WA2K Radio is now on the air

Wonderful, edgar. I do believe that song begins in a minor key and the bridge is in a major key. Thanks, Texas:

How about a fandango, folks:

Fandango
(From the album "RECALL THE BEGINNING...A JOURNEY FROM EDEN")

Kim, come and play the drum
Kim, come and join the fun
Can you hear me?
Come and play the drum

Dance a light fandango
Take me 'round and 'round
Dance a light fandango
Never let me down

Dance a light fandango
Take me 'round and 'round
Dance a light fandango
Never let me down

Kim, do not be afraid
Kim, remember what we said
Can you hear me?
Come and play the drum
Come and play the drum

We were just a plain ol' hillbilly band with a plain ol' country style
We never played the kind of songs that'd drive anybody wild
Played a railroad song with a stomping beat
We played a blues song, kinda slow and sweet
But the thing that knocked them off of their feet was, ooh-wee

When Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie in the strangest kind of way

Play it strange!

Well, we did our best to entertain everywhere we'd go
We'd nearly wear our fingers off to give the folks a show
Played jumping jive to make 'em get in the groove
We played sad songs, real slow and smooth
But the only thing that'd make 'em move was, ooh-wee

When Luther played the boogie woogie, Luther played the boogie woogie
Luther played the boogie woogie, Luther played the boogie woogie

Luther played the boogie

Now didn't Luther play the boogie strange?

Johnny Cash

i always associate this song with the word fandango, but i just now learned it had an extra verse or two i didn't know about, which at first glance don't seem to make the meaning of the familiar verses any clearer

We skipped the light fandango
turned cartwheels 'cross the floor
I was feeling kinda seasick
but the crowd called out for more
The room was humming harder
as the ceiling flew away
When we called out for another drink
the waiter brought a tray
And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale
She said, 'There is no reason
and the truth is plain to see.'
But I wandered through my playing cards
and would not let her be
one of sixteen vestal virgins
who were leaving for the coast
and although my eyes were open
they might have just as well've been closed

She said, 'I'm home on shore leave,'
though in truth we were at sea
so I took her by the looking glass
and forced her to agree
saying, 'You must be the mermaid
who took Neptune for a ride.'
But she smiled at me so sadly
that my anger straightway died
If music be the food of love
then laughter is its queen
and likewise if behind is in front
then dirt in truth is clean
My mouth by then like cardboard
seemed to slip straight through my head
So we crash-dived straightway quickly
and attacked the ocean bed

I don't know where they are coming from with that song, but this one is easier to learn.


THE POWER OF LOVE
CELINE DION Lyrics

The whispers in the morning
Of lovers sleeping tight
Are rolling like thunder now
As I look in your eyes
I hold on to your body
And feel each move you make
Your voice is warm and tender
A love that I could not forsake

[first chorus]
'Cause I am your lady
And you are my man
Whenever you reach for me
I'll do all that I can

Lost is how I'm feeling lying in your arms
When the world outside's too
Much to take
That all ends when I'm with you

Even though there may be times
It seems I'm far away
Never wonder where I am
'Cause I am always by your side

'Cause I am your lady
And you are my man
Whenever you reach for me
I'll do all that I can

[second chorus]
We're heading for something
Somewhere I've never been
Sometimes I am frightened
But I'm ready to learn
Of the power of love

The sound of your heart beating
Made it clear
Suddenly the feeling that I can't go on
Is light years away

'Cause I am your lady
And you are my man
Whenever you reach for me
I'll do all that I can

We're heading for something
Somewhere I've never been
Sometimes I am frightened
But I'm ready to learn
Of the power of love

Hey, edgar. Johnny Cash is rather like Sara Lee. Nobody doesn't like our Johnny. Love it, Texas.

You know, Mr. Turtle. I just found out that a fandango is a light Spanish dance. That is an odd song, but admit it; you do like those lyrics.

Hmmm. A whiter shade of pale. I do believe that came from a classic piece originally. I need to check that out.

