Category Archives: IN THE SPOTLIGHT

ESL: HOW TO GIVE BAD NEWS


ESL: HOW TO GIVE BAD NEWS

ESL: HOW TO GIVE BAD NEWS

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Quote: practicing QIGONG IS SO SIMPLE…


Quote: practicing QIGONG IS SO SIMPLE...

Quote: practicing QIGONG IS SO SIMPLE…

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“THERE IS NO PASS TO HAPPINESS: HAPPINESS IS THE PASS” (BUDDHA)


“THERE IS NO PASS TO HAPPINESS: HAPPINESS IS THE PASS” (BUDDHA)

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You can open any door if you only have the key…careful though: some doors are better left unopened!



You can open any door if you only have the key...careful though: some doors are better left unopened!

You can open any door if you only have the key…careful though: some doors are better left unopened!

Mother’s courage


Mother's courage

Mother’s courage

Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)


Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)

Few dead leaves and sticks make

live ikebana in vase…

No need to water.

Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)

Haiku: Few dead leaves and sticks (© poetic thought by GeorgeB @ euzicasa)

Watch “Alfred Hitchcock – Masters of Cinema (Complete Interview in 1972)” on YouTube


List of compositions by Ludwig van Beethoven


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List of compositions by Ludwig van Beethoven

Title page of Beethoven’s Symphonies from the Gesamtausgabe

The compositions of Ludwig van Beethoven (1770–1827) consist of 722 works[1] written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only twelve years old and still in Bonn, till his last work just before his death in Vienna in 1827. Beethoven composed in all the main genres of classical music, including symphonies, concertos, string quartets, piano sonatas and one opera. His works range from requiring a solo performer to needing a large orchestra and chorus to perform.

Beethoven straddled both the classical and romantic periods, working in genres associated with Wolfgang Amadeus Mozart and his teacher Joseph Haydn such as the piano concerto, string quartet and symphony, while on the other hand providing a precursor to Romantic composers such as Hector Berliozand Franz Liszt with programmatic works such as his Pastoral Symphonyand Piano Sonata “Les Adieux[2]. Beethoven’s work is typically divided into three periods. The “Early” period where Beethoven composed in the “Viennese” style. The “Middle” or “Heroic” period where his work is characterised by struggle and heroism, such as in the EroicaSymphony, the Appassionata Sonataand in his sole opera Fidelio. Beethoven’s “Late” period is marked by intense, personal expression and an emotional and intellectual profundity. Although his output dropped drastically in his later years this period saw the composition of masterpieces such as the Late Quartets, the Final Five Piano Sonatas, the Diabelli Variations, the Missa Solemnis and his Ninth Symphony[3].

Beethoven’s works are classified by both genre and various numbering systems[4]. The most well known numbering system for Beethoven’s works is that by opus number, assigned by Beethoven’s publishers during his lifetime. Only 172 of Beethoven’s works have opus numbers, divided among 138 opus numbers. Many works that were unpublished or else published without opus numbers have been assigned either “WoO” (Werke ohne Opuszahl—works without opus number), Hess or Biamonti numbers. For example, the short piano piece “Für Elise“, is more fully known as the “Bagatelle in A minor, WoO 59 (‘Für Elise’)”. Some works are also commonly referred to by their nicknames, such as the Kreutzer Violin Sonata, or the ArchdukePiano Trio.

As well as these numbering systems, works are also often identified by their number within their genre. For example, the 14th string quartet, published as Opus 131, may be referenced either as “String Quartet No. 14” or “the Opus 131 String Quartet“. The listings include all of these relevant identifiers. While other catalogues of Beethoven’s worksexist, the numbers here represent the most commonly used.

