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Nine Noble Virtues
Nine Noble Virtues
STELLA MAEVE: American Mona Lisa mysterious, benevolent, smile
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Stella Maeve
Stella Maeve (born November 14, 1989) is an American film and television actress best known for her role of Julia Wicker in The Magiciansand of Nadia in Chicago P.D.[1]
Career
Maeve’s first feature film role was in the comedy-drama Transamerica(2005),[2] and she has since acted in the comedy Harold (2008),[2] and in the crime drama Brooklyn’s Finest(2009).[2] She has made appearances on multiple television series, including recurring roles on Gossip Girl (2008–09),[2] and House (2010–11).[2] She played Sandy West in the film The Runaways (2010), a drama about the 1970s all-girl rock band of the same name, alongside Kristen Stewart and Dakota Fanning.[2]
In 2013, she was cast as the younger sister of Det. Walter Clark (Theo James) in CBS‘s crime drama television series, Golden Boy.[3] In January 2014, Maeve began appearing on Chicago P.D. as Nadia.[4]Her character was killed off on a Chicago P.D. episode titled “The Number of Rats”, during a crossover event with Law & Order: Special Victims Unit and Chicago Fire.[5]
In 2014 she starred in the music video “Figure it out” by Royal Blood. Since 2015, she has starred as Julia Wicker in the Syfy TV series The Magicians.[2]In 2019 Stella returned to her Big Apple home to guest-star on an episode of the hit CBS drama (and NYC-based and filmed) God Friended Me.
Personal life
Stella Maeve has stated that she is Native American.[6] When asked for further details on her Instagram photo, she answered that she was “Blackfootand Cherokee.”[7]
In an April 2019 post to Reddit, Maeve confirmed that she is engaged to Deadly Class actor Benjamin Wadsworth. In August 2019, Maeve and Wadsworth revealed via social media that they are expecting their first child together, a baby girl. Jo Jezebel Wadsworth was born on January 29, 2020.[8]
Filmography
Film
Television
References
Comments Off on STELLA MAEVE: American Mona Lisa mysterious, benevolent, smile
Posted in Article of the Day, Arts, Educational, IN THE SPOTLIGHT, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Photography, QUOTATION, Special Interest, Uncategorized
Tagged benevolent, Smile, STELLA MAEVE: American Mona Lisa mysterious
Watch “Franz Schubert – Symphony No.7 in D-major, D.708a (1820/21)” on YouTube
Symphony No. 7 (Schubert)
Symphony by Franz Schubert
Symphony No. 7 is the name given to a four-movement symphony in E major (D 729) drafted by Franz Schubert in August 1821. Although the work (which comprises about 1350 bars) is structurally complete, Schubert only orchestrated the slow introduction and the first 110 bars of the first movement. The rest of the work is, however, continued on 14-stave score pages as a melodic line with occasional basses or counterpoints, giving clues as to changes in orchestral texture.
- For the Great C major Symphony, see Symphony No. 9 (Schubert).
Schubert seems to have laid the symphony aside in order to work on his opera Alfonso und Estrella, and never returned to it. The manuscript was given by Schubert’s brother Ferdinand to Felix Mendelssohn and was subsequently acquired by Sir George Grove, who bequeathed it to the Royal College of Music in London. There are at least three completions: by John Francis Barnett (1881), Felix Weingartner (1934) and Brian Newbould (1980). The work is now generally accepted to be Schubert’s Seventh Symphony, an appellation which some scholars had preferred to leave for the chimerical ‘Gastein Symphony’ that was long believed to have been written and lost in 1824.
Instrumentation
This symphony is scored for an even larger orchestral force than Schubert’s eighth and ninth symphonies. The score calls for double woodwinds, four horns, two trumpets, three trombones, timpani and strings.
Movements
- Schubert/Weingartner Symphony No. 7 in E major
- Adagio – Allegro
- Andante
- Scherzo: Allegro
- Allegro giusto
(The true marking is ffz rather than fz, but that is not available in LilyPond as implemented on Wikipedia.)
