Early streetcars had horsepower, literally; they were drawn by horses or mules and called “horsecars.” By the late 1880s, there were 415 street railway companies in the US. However, horses could only work for about four hours a day and needed to be groomed, fed, and housed—and they left behind tremendous amounts of waste. These issues, coupled with the introduction of the overhead trolley system in 1887, spelled the end of the horsecar era. Where was the last functional horsecar in the US? More…Discuss
“Light My Fire” is a song originally performed by The Doors which was recorded in August 1966 and released the first week of January 1967. It spent three weeks at #1 on the Billboard’s Hot 100, and one week on the Cashbox Top 100. It was re-released in 1968, peaking at #87. The song was largely written by Robby Krieger, and credited to the entire band. A live version was released in 1983 on their album Alive, She Cried, the first of several live or compilation albums released in subsequent decades to include the song.
“Light My Fire” also achieved modest success in Australia, where it peaked at #22 on the ARIA chart. The single originally reached #49 in the UK in 1967, but experienced belated success in that country in 1991 when a re-issue peaked at #7. The re-issue occurred on the back of revived interest in the band following Oliver Stone‘s film biopic “The Doors”. The single has been certified in 1967 a gold by the Recording Industry Association of America.
The song is #35 on Rolling Stone’s list of the 500 Greatest Songs of All Time.It was also included in the Songs of the Century list and was ranked number 7 in VH1’s 100 Greatest Songs of All Time list.
Hi, how you doin’ there? Y-e-ah. Looking good. Everything is fucked up as usual… you know…
WHOOOOOAAAAAAOOOO – C´MON! A-keep your eyes on the road, your hands upon the wheel A-keep your eyes on the road, your hands upon the wheel Come to the Roadhouse, gonna have a real, a good time.
Yeah, at the back of the Roadhouse they got some bungalows. Ah, at the back of the Roadhouse they got some bungalows. That’s for the people… like to go down slow.
Let it roll, baby, roll, Let it roll, baby, roll, Let it roll, baby, roll, Let it roll — all night long.
Ashen lady, Ashen lady, Give up your vows, Give up your vows. Save our city, save our city Right now!
Yeah, I woke up this morning, I got myself a beer. Well, I woke up this morning, I got myself a beer. Future’s uncertain and the end is always near.
Let it roll, baby, roll, Let it roll, baby, roll, Let it roll, baby, roll, Let it roll — all night long.
A Hard Day’s Night is the third studio album by British rock group the Beatles, released on 10 July 1964, with side one containing songs from the soundtrack to their film A Hard Day’s Night. The American version of the album was released two weeks earlier, on 26 June 1964 by United Artists Records, with a different track listing. This is the first Beatles album to be recorded entirely on four-track tape, allowing for good stereo mixes. While showcasing the development of the band’s songwriting talents, the album sticks to the basic rock and roll instrumentation and song format.[citation needed] The album contains some of their most famous songs, including the title track, with its distinct, instantly recognisable opening chord, and the previously released “Can’t Buy Me Love”; both were transatlantic number-one singles for the band. The title of the album was the accidental creation of drummer Ringo Starr. According to Lennon in a 1980 interview with Playboy magazine: “I was going home in the car and Dick Lester [director of the movie] suggested the title, ‘Hard Day’s Night‘ from something Ringo had said. I had used it in ‘In His Own Write’, but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringo-ism, where he said it not to be funny … just said it. So Dick Lester said, ‘We are going to use that title.'” In 2000, Q placed A Hard Day’s Night at number five in its list of the 100 Greatest British Albums Ever. In 2012, A Hard Day’s Night was voted 307th on Rolling Stone magazine‘s list of the “500 Greatest Albums of All Time“.
1. A Hard Day’s Night 2. I Should Have Known Better 3. If I Fell 4. I’m Happy Just to Dance with You 5. And I Love Her 6. Tell Me Why 7. Can’t Buy Me Love 8. Any Time at All 9. I’ll Cry Instead 10. Things We Said Today 11. When I Get Home 12. You Can’t Do That 13. I’ll Be Back
Franz LISZT: Grandes études de Paganini, S.141, LW.A173 (1851)0:10 / No.3 – La Campanella. Allegretto in G-sharp minor (based on Paganini‘s 2nd Violin Concerto Op.7) [4’36”] François-René DUCHABLE, piano (rec: Paris, Salle Wagram, 1974)
The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published asÉtudes d’exécution transcendante d’après Paganini, S.140, in 1838). It is almost exclusively in the final version that these pieces are played today.