List of works by genreEdit

Beethoven, caricatured by J. P. Lyser

Beethoven’s works are published in several editions, the first of these was Ludwig van Beethovens Werke: Vollständige kritisch durchgesehene überall berechtigte Ausgabe published between 1862 and 1865 with a supplemental volume in 1888 by Breitkopf & Härtel, commonly known as the “Beethoven Gesamtausgabe” [GA]. While this was a landmark achievement at the time, the limitations of this edition soon became apparent. Between 1959 and 1971 Willy Hess prepared a supplemental edition, Beethoven: Sämtliche Werke: Supplemente zur Gesamtausgabe, [HS] containing works that were not in the Gesamtausgabe.

Since 1961 the Beethoven Archive has been publishing a new scholarly–critical Complete Edition of Beethoven’s works, Beethoven: Werke: neue Ausgabe sämtlicher Werke[5][NA]. However, only 42 of the projected 56 volumes have been published so far.[6] As this edition has not been published in full there are works without an NA designation.

Legend for publications – p: parts s: full score vs: vocal score

Orchestral musicEdit

Beethoven wrote nine symphonies, nine concertos, and a variety of other orchestral music, ranging from overtures and incidental music for theatrical productions to other miscellaneous “occasional” works, written for a particular occasion. Of the concertos, seven are widely known (one violin concerto, five piano concertos, and one triple concerto for violin, piano, and cello); the other two are an early piano concerto (WoO 4) and an arrangement of the Violin Concerto for piano and orchestra (Opus 61a).

SymphoniesEdit

No.[7] Title, key Composition, first performance Publication Dedication, remarks GA NA
Op. 21 Symphony No. 1, C 1799–1800; 2 April 1800 p: Leipzig 1801 Baron Gottfried van Swieten i/1 i/1[6]
Op. 36 Symphony No. 2, D 1801–2; 5 April 1803 p: Vienna, 1804; for piano, violin, cello: Vienna, 1805 Prince Karl von Lichnowsky i/2 i/1[6]
Op. 55 Symphony No. 3(“Eroica”), E 1803; 7 April 1805[8] p: Vienna, 1806 Prince Franz Joseph von Lobkowitz i/3 i/2[6]
Op. 60 Symphony No. 4, B 1806; March 1807 p: Vienna, 1808 Count Franz von Oppersdorff i/4 i/2[6]
Op. 67 Symphony No. 5, C 1807–8;[9] 22 Dec 1808 p: Leipzig, 1809 Prince Lobkowitz and Count Andreas Razumovsky i/5 i/3[6]
Op. 68 Symphony No. 6(“Pastoral”), F 1808; 22 Dec 1808 p: Leipzig, 1809 Prince Lobkowitz and Count Rasumovsky i/6 i/3[6]
Op. 92 Symphony No. 7, A 1811–12; 8 Dec 1813 s, p: Vienna, 1816 Count Moritz von Fries; i/7
Op. 93 Symphony No. 8, F 1812; 27 Feb 1814 s, p: Vienna, 1817 shortened version of end of 1st movt, HS iv i/8
Op. 125 Symphony No. 9(“Choral”), D 1822–24; 7 May 1824 s, p: Mainz, 1826 Friedrich Wilhelm III of Prussia i/9 i/5[6]

Beethoven is believed to have intended to write a Tenth Symphony in the last year of his life; a performing version of possible sketches was assembled by Barry Cooper.[10]