References
- Notes
- Sources
- Rothstein, Edward (1983-02-20). “Music Notes: Finishing Another Schubert Symphony”. The New York Times. Retrieved 2015-08-14.
Further reading
- Brian Newbould
- Schubert and the Symphony: a New Perspective [Paperback] (Toccata Press, 1992; paperback reissue 1999), ISBN 0907689272, ISBN 978-0-907689-26-3 – Hardback, ISBN 978-0-907689-27-0 – Paperback
- Schubert: the Music and the Man (Gollancz/University of California Press, 1997; paperback reissue 1999), ISBN 0520219570, ISBN 978-0520219571
- Christopher Howard Gibbs
- The Life of Schubert (Musical Lives) [Paperback], published by Cambridge University Press Paperback (April 28, 2000), ISBN 0521595126, ISBN 978-0521595124
- “Preface to Symphony in E (After Schubert’s complete manuscript of August 1821) ed. Felix Weingartner”. Musikproduktion Jurgen Hoflich. Archived from the original on 2014-07-02.
External links
- Symphony No.7, D.729: Scores at the International Music Score Library Project (IMSLP)
Quote: “In America, we celebrate faith, we cherish religion, we lift our voices in prayer…” (President Donald Trump)
Quote: “In America, we celebrate faith, we cherish religion, we lift our voices in prayer…” (President Donald Trump)
Watch “Johnny Cash – God’s Gonna Cut You Down” on YouTube
You can run on for a long time
Run on for a long time
Run on for a long time
Sooner or later God’ll cut you down
Sooner or later God’ll cut you down
Run on for a long time
Run on for a long time
Sooner or later God’ll cut you down
Sooner or later God’ll cut you down
Go tell that long tongue liar
Go and tell that midnight rider
Tell the rambler
The gambler
The back biter
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut ’em down
Go and tell that midnight rider
Tell the rambler
The gambler
The back biter
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut ’em down
Well my goodness gracious let me tell you the news
My head’s been wet with the midnight dew
I’ve been down on bended knee talkin’ to the man from Galilee
He spoke to me in the voice so sweet
I thought I heard the shuffle of the angel’s feet
He called my name and my heart stood still
When he said, “John, go do my will!”
My head’s been wet with the midnight dew
I’ve been down on bended knee talkin’ to the man from Galilee
He spoke to me in the voice so sweet
I thought I heard the shuffle of the angel’s feet
He called my name and my heart stood still
When he said, “John, go do my will!”
Go tell that long tongue liar
Go and tell that midnight rider
Tell the rambler
The gambler
The back biter
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut ’em down
Go and tell that midnight rider
Tell the rambler
The gambler
The back biter
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut ’em down
You can run on for a long time
Run on for a long time
Run on for a long time
Sooner or later God’ll cut you down
Sooner or later God’ll cut you down
Run on for a long time
Run on for a long time
Sooner or later God’ll cut you down
Sooner or later God’ll cut you down
Well, you may throw your rock and hide your hand
Workin’ in the dark against your fellow man
But as sure as God made black and white
What’s down in the dark will be brought to the light
Workin’ in the dark against your fellow man
But as sure as God made black and white
What’s down in the dark will be brought to the light
You can run on for a long time
Run on for a long time
Run on for a long time
Sooner or later God’ll cut you down
Sooner or later God’ll cut you down
Run on for a long time
Run on for a long time
Sooner or later God’ll cut you down
Sooner or later God’ll cut you down
Go tell that long tongue liar
Go and tell that midnight rider
Tell the rambler
The gambler
The back biter
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut ’em down
Go and tell that midnight rider
Tell the rambler
The gambler
The back biter
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut ’em down
Tell ’em that God’s gonna cut you down
Source: LyricFind
Songwriters: John R. Cash / Traditional
God’s Gonna Cut You Down lyrics © BMG Rights Management
“THERE IS NO PASS TO HAPPINESS: HAPPINESS IS THE PASS” (BUDDHA)
Posted in Educational, Fitness, running, biking, outdoors, FOOD AND HEALTH, Graphic Arts, IN THE SPOTLIGHT, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Quote of the Day, Special Interest, SPIRITUALITY, Uncategorized, Yoga
Tagged "THERE IS NO PASS TO HAPPINESS: HAPPINESS IS THE PASS" (BUDDHA)
What’s all this fuss about primates? I can stand on my two hind legs too, and I am just a…cat!
