Ruby Tuesday

I love it.

That sequence with Ruby Tuesday and he's-

Get the fuck out of here.

Oh.

Um, they wrote for The Coasters, Yakety Yak, Poison Ivy, Charlie Brown.

Searchin', covered by The Beatles, Young Blood, Ruby Tuesday.

Oh, I love that song.

[laughs]

Yeah.

Here's Ruby Tuesday.

Here's Street Fightin' Man.

I don't know.

Right? [laughs]

I thought Ruby Tuesday-

That's a good one

... by The Rolling Stones was just a release.

I had no idea.

Which song?

Ruby Tuesday.

Ruby Tuesday.

She's actually named after the Beatles song.

Ruby? Ruby Tuesday.

Goodbye.

That wasn't a Beatles, you fool of a man.

It wasn't a Beatles.

It was.

Goodbye, Ruby Tuesday.

Like, you know, that was me.

The musicians are on point

... of the song gives you, like, a little hint of Ruby Tuesday.

Yeah.

But not, but not quite.

Why are you called Ruby?

Various reasons, but one of them is Ruby Tuesday, the song.

Beautiful song.

Yeah.

Fantasy of Traffic's great tune Dear Mr.

Fantasy there's Ruby Tuesday there's Spooky and there's Windy which I do in a cha-cha version and so it made me realize I wasn't that conscious when I was choosing the tunes although I was attracted to them that um This was the beginning of women's lib.

And, you know, Wendy is sort of from the sexual revolution of the 60s, which maybe wasn't that feminist or good for women in some ways, some ways it was, but all issues of consent that you know, people think about now, I don't think we're that clear, but certainly it was the beginning, you know, Windy as a free spirit and Ruby Tuesday certainly as a free spirit and Spooky as a free spirit, but they're all kind of viewed with almost like a little note of suspicion in the tombs, like, oh, they're so changeable and My version of Ruby Tuesday is kind of Steely Danish and it's fast.

And a couple of my friends had a lot of trouble switching from the Stones version, which was like uncharacteristically kind of lugubrious in a way.

And they're playing the recorder and there's almost this feeling of, she said, well, it was like Ruby's so out of frame that they had to put this frame you know, around her to kind of capture her.

And so I threw all that out the window and actually wrote a little, one of the things I do since I started as a poet is integrate spoken verse as well as sung verse.

And I kind of stay away from spoken word as a term, but I use it sometimes because that's to me a little bit more Def Jam, you know, dramatic monologue.

And, um, So I either do what I call poetic rap, which is really, you know, the Renaissance bar, it's meter and rhyme again, or, you know, and actually the spoken word segment about Ruby Tuesday does rhyme and it's in very loose meter and rhyme, but I have a little segment in there where I'm kind of pondering who really was Ruby Tuesday.

I was surprised by some of the early reviews that they noticed it in places that I didn't think was there.

For instance, I do a cover of Ruby Tuesday, the great song by the Stones, which is super different.

They do this kind of funereal, like she's really wild and she's great, but I don't know, she comes and goes.

And, you know, it's this almost like this Renaissance treatment with a recorder.

But people come in and, well, that's like her being an intuitive.

Well, maybe.

But anyway, so Ruby Tuesday, I also do poetry and spoken word.

So I have a section in the tune where I'm doing this spoken word thing, kind of who is Ruby Tuesday? You know, I wondered where the wound came from and if all her weaving was just running away.