Another thing I love is the song’s balladic melody, which isn’t typically a hallmark of traditional Salsa but has become part of Peluso’s signature style. And of course as is basically a prerequisite for my music entries, Insensata has strong relistenability – at least to my ears. The only aspect I don’t care much for is the rather underwhelming video below.

Allow me to digress one moment – I know it can be difficult to fully connect with music sung in another language, let alone in a genre you may be unfamiliar with. So I appreciate those who step outside their comfort zone and become a little more cosmopolitan and adventurous in expanding their musical tastes. The translated lyrics are included below – time well spent, as it sharpens my Spanish.

I hope you like the song.

[Intro]
Baby, I miss you

[Verso 1]
Yo sé cómo controlarme, sé cuando debo moderarme / I know how to control myself, I know when to hold back
Pero estar así de lejos de tu cuerpo a mí me mata / But being this far from your body is killing me
Me genera confusión, me marea la pasión / It confuses me, passion makes me dizzy
No sé cómo hacer para no actuar como una insensata / I don’t know how to stop acting foolish
Necesito que me des lo que solo tú me das / I need you to give me what only you give me
Me quemas incluso en la distancia / You burn me even from a distance
Pero sabes que tu fuego no está dando su calor / But you know your fire isn’t giving off its warmth
Porque soy yo lo que te falta / Because I’m what you’re missing

[Coro]
Lo que se hace por amor no tiene ningún sentido / What’s done for love makes no sense
Y muchas veces deja herido el corazón / And often leaves the heart wounded
Pero esta es mi decisión (Mi decisión) / But this is my decision (My decision)
Extrañarte como loca si tus manos no me tocan / To miss you like crazy if your hands don’t touch me
Tu recuerdo es como un porro y me arrebata / Your memory is like a joint and it takes me away
No me importa que me digan “insensata”/ I don’t care if they call me “foolish”

[Post-Coro]
Nene, yo estoy loca por ti / Baby, I’m crazy about you

[Verso 2]
Creo que nadie en el mundo se imaginaría / I think no one in the world could imagine
Por estar a tu lado todo lo que haría / All I would do to be by your side
Me dirían exagerada / They’d call me exaggerated
Si tuviera un cuadro de Picasso, yo lo cambiaría (Cambiaría) / If I had a Picasso painting, I’d change it (I’d trade)
Por una foto tuya de las que me envías / For one of those photos of you that you send me
En la madrugada / In the early morning
Te juro que hasta con Canelo yo me enfrentaría (Ah, ah) / I swear I’d even face Canelo (Ah, ah)
Y en el segundo round yo lo noquearía / And in the second round I’d knock him out
A mano limpia / With my bare hands
Con la misma mano que te quisiera acariciar / With the same hand I want to caress you with
Pero estás tan lejos, ¡ay! /
¡Cucucucucú! / But you’re so far away, oh!

[Coro]

[Interludio]
Papi, I miss you / Daddy, I miss you
Pull up on me, pull up on me
Ah, mua /
Te extraño / I miss you
¡Rra, au!

[Outro]
No me importa que me digan / I don’t care what they say
Que lo digas tú, que lo digo yo / Whether you say it, whether I say it
No me importa que me digan / I don’t care what they say
Loca por amor, loca por amor, ¿cómo no? / Crazy in love, crazy in love, why not?
No me importa que me digan (¡Ah!) / I don’t care what they say
Que hablen, que hablen, que digan lo que quieran de mí / Let them talk, let them talk, let them say whatever they want about me
No me importa que me digan (¡Au!) / I don’t care what they say
“Insensata” / Foolish
¡Cucucucucucú!
Digan / Say
Diga, di-di— / Say
Digan / Say
Loca por amor / Crazy For Love
Digan / Say

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The Water is Wide (1975) – Bob Dylan (ft. Joan Baez)

Posted on February 7, 2026 by observationblogger — 6 Comments

I’ve always had a soft spot for this live performance of the old British folk song The Water Is Wide. It was performed by Bob Dylan and Joan Baez during the 1975 Rolling Thunder Revue at the Boston Music Hall. There are three reasons I like it: Joan Baez’s voice, the excellent slide guitar, and the beautiful ending (mainly because of what Baez does with it). If it were just Dylan singing on his own here, without Baez’s contribution, there’s no way I would have included it in my collection.

