Earworms.
I was infected at a young age.
Poet and Peasant overture.
Second Hungarian Rhapsody.
The Last Spring.
Radetzky March.
Intermezzo from Cavalleria Rusticana.
Never Mind the Why and Wherefore.
Hungarian Dance Number Five.
The television spouted this music
as Bugs Bunny and Woody Woodpecker
cavorted; the tunes tunneling into
my brain.
John Williams frostily narrating ads for
the Longines Symphonette records,
inviting me, a dumb five year old,
to let the melodies wash nakedly
over me.
It's a wonder my parents
didn't notice my musical
orgasms.
Or maybe they did --
and kept silent,
mourning my corrupt
and elfin ways.
There is a goofy musical bridge
in Saps at Sea
when Stan runs over Ollie
with their model T.
It is an elegy played on
discordant flutes
for every grimace
that every clown
has ever made
in frustration
at the callousness
of fate.
Every note of that
inconsequential ditty
corrosively etched on
my default memory --
automatically playing in
a loop whenever I'm bored
with a book, a person, a movie.
As a first of may at Ringling
I put in a dozen appearances
during the three hour show.
Clown alley far from the entrance,
I had to remember dozens of musical cues
to prepare
props and get into place for the big
production numbers.
My blood boiled with joy
in the ring gags
as the strident music
took me off this planet
full of woe and gravity
to a place where ethereal
beings swatted each other
with cricket bats.
Those raucous gallops, polkas, and screamers
still haunt the fringes of my mind,
invading my sleep with slide trombones
and siren whistles. I wake up,
ready to do a buster.
To take a header into a shaving cream pie.
Ah, these old bones won't stand
any more pratfalls.
But come the Resurrection,
come that hilarious rebirth,
I'll be doing 108's with Ben Turpin
in front of the Throne of God.
While angelic instruments play