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Louis Armstrong & His Hot Five “Hotter Than That” Okeh 8535 (1927) RARE VISUALS
 
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Louis Armstrong & His Hot Five play “Hotter Than That” on Okeh 8535, recorded on December 13, 1927. Louis Armstrong is on cornet and he provides the vocal. Kid Ory plays trombone. Johnny Dodds is on clarinet. Lil Armstrong wrote the song and plays piano here. Johnny St. Cyr is on banjo. Lonnie Johnson is on guitar--listen for him ending the record!
Views: 30550 Tim Gracyk
"Potato Head Blues" Louis Armstrong & His Hot Seven on Okeh 8503 recorded May 10, 1927
 
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"Potato Head Blues" Louis Armstrong & His Hot Seven Okeh 8503 recorded May 10, 1927 Armstrong, Louis (Cornet) Thomas, John (Trombone) Dodds, Johnny (Clarinet) Armstrong, Lil Hardin (Piano) St. Cyr, Johnny (Banjo, Guitar) Briggs, Pete (Tuba) Dodds, Baby (Drums)
Views: 23855 Tim Gracyk
"God Save The King" = 2200 voices Toronto Exhibition (God save our gracious king Long live...)
 
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"God Save The King" is sung by 2,200 voices The Canadian National Exhibition Chorus is conducted by H. A. Fricker. The label states, "2200 voices recorded at their performance Toronto Exhibition." God save our gracious king Long live our noble king God save the king Send him victorious Happy and glorious Long to reign over us God save the king O Lord, our God arise Scatter his enemies And make them fall Confound their politics Frustrate their knavish tricks On Thee our hopes we fix God save the king Thy choicest gifts in store On him be pleased to pour Long may he reign May he defend our laws And ever give us cause To sing with heart and voice God save the king Not in this land alone But be God's mercies known From shore to shore Lord make the nations see That men should brothers be And form one family The wide world o'er From every latent foe From the assassins blow God save the king O'er him Thine arm extend For Britain's sake defend Our father, prince and friend God save the king
Views: 99355 Tim Gracyk
Louisiana Ramblers "Every Man A King--Goodbye Huey Long" historic made after Long was assassinated
 
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Louisiana Ramblers play "Every Man A King--Goodbye Huey Long" --historic recording since it was made soon after Long was assassinated. Sound file was done by Cary Ginell.
Views: 3655 Tim Gracyk
Joséphine Baker "La Petite Tonkinoise" 1930 ("Pretty Little Tonkin Girl")
 
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C'est moi qui suis sa petite Son Anana, son Anana, son Anammite Je suis vive, je suis charmante Comme un p'tit z'oiseau qui chante Il m'appelle sa p'tite bourgeoise Sa Tonkiki, sa Tonkiki, sa Tonkinoise D'autres lui font les doux yeux Mais c'est moi qu'il aime le mieux L'soir on cause d'un tas d'choses Avant de se mettre au pieu J'apprends la géographie D'la Chine et d'la Mandchourie Les frontières, les rivières Le Fleuve Jaune et le Fleuve Bleu Y a même l'Amour c'est curieux Qu'arrose l'Empire du Milieu C'est moi qui suis sa petite Son Anana, son Anana, son Anammite Je suis vive, je suis charmante Comme un p'tit oiseau qui chante Il m'appelle sa p'tite bourgeoise Sa Tonkiki, sa Tonkiki, sa Tonkinoise D'autres lui font les doux yeux Mais c'est moi qu'il aime le mieux. The song is by Christiné and V. Scotto. In English, the song is titled "Pretty Little Tonkin Girl."
Views: 13865 Tim Gracyk
Beatles "Old Brown Shoe" RARE early version George Harrison teaches song LYRICS ARE HERE
 
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Mid-April 1969. I prefer this to the issued record since George Harrison's vocal is up front. In the released version, George's voice is buried and distant, which is a shame. George guides others through chord changes. Ringo joins near the end. George is at the keyboard! I assume Paul is the bass player in the background. On the later session that produced the released version, there are two bass tracks--one by McCartney on a Fender Jazz and one by Harrison on a Fender Telecaster bass. George is distinctive on bass. In 1987 during an interview for Creem magazine, George recalled playing bass on this the way he plays guitar. The song has unusual chord changes since George composed this at a piano, not his usual manner of composing. John Lennon's guitar can be heard here, but on the issued take Lennon's contribution was removed and replaced by Hammond organ played by Harrison. In the last years, Lennon rarely participated when Harrison songs were recorded. Paul, on the other hand, worked hard when George's songs were recorded, taking pride in each Beatles product. You hear the evidence on the records themselves of Paul giving his best when George's songs were recorded--on keyboards, on vocal harmony, on bass (but, as I said, George himself also plays bass on the issued version of "Old Brown Shoe"). John was often indifferent whereas Paul fully supported George when George's songs were recorded, so it seems unjust that George turned against Paul in the early 1970s and instead sided with John. But quarrels may start for any number of reasons. John was absent at times in 1969--to be fair, at one point that was due to John's car accident. But John had been absent in earlier years when George's songs were covered. On the White Album, John contributes nothing crucial on George Harrison songs. John provides a bass voice at the end of "Piggies," but what about "Long, Long, Long"? "Savoy Truffles"? I can't hear John on "While My Guitar Gently Weeps" though he may be on rhythm guitar. Eric Clapton was invited to a session because George earlier sensed apathy from his Liverpool colleagues (Paul and John equally to blame?). Is John heard on "Within You, Without Out," "Blue Jay Way," "The Inner Light," or "Here Comes The Sun"? Paul's bass on "Here Come The Sun" is crucial. John does play slide guitar on "For You Blue," but is John heard on "I Me Mine"? Paul is! By 1969, Yoko had far more influence on John in the studio than George. Too much is made of Paul and George bickering for 15 seconds in the film Let It Be. Give Paul credit for ALLOWING bickering to STAY in the film, not editing it out. Paul viewed this exchange as no big deal--minor bickering, the normal irritation one expects when musical giants work together. At least Paul was communicating! John retreated into silence. George famously quit the Beatles for a weekend in January due to George's frustration with John, who pushed George over the edge. Lyrics here are different in about four places from the released take. George is still working on the song as he teaches it. Here is what George sings in this early version: I'd like a love that's right but right is only half of what's wrong. I want a short haired girl who sometimes wears it twice as long. Now I'm stepping out of this old brown shoe--baby, I'm in love with you. But I'm so glad you came here. It won't be the same now, I'm telling you. You know you hold me up from where some try to drag me down, and when I see your smile replacing every thoughtless frown, you got me escaping from this zoo--baby, I'm in love with you. I'm so glad you came here. It won't be the same now, I'm telling you. If I grow up, I'll be a singer wearing rings on every finger, not worrying what they or you say. I'll live and love, and maybe someday--who knows, baby?-- you'll still comfort me. LYRICS IN RELEASED VERSION: I want a love that's right but right is only half of what's wrong I want a short haired girl who sometimes wears it twice as long Now I'm stepping out this old brown shoe, baby, I'm in love with you I'm so glad you came here, it won't be the same now, I'm telling you You know you pick me up from where some try to drag me down And when I see your smile replace every thoughtless frown Got me escaping from this zoo, baby, I'm in love with you I'm so glad you came here, it won't be the same now when I'm with you If I grow up I'll be a singer wearing rings on every finger Not worrying what they or you say I'll live and love and maybe someday Who knows, baby, you may comfort me I may appear to be imperfect, my love is something you can't reject I'm changing faster than the weather if you and me should get together I want that love of yours, to miss that love is something I'd hate I'll make an early start, I'm making sure that I'm not late For your sweet top lip I'm in the queue...
Views: 28721 Tim Gracyk
Frederick Wheeler "We'll Never Let The Old Flag Fall" (1915) LYRICS HERE World War I classic song
 
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Britain's flag has always stood for justice. Britain's hope has always been for peace. Britain's foes have known that they could trust us to do our best to make the cannons cease. Britain's blood will never stand for insult. Britain's sons will rally at her call. Britain's pride will never let her exult, but we'll never let the old flag fall. We'll never let the old flag fall, for we love it best of all. We don't want to fight to show our might, but when we start, we'll fight, fight, fight. In peace or war you'll hear us sing, "God save the flag, God save the King!" At the ends of the world, the flag's unfurl'd. We'll never the let the old flag fall. Britain's sons have always call'd her Mother. Britain's sons have always lov'd her best. Britain's sons would die to show they love her, the dear old Flag laid on each manly breast. Britain's ships have always rul'd the ocean. Britain's sons will serve her one and all. Britain's sons will show their true devotion And we'll never let the old flag fall.
Views: 7356 Tim Gracyk
Ralph Waldo Emerson "The Rhodora" poem audio & text
 
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The Rhodora On being asked, whence is the flower. In May, when sea-winds pierced our solitudes, I found the fresh Rhodora in the woods, Spreading its leafless blooms in a damp nook, To please the desert and the sluggish brook. The purple petals fallen in the pool Made the black water with their beauty gay; Here might the red-bird come his plumes to cool, And court the flower that cheapens his array. Rhodora! if the sages ask thee why This charm is wasted on the earth and sky, Tell them, dear, that, if eyes were made for seeing, Then beauty is its own excuse for Being; Why thou wert there, O rival of the rose! I never thought to ask; I never knew; But in my simple ignorance suppose The self-same power that brought me there, brought you.
Views: 2870 Tim Gracyk
Big Bill Broonzy “Guitar Shuffle” ragtime like Blind Boy Fuller
 
