Where it began, I can’t begin to knowin’.

Friday, September 6, 2013, approximately 0635 U.S. Eastern:

“So, I’m in a bar in Auckland and they’re playing “Sweet Caroline.” I don’t think you’d like it any better sung in a sexy Kiwi accent.”

Thus begins the text message exchange that finally brought about détente with the song that has been the bane of my existence for decades.

July 2013:

Marc Anthony sings an anemic “God Bless America” at Major League Baseball’s annual All-Star Game.

Seriously anemic. Someone give that man a sandwich.

And then . . .

Marc Anthony  is followed by Neil Diamond.  I know what is coming. I can’t take the moral ambiguity any longer.

I text, “AUGGHHHH!” to my friend, who replies, clearly understanding my anguish: “I thought you loved that song.”

April, 2013:

The nation and the world watch as a terrible, sad thing happens in the city of Boston.

“Sweet Caroline,” a favorite at Boston Red Sox games, rises again as a symbol of strength, perseverance, and Boston pride.

I find myself once again steeped in moral ambiguity. I want to share in the expressions of sympathy and support.  But. Augh.

September 2010 to present:

In the course of a certain friendship, it becomes apparent that the number of Neil Diamond songs on my friend’s iPod is  inconceivably incongruent with his Antonio Banderas-meets-LL Cool J swag.

In a temporary lapse of judgment, I tell him of my lifelong struggle with “Sweet Caroline” (bum-bum-bum).

Bad move. Bad, bad move.

One of the pillars of our friendship is the shared inside knowledge that if I ever find myself holed up in the Vatican embassy in Panama and he is sent on the mission to dislodge me, it will take no more than the first line of the chorus of “Sweet Caroline” to elicit my immediate surrender. Mission accomplished.

Summer of 1990-something:

On a sweltering hot summer day, I find myself serving valiantly as time-keeper at a swim-meet.

In the natural course of conversation between events,  the identity of the time-keeper in the adjacent lane is revealed to me.  While he seems to be a nice, fair-and-balanced time-keeper kind of guy, he is none other than the band teacher / director from my days in  junior/senior high school,  he of the “Sweet Caroline” obsession.

I spend the rest of the day wrestling with moral ambiguity.  On the outside, I remain a calm, cool, fair-and-balanced, you might even say “sweet” time-keeper. On the inside I am running all sorts of Ally McBeal / Walter Mitty scenarios to finally exact my “Sweet Caroline” revenge. Bum-bum-bum.

Do I tell him how much I detest that song because of him?

Do I ask him what the deal was?

Do I “accidentally” trip him when no one’s looking and then hold him underwater while he struggles and gasps for his final breath?  Hands, touchin’ hands . . .reachin’ out, touchin’ me, touchin’ you. . . .(glub-glub-glub)

No. I do not.

I don’t remember how the meet turned out. I don’t remember exactly how hot it was. I don’t remember how much my feet and back hurt from standing all day. All I remember is that I won a small moral victory over my own murderous impulses.  Good times never felt so good.

Friday, September 17, 1982:

Columbia Records releases Neil Diamond’s Heartlight album, with the title track inspired by the sweet alien’s heart (bum-bum-bum).

Diamond calls the song,  “A simple musical statement that we all felt very sincerely.”

I call the song Neil Diamond’s  diabolical attempt to get around my “Sweet Caroline” (bum-bum-bum) embargo. I am not falling for it. No matter how cute that little alien is. Not even if you put him on a pony.

Friday, June 11, 1982:

Universal Studios releases Steven Spielberg’s E.T., The Extra-Terrestrial, “. . .about a stranded alien and his loving relationship with a fatherless boy.”

The alien is adorable. He is sweet.

The boy is adorable. He is sweet.

Enter Neil Diamond.

Diamond, Carol Bayer Sager, and Burt Bacharach attend a screening of the film and are inspired by the story and by  the sweet little alien creature, whose heart glows a  warm, caring red.

November 1980, it ends:

The end of football season in my senior year of junior/senior high school. I vow never again to listen to “Sweet Caroline” (bum-bum-bum).

I move on.  I go to college. My roommate plays oboe but not when I’m around. If “Sweet Caroline” (bum-bum-bum) is in her repertoire, I am blissfully unaware of the fact.

Life is good.

September 1976, it begins:

My sister, the newest Big Shot Seventh-Grader in our family, becomes a drummer in the marching band.  I have to wait for her to finish after-school practice before we walk home from school together. Every single day.

The band practices “Sweet Caroline” (bum-bum-bum) over and over and over and over again. Every single day.

She walks around our house tapping out the rhythm over and over and over. Every. Single. Day.

She sings herself to sleep at night, in the bedroom we share: “Sweet Caroline (bum-bum-bum) . . . “.

I spend way too many sleepless nights plotting an unfortunate bunk-bed accident. Every single night.

I come to loathe the song “Sweet Caroline” (bum-bum-bum) and to rue the day somebody put Caroline Kennedy up on that stupid pony, inspiring Neil Diamond, who in turn  inspired the junior/senior high school band director, whose apparent obsession with that song scarred me (musically) for life .

Some Friday Night, September 1975:

As a Big Shot Seventh-Grader at the junior/senior high school in my town, I attend my first high school football game. I only briefly wonder what “Sweet Caroline” (bum-bum-bum) has to do with football, when the marching band plays it . . .several times.

For the record, I’ve never understood what “Thank God I’m A Country Boy” has to do with baseball or Baltimore, but it’s a seventh-inning stretch tradition that I don’t question out loud. It would be un-American.

There are some facts of life you just go with. So. somehow “Sweet Caroline” has something to do with leading our team to victory.  Ok, fine.

 

Tuesday, September 16, 1969:

Neil Diamond’s single,  “Sweet Caroline” (bum-bum-bum), inspired by sweet little Caroline Kennedy, is released.

Coincidentally, if you believe in such a thing as coincidence, this is about the same time, possibly even the very same day,  that a boy named Jeff chased me around the playground with a caterpillar, eventually slipping it down the back of my favorite maxi-dress and squishing it, forever changing the way I felt about maxi-dresses and caterpillars and Jeff.

I think it’s safe to say that September 1969 profoundly shaped my destiny, not in a happy way.  Caterpillars still haunt me. As does Caroline.

Friday, September 7, 1962:

LIFE magazine’s cover photo show adorable Caroline Kennedy riding a pony.

She is adorable.

She is sweet. She is Caroline.

Can you get any sweeter than a pony called Macaroni? (LIFE magazine, September 7, 1962)

Can you get any sweeter than a pony called Macaroni? (LIFE magazine, September 7, 1962)

Friday, September 6, 2013, approximately 0635 U.S. Eastern:

“So, I’m in a bar in Auckland and they’re playing “Sweet Caroline.” I don’t think you’d like it any better sung in a sexy Kiwi accent.”

We don’t see each other as often or have the chance to catch up as frequently as we used to, which makes me appreciate these random text exchanges from anywhere at any time all the more.

In the silly banter that follows, my world-traveling friend points out that as long as this song plays on in every corner of the world, he will think of me whenever and wherever he hears it  I fire back a silly response. I begin my day. Later I come to realize that whenever I hear the song, I think of him, too, and the times we’ve laughed about this song.

I have to admit to wondering what it sounds like in ‘sexy Kiwi.’ I’m grateful for the friendship that the song now brings to mind and for my new appreciation of the song.

And I suppose I’m grateful that I didn’t drown the band teacher. Bum-bum-bum.