ConcertosEdit

No. Title, key Composition, first performance Publication Dedication, remarks GA NA
WoO 4 Piano Concerto No. 0, E 1784 s: GA survives only in pf score (with orch cues in solo part) xxv/310 iii/5[6]
WoO 5 Violin Concerto, fragment, C 1790–92 Vienna, 1879 part of 1st movt only; 1st edn ded. Gerhard von Breuning HS iii
Hess 12 Oboe Concerto, lost, F ?1792–3 sent to Bonn from Vienna in late 1793; a few sketches survive
Op. 19 Piano Concerto No. 2, B begun c1788, rev. 1794–5, 1798; 29 March 1795 p: Leipzig, 1801 Carl Nicklas von Nickelsberg; score frag. rejected from early version, HS iii ix/66 iii/2[6]
cadenza for first movement 1809 GA ix/70a vii/7[6]
Op. 15 Piano Concerto No. 1, C 1795, rev. 1800; 18 Dec 1795 p: Vienna, 1801 Princess Barbara Odescalchi (née Countess von Keglevics) ix/65 iii/2[6]
3 cadenzas for first movement 1809 GA ix/70a vii/7[6]
Op. 37 Piano Concerto No. 3, c ?1800–03; 5 April 1803 p: Vienna, 1804 Prince Louis Ferdinand of Prussia ix/67 iii/2[6]
cadenza for first movement 1809 GA ix/70a vii/7[6]
Op. 56 Triple Concerto for violin, cello, and piano, C 1804–7; May 1808 p: Vienna, 1807 Prince Lobkowitz ix/70 iii/1[6]
Op. 58 Piano Concerto No. 4, G 1804–6/7; 22 Dec 1808 p: Vienna, 1808 Archduke Rudolph of Austria ix/68 iii/3[6]
2 cadenzas for first movement, cadenza for finale ?1809 GA ix/70a vii/7[6]
cadenza for first movement, 2 cadenzas for finale (Hess 81, 82, 83) ?1809 NA HSx vii/7[6]
Op. 61 Violin Concerto, D 1806; 23 Dec 1806 p: Vienna, 1808; London, 1810 Stephan von Breuning iv/29; HSx iii/4[6]
Op. 61a Beethoven’s arrangement of Opus 61 for piano, D 1807 p: Vienna, 1808; London, 1810 Julie von Breuning ix/73 (solo part) iii/5[6][6]
Cadenza for first movement, cadenza for finale ?1809 GA ix/70a vii/7

MEDICAL Library: Immune System Cells and Their Function


MEDICAL Library: Immune System Cells and Their Function

MEDICAL Library: Immune System Cells and Their Function

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Watch “Bartók: Hungarian and Romanian Dances” on YouTube


HAPPY NEW YEAR 2020! Watch “HERBERT VON KARAJAN (2/2) – Vienna Philharmonic Radetzky March New Year Concert 1987” on YouTube


Watch “Por una Cabeza – Carlos Gardel” on YouTube


Workout: Shoulders Stretch


Workout: Shoulders Stretch

Workout: Shoulders Stretch

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Watch “Google — Year in Search 2019” on YouTube


IDEAS TO LIVE BY: WHEN PEOPLE MAKE YOU FEEL UNWANTED,…


IDEAS TO LIVE BY: WHEN PEOPLE MAKE YOU FEEL UNWANTED,...

IDEAS TO LIVE BY: WHEN PEOPLE MAKE YOU FEEL UNWANTED,…

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Watch “THE RAVEN. EDGAR ALLAN POE. READING BY VINCENT PRICE” on YouTube


Watch “JUDY COLLINS – Turn Turn Turn (1966 ).mp4” on YouTube


Quote: This Year…


Quote: This Year...

Quote: This Year…

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YOGA, HEALING: HEAT VS. ICE


YOGA, HEALING: HEAT VS. ICEhttps://pin.it/kofwaahx33vmdg

Just a thought: “Imagination is fearlessness applied, with mother’s courage as weapon.”


“Imagination is fearlessness applied, with mother’s courage as weapon.”

(© poetic thought by GeorgeB @ euzicasa)

??????????? Answered (© poetic thought by GeorgeB @ euzicasa): “Time is capricious, love unclaimed transcends.”


https://euzicasa.wordpress.com/2013/02/14/st-valentines-day/

????????????? Answered (© poetic thought by GeorgeB @ euzicasa)

(© poetic thought by GeorgeB @ euzicasa)

Love, love, love,
is it love,
if one cannot embrace human vanity
or is it just plain silliness?
Should love be sang, declared,
or deep in one’s heart vault be contained,
no,
not like in a prison cell, but like
a precious ore not yet uncovered, claimed, explored…
not yet EXPLOITED, by anyone,
ever so well unclaimed,
it shines like the sum of all suns

Time is capricious, love unclaimed transcends.
(Posted Here )

Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)


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Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)

Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)

Just a thought: Acolo unde totul e de vanzare…


Just a thought: Acolo unde totul e de vanzare...

