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Letty, thank you for the "Fisherman" song, I shall send it on to my son who is a Tuna Fisherman, and runs a large Tuna Farm in Port Lincoln, the fishing capital of Australia.

What synchronicity, Dutchy. I had no idea that your son was a fisherman of the tuna type. I hope he appreciates his father's wondrous consideration.

Now, for Christopher and Dana:

Can you read my mind?
Do you know what it is you do to me?
Don't know who you are
Just a friend from another star
Here I am
Like a kid at the school
Holding hands
With a god(??)
I'm a fool

Will you look at me, quivering,
Like a little girl, shivering
You can see right through me
Can you read my mind?
Can you picture the things I'm thinking of?
Wondering why you are
All the wonderful things you are
You can fly
You belong to the sky
You and I
Could belong to each other
If you need a friend
I'm the one to fly to
If you need
To be loved
Here I am
Read my mind

Will you look at me, quivering
Like a little girl, shivering
You can see right through me

If you need a friend
I'm the one to fly to
If you need
To be loved
Here I am
Read my mind

Tuna farm off Port Lincoln - South Australia

Ah, Dutchy. That is lovely, honey. What a great way to make a living, Auzzie. Feed the world and enjoy one's work. Thank you for showing us your son's place of business. <smile>

Oh, yes. I meant to tell edgar that Mickey says "Hi" and to send you this song:

Mickey Gilley

(chorus)
The girls all get prettier at closing time
They all begin to look like movie stars

The girls all get prettier at closing time
When the change starts taking place
It puts a glow on every face
Of the falling angels of the back street bars

(verse 1)
If I could rate'em on a scale from 1 to 10
I'm lookin' for a 9 but 8 would slip right in
A few more drinks and I might slip to a 5 or even a 4
But when tomorrow morning comes, and I wake up with a number 1
I sware I'll never do it anymore

(verse 2)
Now I don't mean to criticize the girls at all
Cause I know Robert Redford even overhauls
We all picture in our minds a girl that looks just right
Ain't it funny, ain't it strange, how a man's opinion changes
When he starts to face that lonely night.

Closing time for Letty, so goodnight all.

From Letty with love

Johnny Appleseed
From Wikipedia, the free encyclopedia

Johnny Appleseed, born John Chapman (September 26, 1774 - March 18, 1845), was an American pioneer nurseryman, and missionary for the Church of the New Jerusalem, founded by Emanuel Swedenborg.[1]

He introduced the apple to large parts of Ohio, Indiana, and Illinois by planting small nurseries. He became an American legend while still alive, portrayed in works of art and literature, largely because of his kind and generous ways, and his leadership in conservation.


Chapman's family

John Chapman was the second child of Nathaniel Chapman and his wife, the former Elizabeth Simonds (m. February 8, 1770) of Leominster, Massachusetts.[1] Nathaniel was a farmer of little means, although tradition holds that he lost two good farms during the American Revolution.[1] His father started John Chapman upon a career as an orchardist by apprenticing him to a Mr. Crawford, who had apple orchards.[2]

A third child, Nathaniel Jr., was born on June 26, 1776, while Nathaniel was an officer leading a company of carpenters attached to General George Washington in New York City. Elizabeth, however, was suffering from tuberculosis, and both mother and child died in July, leaving John and his older sister, also named Elizabeth, to be raised by relatives. After being honorably discharged in 1780, Nathaniel remarried, with ten half-siblings for John and Elizabeth the result.[1]

Heading for the frontier

In 1792, an 18-year-old Chapman went west, taking 11-year-old half-brother Nathaniel, with him. Their destination was the headwaters of the Susquehanna. There are stories of him practicing his nurseryman craft in the Wilkes-Barre area, and of picking seeds from the pomace at Potomac cider mills in the late 1790s. [1]

Land records show that John Chapman was in today's Licking County, Ohio, in 1800. Congress had passed resolutions in 1798 to give land there, ranging from 160 acres to 2240 acres, to Revolutionary War veterans, but it took until 1802 before the soldiers actually received letters of patent to their grants. By the time they arrived, his nurseries, located on the Isaac Stadden farm, had trees big enough to transplant.

Nathaniel Chapman arrived, family in tow, in 1805, although John's sister Elizabeth had married and remained in the east. At that point, the younger Nathaniel Chapman rejoined the elder, and Johnny Appleseed spent the rest of his life as a solo act.

By 1806, when he arrived in Jefferson County, Ohio, canoeing down the Ohio River with a load of seeds, he was known as Johnny Appleseed. He had used a pack horse to bring seeds to Licking Creek in 1800, so it seems likely that the nickname appeared at the same time as his religious conversion. Johnny Appleseed's beliefs made him care deeply about animals.

His concern extended even to insects. Henry Howe, who visited all 88 counties in Ohio in the early 1800s, collected these stories in the 1830s, when Johnny Appleseed was still alive:[3]

One cool autumnal night, while lying by his camp-fire in the woods, he observed that the mosquitoes flew in the blaze and were burnt. Johnny, who wore on his head a tin utensil which answered both as a cap and a mush pot, filled it with water and quenched the fire, and afterwards remarked, "God forbid that I should build a fire for my comfort, that should be the means of destroying any of His creatures."
Another time he made his camp-fire at the end of a hollow log in which he intended to pass the night, but finding it occupied by a bear and cubs, he removed his fire to the other end, and slept on the snow in the open air, rather than disturb the bear.