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Sound file was done by Cary Ginell.
Views: 3043 Tim Gracyk
King Oliver's Creole Jazz Band plays "'Chimes Blues" on Gennett 5135 (1923)
 
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King Oliver's Creole Jazz Band plays "'Chimes Blues" on Gennett 5135 (1923).
Views: 3999 Tim Gracyk
Billie Holiday & Teddy Wilson "What A Little Moonlight Can Do" Brunswick (1935) LYRICS HERE
 
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Billie Holiday sings for Teddy Wilson and His Orchestra: "What A Little Moonlight Can Do" on Brunswick 7498 (later reissued as 8336), recorded on July 2, 1935. The song is by Ralph Rainger and Dorothy Parker. Teddy Wilson never sounded better! Such grace at incredible speed! Billie never again sang on any record at such a fast tempo. Indeed, she later took songs at slow speeds, perhaps believing this made her a more serious artist--a shame! I always prefer Billie in the up-tempo numbers, which usually means from early in her career. A young Billie Holiday sings the vocal refrain. This was her third recording session. Her first was on November 27, 1933, which produced "Your Mother's Son-In-Law," Billie providing vocals as white musicians played (or mostly white--perhaps Buck Washington was at the piano). The second session was on December 18, 1933, which produced "Riffin' the Scotch" (she returned to the studio on this date since an earlier take of "Riffin' the Scotch" from the November session did not pass muster). This third session is historic since it produced four tracks, all outstanding. Teddy Wilson is the leader, Billie providing brief vocals, so technically these are Teddy Wilson recordings though it is understandable if jazz fans think of them as Billie Holiday records. I view the four recordings from this session not as Billie Holiday numbers as discs featuring Teddy Wilson with an All-Star Cast of Jazz Superheroes. Billie is one superstar among others--Benny Goodman, Ben Webster, Roy Eldridge, Teddy Wilson! Musicians on this are Benny Goodman (clarinet--some labels that identify the players call him "John Jackson" since his name could not appear on the label), Roy Eldridge (trumpet), Ben Webster (tenor saxophone), Teddy Wilson (piano), John Trueheart (guitar), John Kirby (bass), Cozy Cole (drums), and Billie Holiday (vocals). Ooh, ooh, ooh What a little moonlight can do Ooh, ooh, ooh What a little moonlight can do to you You're in love Your heart's a-fluttering all day long You only stutter 'cause your poor tongue Just will not utter the words "I love you" Ooh, ooh, ooh What a little moonlight can do Wait a while Till a little moonbeam comes peepin' through You'll get bold You can't resist him, and All you'll say When you have kissed him is Ooh, ooh, ooh What a little moonlight can do My rule of thumb for Billie Holiday records is the earlier, the better. This is very early, and I love this recording--it never bores me unlike many of Billie's later discs. I likewise cherish what came from Billie's first session ("Your Mother's Son-In-Law") and second ("Riffin' the Scotch"--or call that her third since she returned to the studio) and the other Teddy Wilson sessions of the mid-1930s, but by the late 1930s, sessions produced less interesting material to my ears. The 1940s were uneven for Billie, and almost nothing by Billie from the 1950s holds my attention. Billie Holiday was born Eleanora Fagan (or Eleanor Holiday? Eleanora Fagan Gough? Elinore DeViese?) on April 7, 1915, in Baltimore (if we trust her autobiography--perhaps that is not wise) or in Philadelphia (more likely--see her birth registration). Jazz critics complain that Billie was forced to work with trite songs in her early days. I trust my ears--I can't trust jazz critics who make such silly pronouncements. The young Billie Holiday handles so-called "trite" songs in very interesting ways, and I prefer Billie's early "trite" material to her later recordings of songs by Cole Porter, Gershwin, and other song-writing giants. From 1935 until a recording ban on August 1, 1942, Billie sang on around 150 sides (153? 158?) that were or became Columbia property. Original labels include Brunswick and Vocalion. She made Commodore recordings, beginning on April 20, 1939. She made Decca recordings, starting in October 1944--by this time Billie was more of a chanteuse or star of song or cabaret singer, less of a jazz singer. This was Billie as a "serious artist" (paradoxically, she was better as an artist when she wasn't trying so hard to be a serious artist--in the early days she merely sang pop songs, and she shined). That means on Decca discs she dominated records, the background musicians staying in the background. From 1952 to 1957, she sang for Norman Granz's Verve label, but Billie's voice was a pale shadow by this time of what it had been. Some of her late work is painful to hear. Billie is best in early Teddy Wilson recordings--or at sessions with people like Teddy Wilson (after all, she worked with other great pianists). Billie is superb when she is just one of the gang at a session of superstars. She gets her turn--and Lester gets a turn, or Ben Webster, or Jess Stacy, or Buck Clayton. Magic!
Views: 2783 Tim Gracyk
Charlie Parker "This Is Always" (Earl Coleman vocalist) Dial 1019 with Erroll Garner on piano
 
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Charlie Parker "This Is Always" Earl Coleman as vocalist on Dial 1019 (Erroll Garner on piano) Alto Saxophone – Charlie Parker Bass – Red Callender Drums – Harold West Piano – Erroll Garner C.P. MacGregor Studios, Los Angeles, CA, February 19, 1947 Charlie Parker "This Is Always" (Earl Coleman vocalist) Dial 1019 with Erroll Garner on piano
Views: 3476 Tim Gracyk
Arthur Miles "Lonely Cowboy" Parts 1 & 2 (Dallas, Texas, 1929) hillbilly
 
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Arthur Miles performs "Lonely Cowboy" (Parts 1 & 2) on Victor V-40156, recorded in Dallas, Texas, on August 8, 1929. Sound file was done by Frank Dalton.
Views: 6865 Tim Gracyk
"Mairzy Doats" The Merry Macs on Decca 18588 (1944)
 
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Mairzy doats and dozy doats And liddle lamzy divey A kiddley divey too, Wouldn't you? If the words sound queer and funny to your ear, A little bit jumbled and jivey, Sing "Mares eat oats and does eat oats And little lambs eat ivy."
Views: 4073 Tim Gracyk
George Formby "Leaning On A Lamp Post" LYRICS HERE uke at end of "Free As A Bird" by Beatles
 
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George Formby sings "Leaning On A Lamp Post." At the end you will hear the uke playing that ends "Free As A Bird" by the Beatles. I'm leaning on a lamp--maybe you think I look a tramp. Or you may think I'm hanging 'round to steal a car. But no! I'm not a crook, and if you think that's what I look, I'll tell you why I'm here and what my motives are. I'm leaning on the lamp-post at the corner of the street in case a certain little lady comes by. Oh me, oh my, I hope the little lady comes by. I don't know if she'll get away. She doesn't always get away, but anyhow I know that she'll try. Oh me, oh my, I hope the little lady comes by. There's no other girl I would wait for, but this one I'd break any date for. I won't have to ask what she's late for. She wouldn't leave me flat. She's not a girl like that. Oh, she's absolutely wonderful and marvellous and beautiful. And anyone can understand why I'm leaning on a lamp-post at the corner of the street in case a certain little lady passes by.
Views: 6200 Tim Gracyk
"Happy Feet" footage The King of Jazz (1930) Bing Crosby & Gutchrlein Paul Whiteman Orchestra
 
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Here is "Happy Feet" from the restored film The King of Jazz (1930). LIsten for the voices of the Rhythm Boys, which at this time consisted of Al Rinker, Harry Barris, and the young Bing Crosby. Then listen to the Sisters G. (Eleanor and Karla Gutchrlein) sing the chorus. When you find that your mind Keeps you worried and blue You can always let your feet Keep your disposition sweet I want to see what makes me feel the way that I do Will you kindly cast an eye On two good reasons why Happy Feet, I've got those happy feet Give them a low down beat And they begin dancing I've got those ten little tapping toes And when they hear a tune I can't control my dancing heels To save my soul Weary blues can't get into my shoes Because my shoes refuse to ever grow weary I keep cheerful on an earful of music sweet 'Cause I've got those happ happ happy feet
Views: 11131 Tim Gracyk
Philip Larkin reads “An Arundel Tomb”
 
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Side by side, their faces blurred, The earl and countess lie in stone, Their proper habits vaguely shown As jointed armour, stiffened pleat, And that faint hint of the absurd— The little dogs under their feet. Such plainness of the pre-baroque Hardly involves the eye, until It meets his left-hand gauntlet, still Clasped empty in the other; and One sees, with a sharp tender shock, His hand withdrawn, holding her hand. They would not think to lie so long. Such faithfulness in effigy Was just a detail friends would see: A sculptor’s sweet commissioned grace Thrown off in helping to prolong The Latin names around the base. They would not guess how early in Their supine stationary voyage The air would change to soundless damage, Turn the old tenantry away; How soon succeeding eyes begin To look, not read. Rigidly they Persisted, linked, through lengths and breadths Of time. Snow fell, undated. Light Each summer thronged the glass. A bright Litter of birdcalls strewed the same Bone-riddled ground. And up the paths The endless altered people came, Washing at their identity. Now, helpless in the hollow of An unarmorial age, a trough Of smoke in slow suspended skeins Above their scrap of history, Only an attitude remains: Time has transfigured them into Untruth. The stone fidelity They hardly meant has come to be Their final blazon, and to prove Our almost-instinct almost true: What will survive of us is love.
Views: 4551 Tim Gracyk
"I Am Praying for You" sacred hymn by Samuel O. Cluff & Ira D. Sankey
 