Just a thought: Acolo unde totul e de vanzare…

QUOTE: Suffering is not holding you, you are holding suffering. BUDDHA


QUOTE: Suffering is not holding you, you are holding suffering.  BUDDHA

QUOTE: Suffering is not holding you, you are holding suffering. BUDDHA

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Watch “Fischer/Mendelssohn Violin Concerto in E Minor, Op. 64/Myung Whun Chung/Festival de Saint Denis.” on YouTube


Violin Concerto (Mendelssohn
Felix Mendelssohn’s Violin Concertoin E minor, Op. 64, is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertosin history.[1][2][3] A typical performance lasts just under half an hour.
Violin Concertoby Felix Mendelssohn

Mendelssohn in 1846

KeyE minorCatalogueOp. 64Year1844PeriodRomanticGenreConcertoComposed1838–1844Movements3ScoringViolin and orchestraPremiereDate13 March 1845LocationLeipzig
Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.

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“Monday’s Prospects” (my virtual graphic arts work)


“Monday’s Prospects” (my virtual graphic arts work)

Monday’s Prospects

Thoughts of Wisdom: Forgive them, even when they are not sorry…


Thoughts of Wisdom:  Forgive them, even when they are not sorry...

Thoughts of Wisdom: Forgive them, even when they are not sorry…

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Watch “Hugh Laurie – Saint James Infirmary (Let Them Talk, A Celebration of New Orleans Blues)” on YouTube


It was down by old Joe’s barroom, on the corner of the square
They were serving drinks as usual, and the usual crowd was there
On my left stood Big Joe McKennedy, and his eyes were bloodshot red
And he turned his face to the people, these were the very words he said
I was down to St. James infirmary, I saw my baby there
She was stretched out on a long white table,
So sweet, cool and so fair
Let her go, let her go, God bless her
Wherever she may be
She may search this whole wide world over
Never find a sweeter man as me
When I die please bury me in my high top Stetson hat
Put a twenty dollar gold piece on my watch chain
The gang’ll know I died standing pat
Let her go, let her go God bless her
Wherever she may be
She may search this wide world over
Never find a sweeter man as me
I want six crapshooters to be my pallbearers
Three pretty women to sing a song
Stick a jazz band on my hearse wagon
Raise hell as I stroll along
Let her go Let her go
God bless her
Wherever she may be
She may search this whole wide
World over
She’ll never find a sweeter
Man as me
Source: LyricFind
Songwriters: Joe Primrose / Irving Mills
St. James Infirmary lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Downtown Music Publishing, Spirit Music Group, BMG Rights

St. James Infirmary Blues

“St. James Infirmary” on tenor sax

St. James Infirmary Blues” is an American jazz song of uncertain origin. Louis Armstrong made the song famous in his 1928 recording on which Don Redman was credited as composer; later releases gave the name Joe Primrose, a pseudonym of Irving Mills. The melody is 8 bars long, unlike songs in the classic blues genre, where there are 12 bars. It is in a minor key, and has a 4/4 time signature, but has also been played in 3/4.

Authorship and historyEdit

“St. James Infirmary Blues”, sometimes known as “Gambler’s Blues”, is often regarded as an American folk song of anonymous origin. Moore and Baxter published a version of “Gambler’s Blues” in 1925.[1]In 1927, Carl Sandburg published a book called The American Songbagwhich contained lyrics for two versions of a song called “Those Gambler’s Blues”.[2] However, the song “St. James Infirmary Blues” is sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills), who held copyrights for several versions of the song, registering the first in 1929. He claimed the rights to this specific title and won a case in the U.S. Supreme Court on this basis, the defendants having failed to produce the documentary evidence required by the court that the song had been known by that name for some years.[1]

“St. James Infirmary Blues” is sometimes said to be based on an eighteenth-century traditional folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. But the familiar recorded versions (such as Armstrong’s) bear little relation to the older traditional song. The earliest known form of this song was called “The Buck’s Elegy” and is set in Covent Garden, London.[3]