What’s all this fuss about primates? I can stand on my two hind legs too, and I am just a…cat!
Workout: Shoulders Stretch
Posted in Educational, Fitness, running, biking, outdoors, IN THE SPOTLIGHT, MY TAKE ON THINGS, on the mundane side of the town, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, surveillance, Uncategorized, Yoga
Tagged Workout: Shoulders Stretch
Watch “Kill Bill Vol.1 O-Ren Ishii v The Bride (Cotton Mouth v Black Mamba) Fight Scene HD” on YouTube
Posted in Educational, FILM, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Special Interest, Uncategorized, YouTube/SoundCloud: Music, Special Interest
Tagged Kill Bill Vol.1 O-Ren Ishii v The Bride (Cotton Mouth v Black Mamba) Fight Scene HD" on YouTube, Quentin Tarantino
Do you know?: 10 Signs of Maturity…
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)
Posted in (The smudge and other poems), BOOKS, Educational, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, News, on the mundane side of the town, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Quote of the Day, SITE DEVELOPMENT, Special Interest, SPIRITUALITY, surveillance, Uncategorized
Tagged "Imagination is fearlessness applied, with mother's courage as weapon." (© poetic thought by GeorgeB @ euzicasa)
Watch “Handel – Messiah – by London Philharmonic (Complete Concerto/Full)” on YouTube
Handel – Messiah – by London Philharmonic (Complete Concerto/Full)
Messiah, composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer.
It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later.
After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. ( From Wikipedia)
Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)
https://euzicasa.wordpress.com/
Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)
Posted in Educational, Graphic Arts, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Special Interest, SPIRITUALITY, Uncategorized
Tagged Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)
Watch “Rie Sinclair Island of Loneliness” on YouTube
☆Rie Sinclair – Island of Loneliness
☆Lyrics:
Where do I go, when it’s all blown over?
Where do I start, when it’s all gone to the dogs?
I am not bitter, I’m just trying to recover,
From my island of loneliness.
Where do I hide from the careless words you speak?
The words aren’t chic,
I can’t be pulled underneath.
I’m not immune, I just want to see beyond.
Beyond my island of loneliness.
I don’t want a fraction of your kiss to fill my empty heart.
I sail in my own sinking ship to the place where I belong.
So, what should I say?
I hear the cannons fire in the distance.
Is there a place for the tide to change my heart?
Stop wasting time, collecting lines of girls.
Wake up out of it
In my arms, out of your island of loneliness.
☆pictures credits:
☆Ilia Efimovich Repin (1844-1930):
☆Volga Boatmen (1870-1873)
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: Stop trying to leave…Lao Tzu
Quote: Stop trying to leave…Lao Tzu
A semi-legendary figure, Laozi was usually portrayed as a 6th-century BC contemporary of Confucius, but some modern historians consider him to have lived during the Warring States period of the 4th century BC. A central figure in Chinese culture, Laozi is claimed by both the emperors of the Tang dynasty and modern people of the Li surname as a founder of their lineage. Laozi’s work has been embraced by both various anti-authoritarian movements and Chinese Legalism.
Names
In traditional accounts, Laozi’s personal name is usually given as Li Er (李耳, Old *rəʔ nəʔ, Mod. Lǐ Ěr) and his courtesy name as Boyang (trad. 伯陽, simp. 伯阳, Old *Pˤrak-lang, Mod. Bóyáng). A prominent posthumous name was Li Dan (李聃, Lǐ Dān).
Laozi itself is a honorific title: 老 (Old *rˤu ʔ, “old, venerable”) and 子 (Old *tsəʔ, “master”). It has been romanized numerous ways, sometimes leading to confusion. The most common present form is Laozi or Lǎozǐ, based on the Hanyu Pinyin system adopted by Mainland China in 1958 and by Taiwan in 2009. During the 20th century, Lao-tzu was more common, based on the formerly prevalent Wade–Giles system. In the 19th century, the title was usually romanized as Lao-tse. Other forms include the variants Lao-tze and Lao-tsu.