When Johnny Appleseed was asked why he did not marry, his answer was always that two female spirits would be his wives in the after-life if he stayed single on earth.[4] However, Henry Howe reported that Appleseed had been a frequent visitor to Perrysville, Ohio, where Appleseed is remembered as being a constant snuff customer, with beautiful teeth. He was to propose to Miss Nancy Tannehill there - only to find that he was a day late, and she had accepted a prior proposal:[5]

On one occasion Miss PRICE's mother asked Johnny if he would not be a happier man, if he were settled in a home of his own, and had a family to love him. He opened his eyes very wide-they were remarkably keen, penetrating grey eyes, almost black-and replied that all women were not what they professed to be; that some of them were deceivers; and a man might not marry the amiable woman that he thought he was getting, after all.
Now we had always heard that Johnny had loved once upon a time, and that his lady love had proven false to him. Then he said one time he saw a poor, friendless little girl, who had no one to care for her, and sent her to school, and meant to bring her up to suit himself, and when she was old enough he intended to marry her. He clothed her and watched over her; but when she was fifteen years old, he called to see her once unexpectedly, and found her sitting beside a young man, with her hand in his, listening to his silly twaddle.

I peeped over at Johnny while he was telling this, and, young as I was, I saw his eyes grow dark as violets, and the pupils enlarge, and his voice rise up in denunciation, while his nostrils dilated and his thin lips worked with emotion. How angry he grew! He thought the girl was basely ungrateful. After that time she was no protegé of his.



Chapman's apples

It is impossible to produce named-variety apples by planting seeds; every tree produces a new variety, often misshapen and sour.[6] To produce apples such as are sold in supermarkets, scions from a named variety must be grafted onto the the scrub apple. Chapman didn't do that; he considered grafting to be "absolute wickedness".[7] Still, there wasn't much available in the way of sweets on the frontier, especially during the winter. Whole apples can be stored in a root cellar for months,[8] and snitz (dried apple sections) keep for a year before losing quality.[9]

What's more, apples could be juiced for apple butter or to produce hard cider (which could be further processed to make applejack).[10] Although Cecil Adams's staff claims Appleseed drank,[11] Swedenborgian theology required vegetarianism and abstention from alcohol,[12] and it is known that on the night before he died, it was milk he drank with his bread.[13]

On the frontier, water supplies were often of questionable quality, and alcoholic beverages could be the healthful alternative. This was especially true in or near the Black Swamp, where ague and malaria claimed many lives.[14] The Worth farm, where Johnny Appleseed died,[15] and his Milan Township nursery were both in Allen County, Indiana, on the west edge of the Black Swamp. Chapman had introduced "mayweed" (now called dog fennel) into Ohio, giving housewives fresh herbs along with stories for the whole family.[1] He believed dog fennel had antimalarial properties.[16] Farmers called it johnny weed;[17] many states now classify dog fennel as a noxious weed.[18]

Johnny's business plan

The popular image of Johnny Appleseed had him spreading apple seeds randomly, everywhere he went. In fact, he planted nurseries rather than orchards, built fences around them to protect them from livestock, left the nurseries in the care of a neighbor who sold trees on shares, and returned every year or two to tend the nursery.[19]

Appleseed's managers were asked to sell trees on credit, if at all possible, but he would accept corn meal, cash or used clothing in barter. The notes didn't specify an exact maturity date - that date might not be convenient - and if it didn't get paid on time, or even get paid at all, Johnny Appleseed didn't press for payment. Setting down roots in the community - both literally and figuratively - settlers knew that paying their debts was imperative. Appleseed was hardly alone in this pattern of doing business. What was unique was the fact that he remained an itinerant his entire life.[1]


"Here's your primitive Christian!" Illustration from Harper's, 1871He obtained the apple seed for free; cider mills wanted more apple trees planted, as it would eventually bring them more business. Johnny Appleseed dressed in the worst of the used clothing he received, giving away the better clothing he received in barter. He wore no shoes, even in the snowy winter. There was always someone in need he could help out, for he didn't have a house to maintain. When he heard a horse was to be put down, he'd buy the horse, buy a few grassy acres nearby, and turn the horse out to recover. If it did, he'd give the horse to someone needy, exacting a promise to treat the horse humanely.[20]

Towards the end of his career, he was present when an itinerant missionary was exhorting to an open-air congregation in Mansfield, Ohio. The sermon was long and quite severe on the topic of extravagance, as the pioneers were now starting to buy such indulgences as calico, and store-bought tea. "Where now is there a man who, like the primitive Christians, is traveling to heaven bare-footed and clad in coarse raiment?" the preacher repeatedly asked, until Johnny Appleseed, his endurance worn out, walked up to the preacher, put his bare foot on the stump which had served as a lectern, and said, "Here's your primitive Christian!" The flummoxed sermonizer dismissed the congregation.[13]

He was generous with the Swedenborgian church as well. He swapped 160 acres of land near Wooster, Ohio in 1821 in exchange for Swedenborgian tracts that he could distribute.[1] He would tear a few pages from one of Swedenborg's books and leave them with his hosts.