According to Robert W. Harwood, A. L. Lloyd was the first person to connect “St. James Infirmary” with “The Unfortunate Lad/Rake”.[1]:36 Harwood refers to a five-page article by Lloyd in the January 1947 issue of the English music magazine Keynote.[4] In 1956, Lloyd published a revised version of this article in Sing magazine.[5] In both articles Lloyd refers to an English broadside song entitled “The Unfortunate Lad”, commenting that the song is sometimes known as “The Unfortunate Rake”. No date or source for the latter title is given. The opening line of this version of the song refers to the “lock hospital”, not to an institution named St James. The term “lock hospital” was the name of an institution in Southwark, London, where lepers were isolated and treated. The lock in Southwark was used for those suffering from venereal diseases. The longer term came into use as a generic term for a hospital treating venereal diseases. Its first recorded use is 1770.

Lloyd claims that a song collected by Cecil Sharp in the Appalachians in 1918 which contains the words “St James Hospital” is the parent song and that it looks like an elder relative of “The Dying Cowboy”. The opening of that song, as quoted by Lloyd, is:

As I went down by St James Hospital one morning,
So early one morning, it was early one day,
I found my son, my own son,
Wrapped up in white linen, as cold as the clay.

He also claims that this Appalachian version derives in turn from the version published by Such in London in the 1850s which refers to a lock hospital. The opening verse of this song, entitled “The Unfortunate Lad”, is:

As I was walking down by the Lock Hospital,
As I was walking one morning of late,
Who did I spy but my own dear comrade,
Wrapp’d up in flannel, so hard was his fate.

Lloyd’s articles comment on the jazz hit “St. James Infirmary Blues”. The first article asserts that “the song is, or was before it became corrupted, a narrative ballad. Such ballads are rare in Negro song…So doubts are raised about whether ‘St. James Infirmary’ began life as a Negro song”.[4]:10 The second article includes the following comment on the song: “Most versions of ‘Infirmary’ include a number of stanzas from other songs, grafted on to the main stem – a confusion especially common with songs current among Negroes. The curious switchover from the actual death of the girl to the hypothetical death of the gambler creates some ambiguity too”.[5]:19 Lloyd points out that in some early variants of “The Unfortunate Rake” the sex of the victim of venereal disease was female. “We realise that the confusion in the ‘Infirmary’, where the dead person is a woman but the funeral is ordered for a man, is surely due to the fact that the original ballad was commonly recorded in a form in which the sexes were reversed, so singers were often in two minds whether they were singing of a rakish man or a bad girl”.[5]:21

Lloyd’s second article is cited as a reference by Kenneth Goldstein in his liner notes for a 1960 Folkways LP called The Unfortunate Rake. These liner notes are often used as a source for the history of “St. James Infirmary Blues”. One example is an article by Rob Walker.[6] The liner notes raise the question of whether St. James’ Hospital was a real place and, if so, where it was. Goldstein claimed in the notes that “St. James” refers to London’s St. James Hospital, a religious foundation for the treatment of leprosy. His references list an article by Kenneth Lodewick. That article states, giving no reference or source for the idea, that the phrase “St. James Hospital” refers to a hospital of that name in London.[7]There is some difficulty in this because the hospital in question closed in 1532 when Henry VIIIacquired the land to build St James’s Palace.[8]

Another possibility suggested by Higginbotham on the basis of his claim that the song “St. James Infirmary” dates at least from the early nineteenth century, is the Infirmary section of the St James Workhousewhich the St. James Parish opened in 1725 on Poland Street, Piccadilly, and which continued well into the nineteenth century.[9] This St. James Infirmary was contemporaneous with the estimated advent of the song “The Unfortunate Lad”, but it is not the London Lock Hospital. Another difficulty is that, out of the early versions of the song mentioned in the references given by Goldstein, only the one collected by Cecil Sharp in the Appalachians in 1918, and one found in Canada in the 1920s, make use of the phrase “St. James”.

