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November 8, 1996     The Message
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November 8, 1996

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The Message -- for Catholics of Southwestern Indiana --On The Record-- How Not to Cope With Loneliness KEY WEST INTERMEZZO (I SAW YOU FIRST) By CHARLIE MARTIN CNS COLUMNIST In a hand-painted night,/Me and Gypsy Scotty are partners/At the Hotel Flamingo,/Wearing black-market shoes/This loud Cuban band/Is crucifying John Lennon/No one wants to be lonely/No one wants to sing the blues She perched like a parrot/On his tuxedo shoul- der/Christ, what's she doing with himJShe could be dancing with me/She stirs the ice in her glass/With her elegant finger/I want to be what she is drinkingJYeah, I just want to be REFRAIN I saw you first/I'm the first one tonight/I saw you first/Don't that give me the rightfro move around in your heart/Everyone was looking/But I saw you first On a moon-spattered road/In her parrot rebo- zo/Gypsy Scotty is driving/His big long yellow car/She flies like a bird/Over his shoulder/She whispers in his earJBoy, you are my star (REPEAT REFRAIN) In the bone-colored dawn/Me and Gypsy Scotty are singingfrhe radio is playing/She left her shoes out in the back/He tells me a story/About some girl he knows in Kentucky/He just made that story up,frhere ain't no girl like that (REPEAT REFRAIN) i Written by J. Mellencamp/G. Green Sung by John Mellencamp Copyright 1996 by John Mellen- camp, Full Keel Music CoJEMI April Music/Katsbaek Music (ASCAP) Critics are saying that his new CD is his best work yet. Who am I talking about? Why, my home state's best-known rocker, John Mellencamp. Mellencamp says that his heart attack two years ago really woke him up and changed the way he lives. Now, he is making new approaches with his music. Hoever, if you are looking for more "Jack and Diane" style hits, you'd best go back to his old stuff. Mellencamp says that his new disc, "Mr. Happy Go Lucky," combines Midwest rock with a new urban beat. His recent cassingle, "Key West Intermezzo (I Saw You First)," is getting lots of airplay and is zooming up the charts. The song describes two singers doing their act "at the Hotel Flamingo," presumably in Key West. Their mood is depressed and lonely. One of them relates: "No wants to be lonely; no one wants to sing the blues." Loneliness is not limited to musicians trying to succeed in obscure places. Occasionally, we all face this inner sense of emptiness. At times, it can be dif- ficult to know what to do about it. The person in the song fantasizes that seeing someone "first" gives him "the right to move around in your heart." Yet, make-believe relationships will not help. What is needed more is to reach out to friends and ask to spend time with them. Sometimes your friends may not be available, or you might wonder if anyone wants Yet, this is precisely the time that (I might also note that while it seems vogue these days to the Lord's name as the singer does in "Christ, what's she's doing with him would do well not to follow suit. Such disrespectful to the God who created us and all life.) Consider these possibilities for dealingl your loneliness: 1. Realize that others also are hess. Decide to reach out to them. For example, visit a nursing home and your interests and your smile. Volunteer to younger children, perhaps with sports activities or with their s with a center that serves the hungry. No matter what your choice, making  be concerned about others will change in your own heart. 2. Make new connections. Join the group. Look at the options at school, and club activity. Take lessons in developing Get involved with youth retreats Encounter Christ or whatever your diocese offers. 3. Be sure to share your loneliness wit Perhaps no action will take away ately. But God can guide you so that develop in your life. Yes, loneliness hurts. Act to keep up a lasting home in your heart. (Your comments are always address: Charlie Martin, RR 3, Box 182, Ind. 47635.) " :Current capsule THE CATHOLIC COMMUNICATION CAMPAIGN NEW YORK (CNS) -- The fol- lowing are capsule reviews of movies recently reviewed by the U.S. Catholic Conference (USCC) Office for Film and Broadcasting. Ratings are also given for the Motion Picture Association of America (MPAA). "Mother Night" (Fine Line) Unconvincingly complicated tale from Kurt Vonnegut's novel about an American spy (Nick Nolte) in Nazi Germany who after the war is regarded as a traitor because the government refuses to acknowledge his secret role. Directed by Keith Gordon, the heavy-handed result depicts events in Nazi Germany with lit- tle moral perspective and even less psychological credibility, leaving questions of individual responsibility and collective guilt underdeveloped and with- out much dramatic impact. Complex themes and some bed- room scenes with nudity. The USCC classification is A-III adults. The MPAA rating is R -- restricted. "William