He made several trips back east, both to visit his sister, and to replenish his supply of Swedenborgian literature. He typically would visit his orchards every year or two, and collect his earnings.

Health

It has been suggested that Johnny may have had Marfan syndrome, a rare genetic disorder.[21] One of the primary characteristics of Marfan Syndrome is extra-long and slim limbs. All sources seem to agree that Johnny Appleseed was slim, but while other accounts suggest that he was tall, Harper's describes him as "small and wiry".

Those who propose the Marfan theory suggest that his compromised health may have made him feel the cold less intensely. His long life, however, suggests he did not have Marfan's, and while Marfan's is closely associated with death from cardiovascular complications. Johnny Appleseed died in his sleep, from winter plague - presumably pneumonia.

Grave site

There is some vagueness concerning the date of his death and his burial. Harper's New Monthly Magazine of November, 1871 (which is taken by many as the primary source of information about John Chapman) says he died in the summer of 1847.[13] The Fort Wayne Sentinel, however, printed his obituary on March 22, 1845, saying that he died on March 18:[22]

On the same day in this neighborhood, at an advanced age, Mr. John Chapman (better known as Johnny Appleseed).
The deceased was well known through this region by his eccentricity, and the strange garb he usually wore. He followed the occupation of a nurseryman, and has been a regular visitor here upwards of 10 years. He was a native of Pennsylvania we understand but his home?-if home he had?-for some years past was in the neighborhood of Cleveland, Ohio, where he has relatives living. He is supposed to have considerable property, yet denied himself almost the common necessities of life?-not so much perhaps for avarice as from his peculiar notions on religious subjects. He was a follower of Swedenborg and devoutly believed that the more he endured in this world the less he would have to suffer and the greater would be his happiness hereafter?-he submitted to every privation with cheerfulness and content, believing that in so doing he was securing snug quarters hereafter.

In the most inclement weather he might be seen barefooted and almost naked except when he chanced to pick up articles of old clothing. Notwithstanding the privations and exposure he endured he lived to an extreme old age, not less than 80 years at the time of his death ?- though no person would have judged from his appearance that he was 60. "He always carried with him some work on the doctrines of Swedenborg with which he was perfectly familiar, and would readily converse and argue on his tenets, using much shrewdness and penetration.

His death was quite sudden. He was seen on our streets a day or two previous."


The actual site of his grave is disputed as well. Developers of Fort Wayne, Indiana's Canterbury Green apartment complex and golf course claim his grave is there, marked by a rock. That is where the Worth cabin in which he died sat.[23]

However, Steven Fortriede, director of the Allen County Public Library (ACPL) and author of the 1978 "Johnny Appleseed", believes another putative gravesite, one designated as a national historic landmark and located in Johnny Appleseed Park in Fort Wayne,[24] is the correct site.[23] According to a 1858 interview with Richard Worth Jr., Chapman was buried "respectably" in the Archer cemetery, and Fortriede believes use of the term "respectably" indicates Chapman was buried in the hallowed ground of Archer cemetery instead of near the cabin where he died.[23]

John H. Archer, grandson of David Archer, wrote in a letter[25] dated October 4, 1900:

The historical account of his death and burial by the Worths and their neighbors, the Pettits, Goinges, Porters, Notestems, Parkers, Beckets, Whitesides, Pechons, Hatfields, Parrants, Ballards, Randsells, and the Archers in David Archer's private burial grounds is substantially correct.The grave, more especially the common head-boards used in those days, have long since decayed and become entirely obliterated, and at this time I do not think that any person could with any degree of certainty come within fifty feet of pointing out the location of his grave. Suffice it to say that he has been gathered in with his neighbors and friends, as I have enumerated, for the majority of them lie in David Archer's graveyard with him

The Johnny Appleseed Commission to the Common Council of the City of Fort Wayne reported, "as a part of the celebration of Indiana's 100th birthday in 1916 an iron fence was placed in the Archer graveyard by the Horticulture Society of Indiana setting off the grave of Johnny Appleseed. At that time, there were men living who had attended the funeral of Johnny Appleseed. Direct and accurate evidence was available then. There was little or no reason for them to make a mistake about the location of this grave. They located the grave in the Archer burying ground."[26]

Legacy

Despite his best efforts to give his wealth to the needy, Johnny Appleseed left an estate of over 1200 acres of valuable nurseries to his sister, worth millions even then, and far more now.[11] He could have left more if he had been diligent in his bookkeeping. He bought the southwest quarter (160 acres) of section 26, Mohican Township, Ashland County, Ohio, but never got around to recording the deed, and lost the property.[16]