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"I Am Praying For You" is sung by Harry Anthony and James F. Harrison on Edison Gold Moulded Record 9252 (1906).
Views: 5594 Tim Gracyk
"A Worn Path" Eudora Welty reads her famous story HEAR THE AUTHOR superb voice
 
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"A Worn Path" by Eudora Welty It was December—a bright frozen day in the early morning. Far out in the country there was an old Negro woman with her head tied in a red rag, coming along a path through the pinewoods. Her name was Phoenix Jackson. She was very old and small and she walked slowly in the dark pine shadows, moving a little from side to side in her steps, with the balanced heaviness and lightness of a pendulum in a grand-father clock. She carried a thin, small cane made from an umbrella, and with this she kept tapping the frozen earth in front of her. This made a grave and persistent noise in the still air, that seemed meditative like the chirping of a solitary little bird. She wore a dark striped dress reaching down to her shoe tops, and an equally long apron of bleached sugar sacks, with a full pocket: all neat and tidy, but every time she took a step she might have fallen over her shoelaces, which dragged from her unlaced shoes. She looked straight ahead. Her eyes were blue with age. Her skin had a pattern all its own of numberless branching wrinkles and as though a whole little tree stood in the middle of her forehead, but a golden color ran underneath, and the two knobs of her cheeks were illumined by a yellow burning under the dark. Under the red rag her hair came down on her neck in the frailest of ringlets, still black, and with an odor like copper. Now and then there was a quivering in the thicket. Old Phoenix said, "Out of my way, all you foxes, owls, beetles, jack rabbits, coons and wild animals!...Keep out from under these feet, little bob-whites....Keep the big wild hogs out of my path. Don't let none of those come running my direction. I got a long way." Under her small black-freckled hand her cane, limber as a buggy whip, would switch at the brush as if to rouse up any hiding things. On she went. The woods were deep and still. The sun made the pine needles almost too bright to look at, up where the wind rocked. The cones dropped as light as feathers. Down in the hollow was the mourning dove—it was not too late for him. The path ran up a hill. "Seem like there is chains about my feet, time I get this far," she said, in the voice of argument old people keep to use with themselves. "Something always take a hold of me on this hill— pleads I should stay." After she got to the top she turned and gave a full, severe look behind her where she had come. "Up through pines," she said at length. "Now down through oaks." Her eyes opened their widest, and she started down gently. But before she got to the bottom of the hill a bush caught her dress. Her fingers were busy and intent, but her skirts were full and long, so that before she could pull them free in one place they were caught in another. It was not possible to allow the dress to tear. "I in the thorny bush," she said. "Thorns, you doing your appointed work. Never want to let folks pass, no sir. Old eyes thought you was a pretty little green bush." Finally, trembling all over, she stood free, and after a moment dared to stoop for her cane. "Sun so high!" she cried, leaning back and looking, while the thick tears went over her eyes. "The time getting all gone here." At the foot of this hill was a place where a log was laid across the creek. "Now comes the trial," said Phoenix. Putting her right foot out, she mounted the log and shut her eyes. Lifting her skirt, leveling her cane fiercely before her, like a festival figure in some parade, she began to march across. Then she opened her eyes and she was safe on the other side. "I wasn't as old as I thought," she said. But she sat down to rest. She spread her skirts on the bank around her and folded her hands over her knees. Up above her was a tree in a pearly cloud of mistletoe. She did not dare to close her eyes, and when a little boy brought her a plate with a slice of marble-cake on it she spoke to him. "That would be acceptable," she said. But when she went to take it there was just her own hand in the air. So she left that tree, and had to go through a barbed-wire fence. There she had to creep and crawl, spreading her knees and stretching her fingers like a baby trying to climb the steps. But she talked loudly to herself: she could not let her dress be torn now, so late in the day, and she could not pay for having her arm or her leg sawed off if she got caught fast where she was. At last she was safe through the fence and risen up out in the clearing. Big dead trees, like black men with one arm, were standing in the purple stalks of the withered cotton field. There sat a buzzard. "Who you watching?" In the furrow she made her way along. "Glad this not the season for bulls," she said, looking sideways, "and the good Lord made his snakes to curl up and sleep in the winter. A pleasure I don't see no two-headed snake coming around that tree, where it come once. It took a while to get by him, back in the summer."
Views: 4701 Tim Gracyk
"Mending Wall" Robert Frost listen to poet himself recite his poem
 
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Mending Wall By Robert Frost Something there is that doesn't love a wall, That sends the frozen-ground-swell under it, And spills the upper boulders in the sun; And makes gaps even two can pass abreast. The work of hunters is another thing: I have come after them and made repair Where they have left not one stone on a stone, But they would have the rabbit out of hiding, To please the yelping dogs. The gaps I mean, No one has seen them made or heard them made, But at spring mending-time we find them there. I let my neighbour know beyond the hill; And on a day we meet to walk the line And set the wall between us once again. We keep the wall between us as we go. To each the boulders that have fallen to each. And some are loaves and some so nearly balls We have to use a spell to make them balance: "Stay where you are until our backs are turned!" We wear our fingers rough with handling them. Oh, just another kind of out-door game, One on a side. It comes to little more: There where it is we do not need the wall: He is all pine and I am apple orchard. My apple trees will never get across And eat the cones under his pines, I tell him. He only says, "Good fences make good neighbours." Spring is the mischief in me, and I wonder If I could put a notion in his head: "Why do they make good neighbours? Isn't it Where there are cows? But here there are no cows. Before I built a wall I'd ask to know What I was walling in or walling out, And to whom I was like to give offence. Something there is that doesn't love a wall, That wants it down." I could say "Elves" to him, But it's not elves exactly, and I'd rather He said it for himself. I see him there Bringing a stone grasped firmly by the top In each hand, like an old-stone savage armed. He moves in darkness as it seems to me, Not of woods only and the shade of trees. He will not go behind his father's saying, And he likes having thought of it so well He says again, "Good fences make good neighbours."
Views: 8914 Tim Gracyk
"The Monkey Doodle Doo" Irving Berlin's Cocoanuts Marx Brothers fans know this! Busse Buzzards
 
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Busse's Buzzards plays Irving Berlin's "The Monkey Doodle Doo" from Cocoanuts, familiar to Marx Brothers fans, This is one hot record! It was recorded on December 28, 1925 (when the song was featured on Broadway--four years before the film was made). Busse's Buzzard is basically an offshoot of Paul Whiteman's Orchestra and could be called Henry Busse's Orchestra. Monkeys upon a tree never are very blue They never seem to be under par that is true Not like the ones you see on a bar in the zoo Monkeys upon a tree do the Monkey Doodle Doo Oh, among the mangoes where the monkey gang goes You can see them do The little Monkey Doodle Doo Oh, a little monkey playing on his one key Gives them all the cue To do the Monkey Doodle Doo Let me take you by the hand Over to the jungle band If you're too old for dancing Get yourself a monkey gland And then let's Go, my little dearie, there's the Darwin theory Telling me and you To do the Monkey Doodle Doo
Views: 3959 Tim Gracyk
Vernon Dalhart "Little Mary Phagan" LYRICS HERE rare visuals Leo M. Frank FAMOUS MURDER
 
