Heh. To me "L. Gore" isn't Lesley.

I know, but give the guy credit for one or both of the following: (1) going for the aural pun, or (2) having read your article.

But what I don't get is why the poet-narrator is so eager to take Johnny back when it's Judy's turn to cry. And to be honest, I feel the worst for the poor SOB that kissed the poet-narrator and got cold-cocked by that two-timing Johnny guy as a show of affection for the poet-narrator.

Perhaps I've been that schmuck too many times, the foil that brings a bad man back to a foolish woman, to really enjoy how Lesley Gore idealizes that sort of dysfunctional relationship.

Well, as she said later, that's the way boys are.

But before she said that, she made it clear: "You Don't Own Me."

Lesley and her ilk never thrilled me because while I understood her message(which came during my gawky days, I really wanted to be stronger than that. I still don't like break ups but I learned this past year that my days of obsessing (and crying) over them are over, over, over.

Hmmm... Just noticed on the album jacket there are a couple more songs that may be applicable in the present context... Cry & You Cry Alone, followed by The Party's Over.

I know, but give the guy credit for one or both of the following: (1) going for the aural pun, or (2) having read your article.

Mr. Muir has commented on my site on occasion, but I doubt he would have seen that piece; it was written in 2000 and not posted permanently to my site until 2007 -- and clearly he's sharp enough to come up with a pun like that independently.

"I'll Cry if I Want To" represented a pretty big fall for producer Q. Jones.

As in "windfall," perhaps; the year after, Mercury's Irving Green promoted Q, then New York A&R director, to vice-president of the label.