The financial panic of 1837 took a toll on his estate.[27] Trees only brought two or three cents each,[27] as opposed to the "fip-penny bit" that he usually got.[28] Some of his land was sold for taxes following his death, and litigation ate much much of the rest.[27]

A memorial, in Fort Wayne's Swinney Park, purports to honor him, but not to mark his grave. At the time of his death, he owned four plots in Allen County, Indiana including a nursery in Milan Township, Allen County, Indiana with 15,000 trees.[23]

Since 1975, a Johnny Appleseed Festival has been held in mid-September in Johnny Appleseed Park. Musicians, demonstrators, and vendors dress in early 19th-century dress, and offer food and beverages which would have been available then.[29] An outdoor drama is also an annual event in Mansfield, Ohio.[30]

Marketing the myth

Thousands of books, and films have been based on the life of Johnny Appleseed.[31]


1948 Disney movie.One of the more successful films was Melody Time, a colorful and well-animated 1948 film from Walt Disney Studios featuring Dennis Day. A charming 19-minute segment tells the story of an apple farmer who sees others going west, wistfully wishing he wasn't tied down by his orchard, until an angel appears, singing an apple song, setting Johnny on a mission. When he treats a skunk kindly, all animals everywhere thereafter trust him. The cartoon features lively and catchy tunes, and a childlike simplicity of message, offering a bright, well-groomed park environment instead of a dark and rugged malarial swamp, friendly, pet-like creatures instead of dangerous animals and a completely lack of hunger, loneliness, disease, and extremes of temperature.[32]

Supposedly, the only surviving tree planted by Johnny Appleseed is on the farm of Richard and Phyllis Algeo of Nova, Ohio[33] Some marketers claim it is a Rambo,[34], although the Rambo was introduced to America in the 1640s by Peter Gunnarsson Rambo,[35], more than a century before John Chapman was the apple of his mother's eye. Some even make the claim that the Rambo was "Johnny Appleseed's favorite variety",[36] ignoring the fact that he had religious objections to grafting, and preferred wild apples to all named varieties. It appears most nurseries are calling the tree the "Johnny Appleseed" variety, rather than a Rambo. Unlike the mid-summer Rambo, the Johnny Appleseed variety ripens in September, and is a baking/applesauce variety similar to a Albemarle Pippen. Nurseries offer the Johnny Appleseed tree as an immature apple tree for planting, with scions from the Algeo stock grafted on them. [37] Orchardists do not appear to be marketing the fruit of this tree.

Edmund Gwenn
From Wikipedia, the free encyclopedia

Edmund Gwenn (September 26, 1875-September 6 1959) was a theatre and film actor.

Born Edmund Kellaway in the Vale of Glamorgan, Wales, Gwenn started his acting career in theatre in 1895. Playwright George Bernard Shaw was impressed with his acting, and cast him in the first production of Man and Superman, and subsequently in five more of his plays. Gwenn's career was interrupted by his military service during World War I, however after the war ended he started appearing in films in London.

Gwenn appeared in more than eighty films during his career, including the 1940 version of Pride and Prejudice. He is perhaps best remembered for his role as Kris Kringle in Miracle on 34th Street, for which he won an Academy Award for Best Supporting Actor. Upon receiving his Oscar, he said "Now I know there is a Santa Claus!" He received a second nomination for his role in Mister 880 (1950). Near the end of his career he played one of the main roles in Alfred Hitchcock's The Trouble with Harry (1955). He has a small but hugely memorable role as a Cockney assassin in another Hitchcock film, Foreign Correspondent (1940)

Edmund Gwenn died from pneumonia after suffering a stroke, in Woodland Hills, California. He was cremated and his ashes are stored in the vault at the Chapel of the Pines Crematory in Los Angeles, California.

Edmund Gwenn has a star on the Hollywood Walk of Fame at 1751 Vine Street for his contribution to motion pictures.

T. S. Eliot
From Wikipedia, the free encyclopedia

Born September 26, 1888
St. Louis, Missouri, USA
Died January 4, 1965
London, England

Thomas Stearns Eliot, OM (September 26, 1888 - January 4, 1965) was an American (naturalised British) poet, dramatist and literary critic, whose works, such as The Love Song of J. Alfred Prufrock, The Waste Land, "The Hollow Men", and Four Quartets, are considered defining achievements of twentieth century Modernist poetry. In 1948, he won the Nobel Prize for Literature. He was one of the most influential poets of the 20th century.

Life

Early life and education

Eliot was born into a prominent family from St. Louis, Missouri. Later, he said that "having passed one's childhood beside the big river" (the Mississippi) influenced his poetry. His father, Henry Ware Eliot (1843-1919), was a successful businessman, president and treasurer of the Hydraulic-Press Brick Company in St. Louis; his mother, born Charlotte Chauncy Stearns (1843-1929), taught school before her marriage and wrote poems. He was their last child; his parents were 44 years old when he was born. His four surviving sisters were between 11 and 19 years older than he, and his brother eight years older.