The pieces are all based on the compositions of Niccolò Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the performer of an eleventh (although all stretches greater than a tenth were removed from the revised versions).
No, this is not about Paris. I was floating in memories letting them carry me away. Doing some resetting too.
The first symphonic work by G. Fauré (1845-1924), the great master of french song, had its première in 1881. It was composed earlier when the composer broke his affair with Marianne Viardot (yes, Pauline´s daughter). When Liszt played the work in a friendly meeting with Fauré, arranged by Saint Saens in Weimar in 1877, he said ´´this is too difficult“, leaving the scholars ever since aghast. Some of them claim that Liszt had troubles of vision at that time.
Vasso Devetzi, greek pianist, Thessaloniki, September the 9th, 1927- Paris, November the 1st, 1987. An ambitious artist who defined herself in her cv through her friendships. So, friend of the composer Mikis Theodorakis and late friend of Maria Callas. In the 50´s she moved to Paris. She became friend with Marguerite Long, Henri Sauguet, René Dumesnil, Bernard Gavoty, Claude Rostand, Jacques Fevrier, Jean Roire. . . It is said that M. Long gave the score of this ballade to Devetzi. In the 1960’s and 1970’s she lived long periods in Soviet Union. Soprano Galina Vishnevskaja and cellist Mstislav Rostropovich were her good friends, and she often accompanied them. During her last years she was the president of the Maria Callas Foundation, which provided international scholarships for young singers. She organized the ceremony of spreading Callas´s ashes in the Aegean sea. Greek people, regretfully, rarely talk about Devetzi.
The ballade was recorded in 1963 in Salle Wagram in Paris. An excellent result in my opinion. Serge Baudo conducts Devetzi and the Orchestre de la Socièté des Concerts du Conservatoire de Paris, long and dull name for the ancestor of the Orchestre de Paris. Chant du Monde, France.
Donald Tovey has connected Beethoven to the earlier tradition in a different way:
“
Not even Bach or Handel can show a greater sense of space and of sonority. There is no earlier choral writing that comes so near to recovering some of the lost secrets of the style of Palestrina. There is no choral and no orchestral writing, earlier or later, that shows a more thrilling sense of the individual colour of every chord, every position, and every doubled third or discord.
In this famous portrait of Beethoven byJoseph Karl Stieler, Beethoven can be seen working on the Missa solemnis in D major.
The Missa solemnis in D major, Op. 123 was composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St. Petersburg, Russia, under the auspices of Beethoven’s patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer.[1] It is generally considered to be one of the composer’s supreme achievements. Together with Bach’s Mass in B minor, it is the most significantMass setting of the common practice period.
Despite critical recognition as one of Beethoven’s great works from the height of his composing career,Missa solemnis has not achieved the same level of popular attention that many of his symphonies and sonatas have enjoyed.[citation needed] Written around the same time as his Ninth Symphony, it is Beethoven’s second setting of the Mass, after his Mass in C, Op. 86.
Like most Masses, Beethoven’s Missa solemnis is in five movements:
Kyrie: Perhaps the most traditional of the Mass movements, the Kyrie is in a traditional ABA’ structure, with stately choral writing in the first movement section and more contrapuntal voice leading in the Christe, which also introduces the four vocal soloists.
Gloria: Quickly shifting textures and themes highlight each portion of the Gloria text, in a beginning to the movement that is almost encyclopedic in its exploration of 3/4 time. The movement ends with the first of the work’s two massive fugues, on the text “In gloria Dei patris. Amen”, leading into a recapitulation of the initial Gloria text and music.
Credo: One of the most remarkable movements to come from Beethoven’s pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modalharmonies for the “et incarnatus” yield to ever more expressive heights through the “crucifixus”, and into a remarkable, a cappella setting of the “et resurrexit”that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on “et vitam venturi” that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion. The form of the Credo is divided into four parts: (I) allegro ma non troppo through “descendit de coelis” in B-flat; (II) “Incarnatus est” through”Resurrexit” in D; (III) “Et ascendit” through the Credo recapitulation in F; (IV) Fugue and Coda “et vitam venturi saeculi, amen” in B-flat.