In this version, Dylan’s vocal performance is unlikely to change the minds of those who already criticise his voice. However, if you fast-forward about twenty years to his tender, weathered delivery of The Water Is Wide during the Time Out of Mind sessions, and imagine him bringing that same sense of heartache to the 1975 performance, it might have been a true duet masterpiece.

The following draws from the two references below:

Dylan has certainly known this song since he moved to Greenwich Village in the early sixties. Many credit Peter Seeger for its popularity, having included it on his well-known 1958 recording, American Favorite Ballads, Vol. 2. It’s been covered by pretty much everybody and it remains popular in the 21st century, although not everybody does the exact same version. 

Dylan said in the Biograph liner notes that he based Lay Down Your Weary Tune on a Scottish ballad, so the inspiration definitely could have been The Water Is Wide. The two songs definitely sound similar.

I wrote that on the West Coast, at Joan Baez’s house. She had a place outside Big Sur. I had heard a Scottish ballad on an old 78 record that I was trying to really capture the feeling of, that was haunting me. I couldn’t get it out of my head. I wanted lyrics that would feel the same way.

It’s a song about lost-love or rather a love that’s grown sour. It describes the challenges of love: “Oh love is gentle, love is kind” during the novel honeymoon phase of any relationship. However, as time progresses, “love grows old, and waxes cold“. Even true love, the lyrics say, can “fade away like morning dew“.

Cecil Sharp first published the song in Folk Songs From Somerset (1906). The modern lyric for The Water Is Wide was consolidated and named by Cecil Sharp in 1906 from multiple older sources in southern England, following English lyrics with very different stories and styles but the same meter. Performers or publishers would insert, remove, and adapt verses from one piece to another: floating verses are also characteristic of hymns and blues verses. 

The song Van Diemen’s Land on the album Rattle and Hum by U2 uses a variation of the melody of The Water Is Wide.

The water is wide and I can’t cross over
Neither have I wings that I could fly
Build me a boat that can carry two
And both shall row my love and I.

There is a ship and it sails on the sea
Loaded deep as deep can be
But not as deep as the love I’m in
I know not if I sink or swim.

I leaned my back up against an oak
Thinkin’ it was a trusty tree
But first it bent and then it broke
Just like my own false love to me.

Oh love is gentle, love is kind
Gay as a jewel when first it’s new
But love grows old and waxes cold
And fades away like some morning dew.

The water is wide and I can’t cross over
Neither have I wings to fly
Build me a boat that can carry two
And both shall row my love and I

References:
1. The Water Is Wide – The Bob Dylan Commentaries
2. The Water Is Wide (song) – Wikipedia

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Marty Supreme (2025) – Josh Safdie (Friday’s Finest)

Posted on February 6, 2026 by observationblogger — 11 Comments

Marty Supreme hereby completes the trilogy of movies starring Timothée Chalamet I’ve written about so far, in this order: Dune, A Complete Unknown, and now Marty Supreme. I was looking forward to watching Marty Supreme just as much as his earlier films, and I was worried my high expectations might dull the experience. Instead, I was surprised by how much fun I had watching it.

What impressed me most – apart from everything else that works so well (inc. performances, production, and cinematography) – is how unpredictable it is. Nearly every scene (bar one) goes somewhere you don’t quite expect. It’s a total blast, and there were moments where I felt genuinely giddy, waiting to see what would happen next. And the ending is so sublime and unexpected – true to its modus operandi – yet heart-wrenching, that it makes everything that came before it make sense.

Marty Supreme is set in the 1950s and follows Jewish-American table tennis player Marty Mauser, loosely based on Marty Reisman, in his quest to become world champion. As a sports nut – and someone who represented my high school in table tennis – the subject matter instantly piqued my interest. Ironically, the one scene that felt laboured was the table tennis tournament in England. Aside from that, I was hooked, laughing out loud often, hopefully not to the annoyance of nearby viewers.

As an aside: Listen to how Chalamet sounds like early Dylan from 2:20 in this interview for the movie. It’s uncanny. As an actor he’s on that level too. Also he’s Jewish on his mother’s side.

The film is humorously dark, sometimes violent, and wildly irregular. In its chaos, I found it oddly realistic, often mirroring how life itself can feel – driven by chance, but not entirely random. Small changes can lead to wildly different outcomes, making long-term prediction impossible. Our actions clearly have consequences, and that plays out here, but exactly what those consequences will be is never certain. That uncertainty is central to Marty Supreme.