William Greenleaf Eliot, Eliot's grandfather, was a Unitarian minister, who moved to St. Louis when it was still on the frontier. He was instrumental in founding many of the city's institutions, including Washington University in St. Louis. One distant cousin was Charles William Eliot, president of Harvard University from 1869 to 1909, and a fifth cousin, another Thomas Eliot, was chancellor of Washington University. Eliot's works often allude to his youth in St. Louis (there was a Prufrock furniture store in town) and to New England. (His family had Massachusetts ties and summered at a large cottage they had built in Gloucester, MA. The cottage, near the shore at Eastern Point, had a view of the sea and the young Eliot would often go sailing.)

From 1898 to 1905, Eliot was a day student at St Louis' Smith Academy, a preparatory school for Washington University. At the academy, Eliot studied Latin, Greek, French and German. Although, upon graduation, he could have gone to Harvard University, his parents sent him, for a preparatory year, to Milton Academy, in Milton, Massachusetts, near Boston. There, he met Scofield Thayer, who would later publish The Waste Land. He studied at Harvard from 1906 to 1909, where he was awarded a B.A.. The Harvard Advocate published some of his poems and he became lifelong friends with Conrad Aiken. The next year, he earned a master's degree at Harvard. In the 1910-11 school year, Eliot lived in Paris, studying at the Sorbonne and touring the continent.

Returning to Harvard in 1911 as a doctoral student in philosophy, Eliot studied the writings of F.H. Bradley, Buddhism and Indic philology, (learning Sanskrit and Pāli to read some of the religious texts.) He was awarded a scholarship to attend Merton College, Oxford in 1914, and before settling there, he visited Marburg, Germany, where he planned to take a summer programme in philosophy. When the First World War broke out, however, he went to London and then to Oxford. Eliot was not happy at Merton and declined a second year there. Instead, in the summer of 1915, he married, and, after a short visit to the US to see his family (not taking his wife), he took a few teaching jobs. He continued to work on his dissertation and, in the spring of 1916, sent it to Harvard, which accepted it. Because he did not appear in person to defend his thesis, however, he was not awarded his PhD. (In 1964, the dissertation was published as Knowledge and Experience in the Philosophy of F. H. Bradley.) During Eliot's university career, he studied with George Santayana, Irving Babbitt, Henri Bergson, C. R. Lanman, Josiah Royce, Bertrand Russell and Harold Joachim.

Later life in England

In a letter to Aiken late in December 1914, Eliot, aged 26, complained that he was still a virgin, adding: "I am very dependent upon women. I mean female society." Less than four months later, he was introduced by a fellow American at Oxford, Scofield Thayer[1], to Vivienne Haigh-Wood (May 28, 1888 - January 22, 1947), a Cambridge governess. On 26 June 1915, Eliot and Vivien (the name she preferred), respectively aged 26 and 27 years old, were married in a register office.

Bertrand Russell took an interest in Vivienne while the newlyweds were staying with Russell in his flat. Some critics have suggested that Vivien and Russell had an affair (see Carole Seymour-Jones, Painted Shadow), but these allegations have never been confirmed. In the 1960s, Eliot would write: "I came to persuade myself that I was in love with [Vivienne] simply because I wanted to burn my boats and commit myself to staying in England. And she persuaded herself (also under the influence of Pound) that she would save the poet by keeping him in England. To her the marriage brought no happiness. To me it brought the state of mind out of which came The Waste Land."


A plaque at SOAS's Faber Building, 24 Russell Square commemorating T S Eliot's years at Faber and Faber.After leaving Merton, Eliot worked as a school teacher, most notably at Highgate School, where he taught the young poet Sir John Betjeman and at The Royal Grammar School, High Wycombe, where he taught in room 26, and, to earn extra money, wrote book reviews and lectured at evening extension courses. In 1917, he took a position at Lloyds Bank in London, where he worked on foreign accounts. In 1925, he left Lloyds to become a director of the publishing firm of Faber and Gwyer (later Faber and Faber), where he remained for the rest of his career.

In 1927, Eliot took British citizenship and converted to Anglicanism (on June 29). Eliot separated from Vivienne in 1933, and in 1938, Vivienne was committed to Northumberland House, a mental hospital north of London, where she died in 1947 without ever having been visited by Eliot, who was still her husband.

From 1946 to 1957, Eliot shared a house with his friend, the editor and critic John Davy Hayward, who gathered and archived Eliot's papers and styled himself Keeper of the Eliot Archive. He also edited a book of Eliot's verse called Poems Written in Early Youth. When they separated their household in 1957 Hayward retained his collection of Eliot's papers, which he bequeathed to King's College, Cambridge in 1965.

Eliot's second marriage was happy, but short. On January 10, 1957 he married Esmé Valerie Fletcher, to whom he was introduced by Collin Brooks. In sharp contrast to his first marriage, Eliot knew Valerie well, as she had been his secretary at Faber and Faber since August, 1949. As was his marriage to Vivienne, the wedding was kept a secret to preserve his privacy. The ceremony was held in a church at 6.15am with virtually no one other than his wife's parents in attendance. Valerie was 38 years younger than her husband, and the years of her widowhood have been spent preserving his legacy; she has edited and annotated The Letters of T S Eliot and a facsimile of the draft of The Waste Land.