As a religious figure, he is worshipped under the name “Supreme Old Lord“ (太上老君, Tàishàng Lǎojūn) and as one of the “Three Pure Ones“. During the Tang dynasty, he was granted the title “Supremely Mysterious and Primordial Emperor” (太上玄元皇帝, Tàishàng Xuānyuán Huángdì).
Historical views
In the mid-twentieth century, a consensus emerged among scholars that the historicity of the person known as Laozi is doubtful and that the Tao Te Ching was “a compilation of Taoist sayings by many hands”. Alan Watts urged more caution, holding that this view was part of an academic fashion for skepticism about historical spiritual and religious figures and stating that not enough would be known for years – or possibly ever – to make a firm judgment.
The earliest certain reference to the present figure of Laozi is found in the 1st‑century BC Records of the Grand Historian collected by the historian Sima Qian from earlier accounts. In one account, Laozi was said to be a contemporary of Confucius during the 6th or 5th century BC. His surname was Li and his personal name was Er or Dan. He was an official in the imperial archives and wrote a book in two parts before departing to the west. In another, Laozi was a different contemporary of Confucius titled Lao Laizi (老莱子) and wrote a book in 15 parts. In a third, he was the court astrologer Lao Dan who lived during the 4th century BC reign of Duke Xian of the Qin Dynasty. The oldest text of the Tao Te Ching so far recovered was written on bamboo slips and dates to the late 4th century BC; see Guodian Chu Slips.
According to traditional accounts, Laozi was a scholar who worked as the Keeper of the Archives for the royal court of Zhou. This reportedly allowed him broad access to the works of the Yellow Emperor and other classics of the time. The stories assert that Laozi never opened a formal school but nonetheless attracted a large number of students and loyal disciples. There are many variations of a story retelling his encounter with Confucius, most famously in the Zhuangzi.
He was sometimes held to have come from the village of Chu Jen in Chu. In accounts where Laozi married, he was said to have had a son named Zong who became a celebrated soldier.
Watch “The Traitor_Martha Wainwright_Leonard Cohen_I’m Your Man_720HD-022711.avi” on YouTube
Play “The Traitor”
on Amazon Music (ad)
Now the Swan it floated on the English river
Ah the Rose of High Romance it opened wide
A sun tanned woman yearned me through the summer
And the judges watched us from the other side
I told my mother “Mother I must leave you
Preserve my room but do not shed a tear
Should rumour of a shabby ending reach you
It was half my fault and half the atmosphere”
But the Rose I sickened with a scarlet fever
And the Swan I tempted with a sense of shame
She said at last I was her finest lover
And if she withered I would be to blame
The judges said you missed it by a fraction
Rise up and brace your troops for the attack
Ah the dreamers ride against the men of action
Oh see the men of action falling back
But I lingered on her thighs a fatal moment
I kissed her lips as though I thirsted still
My falsity had stung me like a hornet
The poison sank and it paralyzed my will
I could not move to warn all the younger soldiers
That they had been deserted from above
So on battlefields from here to Barcelona
I’m listed with the enemies of love
And long ago she said “I must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that Rose and wind the Swan”
So daily I renew my idle duty
I touch her here and there, I know my place
I kiss her open mouth and I praise her beauty
And people call me traitor to my face
GeorgeB
General Comment:
Well I guess, it is fundamentally positive, and for a long time I just amaze myself at the beauty of the methaphore, the idea of the world as a stage, as the scene of a quest, in which the spectators are the judges as well, then I heard Leonard Cohen’s explaantion of the line of thought that made him write the poem. It goes like this:
“It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”.
It talks about the unvoidable predicament of failure from without, and the only right posture when one’s faced with a situation in which one cannot but fail: standing guiltless, in the predicament in which you find yourself. I think that is positive: not blaming yourself for outcomes of which you could not fully control.
