VerhOeverthinking It week may be over, but a lot of the analysis we did on the work of filmmaker Paul Verhoeven carries over into other areas of the popular culture, such as music. Ladies and gentlemen, meet Steel Panther, the Starship Troopers of Heavy Metal.
1985 called. It wants its...everything...back.
Over the past week, the Overthinking It team has subjected the Back to the Future trilogy to a level of scrutiny it definitely deserves, pointing out a wide variety of paradoxes, inconsistencies, and unanswered questions regarding the series. Because these analyses have focused on the logical, metaphysical, and technological aspects of time-travel within the plot of the three BTTF movies, they haven’t touched on what I consider to be one of the most interesting puzzles in the series:The Huey Paradox.
The Huey Paradox is jointly produced by two features of the BTTF trilogy: the overwhelming number of references to Huey Lewis throughout Back to the Future, along with his near absence in the other two films in the series. Songs by Huey Lewis and the News are the first and last music that you hear in part one of the trilogy: Marty listens to “The Power of Love” as he skateboards to school (and again after getting a kiss from Jennifer under the clock tower), and “Back in Time” plays on his clock radio the morning after he returns from 1955 (and is reprised over the end credits). In addition, Huey Lewis himself makes a brief cameo as one of the high school teachers who deems Marty’s band “too loud” to play at the school dance, cutting off their instrumental noise-metal rendition of “The Power of Love” after about 30 seconds. Huey also reappears briefly as a fedora-wearing man who briefly stares at Marty’s “life preserver” puffy vest in 1950s Hill Valley.
Dear Bryan,
First of all, l’m a big fan. The fact that you spent your evenings down at the drive-in in the summer of ‘69, when you were only nine years old, is truly awesome.
But I have an issue with “Heaven,” your first big hit. The lyrics of the chorus have always bothered me:
Baby you’re all that I want
When you’re lying here in my arms
I’m finding it hard to believe
We’re in heaven
To me, that always sounded like:
Baby, you’re all that I want when you’re lying here in my arms. I’m finding it hard to believe we’re in heaven.
Which makes it sound like you’re really underwhelmed and being sarcastic about it. “This is heaven? If you say so.”
That’s not you, Bryan.
Of course, it’s actually supposed to be read this way:
Baby you’re all that I want. When you’re lying here in my arms, I’m finding it hard to believe. We’re in heaven!
But to me, it just never scanned right.
So here’s my suggestion – just change the lyric “I’m finding it” to “It isn’t.” So the revised quatrain reads:
Baby you’re all that I want
When you’re lying here in my arms
It isn’t hard to believe
We’re in heaven
I think that would clear up a lot of confusion. Thanks, Bryan.
Sincerely,
Matthew Belinkie