Eliot died of emphysema in London on January 4, 1965. For many years he had health problems owing to the combination of London air and his heavy smoking, often being laid low with bronchitis or tachycardia. His body was cremated and, according to Eliot's wishes, the ashes taken to St Michael's Church in East Coker, the village from which Eliot's ancestors emigrated to America. There, a simple plaque commemorates him. On the second anniversary of his death a large stone placed on the floor of Poets' Corner in London's Westminster Abbey was dedicated to Eliot. This commemoration contains his name, an indication that he had received the Order of Merit, dates, and a quotation from Little Gidding: "the communication / Of the dead is tongued with fire beyond / the language of the living."

Later in his life, Eliot exchanged numerous letters with the comedian Groucho Marx. A portrait of Marx, which Eliot had requested, was proudly displayed in Eliot's home next to pictures of the poets Yeats and Valery.

Literary career

Eliot made his home in London. After the war, in the mid 1920s, he would spend time with other great artists in the Montparnasse Quarter in Paris, where he was photographed by Man Ray. French poetry was a particularly strong influence on Eliot's work, in particular Charles Baudelaire, whose clear-cut images of Paris city life provided a model for Eliot's own images of London. He dabbled early in the study of Sanskrit and eastern religions and was a student of G. I. Gurdjieff. Eliot's work, following his conversion to Christianity and the Church of England, is often religious in nature and also tries to preserve historical English and broadly European values that Eliot thought important. In 1928, Eliot summarised his beliefs well when he wrote in the preface to his book For Lancelot Andrewes that "The general point of view [of the book's essays] may be described as classicist in literature, royalist in politics, and anglo-catholic in religion." This period includes such major works as Ash Wednesday, The Journey of the Magi, and Four Quartets.


Poetry

The Love Song of J. Alfred Prufrock

In 1915, Ezra Pound, overseas editor of Poetry magazine, recommended to Harriet Monroe, the magazine's founder, that she publish The Love Song of J Alfred Prufrock. Although Prufrock seems to be middle-aged, Eliot wrote most of the poem when he was only 22. Its now-famous opening lines, comparing the evening sky to "a patient etherised upon a table," were considered shocking and offensive, especially at a time when the poetry of the Georgians was hailed for its derivations of the 19th century Romantic Poets. The poem then follows the conscious experience of a man, Prufrock, (relayed in the "stream of consciousness" form indicative of the Modernists) lamenting his physical and intellectual inertia, the lost opportunities in his life and lack of spiritual progress, with the recurrent theme of carnal love unattained. Critical opinion is divided as to whether the narrator even leaves his own residence during the course of the narration. The locations described can be interpreted either as actual physical experiences, mental recollections or even as symbolic images from the sub-conscious mind, as, for example, in the refrain "In the room the women come and go."

Its mainstream reception can be gauged from a review in The Times Literary Supplement on June 21, 1917: "The fact that these things occurred to the mind of Mr Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to poetry…"[2][3].

The poem's structure was heavily influenced by Eliot's extensive reading of Dante Alighieri (in the Italian). References to Shakespeare's Hamlet and other literary works are present in the poem: this technique of allusion and quotation was developed in Eliot's subsequent poetry.


The Waste Land

In October 1922, Eliot published The Waste Land in The Criterion. Composed during a period of personal difficulty for Eliot ?- his marriage was failing, and both he and Vivienne suffered from disordered nerves ?-The Waste Land is often read as a representation of the disillusionment of the post-war generation. Even before The Waste Land had been published as a book (December 1922), Eliot distanced himself from the poem's vision of despair: "As for The Waste Land, that is a thing of the past so far as I am concerned and I am now feeling toward a new form and style" he wrote to Richard Aldington on November 15, 1922. Despite the alleged obscurity of the poem ?- its slippage between satire and prophecy; its abrupt changes of speaker, location, and time; its elegiac but intimidating summoning up of a vast and dissonant range of cultures and literatures--it has become a touchstone of modern literature, a poetic counterpart to a novel published in the same year, James Joyce's Ulysses. Among its famous phrases are "April is the cruellest month"; "I will show you fear in a handful of dust"; and "Shantih shantih shantih," the utterance in Sanskrit which closes the poem.

Eliot's work was hailed by the W.H. Auden generation of 1930s poets. On one occasion Auden read out loud the whole of The Waste Land to a social gathering. The publication of the draft manuscript of the poem in 1972 showed the strong influence of Ezra Pound upon its final form, before which it had been entitled "He Do the Police in Different Voices". Part IV, Death by Water, was reduced to its current 10 lines from an original 92 ?- Pound advised against Eliot's thought of scrapping it altogether. Eliot thanked Pound for "helping one to do it in one's own way".


Four Quartets

Although many critics preferred his earlier work, Eliot considered Four Quartets his masterpiece. The Four Quartets draws upon his knowledge of mysticism and philosophy. It consists of four long poems, published separately: Burnt Norton (1936), East Coker (1940), The Dry Salvages (1941) and Little Gidding (1942), each in five sections. Although they resist easy characterisation, each begins with a rumination on the geographical location of its title, and each meditates on the nature of time in some important respect ?- theology, historical, physical ?- and its relation to the human condition. Also, each is associated with one of the four classical elements: air, earth, water, and fire. They approach the same ideas in varying but overlapping ways, and are open to a diversity of interpretations.