Shakespeare's Romeo and Juliet" (20th (atm-y Fox) Ambitious adaptation of the (Leonardo Di Caprio and Claire Danes) remains literally faith- ful to the original while updat- ing the story to a contemporary U.S. urban setting. Director Baz Luhrmann's flawed but never dull adaptation is visually oper- atic, highly stylized- and jar- tingly wedded to Shakespeare's Elizabethan language. Several violent deaths and romanticized suicides. The USCC classifica- tion is A-III -- adults. The MPAA rating is PG-13 -- par- ents are strongly cautioned that some material may be inappro- priate for children under 13. "Swingers" (Miramax) Lame look at the egocentric lives of several young men (Jon Favreau, Vince Vaughn and Ron Livingston) whose search for work in Hollywood seems limit- ed to partygoing and bar-hop- ping looking for show biz con- tacts and available women. Director Doug Liman tries to give a comic tone to the aimless proceedings but the material is too thin to be amusing and the characters are too wrapped up in themselves to be interesting. Sexual situations, heavy drink- ing and much rough language with some profanity. The USCC classification is A-III -- adults. The MPAA rating is R restricted. "The Funeral" (October) Depression-era tale of how two Italian-American gangster broth- ers (Christopher Walken and Chris Penn) avenge the murder of their younger brother (Vincent Gallo). Director Abel Ferrara sluggishly probes the dark psy- ches of brothers trained as killers by their father but constantly rebuked for their crimes by their classic tale of star-crossed lovers devout Catholic wives (Isabella Rosellini and Annabella Sciorra). Some gory violence, a sexual encounter with nudity and much rough language. The USCC clas- sification is A-IV -- adults, with reservations. The MPAA rating is R -- restricted. "The Associate" (Hollywood) Meager one-joke comedy about a bright investment analyst (Whoopi Goldberg) who breaks into Wall Street's all-boys club by setting up a company with an imaginary white male partner. Directed by Donald Petrie, the inane script gets some laughs along the way in its jibes at sex- ism and racial prejudice, but the humor is mostly uninspired and the comic prem credit. Sexual nudity in a strip language and USCC adults. 13 -- parents are tioned that some be ins under 13. Go ahead and read this Jim Auer: Don't Read This Book. t Warning: Contents May Alter Your Outlook on Life. Ligouri Publications, Ligouri Me, 1996. Paperback, 106 pages, $5.95. Reviewed by MICHAEL H. EPPLER Director, Office of Youth and Young Adult Ministry i I The cover, title, and chapter titles of this small book are prob- ably the most evocative state- ments and images seen on a youth book yet. Auer captures, through the cover of his book, the angst and rebellion present within some adolescents, and he invites them to read on. The chapter titles are won- derful; for example, "Not an Introduction," "Cave People and Wrapping Paper," and "Being Responsible for Your Beeper." Each of the short chapters cap- tures the essence of the title and addresses an issue which an adolescent may be facing in the "real world." There is a wide range of topics involving many aspects of "life" as adolescents may know it. These are important topics for youth and they need to be dis- .cussed, and the very issuesdealt with are the issues of adoles- cents in the 1990s. While the scope of topics is current, some depth may be lacking. As a min- ister with adolescents, I some- times felt that the responses to the topics raised skimmed the surface. Important subject mat- ter such as participation in the life of the parish community or an explicit sense of transform- ing discipleship was lost in a sea of relational issues dealing with sex, drugs, and alcohol. If this text was meant to strengthen the present internal assets (or those needing atten- tion) in youth, it does so only in a language and manner that per- haps alienates adolescents from the external supports they need in order to be healthy members of a family, a parish, or a civic community. Auer states that he "won't talk down to (youth);" however, I found that the collo- quialism and jargon-laden text, while speaking in terms adoles- cents could understand, did not seek to draw youth to active and faithful participation in the life of the community. If I may use the metaphor of the family Thanksgiving meal: this text keeps adolescents at the card table for the little kids (with plastic forks , and paper plates!, while the adults quet table. It is "meal," but there izing aspect to the. I felt that explicit invitations mative action o Catholic lescents, is argues a good ing in there" liturgy, when participation in in order. This is a captures the hopes of a open If we call then we, as must invite, er ourselves in and offer real adolescents to ing oft to move consumers to Go ahead book! It does to real youth Of the many t lescent could a good read. lenge to the is to support youth in and ly,