Rating: +1
No Replies
12 Years AgoWinters
General Comment:
- It seems to be about a man settling for someone who is not right for him rather than what his heart desires. He becomes an enemy of love, The Men of Action Falling back is the man too weak to take action and leave, following his heart. He has a relationship of physical love but not real love. He is a traitor to himself.
Rating: 0
No Replies
11 Years Agobhoover247
General Comment:
The rose is the womans genitals, the swan would be his. The line “run some wire through the rose and wind the swan” would be the woman asking him to have sex with her. He daily performs his “idle duty” but he doesn’t love her. He has become an “enemy of love” for betraying his true love.
Rating: 0
1 Reply
9 Years AgoRJSoftware
General Comment:
Damb, aint any Cohen song remotley happy?
Rating: 0
No Replies
9 Years AgoStrangerinme
General Comment:
And long ago she said “I must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that Rose and wind the Swan”
God what a punishment ( the cruelty of the victim is almost far more than of the criminal)
He betrayed her , she doesn’t love him no more but she keeps her body for him to have sex with while her soul is somewhere else …
Rating: 0
No Replies
6 Years AgoJohnnyBee
My Interpretation:
What the Traitor has betrayed is the ideal of love. His ‘scarlet fever’ is lust, but when it is satisfied by ‘lingering on her thighs’, the Traitor is shamed. He recognises that other young men go off to battle without high ideals and they too become ‘the enemies of love’.
Lovely metaphors – great Leonard Cohen.
Rating: 0
No Replies
4 Months Agoalerique
General Comment:
Please, note parallels with famous ‘O Rose Thou Art Sick’ by William Blake, with specific reference to Englishness to remove further doubts. This is widened reinterpretation of the famous poem from the worm’s point of view.
O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.
Rating: 0
Posted in ARTISTS AND ARTS - Music, Educational, FILM, Lyrics, MEMORIES, MUSIC, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Poetry, Poets, Writers, Special Interest, SPIRITUALITY, Uncategorized, YouTube/SoundCloud: Music
Tagged The Traitor_Martha Wainwright_Leonard Cohen_I'm Your Man
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.
Posted in ARTISTS AND ARTS - Music, Educational, FILM, IN THE SPOTLIGHT, MEMORIES, MUSIC, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, SPIRITUALITY, This Pressed (Press this), Uncategorized, YouTube/SoundCloud: Music
Tagged Fischer/Mendelssohn Violin Concerto in E Minor, Op. 64/Myung Whun Chung/Festival de Saint Denis." on YouTube
Watch “Mocedades Tomame o dejame” on YouTube
Tómame o déjame
Pero no me pidas que te crea más
Cuando llegas tarde a casa
Pero no me pidas que te crea más
Cuando llegas tarde a casa
No tienes porque inventar
Pues tu ropa huele a leña de otro hogar
Pues tu ropa huele a leña de otro hogar
Tómame o déjame
Si no estoy despierta, déjame soñar
No me beses en la frente
Sabes que te oí llegar
Y tu beso sabe a culpabilidad
Si no estoy despierta, déjame soñar
No me beses en la frente
Sabes que te oí llegar
Y tu beso sabe a culpabilidad
Tú me admiras porque callo y miro al cielo
Porque no me ves llorar
Y te sientes cada día más pequeño
Y esquivas mi mirada en tu mirar
Porque no me ves llorar
Y te sientes cada día más pequeño
Y esquivas mi mirada en tu mirar
Tómame o déjame
Ni te espío ni te quito libertad
Pero si dejas el nido
Si me vas a abandonar
Házlo antes de que empiece a clarear
Tu me admiras porque callo y miro al cielo
Porque no me ves llorar
Y te sentes cada dia mas pequeño
Y ezquibas mi mirada y tu mirar
Ni te espío ni te quito libertad
Pero si dejas el nido
Si me vas a abandonar
Házlo antes de que empiece a clarear
Tu me admiras porque callo y miro al cielo
Porque no me ves llorar
Y te sentes cada dia mas pequeño
Y ezquibas mi mirada y tu mirar
Tómame o déjame
Y si vuelves trae contigo la verdad
Trae erguida la mirada
Trae contigo mi rival
Si es mejor que yo podré entonces llorar
