Good Golly, Miss Molly!
As an acne-riddled kid with an uneven flat-top, I was transported to another world when legendary Little Richard fire-bombed the pop music world with this breakthrough hit in 1958. Jerry Lee Lewis, among hundreds of others, had a knockout hit with it, too. We reveled in the knowledge of what the lyrics really meant, while our parents were clueless, unfamiliar with the language of another, parallel, universe.
Times change, and today the over-hyped and under-clothed Miley Cyrus' Molly is a popular club drug among those who do not reside in the real world. For my money, though, Little Richard's work was far sexier than Ms. Cyrus' twerking. I must confess, the young woman can sing. But, she can't dance, she can't deliver lines, and her demeanor and appearance are more "head for the hills!" than "come hither".
What all this means for us in the professional arena, is that good sense indicates that glomming on to the latest concept or product based solely on a first burst of flash and dash might lead to disappointment. Especially if the lights are low, and twerking is in progress.
No matter how momentarily exciting, and superficially enticing, the opportunity might appear to be, it is worth taking the time to think though risks, consequences, and probabilities. Not to mention taking a close look in broad daylight, with the subject not slathered in makeup - and with no body parts hangin' out.
These basic notions apply to songstresses, sirens, software, and other solutions. Do not be blinded by sequins in any of those cases.
Jerry Lee, of course, was old-fashioned and believed that twerking was an invitation that required marriage as a gentleman's obligation. But that's another story for another day.