Sanctus: Up until the benedictus of the Sanctus, the Missa solemnis is of fairly normal classical proportions. But then, after an orchestral preludio, a solo violin enters in its highest range — representing the Holy Spirit descending to earth — and begins the Missa’s most transcendently beautiful music, in a remarkably long extension of the text.
Agnus Dei: A setting of the plea “miserere nobis” (“have mercy on us”) that begins with the men’s voices alone in B minor yields, eventually, to a bright D-major prayer “dona nobis pacem” (“grant us peace”) in a pastoral mode. After some fugal development, it is suddenly and dramatically interrupted by martial sounds (a convention in the 18th century, as in Haydn‘s Missa in tempore belli), but after repeated pleas of “miserere!”,eventually recovers and brings itself to a stately conclusion.
Záznam z Novoročního koncertu České filharmonie 1. 1. 2013 v pražském Rudolfinu. / Czech Philharmonic performing at the 2013 New Year Eve’s concert in Rudolfinum, Prague.
If it be your will That I speak no more And my voice be still As it was before I will speak no more I shall abide until I am spoken for If it be your will If it be your will That a voice be true From this broken hill I will sing to you From this broken hill All your praises they shall ring If it be your will To let me sing From this broken hill All your praises they shall ring If it be your will To let me sing
If it be your will If there is a choice Let the rivers fill Let the hills rejoice Let your mercy spill On all these burning hearts in hell If it be your will To make us well
And draw us near And bind us tight All your children here In their rags of light In our rags of light All dressed to kill And end this night If it be your will
The birds they sang at the break of day Start again I heard them say Don’t dwell on what has passed away or what is yet to be. Ah the wars they will be fought again The holy dove She will be caught again bought and sold and bought again the dove is never free. Ring the bells that still can ring Forget your perfect offering There is a crack in everything That’s how the light gets in. We asked for signs the signs were sent: the birth betrayed the marriage spent Yeah the widowhood of every government — signs for all to see. I can’t run no more with that lawless crowd while the killers in high places say their prayers out loud. But they’ve summoned, they’ve summoned up a thundercloud and they’re going to hear from me.
Ring the bells that still can ring …
You can add up the parts but you won’t have the sum You can strike up the march, there is no drum Every heart, every heart to love will come but like a refugee.
Ring the bells that still can ring Forget your perfect offering There is a crack, a crack in everything That’s how the light gets in.
Ring the bells that still can ring Forget your perfect offering There is a crack, a crack in everything That’s how the light gets in. That’s how the light gets in. That’s how the light gets in.
A long, long time ago… I can still remember How that music used to make me smile. And I knew if I had my chance That I could make those people dance And, maybe, they’d be happy for a while.
But february made me shiver With every paper I’d deliver. Bad news on the doorstep; I couldn’t take one more step.
I can’t remember if I cried When I read about his widowed bride, But something touched me deep inside The day the music died.
So bye-bye, miss american pie. Drove my chevy to the levee, But the levee was dry. And them good old boys were drinkin’ whiskey and rye Singin’, “this’ll be the day that I die. “this’ll be the day that I die.”
Did you write the book of love, And do you have faith in God above, If the Bible tells you so? Do you believe in rock ‘n roll, Can music save your mortal soul, And can you teach me how to dance real slow?
Well, I know that you’re in love with him `cause I saw you dancin’ in the gym. You both kicked off your shoes. Man, I dig those rhythm and blues.
I was a lonely teenage broncin’ buck With a pink carnation and a pickup truck, But I knew I was out of luck The day the music died.
I started singin’, “bye-bye, miss american pie.” Drove my chevy to the levee, But the levee was dry. Them good old boys were drinkin’ whiskey and rye And singin’, “this’ll be the day that I die. “this’ll be the day that I die.”
Now for ten years we’ve been on our own And moss grows fat on a rollin’ stone, But that’s not how it used to be. When the jester sang for the king and queen, In a coat he borrowed from james dean And a voice that came from you and me,
Oh, and while the king was looking down, The jester stole his thorny crown. The courtroom was adjourned; No verdict was returned. And while lennon read a book of marx, The quartet practiced in the park, And we sang dirges in the dark The day the music died.