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Vernon Dalhart sings "Little Mary Phagan." This ballad is about the murder in 1913 of a 13-year-old pencil factory worker. Did Leo Max Frank kill the young Mary? It seems unlikely though it's impossible to say for certain today. Leo Frank was convicted partly because of testimony given by Jim Conley, a factory sweeper who originally admitted nothing but after intense police questioning admitted incriminating facts which suggest Conley himself was the killer. What facts? Around the time she died, Jim wrote two mysterious "death notes" (they are weird!). Also, Jim moved Mary Phagan's corpse--very incriminating! It was accepted in court that Conley wrote the notes and moved the corpse, but Conley insisted he did these acts under the direction of Leo Frank, which sounds preposterous. I think Conley killed the girl, acting on his own, maybe due to lust, maybe to steal the girl's money. No money was found with the body, but where was the money she collected at noon? But local people were determined to see Leo Frank convicted (due to Leo Frank being Jewish?). Jim Conley's self-incriminating words did not seem to matter enough. Mary was murdered on April 26, 1913. Her body was found in the filthy basement of the National Pencil Company in Atlanta, Georgia. She had worked on the 2nd floor's metal room prior to that Saturday, but a shortage of materials led to Mary being laid off. She could expect to be hired again when until new supplies arrived. She visited the factory on April 26. Almost nobody was in the building since it was a Saturday. She collected wages and asked when she might be working again--would materials soon arrive? Her supervisor Leo M. Frank was convicted of the crime though we can see today that the collection of evidence had been botched. Moreover, publicity combined with mob passion made a fair trial impossible in Atlanta (the trial should have been moved). That he was Jewish in an anti-Semitic region also hurt him. The trial's course is open to criticism. Frank was sentenced to prison, but this did not satisfy Georgia residents who urged a death penalty. In 1915, Leo Frank was kidnapped from prison by over two dozen armed men. Frank was driven to Frey's Gin, near Marietta, and lynched (one source says it happened on Frey's Gin Road in Marietta). Frank was posthumously pardoned in 1986 on technical grounds. Even as late as 1986 the case was famous (or infamous), not forgotten. The pardon does not address Frank's guilt or innocence. "Fiddling John" Carson popularized this song in Georgia in 1915. Carson viewed Leo Frank as the murderer though in our recorded version here, Dalhart sings the word "villain" instead of Frank's name. Little Mary Phagan She left her home one day; She went to the pencil-factory To get her little pay. She left her home at eleven, She kissed her mother good-by; Not one time did the poor child think That she was a-going to die. Leo Frank he met her With a brutish heart, we know; He smiled, and said, "Little Mary, You won't go home no more." Sneaked along behind her Till she reached the metal-room; He laughed, and said, "Little Mary, You have met your fatal doom." Down upon her knees To Leo Frank she plead; He taken a stick from the trash-pile And struck her across the head. Tears flow down her rosy cheeks While the blood flows down her back; Remembered telling her mother What time she would be back. You killed little Mary Phagan, It was on one holiday; Called for old Jim Conley To carry her body away. He taken her to the basement, She was bound both hand and feet; Down in the basement Little Mary she did sleep. Newt Lee was the watchman Who went to wind his key; Down in the basement Little Mary he did see. Went in and called the officers Whose names I do not know; Come to the pencil-factory, Said, "Newt Lee, you must go." Taken him to the jail-house, They locked him in a cell; Poor old innocent negro Knew nothing for to tell. Have a notion in my head, When Frank he comes to die, Stand examination In a court-house in the sky. Come, all you jolly people, Wherever you may be, Suppose little Mary Phagan Belonged to you or me. Now little Mary's mother She weeps and mourns all day, Praying to meet little Mary In a better world some day. Now little Mary's in Heaven, Leo Frank's in jail, Waiting for the day to come When he can tell his tale. Frank will be astonished When the angels come to say, "You killed little Mary Phagan; It was on one holiday." Judge he passed the sentence, Then he reared back; If he hang Leo Frank, It won't bring little Mary back. Frank he's got little children, And they will want for bread; Look up at their papa's picture, Say, "Now my papa's dead." Judge he passed the sentence He reared back in his chair; He will hang Leo Frank, And give the negro a year. Next time he passed the sentence, You bet, he passed it well; Well, Solicitor Hugh Manson Dorsey. Sent Leo Frank to hell.
Views: 1466 Tim Gracyk
"Poor Little Bennie" ("Poor Benny") Father, dear Father, come home with me now Bela Lam
 
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Bela Lam & His Greene County Singers recorded "Poor Little Bennie" in July 1927. The song was written by Henry Clay Work in 1864. Father, dear Father, come home with me now; The clock in the steeple strikes one. You said you were coming right home from the shop As soon as your day's work was done. The fire is all out, the house is so dark, And Mother's been watching since tea With poor little Bennie so sick in her arms And no one to help her but me. Come home, come home, come home; Please, Father, dear Father, come home. Father, dear Father, come home with me now; The clock in the steeple strikes two. The night has grown colder and Bennie is worse, And he has been calling for you. Indeed, he is worse--Ma says he will die, Perhaps before morning will dawn, And this is the message she sent me to bring: "Come quickly or he will be gone!" Father, dear Father, come home with me now; The clock in the steep strikes three. The house is so lonely, the hours are so long, For poor weeping Mother and me. Yes, we are alone; poor Benny is dead And gone with the angels of light. And these are the very last words that he said: "I want to kiss Papa goodnight." Sound file was done by Frank Dalton.
Views: 2348 Tim Gracyk
Beatles RARE instrumental "Catswalk" 1962 Paul McCartney tune (Chris Barber "Catcall") John Lennon
 
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The Beatles play "Catswalk" -- a rare, obscure, nearly forgotten Paul McCartney composition. The Beatles recorded this as a private performance. They had not landed a recording contract yet. This number shows the influence of the Ventures and the Shadows on the Beatles. If the Beatles had landed a Decca contract in 1962, this might have been covered in the Decca studio. This would have been one of the numbers covered in 1962 as a filler on a first Decca LP. In other words, if the Beatles had put out an LP in 1962, this is the type of material that would have launched the Beatles. We should be glad that the Beatles did not land a contract in 1962 since "Catswalk" is not great. Decca passed. Decca said "no" to the Beatles. The rejection was infamously worded along these lines: “Guitar groups are on their way out, Mr. Epstein." The Decca rejection was a blessing in disguise. The "boys" needed more time to mature in musical terms, and EMI's George Martin was the right man at the right time in 1963. The Beatles ended up with EMI in early 1963, and by that time the boys viewed this type of instrumental as too dated. "Catswalk" has the sound of 1962--therefore, it was not hip enough to be covered in 1963 when the first LP was recorded (in one day!). This is from the rehearsal tapes for the Cavern Club in Liverpool in late 1962. It is one of two run-throughs of a Paul McCartney instrumental, and the Beatles never returned to it. The Beatles played it twice on that day for a tape machine (the two versions are nearly identical). It had been composed a few years earlier since the Beatles had this in their repertoire in the late 1950s. In 1967, five years after this was captured on tape during Cavern Club rehearsals, McCartney gave this tune to Chris Barber's Jazz Band, which recorded a jazzy version with horns and reeds. The song was re-titled "Cat Call" when issued in 1967 on an LP of Lennon-McCartney covers titled The Songs Lennon and McCartney Gave Away. If Paul had not given away this song in 1967, would he have returned to it in 1970 for the McCartney solo LP? If McCartney had not given it to Chris Barber in 1967, he might have resurrected it for his solo LP in 1970! That is what happened with "Hot As The Sun"--an old instrumental revived when Paul needed filler. Paul McCartney was in the studio in 1967 when the jazz version was recorded--it is like vaudeville strip-show music. McCartney even sings harmonies in the jazz version of 1967 (or adds to the voices at the end). That version of "Cat Call" was recorded at Chappell Studios on July 20, 1967. The session's producer was Georgio Gomelsky. The organist was Brian Auger (McCartney was also on keyboard?). Paul McCartney does his "Woooohooo" (like on the Sgt. Pepper LP) at 2.07 in the 1967 version. Tony Barrow's liner notes state that McCartney is one of the cat-callers. When the Chris Barber version was issued in October 1967, credit was given to Paul McCartney, which is interesting since it violated the long-standing "Lennon-McCartney" arrangement for composer credit. Presumably Paul asked John's permission for sole credit to appear! Maybe John had no memory of the song when he replied something like, "Yes, take full credit." But this guitar version is from 1962. That's Ringo on drums, not Pete Best. Thanks to Robert Killingbeck for the title. I had this on a CD of Beatles bootlegs, but I did not know the title for a long time. Richie Unterberger's book titled The Unreleased Beatles identifies this as being on the Cavern Club tapes of late 1962.
Views: 8906 Tim Gracyk
"Mother to Son" Langston Hughes poem = GREAT Viola Davis voice
 
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Mother To Son By Langston Hughes Well, son, I'll tell you: Life for me ain't been no crystal stair. It's had tacks in it, And splinters, And boards torn up, And places with no carpet on the floor— Bare. But all the time I'se been a-climbin' on, And reachin' landin's, And turnin' corners, And sometimes goin' in the dark Where there ain't been no light. So, boy, don't you turn back. Don't you set down on the steps 'Cause you finds it's kinder hard. Don't you fall now— For I'se still goin', honey, I'se still climbin', And life for me ain't been no crystal stair. __________________________________________ This poem resembles "Don't Quit" by Edgar A. Guest. Next are some interpretive questions for discussion in the classroom. 1) Does the mother give words of wisdom, or is she stating the obvious? Doesn't everyone already know that life can be hard? 2) How old is this son? Don't give a range (that's too easy)--give a specific age. 3) The mother uses improper grammar and drops endings from words--why should anyone take the mother seriously if she can't speak properly? She seems to say "don't give up" to her son, but does the poem imply that the mother gave up on school? (NOTE: I am trying to get students to think. One person on youtube said I was "racist" just by asking such questions, but students have the freedom to argue that the bad grammar does not detract from the message, and they have the freedom to argue that we must take history into account.) 4) The mother says, "Don't you set down on the steps." Why can't the son rest? Why not sit down for five minutes before continuing to climb? 5) Why is the word "Bare" given its own line? 6) Is the mother implying that a "crystal stair" is desirable? Staircases are never made of glass--foolish idea, right? 7) "Wise" or "bossy"--which word is more accurate for this mother? Would her words be more effective if the tone were less bossy, or is her tone perfect for this moment? This type of poem is called a "dramatic monologue," but is there too much "monologue" here in the sense that the mother doesn't allow the boy to speak? Is this a lecture? 8) Does the mother say anything ENCOURAGING? Does she ever say light is at the end of the tunnel? Does she imply things will improve if the boy keeps climbing? Will the boy be rewarded if he continues? 9) Or does the poem imply that life for the mother has been a constant struggle, with no rewards to offset the tacks and going in the dark? "Mother to Son" -- some evaluative questions: 1) Could this poem be shaped into a sonnet and still work, or is free verse needed for the poem? 2) If your mother said the poem's words to you at the dinner table tonight, would you appreciate these words or roll your eyes at some point? 3) The poem "Invictus" by William Ernest Henley likewise has a message about not giving up. Which poem is better? ______________________ Background: "Mother to Son" is another product of the Harlem Renaissance. The Harlem Renaissance means an explosion among the arts--poems, paintings, music, novels--produced by African Americans. It started around World War I and ended in the 1930s, but the 1920s was its heyday. This is free verse. It does not have a sonnet structure. It does not rhyme. It has no regular rhythm like iambic. I like the way “bare” stands alone in one line. The word “bare” is bare--or the line is bare. This poem is a great example of a dramatic monologue. The poet created a character--it is not the poet speaking for himself. It is almost as if a boy had earlier said, "Life should be a crystal staircase," and this poem is the mother's response. The problem is that no boy would ever say life should be a crystal staircase! Maybe the boy said, "Life is rough," and the mother is the one who made up the glass stair metaphor. I do marvel that the mother never promises that life will be better in the future. She only says to keep going. Don't expect rewards!
Views: 6057 Tim Gracyk
Mark's gospel Legion Jesus kills 2000 pigs swine Holden Caulfield in The Catcher in the Rye
 