Try, Yes indeed, buddy. Those are words we all understand.

Speaking of men and their ladies, listeners, let's hear one from Loretta:

Loretta Lynn - You Ain't Woman Enough (To Take My Man) Lyrics

You've come to tell me something you say I ought to know
That he don't love me anymore and I'll have to let him go
You say you're gonna take him oh but I don't think you can
Cause you ain't woman enough to take my man
Women like you they're a dime a dozen you can buy 'em
anywhere
For you to get to him I'd have to move over and I'm gonna stand
right here
It'll be over my dead body so get out while you can
Cause you ain't woman enough to take my man
[ dobro ]
Sometimes a man start lookin' at things that he don't need
He took a second look at you but he's in love with me
Well I don't know where they leave you oh but I know where I'll
stand
And you ain't woman enough to take my man
Women like you they're a dime...
No you ain't woman enough to take my man

"A Whiter Shade of Pale" was inspired by the Johann Sebastian Bach's "Sleepers Awake" and "Air on a G String", but contrary to some belief, the song is not a direct copy or paraphrase of these or any other Bach piece.

Well, dys. You just reminded us, cowboy. There are many popular pieces taken from the classics, but I believe that is one that had to be stretched to fit.

After searching the archives, folks. I came up with the British rock group called Procon Harum who did "A whiter Shade of Pale." Very interesting.

Well, how about a change of pace for the late evening:



Il Tuo Diamante
Words by 'Mogol' (Giulio Rapetti)
author of many texts for famous Italian singer Lucio Battisti: English translation


Tuo Diamante
(Your diamond)


Ti avrei tenuto nel mio cuore
I would have held you in my heart

Ti avrei preso tra le mani
I would have taken you in my arms (or hands)

Illuminato io ti avrei
I would have lit you up

(con) il sole che era negli occhi miei
(with) the sun that was in my eyes

Però aspettare tu non sai
But you don't know how to wait

Volevi vivere e tu vivrai
You wanted to live, and you will live

Il tuo diamante splenderà
Your diamond will shine

Ma il cuore freddo resterà
But your heart will remain cold

Avresti avuto quel che ho
You would have had what I have (to offer)

Non ti avrei detto mai di no
I'd never have said 'No' to you

Potevi piangere con me
You could cry with me

Potevi ridere con me
You could laugh with me

Però aspettare tu non sai
But you don't know how to wait

Volevi tutto e tu l'avrai
You wanted it all, and you'll get it

Il tuo diamante splenderà
Your diamond will shine

Ma il cuore freddo resterà
But your heart will remain cold

E quando tu ti accorgerai
And when you realize

Ritorna qui se tu lo vuoi
Come back, if you want to

Che qualche cosa forse avrai
And maybe you will get something

E il mio pianto finirà
And my lament will end

E dopo stanca ritornerai
And after you return, worn out

E la mia strada riprenderà
And once I'm able to take up my path in life again

Il tuo diamante getterai
Your diamond you will throw away

E il sole caldo troverai
And you will rediscover the hot sun

Troverai - Yeah
You'll find it yeah

Troverai - Yeah
You'll find it yeah

Troverai ...
You'll find it

I was born in dixie in a boomer's shack,
Just a little shanty by the railroad track
Freight train was comin' I had to cry,
Hummin all the drivers with my lullaby
I've got the freight train blues (hee, hee, hoo)
Oh, lawdy mama got 'em on the bottom of my ramblin' shoes

And when the whistle blows, I gotta go
Baby don't you know
It looks like I'm never gonna lose
The freight train blues.

Well, my daddy was a fireman in a house out here
She was the only daughter of the engineer
Sweetheart of the brakeman, that ain't no joke
It's a shame the way she keeps a good man broke.
I got the freight train blues (hee, hee, hoo)
Oh, lawdy I got 'em in the bottom of my ramblin' shoes

And when the whistle blows, I gotta go
Oh mama don't you know
It looks like I'm never gonna lose
The freight train blues.