The liner notes link the Rake to an early fragment called “My Jewel, My Joy”, stating that it was heard in Dublin. The same statement appears in the Lodewick article referenced in those notes[7] The notes given in the source cited for this fragment, a collection of songs collected by William Forde and published by P. W. Joyce, state that the song was heard in Cork, not Dublin.[10]

The version of the “Unfortunate Rake” on the LP of that name is sung by Lloyd, of whom it has been said that he “sometimes modified lyrics or melodies to make the songs more palatable for contemporary listeners”,[1]:38 and its first verse is as follows:

As I was a-walking down by St. James Hospital,
I was a-walking down by there one day.
What should I spy but one of my comrades
All wrapped up in a flannel though warm was the day.[a]

The liner notes[11] state that Lloyd is singing a nineteenth century broadside version, but do not specify which. The Lloyd article cited in the references given in the liner notes,[5]refers to a version published by Such and to no other version. The title and words sung by Lloyd are not those of the Such broadside[12] which has no reference to St. James and is not called “The Unfortunate Rake”. Lloyd recorded a slightly different version in 1966, this time calling the song “St James Hospital”.[13] In 1967, his book Folk Song in England was published.[14] This includes some comment on the song, claims without any supporting references or information that a Czech version pre-dates the British ones, repeats the confusion between Dublin and Cork as the place where the “My Jewel My Joy” fragment had been heard, and includes an unattributed quotation of two verses that differ from the versions sung by Lloyd.

Variations typically feature a narrator telling the story of a young man “cut down in his prime” (occasionally, a young woman “cut down in her prime”) as a result of morally questionable behaviour. For example, when the song moved to America, gambling and alcohol became common causes of the youth’s death.[15]

There are numerous versions of the song throughout the English-speaking world. For example, it evolved into other American standards such as “The Streets of Laredo“.[16]

The song, “Dyin’ Crapshooter’s Blues”, has sometimes been described as a descendant of “The Unfortunate Rake”, and thus related to “St. James Infirmary Blues”. This song was issued as a record four times in 1927, and attributed to pianist, arranger, and band-leader Porter Grainger.[17] Blind Willie McTell recorded a version of the former for John Lomax in 1940 and claimed to have begun writing the song around 1929.

Gottlieb considered whether there were Jewish American influences through the use of the Ukrainian Dorian mode, but only found hints of this in a version published by Siegmeister and Downes.[18] He also suggests that there may have been Jewish influences on the rendition by Cab Calloway.[18]:211 A melody very similar to the Armstrong version can be found in an instrumental composition entitled “Charleston Cabin”, which was recorded by Whitey Kaufman’s Original Pennsylvania Serenaders in 1924 (three years before the earliest recording of “Gambler’s Blues”).[1]:39

As with many folk songs, there is much variation in the lyric from one version to another. These are the first two stanzas as sung by Louis Armstrong on a 1928 Odeon Records release:

I went down to St. James Infirmary,
Saw my baby there,
Stretched out on a long white table,
So cold, so sweet, so fair.

Let her go, let her go, God bless her,
Wherever she may be,
She can look this wide world over,
But she’ll never find a sweet man like me.

Some of the versions, such as the one published as “Gambler’s Blues” and attributed to Carl Moore and Phil Baxter, frame the story with an initial stanza or stanzas in which a separate narrator goes down to a saloon known as “Joe’s barroom” and encounters a customer who then relates the incident about the woman in the infirmary. Later verses commonly include the speaker’s request to be buried according to certain instructions, which vary according to the version.[19]

Other versionsEdit

Koko the clown (a rotoscopedCab Calloway) performing the song in the 1933 Betty Boopanimation Snow White