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In Chapter 14 of The Catcher In The Rye, Holden Caulfield criticizes the disciples and says he prefers "that lunatic and all, that lived in the tombs and kept cutting himself with stones." Does Holden like this Bible passage due to tombs? He may have Allie on his mind. The New Testament passage is easy to relate to the novel. Devils end up in 2,000 pigs that go over a cliff, and Holden wants to save kids from a cliff when they play in a field of rye. Some savior should cast out the devils or exorcise demons within Holden! Legion “kept cutting himself with stones." Is Holden the cutter type? He’s a troubled young man. The "lunatic" named Legion is in Mark's gospel, the first gospel to be written. Mark 5:2-13: When Jesus left the ship, out of the tombs came a man with an unclean spirit who lived among the tombs…He had been often bound with chains, and he broke the chains. No man could tame him. Night and day, he was in the mountains and in the tombs, crying and cutting himself with stones. When he saw Jesus, he ran and worshiped Him and cried with a loud voice, “What have I to do with thee, Jesus, thou Son of God?...torment me not.” For Jesus said, “Come out of the man, thou unclean spirit.” Jesus asked, “What is thy name?” He answered, “My name is Legion: for we are many." He begged that Jesus would not send the devils away out into other people. Nearby was a great herd of swine. All the devils begged Jesus, saying, “Send us into the swine, that we may enter into them.” Jesus gave them permission. The unclean spirits went out and entered into the swine. The herd ran violently down a cliff into the sea (they were about 2000) and were drowned in the sea.
Views: 3348 Tim Gracyk
"The Highwayman" poem by ALFRED NOYES
 
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The wind was a torrent of darkness among the gusty trees. The moon was a ghostly galleon tossed upon cloudy seas. The road was a ribbon of moonlight over the purple moor, And the highwayman came riding— Riding—riding— The highwayman came riding, up to the old inn-door. He’d a French cocked-hat on his forehead, a bunch of lace at his chin, A coat of the claret velvet, and breeches of brown doe-skin. They fitted with never a wrinkle. His boots were up to the thigh. And he rode with a jewelled twinkle, His pistol butts a-twinkle, His rapier hilt a-twinkle, under the jewelled sky. Over the cobbles he clattered and clashed in the dark inn-yard. He tapped with his whip on the shutters, but all was locked and barred. He whistled a tune to the window, and who should be waiting there But the landlord’s black-eyed daughter, Bess, the landlord’s daughter, Plaiting a dark red love-knot into her long black hair. And dark in the dark old inn-yard a stable-wicket creaked Where Tim the ostler listened. His face was white and peaked. His eyes were hollows of madness, his hair like mouldy hay, But he loved the landlord’s daughter, The landlord’s red-lipped daughter. Dumb as a dog he listened, and he heard the robber say— “One kiss, my bonny sweetheart, I’m after a prize to-night, But I shall be back with the yellow gold before the morning light; Yet, if they press me sharply, and harry me through the day, Then look for me by moonlight, Watch for me by moonlight, I’ll come to thee by moonlight, though hell should bar the way.” He rose upright in the stirrups. He scarce could reach her hand, But she loosened her hair in the casement. His face burnt like a brand As the black cascade of perfume came tumbling over his breast; And he kissed its waves in the moonlight, (O, sweet black waves in the moonlight!) Then he tugged at his rein in the moonlight, and galloped away to the west. PART TWO He did not come in the dawning. He did not come at noon; And out of the tawny sunset, before the rise of the moon, When the road was a gypsy’s ribbon, looping the purple moor, A red-coat troop came marching— Marching—marching— King George’s men came marching, up to the old inn-door. They said no word to the landlord. They drank his ale instead. But they gagged his daughter, and bound her, to the foot of her narrow bed. Two of them knelt at her casement, with muskets at their side! There was death at every window; And hell at one dark window; For Bess could see, through her casement, the road that he would ride. They had tied her up to attention, with many a sniggering jest. They had bound a musket beside her, with the muzzle beneath her breast! “Now, keep good watch!” and they kissed her. She heard the doomed man say— Look for me by moonlight; Watch for me by moonlight; I’ll come to thee by moonlight, though hell should bar the way!
Views: 13170 Tim Gracyk
"Dream Deferred (Harlem)" Langston Hughes recites his famous poem = Harlem Renaissance literature
 
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Dream Deferred (Harlem) By Langston Hughes What happens to a dream deferred? Does it dry up like a raisin in the sun? Or fester like a sore-- And then run? Does it stink like rotten meat? Or crust and sugar over-- like a syrupy sweet? Maybe it just sags like a heavy load. Or does it explode?
Views: 32618 Tim Gracyk
"Clementine (From New Orleans)" Jean Goldkette & His Orchestra (1927) listen for Bix!
 
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"Clementine (From New Orleans)" is played by Jean Goldkette & His Orchestra on Victor 20994, recorded on September 15, 1927. Listen for Bix!
Views: 1293 Tim Gracyk
"The New Colossus" Emma Lazarus sonnet about the Statue of Liberty FAMOUS POEM
 
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ANALYSIS OF THE SONNET: The poem says the Statue of Liberty holds a "torch," but I prefer the word "flambeau" since torches are sometimes used for destruction. Lady Liberty holds a flambeau or a candle-flame that enlightens. Emma Lazarus contrasts the ancient Colossus of Rhodes (now crumbs at the bottom of the Mediterranean Sea) with the new colossal figure of a woman welcoming those who enter New York Harbor. The former statute, erected around 280 B. C., was one of the Seven Wonders of the Ancient World. It was destroyed by an earthquake. The two statues are contrasts as symbols and even in gender. The female statue talks with “silent lips” (is that possible?) to disenfranchised people throughout the world, showing a light to people who feel they are without opportunities and are in the dark: “I lift my lamp beside the golden door!” The statue wasn’t seen by many immigrants from Asia. California was a door for many Asians who sailed to America. The poem is about the contrasts between the Old World and America. The “ancient lands” (think Europe) gave privileges to rich people, who are called “storied pomp” in the poem, meaning the pompous people you find in stories like Cinderella. The New World instead welcomed common people, even destitute people. That used to be true for America. Does America still welcome poor people from far away? Americans can’t agree on that today. When the U.S. President famously expressed a desire in 2018 for more people from Norway, everyone understood he wants Norwegians not due to a Christian concern for poor people but because they are white. Emma Lazarus' poem is a Petrarchan sonnet, also called the Italian sonnet. The Petrarchan sonnet has two rhyme groups: a section of eight lines (octave), followed by a section of six lines (sestet). But why is this American poem using an Italian form? Well, there is no American sonnet form. The rhyme scheme of the octave (opening 8 lines) is abbaabba. It is followed by the sestet (last 6 lines) of cdcdcd. Don’t confuse the Petrarchan sonnet form with the Shakespearean form, or English sonnet, which has abab, and then cdcd, and then efef, and finally gg. The octave of Lazarus' sonnet (opening 8 lines) stresses the contrasts between the old Colossus of Rhodes (masculine and oppressive) and the New Colossus (feminine and welcoming). But the female statue is not weak--there is no contrast in strength. The “mighty woman” with the torch commands “the imprisoned lightning”--that’s the power of Zeus, Thor, and other male gods. Hillary Clinton told a joke at the expense of Donald Trump: “People look at the Statue of Liberty and they see a proud symbol of our history as a nation of immigrants, a beacon of hope for people around the world. Donald looks at the Statue of Liberty and sees a four. Maybe a five if she loses the torch and tablet and changes her hair.” The joke doesn’t work unless you know that some guys rate women on their looks from 1 to 10. All visuals of the ancient Colossus of Rhodes (that is, the old statue) were “made up” by modern artists since we don’t know what it looked like. The statue fell into the sea two thousand years ago. The statue's initial color was reddish-brown. It turned green only after oxidation. The Statue was partly designed by Gustave Eiffel, who also designed the Eiffel Tower. The original 1886 flambeau was replaced with a new one in 1984. The Statue's seven spikes represent seven continents and seas. Not like the brazen giant of Greek fame, With conquering limbs astride from land to land; Here at our sea-washed, sunset gates shall stand A mighty woman with a torch, whose flame Is the imprisoned lightning, and her name Mother of Exiles. From her beacon-hand Glows world-wide welcome; her mild eyes command The air-bridged harbor that twin cities frame. "Keep, ancient lands, your storied pomp!" cries she With silent lips. "Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tost to me, I lift my lamp beside the golden door!"
Views: 2810 Tim Gracyk
"Tramp! Tramp! Tramp!" George F. Root classic Civil War song on 1907 cylinder
 