Y si vuelves trae contigo la verdad
Trae erguida la mirada
Trae contigo mi rival
Si es mejor que yo podré entonces llorar
Translate to English
Source: LyricFind
Songwriters: Juan Carlos Calderon Lopez De Arroyabe
Tomame O Dejame lyrics © Universal Music Publishing Group
My pot with flowers today 12/16/19
My pot with flowers today 12/16/19
“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…
Posted in Educational, Health and Environment, IN THE SPOTLIGHT, MEMORIES, MY TAKE ON THINGS, ONE OF MY FAVORITE THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, QUOTATION, Quote of the Day, Special Interest, SPIRITUALITY, Uncategorized
Tagged even when they are not sorry..., Thoughts of Wisdom: Forgive them
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
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
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
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
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
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
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
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 history
“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 versions
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]
- Josh White (1944) [28]
- Snooks Eaglin – New Orleans Street Singer (Folkways, 1959)[29]
- Lou Rawls – Back and Blue(1963)[30]
- The Standells – Try It (1967)[31]
- Joe Cocker – Joe Cocker (1972)[32]
- Canadian Brass – Basin Street(1984)[33]
- Isobel Campbell and Mark Lanegan[34] (2005)
- The Devil Makes Three – A Little Bit Faster and a Little Bit Worse (under the title St James) (2006)[35]
- Arlo Guthrie with the University of Kentucky Symphony Orchestra – In Times Like These (2007)[36]
- Hugh Laurie – Let Them Talk (2011)
- Rickie Lee Jones – The Devil You Know[37] (2012)
- Dalice Marie – Twenty Eight(2016)[38]
- Yo-Yo Ma‘s Silkroad Ensemble with Rhiannon Giddens – Sing Me Home(2016)[39]
- Jon Batiste – Hollywood Africans(2018)
- Liquor Beats Winter – Lost In The Sauce (2018)
See also
From Wikipedia:
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 history
“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 versions
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]
- Josh White (1944) [28]
- Snooks Eaglin – New Orleans Street Singer (Folkways, 1959)[29]
- Lou Rawls – Back and Blue(1963)[30]
- The Standells – Try It (1967)[31]
- Joe Cocker – Joe Cocker (1972)[32]
- Canadian Brass – Basin Street(1984)[33]
- Isobel Campbell and Mark Lanegan[34] (2005)
- The Devil Makes Three – A Little Bit Faster and a Little Bit Worse (under the title St James) (2006)[35]
- Arlo Guthrie with the University of Kentucky Symphony Orchestra – In Times Like These (2007)[36]
- Hugh Laurie – Let Them Talk (2011)
- Rickie Lee Jones – The Devil You Know[37] (2012)
- Dalice Marie – Twenty Eight(2016)[38]
- Yo-Yo Ma‘s Silkroad Ensemble with Rhiannon Giddens – Sing Me Home(2016)[39]
- Jon Batiste – Hollywood Africans(2018)
- Liquor Beats Winter – Lost In The Sauce (2018)
See also
Posted in ARTISTS AND ARTS - Music, Educational, FILM, IN THE SPOTLIGHT, Lyrics, MEMORIES, MUSIC, MY TAKE ON THINGS, PEOPLE AND PLACES HISTORY, PEOPLE AND PLACES HISTORY, GEOGRAPHY, Special Interest, SPIRITUALITY, surveillance, Uncategorized, YouTube/SoundCloud: Music
Tagged A Celebration of New Orleans Blues)" on YouTube, Hugh Laurie - Saint James Infirmary (Let Them Talk, Louis Armstrong
Watch “In the Upper Room” on YouTube
In the upper room with Jesus
Singing in tears blessed fears
Daily there my sins confessing
Beggin for his mercy sweet
Trusting his grace and power
Seeking help in loving prayers
It is this how I feel the spirit
And I sat with him and pray
Singing in tears blessed fears
Daily there my sins confessing
Beggin for his mercy sweet
Trusting his grace and power
Seeking help in loving prayers
It is this how I feel the spirit
And I sat with him and pray
Oh, he’s in in the upper room
With Jesus
Oh, it’s in the upper room
When my lord and your god