We were singing, “bye-bye, miss american pie.” Drove my chevy to the levee, But the levee was dry. Them good old boys were drinkin’ whiskey and rye And singin’, “this’ll be the day that I die. “this’ll be the day that I die.”
Helter skelter in a summer swelter. The birds flew off with a fallout shelter, Eight miles high and falling fast. It landed foul on the grass. The players tried for a forward pass, With the jester on the sidelines in a cast.
Now the half-time air was sweet perfume While the sergeants played a marching tune. We all got up to dance, Oh, but we never got the chance! `cause the players tried to take the field; The marching band refused to yield. Do you recall what was revealed The day the music died?
We started singing, “bye-bye, miss american pie.” Drove my chevy to the levee, But the levee was dry. Them good old boys were drinkin’ whiskey and rye And singin’, “this’ll be the day that I die. “this’ll be the day that I die.”
Oh, and there we were all in one place, A generation lost in space With no time left to start again. So come on: jack be nimble, jack be quick! Jack flash sat on a candlestick Cause fire is the devil’s only friend.
Oh, and as I watched him on the stage My hands were clenched in fists of rage. No angel born in hell Could break that satan’s spell. And as the flames climbed high into the night To light the sacrificial rite, I saw satan laughing with delight The day the music died
He was singing, “bye-bye, miss american pie.” Drove my chevy to the levee, But the levee was dry. Them good old boys were drinkin’ whiskey and rye And singin’, “this’ll be the day that I die. “this’ll be the day that I die.”
I met a girl who sang the blues And I asked her for some happy news, But she just smiled and turned away. I went down to the sacred store Where I’d heard the music years before, But the man there said the music wouldn’t play.
And in the streets: the children screamed, The lovers cried, and the poets dreamed. But not a word was spoken; The church bells all were broken. And the three men I admire most: The father, son, and the holy ghost, They caught the last train for the coast The day the music died.
And they were singing, “bye-bye, miss american pie.” Drove my chevy to the levee, But the levee was dry. And them good old boys were drinkin’ whiskey and rye Singin’, “this’ll be the day that I die. “this’ll be the day that I die.”
They were singing, “bye-bye, miss american pie.” Drove my chevy to the levee, But the levee was dry. Them good old boys were drinkin’ whiskey and rye Singin’, “this’ll be the day that I die.”
On a dark desert highway, cool wind in my hair Warm smell of colitas, rising up through the air Up ahead in the distance, I saw a shimmering light My head grew heavy and my sight grew dim I had to stop for the night There she stood in the doorway; I heard the mission bell And I was thinking to myself, “This could be Heaven or this could be Hell“ Then she lit up a candle and she showed me the way There were voices down the corridor, I thought I heard them say…Welcome to the Hotel California Such a lovely place (Such a lovely place) Such a lovely face Plenty of room at the Hotel California Any time of year (Any time of year) You can find it here
Her mind is Tiffany-twisted, she got the Mercedes bends She got a lot of pretty, pretty boys she calls friends How they dance in the courtyard, sweet summer sweat. Some dance to remember, some dance to forget
So I called up the Captain, “Please bring me my wine” He said, “We haven’t had that spirit here since nineteen sixty nine” And still those voices are calling from far away, Wake you up in the middle of the night Just to hear them say…
Welcome to the Hotel California Such a lovely place (Such a lovely place) Such a lovely face They livin’ it up at the Hotel California What a nice surprise (what a nice surprise) Bring your alibis
Mirrors on the ceiling, The pink champagne on ice And she said “We are all just prisoners here, of our own device” And in the master’s chambers, They gathered for the feast They stab it with their steely knives, But they just can’t kill the beast
Last thing I remember, I was Running for the door I had to find the passage back To the place I was before “Relax, ” said the night man, “We are programmed to receive. You can check-out any time you like, But you can never leave! ”
In 2009, the song “Hotel California” was certified Platinum (Digital Sales Award) by the RIAA for sales of one million digital downloads.[4]
The lyrics weave a surrealistic tale in which a weary traveler checks into a luxury hotel. The hotel at first appears inviting and tempting, but it turns out to be a nightmarish place where “you can check out anytime you like, but you can never leave”. The song is an allegory about hedonism, self-destruction, and greed in the music industry of the late 1970s.[9] Don Henley called it “our interpretation of the high life in Los Angeles“[10] and later reiterated: “It’s basically a song about the dark underbelly of the American dream and about excess in America, which is something we knew a lot about.”[11] In 2008,Don Felder described the origins of the lyrics:
“
Don Henley and Glenn wrote most of the words. All of us kind of drove into L.A. at night. Nobody was from California, and if you drive into L.A. at night… you can just see this glow on the horizon of lights, and the images that start running through your head of Hollywood and all the dreams that you have, and so it was kind of about that… what we started writing the song about. Coming into L.A…. and from that ‘Life in the Fast Lane’ came out of it, and ‘Wasted Time’ and a bunch of other songs.[12]
”
The term “colitas” in the first stanza means “little tails” in Spanish; in Mexican slang it refers to buds of the cannabis (marijuana) plant.[13]
On “Hotel California,” you sing: “So I called up the captain / ‘Please bring me my wine’ / He said, ‘We haven’t had that spirit here since 1969.'” I realize I’m probably not the first to bring this to your attention, but wine isn’t a spirit. Wine is fermented; spirits are distilled. Do you regret that lyric?