Well, the only thing that makes you laugh again
Is a south bound whistle on a south bound train
Ev'ry place I want to go
I never go because you know
Because I got the freight train blues (hee, hee, hoo)
Oh, lawdy mama, got 'em on the bottom of my ramblin' shoes

William Hanna
From Wikipedia, the free encyclopedia

William Denby "Bill" Hanna (July 14, 1910 in Melrose, New Mexico - March 22, 2001) was an American animator, director, producer, cartoon artist, and co-founder, together with Joseph Barbera, of Hanna-Barbera (now known as Cartoon Network Studios). The studio produced well-known cartoons such as The Huckleberry Hound Show, The Flintstones, The Jetsons, and Scooby-Doo.

Career

Hanna started his career in 1931 when he learned that Leon Schlesinger Productions, producers of animated cartoons for Warner Bros., were hiring staff. He gained his employment without any formal training and soon became head of their Ink and Paint Department. When producer-directors Hugh Harman and Rudolph Ising left Schlesinger and Warners in 1933 to become independent and produce cartoons for Metro-Goldwyn-Mayer (MGM), Hanna was one of the employees who followed them. He co-produced Tom and Jerry.

In 1936, Hanna directed his first cartoon, To Spring, one of the Harman-Ising Happy Harmonies series entries. In 1937, MGM made a business decision to stop outsourcing to Harman-Ising and bring production in-house. Hanna was among those hired away from Harman-Ising, and he became a senior director on MGM's Captain and the Kids series. The same year, they hired storyman Joseph Barbera from Terrytoons, and in 1939 the two began what was to be a winning partnership as co-directors.

The first cartoon directed by Hanna and Barbera together was Puss Gets the Boot, which was nominated for an Academy Award for Best (Cartoon) Short Subject and introduced their most famous creation from this period, the cat and mouse duo Tom and Jerry. Hanna supplied all the screams and yelps of Tom in the shorts without credit. Leonard Maltin says that "Barbera's strength was in gags and story development, while Hanna saw himself more as a director, with a solid sense of timing; they complemented each other perfectly."

Hanna and Barbera's 17-year partnership on the Tom & Jerry series resulted in 7 Academy Awards for Best (Cartoon) Short Subject, and 14 total nominations, more than any other character-based theatrical animated series. Hanna and Barbera were placed in charge of MGM's animation division in late 1955; this was short-lived, as MGM closed the division in 1957.

From here, Hanna branched out into television, forming the company Shield Productions to partner with animator Jay Ward, who had created the series Crusader Rabbit. This fizzled, and in 1957 he reteamed up with his old partner Joseph Barbera to produce the series The Ruff & Reddy Show, under the company name H-B Enterprises, soon changed to Hanna-Barbera Productions.

Hanna-Barbera Productions became by the late-1960s the most successful television animation studio in the business, producing hit programs such as The Flintstones, The Jetsons, Jonny Quest, and Scooby-Doo, Where Are You! by the end of the decade. The studio thrived until 1991, when Hanna and Barbera sold it to Turner Entertainment. Hanna and Barbera stayed on as advisors and periodically worked on new Hanna-Barbera shows, including the What-a-Cartoon! series.

Hanna died on March 22, 2001 at the age of 90 in North Hollywood, Los Angeles, California. He is buried in Ascension Cemetery in Lake Forest, California.

Terry-Thomas
From Wikipedia, the free encyclopedia

Terry-Thomas (July 14, 1911 - January 8, 1990) was a distinctive English comic actor famous for the trademark gap in his front teeth, cigarette holder, dressing gown, and such catch-phrases as "You're an absolute shower!" and "Good show!"

