Change Into A Girl
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RELEASED ON:
There is only one version of this song. It is a quite rough sounding recording, with acoustic guitar and vocals (at least two singers) only. It is 2:15 in length
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LYRICS:
I'm gonna change me to a girl he'd care for now Got to make him notice me somehow I could be appealing in a dress revealing I'm gonna change me to a girl he could care for now Never tried to make myself look good I wonder what would happen if I could Will he see what I see? I don't recognize me I'm gonna change into a girl he could care for now I'll let my hair down clean and sexy, make my eyes up, dress real nice And I'll make sure that man looks me over twice I'm gonna change me to a girl he could care for now I'm gonna change into a girl he could care for now I'm gonna change into a girl he could care for now |
From the Romeo and Juliet sequence.
The female lead in the stage performance of Birthday For Shakespeare tries to consider what changes she could make to appeal to a certain person she likes in the cast. It was also thought of as "Juliet's Soliloquy" from the Romeo and Juliet segment, although no such soliloquy exists in Shakespeare's play. Watching the play we know more about Romeo's thoughts than Juliet's, so this song is when the young teenager Juliet (approximately 13 or 14), is in her bedroom with "Nurse" brushing her hair while she looks into a reflecting glass (a smooth silver "mirror" long before glass mirrors were invented.) This song was probably a real failure, even with rewrites, because l'm not a woman and I have no idea what it's like to be a woman and think like a woman. Even today I can't tell if it's a valid or worthless song.
In fact, the idea of writing modern songs to overlay upon different plays of Shakespeare's may have been a failure on it's own, in its very conception. It seems rough and crude to try to modernize the characters seen through the eyes of the revolutionary groupthink of protesters on the most unruly University in America. "Free Speech" was inaugurated upon the steps of Sproul Hall, where activist Mario Savio staked his claim, and this small part of the campus provided a turbulent forum.
Personally, I had stood on those steps myself - and preached amidst detractors screaming out insults and swear words and saying my mother did this or did that. I felt sorry for them. But l never felt anger for them. A friend of mine named Hubert had been badly beaten up several times and had to be ambulanced to the hospital and afterward had teeth missing because of it, but Hubert kept coming back and preaching. "Free Speech" was supposed to be a democratic birthright, provided for in the Constitution. And this freedom was exercised and championed, as long as it attacked "the man" and American values. But if you talked about Jesus you'd find that there was a double standard and even a violent reaction from a group of people who were supposed to be liberal and pretended to tolerate parity with their own beliefs. If l were to release Birthday For Shakespeare today, I would soften a lot of the angry politics by editing out small pieces of the dialogue and the text and concentrate more on the "play within a play" and let the characters speak from their emotions by editing some of the lyrics out of the songs. I would de-fuse some of the political arguments, since they died of entropy on their own.
The female lead in the stage performance of Birthday For Shakespeare tries to consider what changes she could make to appeal to a certain person she likes in the cast. It was also thought of as "Juliet's Soliloquy" from the Romeo and Juliet segment, although no such soliloquy exists in Shakespeare's play. Watching the play we know more about Romeo's thoughts than Juliet's, so this song is when the young teenager Juliet (approximately 13 or 14), is in her bedroom with "Nurse" brushing her hair while she looks into a reflecting glass (a smooth silver "mirror" long before glass mirrors were invented.) This song was probably a real failure, even with rewrites, because l'm not a woman and I have no idea what it's like to be a woman and think like a woman. Even today I can't tell if it's a valid or worthless song.
In fact, the idea of writing modern songs to overlay upon different plays of Shakespeare's may have been a failure on it's own, in its very conception. It seems rough and crude to try to modernize the characters seen through the eyes of the revolutionary groupthink of protesters on the most unruly University in America. "Free Speech" was inaugurated upon the steps of Sproul Hall, where activist Mario Savio staked his claim, and this small part of the campus provided a turbulent forum.
Personally, I had stood on those steps myself - and preached amidst detractors screaming out insults and swear words and saying my mother did this or did that. I felt sorry for them. But l never felt anger for them. A friend of mine named Hubert had been badly beaten up several times and had to be ambulanced to the hospital and afterward had teeth missing because of it, but Hubert kept coming back and preaching. "Free Speech" was supposed to be a democratic birthright, provided for in the Constitution. And this freedom was exercised and championed, as long as it attacked "the man" and American values. But if you talked about Jesus you'd find that there was a double standard and even a violent reaction from a group of people who were supposed to be liberal and pretended to tolerate parity with their own beliefs. If l were to release Birthday For Shakespeare today, I would soften a lot of the angry politics by editing out small pieces of the dialogue and the text and concentrate more on the "play within a play" and let the characters speak from their emotions by editing some of the lyrics out of the songs. I would de-fuse some of the political arguments, since they died of entropy on their own.