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George F. Root's "Tramp! Tramp! Tramp!" (or "Tramp, Tramp, Tramp, The Boys Are Marching") is sung by Harlan and Stanley on Edison Gold Moulded Record 9439, issued in 1907. In the prison cell I sit, thinking, Mother, dear, of you and our bright and happy home so far away! And the tears they fill my eyes 'spite of all that I can do though I try to cheer my comrades and be gay. Tramp! Tramp! Tramp! The boys are marching! Cheer up, comrades--they will come. And beneath the starry skies we will breathe the air again of the free land in our own beloved home. "Tramp! Tramp! Tramp!" started as a Northern song, but it became so popular that it crossed to the enemy side, with Confederacy creating its own Southern lyrics. George F. Root lived from 1820 to 1895. George Root also wrote The Vacant Chair, The Battle Cry of Freedom and Just Before the Battle, Mother.
Views: 2337 Tim Gracyk
Charlie Parker "Stupendous" Dodo Marmarosa Howard McGhee & Barney Kessel
 
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Charlie Parker's New Stars play "Stupendous" on Dial 1030. Recorded February 26, 1947, in Hollywood for Dial Records. Charlie Parker on alto sax Wardell Gray on tenor sax Howard McGhee on trumpet Dodo Marmarosa on piano Barney Kessel on guitar Red Callender on bass Don Lamond on drums Alto Saxophone – Charlie Parker Bass – Red Callender Drums – Don Lamond Guitar – Barney Kessel Piano – Dodo Marmarosa Tenor Saxophone – Wardell Gray Trumpet – Howard McGhee
Views: 850 Tim Gracyk
"Preludes" T. S. Eliot poem read by Sir Alec Guinness
 
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Preludes BY T. S. ELIOT I The winter evening settles down With smell of steaks in passageways. Six o’clock. The burnt-out ends of smoky days. And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots; The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps. And then the lighting of the lamps. II The morning comes to consciousness Of faint stale smells of beer From the sawdust-trampled street With all its muddy feet that press To early coffee-stands. With the other masquerades That time resumes, One thinks of all the hands That are raising dingy shades In a thousand furnished rooms. III You tossed a blanket from the bed, You lay upon your back, and waited; You dozed, and watched the night revealing The thousand sordid images Of which your soul was constituted; They flickered against the ceiling. And when all the world came back And the light crept up between the shutters And you heard the sparrows in the gutters, You had such a vision of the street As the street hardly understands; Sitting along the bed’s edge, where You curled the papers from your hair, Or clasped the yellow soles of feet In the palms of both soiled hands. IV His soul stretched tight across the skies That fade behind a city block, Or trampled by insistent feet At four and five and six o’clock; And short square fingers stuffing pipes, And evening newspapers, and eyes Assured of certain certainties, The conscience of a blackened street Impatient to assume the world. I am moved by fancies that are curled Around these images, and cling: The notion of some infinitely gentle Infinitely suffering thing. Wipe your hand across your mouth, and laugh; The worlds revolve like ancient women Gathering fuel in vacant lots.
Views: 1511 Tim Gracyk
Eleonora de Cisneros “Ben Bolt” (Edison cylinder) Oh, don't you remember sweet Alice, Ben Bolt?
 
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Eleonora de Cisneros sings “Ben Bolt” on Edison Amberol 28017, issued in 1912. "Ben Bolt" was originally a poem written by Thomas Dunn English and published in 1843. Composer and musician Nelson Kneass added music in 1848, changing some words. It became one of the most popular songs of the 19th century. Kneass died in 1868 while on tour with a theatrical troupe in Chillicothe, Missouri. He was buried in Edgewood cemetery. Eleonora de Cisneros possessed a contralto voice of great expressiveness. She was born Eleanora Broadfoot on November 1, 1878, in New York. She died on February 3, 1934, in New York. When young, she studied with Mme. Murio-Celli in New York. During her studies she was discovered by Jean De Reszke, who brought her to the attention of the Metropolitan Opera, where she made her debut in 1900 as Rossweisse in Die Walkure. In 1901 she married the Cuban count Francesco de Cisneros, and from that time on she used that last name. In 1901 she went to Europe for further study with Jean De Reszke and Victor Maurel in Paris and with Trabadello and Lombadri in Milan. In 1902 she appeared in Turin and had a starring career for the next twelve years at the largest Italian theaters. She sang at La Scala in 1906 in the world premiere of La Figlia di Jorio, and in 1908 in the first performance of Elektra and Queen of Spades. From 1906 to 1911 she was the principal contralto at the Manhattan Opera. She then sang with the Philadelphia-Chicago Company and until 1916 with the Chicago Opera. In 1914 she sang Brangane in Tristan und Isolde at the Theatre des Champs-Elysees. In 1915 she toured Cuba, Australia, and New Zealand. In 1925 she appeared occasionally at La Scala as Herodias in Salome and lived until 1929 in Paris. Thereafter she became a singing teacher in New York. Oh, don't you remember sweet Alice, Ben Bolt? Sweet Alice with hair so brown? She wept with delight when you gave her a smile, and she trembled with fear at your frown. In the old church yard in the valley, Ben Bolt, in a corner obscure and alone, they have fitted a slab of granite so gray, and sweet Alice lies under the stone.
Views: 1440 Tim Gracyk
Christopher Marlowe “The Passionate Shepherd to His Love” pastoral Come live with me and be my love
 
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The Passionate Shepherd to His Love By Christopher Marlowe Come live with me and be my love, And we will all the pleasures prove, That Valleys, groves, hills, and fields, Woods, or steepy mountain yields. And we will sit upon the Rocks, Seeing the Shepherds feed their flocks, By shallow Rivers to whose falls Melodious birds sing Madrigals. And I will make thee beds of Roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of Myrtle; A gown made of the finest wool Which from our pretty Lambs we pull; Fair lined slippers for the cold, With buckles of the purest gold; A belt of straw and Ivy buds, With Coral clasps and Amber studs: And if these pleasures may thee move, Come live with me, and be my love. The Shepherds’ Swains shall dance and sing For thy delight each May-morning: If these delights thy mind may move, Then live with me, and be my love. Any poem that celebrates working or being in nature, especially keeping sheep as a shepherd, is called a pastoral. That’s the name for a poem that creates an idealized vision of rural life. Such poetry was especially popular among high class courtiers who were weary of gossip, backstabbing, and political games played at the courts of kings and queens. Raising sheep in the country seems the opposite of court life, so the thought of fleeing to a rural area was appealing--a case of grass being greener (literally since sheep need grass). An example is Christopher Marlowe’s “The Passionate Shepherd to His Love.” What fun to be with a loved one in the countryside, breathing fresh air and making a cap out of flowers! It’s like returning to the Garden of Eden! 31) Christopher Marlowe’s “The Passionate Shepherd to His Love” is an example of ________________________ a. narrative poem b. an Italian sonnet c. lyric poem d. a pastoral e. “c” and “d” 32) Which type of imagery is featured in the second and third stanzas? a. visual b. auditory c. olfactory d. “a” and “b” e. “a,” “b,” and “c” 33) The speaker’s ultimate intent with his love is to _____________________ a. praise her many charms b. seduce her c. demonstrate the purity of his love d. Convince her of his cleverness e. Share with her his dreams of the future 34) What is the predominant meter used in Christopher Marlowe’s “The Passionate Shepherd to His Love”? a. iambic trimeter b. trochaic trimeter c. iambic tetrameter d. trochaic tetrameter e. iambic pentameter 35) The poem’s last two lines feature what literary device? a. onomatopoeia b. free verse c. sight rhyme d. metaphor e. olfactory imagery
Views: 2734 Tim Gracyk
Jolly Good Fellows sing "Take Me Back To Dear Old Blighty," World War I classic
 
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The Jolly Good Fellows sing "Take Me Back To Dear Old Blighty," recorded in 1930 and issued on Regal 193.
Views: 1900 Tim Gracyk
"Lily of Laguna" British music hall sung by Whispering Jack Smith LYRICS
 
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She's my lady love-- She is my dove, my baby love. Now, she's no gal for sitting down to dream. She's the only queen Laguna knows. I know she likes me. I know she likes me Because she says so. She is ma Lily of Laguna. She is ma Lily and ma Rose.
Views: 2425 Tim Gracyk
"The Day Is Done" poem by Henry Wadsworth Longfellow
 
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The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an eagle in his flight. I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o'er me That my soul cannot resist: A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain. Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day. Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time. For, like strains of martial music, Their mighty thoughts suggest Life's endless toil and endeavor; And to-night I long for rest. Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start; Who, through long days of labor, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies. Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer. Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.
Views: 1512 Tim Gracyk
Hot Tuna "Keep Your Lamps Trimmed And Burning" Jorma Kaukonen & Jack Cassidy 1975
 
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Hot Tuna "Keep Your Lamps Trimmed And Burning" Jorma Kaukonen & Jack Cassidy 1975 From Splashdown, which is excellent throughout!
Views: 1823 Tim Gracyk
Blind Willie Johnson “God Don't Never Change” slide guitar bottleneck blues
 