Born Thomas Terry Hoar-Stevens in Finchley, England, he worked in cabaret and as a film extra before finding success as an entertainer during World War II. After the war he worked in TV, radio and variety, but it was during the mid-1950s that he developed his famous persona, first in his television series, How Do You View?, and then in films. His performance as Major Hitchcock in John and Roy Boulting's Private's Progress (1956) gave birth to his catchphrase "you're an absolute shower", and made him a favourite in British comedy films for the next decade. He reprised the role of Hitchcock in I'm All Right Jack (1959), and appeared in several of the Boultings' other films including Lucky Jim and Brothers in Law.

He played a variety of exuberant, malevolent and silly characters during the 1960s, and became famous for his portrayal of the archetypal cad, bounder, and absolute rotter. He was married twice, first to Ida Patlanski (from 1938-1962, when they divorced) and secondly to Belinda Cunningham (from 1963 - 1990, his death) by whom he had two sons, Timothy and Cushan. He was a cousin of the British actor Richard Briers.

In 1971 he was diagnosed with Parkinson's disease, and by 1977 he had retired. He died in 1990 at the age of 78.

Ingmar Bergman
From Wikipedia, the free encyclopedia

Ernst Ingmar Bergman (help·info) (IPA: [ˈbɛrjman] in Swedish) (born July 14, 1918) is a Swedish stage and film director who is one of the key film auteurs of the second half of the twentieth century.

Biography and style characteristics

Born in Uppsala, Sweden, to a Lutheran minister of Danish descent, Bergman grew up surrounded by religious imagery and discussion. He had a strict upbringing and was locked up in dark closets for infractions such as wetting the bed. Bergman attended Stockholm University and became interested in theater, and later in cinema. His films usually deal with existential questions about mortality, loneliness, and faith; they are also usually direct and not overtly stylized. Persona, one of Bergman's most famous films, is unusual among Bergman's work for being both existentialist and avant-garde.

As a director, Bergman favors intuition over intellect, and chooses to be unaggressive in dealing with actors. Bergman sees himself as having a great responsibility toward them, whom he views as collaborators in a psychologically vulnerable position. He states that a director must be both honest and supportive to allow others their best work.

Bergman usually writes his own scripts, thinking about them for months or years before starting the actual process of writing, which he views as somewhat tedious. His earlier films are carefully structured, and are either based on plays or written with other authors, usually as a matter of convenience. Bergman states that in his later works, when his characters sometimes start wanting to do things different from what he had intended, he lets them, calling the results "disastrous" when he doesn't. Throughout his career, Bergman increasingly lets his actors improvise their dialogue. In his latest films, he has written just the ideas behind the dialogue, keeping in mind the general direction he thinks it should take.

Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, the late Ingrid Thulin, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann was the last to join this group (in the 1966 film Persona), and ultimately became most closely associated with Bergman, both artistically and personally.

Bergman began working with Sven Nykvist, his cinematographer, in 1953. The two of them have sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it is filmed. On the morning of the shoot, he speaks to Nykvist briefly about the mood and composition he hopes for, and then leaves him to work without interruption or comment until they discuss the next day's work.

When viewing daily rushes, Bergman stresses the importance of being critical but unemotional, claiming that he asks himself not if the work is great or terrible, but if it is sufficient or if it needs to be reshot.

Bergman encourages young directors not to direct any film that does not have a "message," but to wait until one comes along that does, yet admits that he himself is not always sure of the message of some of his films. By Bergman's own accounts, he has never had a problem with funding. He cites two reasons for it: one, that he does not live in the United States, which he views as obsessed with box-office earnings; and two, that his films tend to be low-budget affairs. (Cries and Whispers, for instance, was finished for about $450,000, while Scenes from a Marriage--a six-episode television feature--cost only $200,000.) Bergman left Sweden for Munich when accused of tax evasion. Though he was later cleared of the charges, he remained in Munich and did not film again in Sweden until 1982. In 1982 he directed Fanny and Alexander. Bergman stated that the film would be his last, and that afterwards he would focus on directing theater. Since then he has directed a number of television specials and written several additional scripts, though he does continue to work in theater. In 2003, Bergman, at 84 years old, directed a new film, Saraband, that represents a departure from his previous works.