Burnt Norton asks what it means to consider things that might have been. We see the shell of an abandoned house, and Eliot toys with the idea that all these "merely possible" realities are present together, but invisible to us: All the possible ways people might walk across a courtyard add up to a vast dance we can't see; children who aren't there are hiding in the bushes.

East Coker continues the examination of time and meaning, focusing in a famous passage on the nature of language and poetry. Out of darkness Eliot continues to reassert a solution ("I said to my soul, be still, and wait without hope").

The Dry Salvages treats the element of water, via images of river and sea. It again strives to contain opposites ("…the past and future/Are conquered, and reconciled").

"Little Gidding" (the element of fire) is the most anthologized of the Quartets. Eliot's own experiences as an air raid warden in The Blitz power the poem, and he imagines meeting Dante during the German bombing. The beginning of the Quartets ("Houses…/Are removed, destroyed") had become a violent everyday experience; this creates an animation, where for the first time he talks of Love ?- as the driving force behind all experience. From this background, the Quartets end with an affirmation of Julian of Norwich "all shall be well and/All manner of things shall be well".

The Four Quartets cannot be understood without reference to Christian thought, traditions, and history. Eliot draws upon the theology, art, symbolism and language of such figures as Dante, St. John of the Cross and Julian of Norwich. The "deeper communion" sought in Burnt Norton, the "hints" and whispers of children, the sickness that must grow worse in order to find healing, and the exploration which inevitably leads us home all point to the pilgrim's path along the road of sanctification.

Other works

An important member of the New Criticism, Eliot is considered by some to be one of the great literary critics of the 20th century. His essays were a major factor in the revival of interest in the metaphysical poets. A preoccupation with Elizabethan and Jacobean verse drama (for instance, John Webster, who is mentioned in his poem Whispers of Immortality) is also central to his critical writing, and greatly influenced his own forays into drama.

Eliot's plays, mostly in verse, include Sweeney Agonistes (1925), Murder in the Cathedral (1935), The Family Reunion (1939), The Cocktail Party (1950), The Confidential Clerk (1953) and The Elder Statesman (1958). Murder in the Cathedral is about the death of Thomas Becket. Eliot admitted being influenced by, among others, the works of 17th century preacher Lancelot Andrewes. The dramatic works of Eliot are less well known than his poems, but worth investigating, eg in the recorded version of The Cocktail Party with Sir Alec Guinness in the lead role of An Unidentified Guest (Sir Henry Harcourt-Reilly). Murder in the Cathedral has been a standard choice for Anglican and Roman Catholic curricula for many years.

In his critical and theoretical writing, Eliot is known for his advocacy of the "objective correlative," the notion that art should not be a personal expression, but should work through objective universal symbols. There is fierce critical debate over the pragmatic value of the objective correlative, and Eliot's failure to follow its dicta. It is claimed that there is evidence throughout his work of contrary practice (e.g. part II of The Waste Land in the section beginning "My nerves are bad tonight"); but of course the worth of the idea is by no means negated by alleged lapses in practice, here as elsewhere.

In 1958 the Archbishop of Canterbury appointed Eliot (and also C.S. Lewis) to a commission which resulted in "The Revised Psalter" (1963). In 1939, he published a book of poetry for children, Old Possum's Book of Practical Cats ?- "Old Possum" being a name Pound had bestowed upon him. After his death, this work became the basis of the hit West End and Broadway musical by Andrew Loyd Webber, Cats.

Criticism of Eliot

Eliot's poetry was first criticized as not being poetry at all. Another criticism has been of his widespread interweaving of quotes from other authors into his work. "Notes on the Waste Land," which follows after the poem, gives the source of many of these, but not all. This practice has been defended as a necessary salvaging of tradition in an age of fragmentation, and completely integral to the work, as well adding richness through unexpected juxtaposition. It has also been condemned as showing a lack of originality, and for plagiarism. A prominent critic once published an essay called 'Eliot's Poetry of Pseudo-Learning'. Eliot himself once wrote ("The Sacred Wood"): "Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different."

Canadian academic Robert Ian Scott pointed out that the title of The Waste Land and some of the images had previously appeared in the work of a minor Kentucky poet, Madison Cawein (1865-1914). Bevis Hillier compared Cawein's lines "...come and go/Around its ancient portico" with Eliot's "…come and go/talking of Michelangelo." Cawein's "Waste Land" had appeared in the January 1913 issue of Chicago magazine Poetry (which contained an article by Ezra Pound on London poets). But scholars are continually finding new sources for Eliot's "Waste Land," often in odd places.