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Blind Willie Johnson plays and sings “God Don't Never Change," recorded on December 10, 1929, in New Orleans. Blind" Willie Johnson lived from 1897 to 1945. This African-American singer and guitarist was a pioneer in mixing blues and spirituals. Lyrics of all his songs were religious, but his music drew from both sacred and blues traditions. He was one of the greatest slide (bottleneck) guitarists of his generation. When singing, he sometimes used a gravelly false-bass voice, but other times he made use of a tenor voice.
Views: 1288 Tim Gracyk
Peter Dawson sings “A Bachelor Gay” LYRICS
 
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Peter Dawson sings “A Bachelor Gay” A bachelor gay am I, though I suffer from Cupid's dart But never I vow will I say die in spite of an aching heart For a man who has loved a girl or two though the fact must be confessed He always swears the whole way through To every girl he tries to woo That he loves her far the best: At seventeen he falls in love quite madly with eyes of tender blue At twenty-four he gets it rather badly with eyes of a different hue At thirty-five, you'll find him flirting sadly with two or three or more When he fancies he is past love It is then he meets his last love And he loves her as he's never loved before. A girl as you've heard of old, is a kind of a paradox She changes her mind more times I'm told than ever she does her frocks. And a man's like a moth around a flame for it's nearly always found He burns his wings but all the same The nicest part of Cupid's game Is fluttering round and round: At seventeen he falls in love quite madly with eyes of tender blue At twenty-four he gets it rather badly with eyes of a different hue At thirty-five, you'll find him flirting sadly with two or three or more When he fancies he is past love It is then he meets his last love And he loves her as he's never loved before. Peter Smith Dawson, born on January 31, 1882, in Adelaide, South Australia, was one of his generation's most versatile singers. He made superb records of operatic arias, oratorio solos, sentimental ballads, upbeat popular songs, and parlor tunes. He possessed an incredibly rich bass-baritone voice. He was deft at interpretation, and his enunciation was spectacular. He came from a humble background. His father was Thomas Dawson, ironworker and plumber. Peter Dawson sang as a boy soprano at a social at the College Park Congregational Church, St Peters, and was later in the St Andrew's Presbyterian Church choir. In 1902, Dawson moved to London and studied with Charles Santley and others. On 20 May 1905 he married Annie Mortimer Noble, a soprano with the stage name of Annette George. They had no children. He was incredibly popular as a recording artist. He could have enjoyed more success on the stage as an opera singer had he made a stronger effort with opera companies. In 1909, he appeared at the Royal Opera House, Covent Garden, as the Night Watchman in Richard Wagner's Mastersingers of Nuremberg--one time he did appear in opera. But he realized a career in opera would not have been nearly as lucrative as the one he chose--as a concert and oratorio singer. Making records fit perfectly with this choice. Had he been born in an earlier generation, this career of concert singer balanced with recording work would not have been available. He was born at the right time, taking advantage of recording opportunities that came his way, his voice "right" for the recording technology evolving in the years Dawson was in peak form (his voice never really declined until the 1950s). In 1904 he made a test record for the Edison Bell Phonograph Co., and later that year began a long career (five decades) for HMV--that is, His Master's Voice. During World War II until 1947, Dawson lived in Sydney. During the war he sang for the troops and on recruiting drives in Australia and elsewhere. He wanted to retire after the war but the income from singing (and recording) continued to prove alluring. He continued to give his time and talent to recording studios long after others might have retired. Dawson died on September 27, 1961, in Sydney.
Views: 1310 Tim Gracyk
"Concord Hymn" Ralph Waldo Emerson Battle Monument, near Old Manse
 
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Concord Hymn By Ralph Waldo Emerson Sung at the Completion of the Battle Monument, July 4, 1837 By the rude bridge that arched the flood, Their flag to April’s breeze unfurled, Here once the embattled farmers stood And fired the shot heard round the world. The foe long since in silence slept; Alike the conqueror silent sleeps; And Time the ruined bridge has swept Down the dark stream which seaward creeps. On this green bank, by this soft stream, We set today a votive stone; That memory may their deed redeem, When, like our sires, our sons are gone. Spirit, that made those heroes dare To die, and leave their children free, Bid Time and Nature gently spare The shaft we raise to them and thee.
Views: 2208 Tim Gracyk
Jim Europe's 369th Infantry "Hellfighters" Band "On Patrol In No Man's Land" James Reese Europe
 
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Jim Europe's 369th Infantry "Hellfighters" Band plays "On Patrol In No Man's Land" with Noble Sissle singing. This is on Pathe 22089, recorded in mid-March 1919. The exact recording date is unknown since Pathe ledgers are unavailable--probably lost. This was recorded two months before the death of James Reese Europe at age 39. He was murdered in Boston on May 9, 1919. THIS RECORD IS UNIQUE! NO COMPANY HAD ISSUED ANY RECORDING LIKE THIS BEFORE! What the time? Nine? Fall in line. All right, boys--now, take it slow. Are you ready? Steady! Very good, Eddie. Over the top--let's go! Quiet, lie it--else you'll start a riot. Keep your proper distance--follow 'long. Cover, brother, and when you see me hover, obey my orders and you won't go wrong! There's a Minenwerfer [German mortar] coming--look out (bang!). Hear that roar (bang!)! There's one more (bang!). Stand fast--there's a Very light [flare]. Don't gasp or they'll find you all right. Don't start to bombing with those hand grenades. (Rat-a-tat-tat-tat.) There's a machine gun, holy spades! Alert, gas! Put on your mask. Adjust it correctly and hurry up fast. Drop! There's a rocket from the Boche [German] barrage. Down, hug the ground--close as you can! Don't stand! Creep and crawl--follow me, that's all. What do you hear? Nothing near. Don't fear--all is clear. That's the life of a stroll when you take a patrol out in No Man's Land. Ain't it grand out in No Man's Land? Europe's music on Pathé discs is different from that of Europe's Society Orchestra issued on Victor discs five years earlier. The musicians were different; popular music had changed; instead of making dance records, he now worked in a military band tradition, conducting different instruments than in earlier years. Whereas none of the Victor recordings featured vocals, some Pathés feature singers Noble Sissle and C. Creighton Thompson. Moreover, different technology was used. It is unfortunate that his final discs are vertical-cut records. In the year the records were issued, hill-and-dale technology was quickly losing favor with record buyers. By 1920 nearly all talking machines were made for lateral-cut discs. Equipment for playing Pathé discs became relatively scarce in subsequent years. Had his records been made with lateral-cut technology, they might have enjoyed more popularity and his name might have been better remembered by subsequent generations. After four sessions with Europe, the Pathé company issued a special flier announcing new titles: "Eleven records of the world's greatest exponent of syncopation just off the press." In bold type, the flier announced, "Jim Europe's jazz will live forever." Sadly, the music became relatively obscure. Europe's musicians perform more in a military band tradition than in the new jazz idiom. Nonetheless, Europe is a significant pre-jazz artist or transitional figure, the most important African-American musical leader in the period when ragtime was on the wane but before the reign of King Oliver and Louis Armstrong. Europe suffered a fatal stabbing two days after his band cut six titles for Pathé on May 7, 1919. There was no clear motive for the backstage attack during a Boston's Mechanics Hall concert. Accounts differ, but it seems that Europe reprimanded Herbert Wright for the drummer's unprofessional habit of walking on and off stage while other acts performed. Herbert Wright was already simmering from what he perceived as favoritism, feeling the bandleader never blamed Steven Wright for mistakes but only criticized Herbert (together, Steven and Herbert Wright made up the "Percussion Twins"--they shared surnames but were not related). When Europe ordered Wright to leave a dressing room, the unstable drummer produced a penknife and stabbed the bandleader in the neck. Others in the room, including Sissle, were unable to stop Wright. Europe was rushed to City Hospital but soon died.
Views: 945 Tim Gracyk
Hank Williams & His Drifting Cowboys "My Love For You Has Turned To Hate"
 
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Hank Williams & His Drifting Cowboys "My Love For You Has Turned To Hate" Sound file was done by Cary Ginell.
Views: 1061 Tim Gracyk
"Mother to Son" Langston Hughes recites famous Harlem Renaissance poem
 