When asked about his movies, he says he holds Persona and Cries and Whispers highest in regard, though in an interview in 2004, Bergman said that he is 'depressed' by his own films and cannot watch them anymore. [1] In these films, he says, he managed to push the medium to its limit. He has denounced the critical classification of three of his films (Through a Glass Darkly, Winter Light and The Silence) as a trilogy: he had no intention of so connecting them, and cannot see any common motifs in them.

His daughter Eva Bergman (born 1945), is also a director, as is his son Daniel Bergman. He is also the father of writer Linn Ullmann, with actress Liv Ullmann.

In 1970, Bergman received The Irving G. Thalberg Memorial Award at the Academy Awards ceremony.

Dale Robertson
From Wikipedia, the free encyclopedia

Dale Robertson (born 14 July 1923 in Harrah, Oklahoma) is an American actor. Robertson started his career in the late 1940s.

For most of his career, he played in Western movies and TV shows. His two best-remembered series were the westerns Tales of Wells Fargo, in which he played a roving 'trouble-shooter' for that company, and The Iron Horse, in which he won an incomplete railroad line in a poker game and took up the challenge of running it.


In 1981 he was part of the original starring cast of Dynasty, playing Walter Lankershim, a character who disappeared after the first season. Much later in the series, it turned out he had died.

Robertson has a star on the Hollywood Walk of Fame and is also in the Hall of Great Western Performers.

Harry Dean Stanton
From Wikipedia, the free encyclopedia

Harry Dean Stanton (born July 14, 1926 in West Irvine, Kentucky, USA) is an American actor. Although he has not achieved star status through lead roles, he is one of the most reliable, consistent, and sought-after character actors in Hollywood. In spite of his character actor status, Stanton's unassailable acting skill and his uncanny knack for appearing in highly-regarded films influenced movie critic Roger Ebert to pronounce the Stanton-Walsh Rule: "no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad." Although, Ebert later admitted that Dream a Little Dream (1989), in which Stanton appeared, was a "clear violation" of this rule.

In the DVD extra interview of Repo Man Harry Dean deeply reviews his outlook on life in a way that is considered "Tao".

Jack had a blind date with Jill for the prom and, as the
evening progressed, he found himself attracted to her more and
more.

After some really passionate embracing, he said,"Tell me, do you
object to making love?"

"That is something I have never done before," Jill replied.

"Never made love? You mean you are a virgin?" Jack was amazed.

"No, silly!" she giggled. "Never objected!"

Jamaica

Music: Manos Loizos
Lyrics: Lefteris Papadopoulos
Singer: Giannis Kalatzis


Every morning I was going to go to work,
The fishing caiques were leaving like birds.
Every morning I was planning with Minas,
Distant journeys - Far, to Jamaica.

CHORUS
And we were sailing in the seas, my old love.
And then, in the evening we were getting drunk at the taprooms.
It was like I was drinking you in the glass, like the good wine.

I was too many years in the job, got used of the chisel and the gavel.
I just made a boat for you.
I carved on its stern, a light blue mermaid,
And an evening, I became your ship-master.

CHORUS

Good morning WA2K radio fans and contributors.

First, allow us to thank our edgar for the great train song. Love it, Texas. I have a picture hanging in our small studio of the old steam engine complete with caboose.

Hey, hawkman. You're signing in early today, Boston. With the exception of one or two notables, all are quite familiar.

I hadn't realized that Bastille Day was so close to our Independence Day. Thanks for the reminder, and wherever our Francis might be, we hope he has a great celebration.

Well, coffee is the nectar of the gods, so I shall return after a cuppa.

Ellinas, welcome back, Greece. That is a lovely song, my friend, and I especially like the line, "it was like I was drinking you in the glass like a good wine." What a great simile. Isn't there a wonderful liqueur called oozo from your land of the myths and monsters? As I recall, it's rather powerful stuff. <smile>