When he’s in the upper room
Yes, he’s in the upper room
Well he’s in the upper room
Talking with the Lord
Oh my, Hallelujah, Lord
With Jesus
Oh, it’s in the upper room
When my lord and your god
When he’s in the upper room
Yes, he’s in the upper room
Well he’s in the upper room
Talking with the Lord
Oh my, Hallelujah, Lord
He’s in the upper room
With Jesus
Oh, he’s in the upper room
Talking with my Lord
Yes, and your God
I know he’s in the upper room
It’s in the upper room
Lord, he’s in, yeah, the upper room
Talking with the Lord, oh yes
But Hallelujah
With Jesus
Oh, he’s in the upper room
Talking with my Lord
Yes, and your God
I know he’s in the upper room
It’s in the upper room
Lord, he’s in, yeah, the upper room
Talking with the Lord, oh yes
But Hallelujah
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
Yeah, in the upper room, Lord
In the upper room
Talking with my Lord
Oh, and your God
Hallelujah
It’s in the upper room
With Jesus
Oh, in the upper room
Talking with my Lord
Yes, and your God
You know I’m in the upper room, whoo
It’s in the upper room
Lord, he in the upper room
Talking with the Lord
Oh, yeah, yeah
Hallelujah
It’s in the upper room
With Jesus
Now I’m in the upper room
Talking with my Lord
Yes, and you God
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
Yeah, in the upper room, Lord
In the upper room
Talking with my Lord
Oh, and your God
Hallelujah
It’s in the upper room
With Jesus
Oh, in the upper room
Talking with my Lord
Yes, and your God
You know I’m in the upper room, whoo
It’s in the upper room
Lord, he in the upper room
Talking with the Lord
Oh, yeah, yeah
Hallelujah
It’s in the upper room
With Jesus
Now I’m in the upper room
Talking with my Lord
Yes, and you God
You know I’m in the upper room
Yeah, I’m in the upper room
Lord, he’s in, in the upper room
Talking with my Lord, oh yeah
Yeah, I’m in the upper room
Lord, he’s in, in the upper room
Talking with my Lord, oh yeah
Source: LyricFind
Songwriters: Mahalia Jackson
In the Upper Room lyrics © Bess Music
Watch “Johnny Cash – Supper Time” on YouTube
Many years ago in days of childhood
I used to play till evenin’ shadows come
Then windin’ down that old familiar pathway
I’d hear my mother call at set of sun
I used to play till evenin’ shadows come
Then windin’ down that old familiar pathway
I’d hear my mother call at set of sun
Come home, come home it’s supper time
The shadows lengthen fast
Come home, come home it’s supper time
We’re going home at last
The shadows lengthen fast
Come home, come home it’s supper time
We’re going home at last
Some of the fondest memories of my childhood
Were woven around supper time
When my mother used to call
From the backsteps of the old homeplace
“Come on home now son, it’s supper time”
Were woven around supper time
When my mother used to call
From the backsteps of the old homeplace
“Come on home now son, it’s supper time”
Ah, but I’d love to hear that once more
But you know for me time has woven the realization of
The truth that’s even more thrilling and that’s when
The call come up from the portals of glory
To come home, for it’s supper time
But you know for me time has woven the realization of
The truth that’s even more thrilling and that’s when
The call come up from the portals of glory
To come home, for it’s supper time
When all of God’s children
Shall gather around the table
Of the Lord himself
And the greatest supper time of them all
Shall gather around the table
Of the Lord himself
And the greatest supper time of them all
Come home, come home, it’s supper time
The shadows lengthen fast
Come home, come home, it’s supper time
We’re going home at last
The shadows lengthen fast
Come home, come home, it’s supper time
We’re going home at last
Source: LyricFind
Songwriters: Ira F. Stanphill
Suppertime lyrics © Capitol Christian Music Group
From Wikipedia:
Supper Time
“Supper Time” is a popular song written by Irving Berlin for the 1933 musical As Thousands Cheer, where it was introduced by Ethel Waters.
It is about a wife’s reaction to news of her husband’s