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Mother To Son By Langston Hughes Well, son, I'll tell you: Life for me ain't been no crystal stair. It's had tacks in it, And splinters, And boards torn up, And places with no carpet on the floor— Bare. But all the time I'se been a-climbin' on, And reachin' landin's, And turnin' corners, And sometimes goin' in the dark Where there ain't been no light. So, boy, don't you turn back. Don't you set down on the steps 'Cause you finds it's kinder hard. Don't you fall now— For I'se still goin', honey, I'se still climbin', And life for me ain't been no crystal stair. __________________________________________ This poem resembles "Don't Quit" by Edgar A. Guest. Next are some interpretive questions for discussion in the classroom. 1) Does the mother give words of wisdom, or is she stating the obvious? Doesn't everyone already know that life can be hard? 2) How old is this son? Don't give a range (that's too easy)--give a specific age. 3) The mother uses improper grammar and drops endings from words--why should anyone take the mother seriously if she can't speak properly? She seems to say "don't give up" to her son, but does the poem imply that the mother gave up on school? (NOTE: I am trying to get students to think. One person on youtube said I was "racist" just by asking such questions, but students have the freedom to argue that the bad grammar does not detract from the message, and they have the freedom to argue that we must take history into account.) 4) The mother says, "Don't you set down on the steps." Why can't the son rest? Why not sit down for five minutes before continuing to climb? 5) Why is the word "Bare" given its own line? 6) Is the mother implying that a "crystal stair" is desirable? Staircases are never made of glass--foolish idea, right? 7) "Wise" or "bossy"--which word is more accurate for this mother? Would her words be more effective if the tone were less bossy, or is her tone perfect for this moment? This type of poem is called a "dramatic monologue," but is there too much "monologue" here in the sense that the mother doesn't allow the boy to speak? Is this a lecture? 8) Does the mother say anything ENCOURAGING? Does she ever say light is at the end of the tunnel? Does she imply things will improve if the boy keeps climbing? Will the boy be rewarded if he continues? 9) Or does the poem imply that life for the mother has been a constant struggle, with no rewards to offset the tacks and going in the dark? "Mother to Son" -- some evaluative questions: 1) Could this poem be shaped into a sonnet and still work, or is free verse needed for the poem? 2) If your mother said the poem's words to you at the dinner table tonight, would you appreciate these words or roll your eyes at some point? 3) The poem "Invictus" by William Ernest Henley likewise has a message about not giving up. Which poem is better? ______________________ Background: "Mother to Son" is another product of the Harlem Renaissance. The Harlem Renaissance means an explosion among the arts--poems, paintings, music, novels--produced by African Americans. It started around World War I and ended in the 1930s, but the 1920s was its heyday. This is free verse. It does not have a sonnet structure. It does not rhyme. It has no regular rhythm like iambic. I like the way “bare” stands alone in one line. The word “bare” is bare--or the line is bare. This poem is a great example of a dramatic monologue. The poet created a character--it is not the poet speaking for himself. It is almost as if a boy had earlier said, "Life should be a crystal staircase," and this poem is the mother's response. The problem is that no boy would ever say life should be a crystal staircase! Maybe the boy said, "Life is rough," and the mother is the one who made up the glass stair metaphor. I do marvel that the mother never promises that life will be better in the future. She only says to keep going. Don't expect rewards!
Views: 10686 Tim Gracyk
The Limeliters "Paco Peco"
 
02:16
Sound file was done by Cary Ginell.
Views: 954 Tim Gracyk
"Woody Woodpecker Song" Kay Kyser & His Orchestra (Gloria Wood vocalist) Columbia 38197 (1947)
 
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"Woody Woodpecker Song" Kay Kyser & His Orchestra Gloria Wood is the vocalist Columbia 38197 (December 31, 1947) Sound file was done by John Murphy
Views: 1674 Tim Gracyk
"No Night There (City Four Square)" sacred hymn by H. P. Danks (Elizabeth Lennox)
 
02:37
"No Night There (City Four Square) is sung by Elizabeth Lennox and Male Trio on Brunswick 2720. Sound file was done by Jeremy Passarelli. In the land of endless day lies the city four-square; it shall never pass away and there is no night there. God shall wipe away all tears; there's no death, no pain, nor fears; and thy count not time by years for there is no night there. All the gates of pearl are made in the city four-square; all the streets with gold are laid, and there is no night there. And the gates shall never close in the city four-square, there life's crystal river flows, and there is no night there. There thy need no sunshine bright, in that city four-square; for the Lamb is all the light, and there is no night there.
Views: 5887 Tim Gracyk
Ada Jones & Billy Murray "Shine On, Harvest Moon" on Edison cylinder 1909
 
02:10
Ada Jones and Billy Murray sing "Shine On, Harvest Moon" on Edison Standard Record 10134, issued in 1909. This song was written by Nora Bayes and Jack Norworth, a famous married couple that performed together on stage. They introduced the song in the "Ziegfeld Follies of 1908," and it became very popular. Ruth Etting revived the song in the 1931 Follies. The night was mighty dark so you could hardly see, For the moon refused to shine. Couple sitting underneath a willow tree, For love they did pine. Little maid was kinda 'fraid of darkness So she said, "I guess I'll go." Boy began to sigh, looked up at the sky, And told the moon his little tale of woe Oh, Shine on, shine on, harvest moon Up in the sky; I ain't had no lovin' Since April, January, June or July. Snow time ain't no time to stay Outdoors and spoon; So shine on, shine on, harvest moon, For me and my gal.
Views: 884 Tim Gracyk
Danny Kaye, Jimmy Durante, Jane Wyman, & Groucho Marx "Black Strap Molasses"
 
02:38
The song "Black Strap Molasses" is by Carmine Ennis and Marilou Harrington. Sound file was done by Cary Ginell.
Views: 653 Tim Gracyk

The Debate Over Pubg New Weapons Top Tips of Pubg Quotes

For competitive play its important to draw players in with more than simply bragging rights. Therefore, only a mid-range smartphone that players may have the game perfectly. Unfortunately, theres no game out there which exactly resembles GGO. A game like PUBG needs to be handled with care. For example in Pubg, the gameplay is sort of slow when compared with its two concurrents, thus if the looting process is adaptive he must be also slow to be prosperous. The graphics werent as developed as various other versions, and it doesnt support split-screen for the Multiplayer. Equipping a unique mod before starting a match permits you to carry eight of them simultaneously! Pubg New Weapons - Dead or Alive? If a person is suspected of travelling abroad to take part in terrorism, police can seize passports for as much as 30 days while the person is investigated further. The very first step on that is to construct a Boosted Implosion bomb. So hunting the enemies is the very best approach to have higher chance to receive fantastic items, hence higher opportunity to win the game eventually. For example, you are within fire and attempting to sprint to a cover. Youve got a great deal of ground to cover, so if you dont find a Chocobo Stable you can expect to become into a great deal of battles. If it is not dead by now, then theres something holding it, and perhaps its player base on console that might be not THAT small. PUBGs strong place in the territory can likewise be seen in the quantity of time players are spending in the game. 1 hit kill no matter in which you hit (back as soon as the Alpha was playable). Oddly enough, getting shot all of the time actually makes the entire thing not as stressful. The guns have three distinct modes of operation, every one of which will decide on the action of the trigger tail on the firing pin, and thus will be taken into consideration in its usage. A pistol will be a lot better for combat, for an extremely speedy usage, but the revolver will promise a lengthier life, without needing to pay exclusive attention. The video game release schedule is in fact manageable for the very first time in months. In pretty much every city and town in the USA, and many around the Earth, youll discover a public venue that hosts live music. Theres additionally a multiplayer arena to check your skills against other players online. Comparable to other Battle Royale games, the aim is to survive until youre the last man standing. My team and I can truly feel the growth to initiate a new battle immediately. 1 match may offer you a terrific bounty early, the subsequent one a weak haul. Losing a match in the very first couple minutes isnt so bad once youre in a position to swiftly hop into another. Competitive titles which have been successful in retaining a huge player base are simple to learn but hard to master. Theres a keen consciousness of the volatile potential for sudden violence. The community of players are extremely tough hereguys dont permit one another to relax. Therefore the public ought to go about their company in the standard way and, like usual, be vigilant and cooperate with the police. The most recent report claims that 100 million plays monthly. Underneath, theres a grace note of menace. Using oral histories is extremely specific and very intricate.

Based on everybodys skills, maps differ from close range to medium or massive places. Since that time, the community-made map was retooled and remastered nearly a dozen times, and is presently known as Dust2. The in-game map outlines the circular zone which you want to reach from the offset, and the HUD shows a handy graph of the rest of the distance youve got to cover and how long youve left to get there. The new PUBG map is going to be a 4x4 kilometers in proportion, a quarter size of Miramar map, so the matches can be held at a significantly faster pace. In any event, you should keep moving towards a gradually shrinking playable place. Also, there arent any danger zones in the game to assemble player. The New Angle On Pubg Game Modes Just Released

Your game style has an important role here. Until then, make sure you check Battlegrounds to find out whether the customized match feature is up and running. With a number of the games finest players and most well-known streamers attending, its going to be the very first showcase of PUBGs esports potential. You can find with some completely new blend of cocktail drink and have fun naming it. The usage of oral histories is quite specific and very intricate. A wonderful case of the particular abilities is Faceless. Itas one any variety of others would do. Contrary to other lists, the amount of appearances made by the players is taken into account. Before you begin a Call of Duty WW2 Nazi zombie game, equip the exceptional ability that enables you to shoot infinite ammo for a temporary time period. What You Dont Know About Pubg Rating

You havent tasted the authentic Italian cuisine till you eat in Puglia. Utilizing traditional and contemporary techniques of brewing, its known for some exceptional beer tastes. If youre browsing for some normal British beer taste, then its possible to bank upon Carling, which is an organization that itself believes there is nothing better than the British barley. Halloumi cheese has a rather significant melting point that makes it perfect for grilling or frying. Its possible to opt from a number of alcoholic drinks but then, you need to know their names. You also get a totally free birthday drink. When a specific alcohol is mixed with fruit juice, liqueur or other flavors in a particular proportion, its referred to as a cocktail. What You Need to Know About Pubg Rating If youre thinking of visiting the Harry Potter Wizarding World, you are going to want to get the actual perspective on what to anticipate. With a timeless haunting, the soul of a dead person has made a decision to stay behind for numerous factors. Okay, unless youve been buried beneath a rock for a gamer, you already understand what TitanFall is about. Either way, be certain the fan you get is UL Listed for the application you need so you know that it can be safely installed without developing a possible electrical hazard. In more humid climates, outdoor fans are a really good pick for every room in the house. If youre planning on installing a ceiling fan in an outdoor place, its important to buy a fan thats designed particularly for that goal.

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