The song was first recorded (as “Gambler’s Blues”) in 1927 by Fess Williams and his Royal Flush Orchestra with credits given to Moore and Baxter.[1]:150This version mentions an infirmary but not by name. The song was popular during the jazz era, and by 1930 at least eighteen different versions had been released.[1]:30 The Duke Ellington Orchestra recorded the song using pseudonyms such as “The Ten Black Berries”, “The Harlem Hot Chocolates”, and “The Jungle Band”,[1]:19 while Cab Callowayperformed a version in the 1933 Betty Boop animated film Snow White, providing vocals and dance moves for Koko the clown.[20]

In 1961, Bobby “Blue” Bland released a version of “Saint James Infirmary” on the flip side of his No. 2 R&B hit “Don’t Cry No More” and included it in his album Two Steps from the Blues.[21][22]In 1967 the French-American singer Joe Dassin recorded the song. In 1968, Don Partridge released a version on his self-named album, as did Eric Burdon and the Animals on their album Every One of Us.[23]Dock Boggs recorded a version of the song entitled “Old Joe’s Barroom” (1965)[24]

The song was often performed by cabaret surrealists The Mystic Knights of the Oingo Boingo in South California; the band’s vocalist and songwriter, Danny Elfman, often cited Cab Calloway as his inspiration in his youth. The White Stripes covered the song on their self-titled debut album, and Jack White says he and fellow band member, Meg White, were introduced to the song from a Betty Boop cartoon.[25] In 1981, Bob Dylan adapted the song when he wrote and recorded “Blind Willie McTell”. The song was written for his 1983 release, Infidels, but was not released until The Bootleg Series, Vol. 1-3: Rare and Unreleased, 1961-1991 (Columbia, 1991).[26] In 2012, Trombone Shortyand Booker T. Jones performed an instrumental version as the opening number of the “Red, White, and Blues” concert at the White House.[27]

See alsoEdit

Haiku: Haiku def.(noun) (© poetic thought by GeorgeB @ euzicasa)


Haiku: Haiku def. (noun)

(© poetic thought by GeorgeB @ euzicasa)

Five syllables words

Seven syllables follow

End… as it started.

Haiku

Haiku

Haiku

Haiku

ROBERT RAJCZAKOWSKI: Renaissance Art and Architecture


https://www.facebook.com/groups/162243897516549/permalink/675290956211838/?app=fbl

Watch “Execution Scene From The Long Ships (1964)” on YouTube


Medical Library: Stroke Warning Signs


Medical Library: Stroke Warning Signs

Medical Library: Stroke Warning Signs

https://pin.it/33g2snosimk3ks

Watch “Cannery Row Audio Full” on YouTube


My birds on the wire today


My birds on the wire today

My birds on the wire today

The cultural icenerg


The cultural icenerg

The cultural icenerg

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Check this out and thank you data.danetsoft.com: Welcome to Euzicasa.wordpress.com – Euzicasa | Share something you learned everyday!


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euzicasa | Share something you learned everyday!
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Puţini ştiu că în apropiere de Făgăraş există satul Bărcut, un loc de poveste, cu peisaje de vis | euzicasa
Puţini ştiu că în apropiere de Făgăraş există satul Bărcut, un loc de poveste, cu peisaje de vis: dealuri înverzite şi izvoare ce şi-au croit drum printre ele. Cel mai însemnat este izvorul din care s…
Un lunetist SAS a ucis trei jihadişti de la peste un kilometru, salvând sute de vieţi | euzicasa
Lunetistul a reuşit să-şi fixeze ţintele de la o distanţă de peste un kilometru şi să le elimine, distrugând aproape în totalitate unul dintre pereţii clădirii în care se aflau ele. Potrivit unor surs…

Watch “Bernstein Beethoven Leonore Overture Nº3” on YouTube


Watch “Debussy Prélude à l’après-midi d’un faune – Leonard Bernstein” on YouTube


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Afternoon of a Faun

L’après-midi d’un faune (or The Afternoon of a Faun) may refer to the following:

Watch “Busy hands create beauty, regardless of their size” on YouTube” on YouTube


Watch “Le Meilleur de Ennio Morricone – Les Plus Belles Musiques de Films – [High Quality Audio]” on YouTube