The movie is packed with confronting moments and will likely offend some viewers. It doesn’t follow, or even lean on, the familiar formulas that most films do. It’s an epic character study of a morally flawed yet insanely talented individual who will stop at nothing to get what he wants – very much in the vein of character-driven films like There Will Be Blood and Citizen Kane.

I want to single out two standout performances, aside from Timothée Chalamet. Both Gwyneth Paltrow and Odessa A’zion are excellent, especially A’zion (image inset), who plays Marty’s fiercely intelligent, emotionally complex, and strategically manipulative childhood friend and love interest. She has immense screen presence, and I found myself fully investing in her. Weirdly, she reminded me lot of seeing Amy Winehouse if she had ever acted. As for Paltrow, in her role as an aging movie star, I don’t think I’ve seen her this good since The Royal Tenenbaums.

I’ve deliberately stayed away from spoilers, because this film is best experienced knowing as little as possible. I genuinely hope Timothée Chalamet receives his first Oscar for Best Actor. He’s easily my favourite young actor working right now – there isn’t even a close second – and has been since Dune. It goes without saying, I couldn’t recommend Marty Supreme more highly. If you’ve seen it, I’d love to hear what you thought.

Cheerio, and thanks for reading.

IMDB Trivia

  • Timothée Chalamet had been training in table tennis since 2018 to prepare for his role. He continued his training while working on other films… by traveling with a table.
  • Make-up artist Michael Fontaine applied pockmarks, freckles and nicks to Timothée Chalamet’s face to give him a more weathered, street appearance. The effect was so convincing that Gwyneth Paltrow thought it was real, privately suggesting to the actor that he try micro-needling to fix his acne scars.
  • At the beginning of the movie, during the first two rounds of the tournament, Marty competes against real-life Olympic table tennis players: American Nikhil Gowda (as Nikhil Kumar) and German Timo Boll.
  • Gwyneth Paltrow told Vanity Fair that when she met Timothée Chalamet, who she was going to film several sex scenes with, she joked, “Okay, great. I’m 109 years old. You’re 14.”

References:
1. Marty Supreme – Wikipedia
2. Marty Supreme – IMDB

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Opening Night (2025) – Ocie Elliott

Posted on February 5, 2026 by observationblogger — 6 Comments

I recently heard Opening Night on someone’s random Spotify playlist, and as I cosily took it in, I quickly added it to my own project. And just now as I perused Ocie’s upcoming concerts, they will be performing in Australian small scene venues which I used to frequent watching ‘the Cake‘ and other modest local Melbourne acts.
You see, Ocie Eliot isn’t a ‘she’. They are a Canadian indie folk duo of Jon Middleton and Sierra Lundy from Victoria, B.C., Canada. 

Opening Night is such a soothing and calming song and it contains slow melodic moments which I found so stirring and impacting. Also some of the content reminded me of a poem I wrote decades ago called Mornington in reference to a coastal town on the South-east of Melbourne. I wrote: Forget the seedy districts – I mean the beatnik cafeteria, remember? As it happens, the duo met in a chance encounter in a café which led to their collaboration, and their ultimate partnership.

Sierra and Jon have cultivated a fast-growing following by releasing a captivating series of live acoustic videos on Facebook recorded in the cozy confines of the couple’s Honda CR-V (which, Sierra explains, offers “organically well-rounded and self-contained” acoustics that lend an intimacy to their intricate harmonies).
– Ocie Elliot – The Ark

As referred to above, there is probably no a better example of that synchronicity and harmony than their singing in their car here. As the Ark article adds: The novel approach has paid off, with a million streams of their most popular tracks on Spotify and Apple Music, as well as sold-out shows. 

It’s really lovely and I can see how they made great inroads, even having their song Run To You featured on an episode of Grey’s Anatomy.

Ocie Elliot cited Gillian Welch, John Prine, Bob Dylan, and Simon & Garfunkel as their biggest influences.

Bye in the morning
Bye at night
Bye in the evening, bye′s on my mind

Flying in airplanes
Drinking in bars
Sleeping in bedrooms that are never ours

Let the strings go, fall through the sky
Come down quick like blinds in the night

You’re feeling angry
You want to fight
You want to restore love to its former height

Dream of the future
Think of the past
Wondering how it′s all going to last

Then some opening bars start to sound
Forget our bodies and move all around

When we come back down from the highs
Say our hellos, stall our goodbyes

References:
1. Ocie Elliot – The Ark
2. Ocie Elliot – Wikipedia

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