”
Henley responded:
“
Thanks for the tutorial and, no, you’re not the first to bring this to my attention—and you’re not the first to completely misinterpret the lyric and miss the metaphor. Believe me, I’ve consumed enough alcoholic beverages in my time to know how they are made and what the proper nomenclature is. But that line in the song has little or nothing to do with alcoholic beverages. It’s a sociopolitical statement. My only regret would be having to explain it in detail to you, which would defeat the purpose of using literary devices in songwriting and lower the discussion to some silly and irrelevant argument about chemical processes.[14]
”
According to Glenn Frey‘s liner notes for The Very Best Of, the use of the word “steely” in the lyric, “They stab it with their steely knives, but they just can’t kill the beast,” was a playful nod to band Steely Dan, who had included the lyric “Turn up the Eagles, the neighbors are listening” in their song “Everything You Did“.[15]
There’s a lady who’s sure all that glitters is gold And she’s buying a stairway to heaven. When she gets there she knows, if the stores are all closed With a word she can get what she came for. Ooh, ooh, and she’s buying a stairway to heaven.
There’s a sign on the wall but she wants to be sure ‘Cause you know sometimes words have two meanings. In a tree by the brook, there’s a songbird who sings, Sometimes all of our thoughts are misgiven.
There’s a feeling I get when I look to the west, And my spirit is crying for leaving. In my thoughts I have seen rings of smoke through the trees, And the voices of those who stand looking.
Ooh, it makes me wonder, Ooh, it really makes me wonder.
And it’s whispered that soon, if we all call the tune, Then the piper will lead us to reason. And a new day will dawn for those who stand long, And the forests will echo with laughter.
If there’s a bustle in your hedgerow, don’t be alarmed now, It’s just a spring clean for the May queen. Yes, there are two paths you can go by, but in the long run There’s still time to change the road you’re on. And it makes me wonder.
Your head is humming and it won’t go, in case you don’t know, The piper’s calling you to join him, Dear lady, can you hear the wind blow, and did you know Your stairway lies on the whispering wind?
And as we wind on down the road Our shadows taller than our soul. There walks a lady we all know Who shines white light and wants to show How everything still turns to gold. And if you listen very hard The tune will come to you at last. When all are one and one is all To be a rock and not to roll.
And she’s buying a stairway to heaven.
===================================================
“Stairway to Heaven” is a song by the English rock band Led Zeppelin. It was composed by guitarist Jimmy Page and vocalist Robert Plant for the band’s fourth unnamed studio album, (see Led Zeppelin IV (1971)). The song was voted #3 in 2000 by VH1 on their list of the 100 Greatest Rock Songs.[1] It was the most requested song on FM radio stations in the United States in the 1970s, despite never having been released as a single there.[2] In November 2007, through download sales promoting Led Zeppelin’s Mothership release, “Stairway to Heaven” hit #37 on the UK Singles Chart.[3]
[caption id="attachment_99163" align="alignnone" width="300"] CIDSE – TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)[/caption]
CIDSE - TOGETHER FOR GLOBAL JUSTICE (CHANGE FOR THE PLANET -CARE FOR THE PROPLE-ACCESS THIS NEW WEBSITE FROM EUZICASA)
euzicasa 