Watch “London Bridge terror attack latest: Questions raised over attacker’s release from prison” on YouTube


Watch “Jean Sibelius – Valse triste (Sad Waltz), Op. 44, No. 1 conducted by Maciej Tomasiewicz” on YouTube


Ambrose Bierce Quote: HISTORY


Ambrose Bierce Quote:  HISTORY

Ambrose Bierce Quote: HISTORY

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Watch “Somewhere in Time (orchestra version), Conducted by Albert E Moehring” on YouTube


Watch “POEMS OF WILLIAM BLAKE – FULL Audio Book – Songs of Innocence and of Experience & The Book of Thel” on YouTube


HAPPY THANKSGIVING 2019


Thanksgiving Day is not all about eating a good meal and enjoying it to the fullest. The name of this holiday conveys that on Thanksgiving Day, we share our thoughts with our most beloved family member or friends or any close ones. We thanks them for everything that they have done for us. Sharing our thoughts and expressing our feeling is not simple and it should be done with respect. For that purpose, we have some of the best Happy Thanksgiving Quotes, which will definitely convey your message to others. We mostly use Short Thanksgiving Quotes on Greeting Cards and give it to our close ones to let them know how thankful are you.

Famous thanksgiving quotes to God, Teachers, Friends

Many of us believe in God and want to thank him for this precious life he has given to us and for all the things. We also consider teacher as our master and feel respect towards them. Given that Quotes are the best way to convey our message.

Keep your eyes open to your mercies. The man who forgets to be thankful has fallen asleep in life. – Robert Louis Stevenson

Watch “The Animals – House of the Rising Sun (1964) + clip compilation 55 YEARS & counting” on YouTube


The Animals Lyrics

“The House Of The Rising Sun”

There is a house in New Orleans
They call the Rising Sun
And it’s been the ruin of many a poor boy
And God, I know I’m one

My mother was a tailor
She sewed my new blue jeans
My father was a gamblin’ man
Down in New Orleans

Now the only thing a gambler needs
Is a suitcase and a trunk
And the only time he’s satisfied
Is when he’s on a drunk

[Organ Solo]

Oh mother, tell your children
Not to do what I have done
Spend your lives in sin and misery
In the House of the Rising Sun

Well, I got one foot on the platform
The other foot on the train
I’m goin’ back to New Orleans
To wear that ball and chain

Well, there is a house in New Orleans
They call the Rising Sun
And it’s been the ruin of many a poor boy
And God, I know I’m one

Thanks to Allegra Muilenburg, Chase, Das Pamjunk, Zach Southard for correcting these lyrics.
Writer(s): Alan Price
The song is a traditional folk song. The Animals recorded the most successful commercial version. It became their signature song, a number one in UK, United States and France charts and often described as the “first folk rock hit”.
The “rising sun” has been a symbol for brothels in British and American ballads. In the traditional folk version of the song, the main character is either a prostitute or a prisoner. The Animals changed it to a gambler to make their version more radio-friendly.
It is not known whether or not the house described in the lyrics was an actual or a fictitious place. There is a B&B in New Orleans called the House of the Rising Sun, decorated in brothel style. The owners are fans of the song, but there is no connection with the original place.

Modern education systems…are nothing but modern


Modern education  systems...are nothing but archaic

Modern education systems…are nothing but modern

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WINSTON CHURCHILL: SOCIALISM IS THE PHILOSOPHY OF FAILURE, THE CREED OF IGNORANCE AND THE GOSPEL OF ENVY.


WINSTON CHURCHILL: SOCIALISM IS THE PHILOSOPHY OF FAILURE, THE CREED OF IGNORANCE AND THE GOSPEL OF ENVY.

WINSTON CHURCHILL: SOCIALISM IS THE PHILOSOPHY OF FAILURE, THE CREED OF IGNORANCE AND THE GOSPEL OF ENVY.

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Watch “Leonard Cohen’s Prince Of Asturias Speech – No Overdubbing” on YouTube