Many famous fellow writers and critics have paid tribute to Eliot. According to the poet Ted Hughes, "Each year Eliot's presence reasserts itself at a deeper level, to an audience that is surprised to find itself more chastened, more astonished, more humble." Hugh Kenner commented, "He has been the most gifted and influential literary critic in English in the twentieth century." C. S. Lewis, however, thought his poetry ludicrous, and his literary criticism "superficial and unscholarly". Samuel Beckett also disliked Eliot and was fond of pointing out that "T. Eliot" backward was "toilet." Reportedly he once said, "It makes you wonder what he really meant by 'Wasteland'.[citation needed]"

Charges of anti-Semitism

Although he is regarded throughout the English-speaking world as one of the chief poets and critics of modern times, he has sometimes been charged with anti-Semitism. The poem "Gerontion" contains a seemingly negative portrayal of a greedy landlord known as the "Jew [who] squats on the window sill." Another much-quoted example of anti-Semitism in his work is the poem, "Burbank with a Baedeker: Bleistein with a Cigar", in which Eliot implicitly finds the Jews responsible for the decline of Venice ("The rats are underneath the piles. / The Jew is underneath the lot"). In "A Cooking Egg", he writes, "The red-eyed scavengers are creeping | From Kentish Town and Golder's Green" (Golders Green was a largely Jewish suburb of London). And this from "Sweeney Among the Nightingales" is the most ambiguous instance in his verse: "Rachel née Rabinovitch, | Tears at the grapes with murderous paws." Even so, Leonard Woolf, husband of Virginia Woolf, who was himself Jewish and a friend of Eliot's, judged that Eliot was probably "slightly anti-Semitic in the sort of vague way which is not uncommon. He would have denied it quite genuinely."[4]

Nevertheless, in his minor work "After Strange Gods" (1933), Eliot deprecates the presence of "free-thinking Jews," who are said to be "undesirable" in large numbers. The philosopher George Boas, who had previously been on friendly terms with Eliot, wrote to him that, "I can at least rid you of the company of one." Eliot did not reply. In later years Eliot expressed his regret over these remarks (disavowing the book, and refusing to allow any part to be reprinted), saying he was not in good health when he gave the lectures in which they were first expressed.

Eliot also wrote a letter to the Daily Mail in January 1932 which congratulated the paper for a series of laudatory articles on the rise of Mussolini. In The Idea of a Christian Society (1939) he says "…totalitarianism can retain the terms 'freedom' and 'democracy' and give them its own meaning: and its right to them is not so easily disproved as minds inflamed by passion suppose." In the same book, written before World War II, he says of J. F. C. Fuller, who worked for the Policy Directorate in the British Union of Fascists:

Fuller… believes that Britain "must swim with the out-flowing tide of this great political change" [ie. to a system of fascist government]. From my point of view, General Fuller has as good a title to call himself a "believer in democracy" as anyone else. …I do not think I am unfair to the report [that a ban against married women Civil Servants should be removed because it embodied Nazism], in finding the implication that what is Nazi is wrong, and need not be discussed on its own merits.[5]

In 2003 Professor Ronald Schuchard of Emory University published details of a previously unknown cache of letters from Eliot to Horace Kallen, which reveal that in the early 1940s Eliot was actively helping Jewish refugees from Germany and Austria to re-settle in Britain and America. In letters written after the war, Eliot also voiced support for modern Israel.[6]

George Raft
From Wikipedia, the free encyclopedia

George Raft (September 26, 1895 - November 24, 1980) was an American film actor most closely identified with his portrayals of gangsters in crime melodramas of the 1930s and 1940s.

Raft was born George Ranft in Hell's Kitchen, New York City to Conrad Ranft (a German immigrant) and an Italian-American mother. He quickly adopted the "tough guy" persona that he would later use in his films.

Initially interested in dancing, as a young man he showed great aptitude, and this, combined with his elegant fashion sense, allowed him to work as a dancer in some of New York City's most fashionable nightclubs. He became part of the stage act of Texas Guinan and his success led him to Broadway where he again worked as a dancer. He worked in London as a chorus boy at some time in the early 20s.

Vi Kearney, later to be a star dancer in shows for Charles Cochran and Andre Charlot, was quoted as saying: "Oh yes, I knew him (George Raft). We were in a big show together. Sometimes, to eke out our miserable pay, we'd do a dance act after the show at a club and we'd have to walk back home because all the buses had stopped for the night by that time. He'd tell me how he was going to be a big star one day and once he said that when he'd made it how he'd make sure to arrange a Hollywood contract for me. I just laughed and said, "Come on, Georgie, stop dreaming. We're both in the chorus and you know it." (Did he arrange the contract?: "Yes. But by that time I'd decided to marry...". (Was he (Raft) ever your boyfriend?: "How many times do I have to tell you ...chorus girls don't go out with chorus boys". In the early 1930s Tallulah Bankhead nearly died following a 5-hour hysterectomy for an advanced case of gonorrhea she claimed she got from Raft. Only 70 pounds when she was able to leave the hospital, she stoically said to her doctor, "Don't think this has taught me a lesson!"

In 1929 Raft moved to Hollywood and took small roles. His success came in Scarface (1932), and Raft's convincing portrayal led to speculation that Raft himself was a gangster. He was a close friend of Bugsy Siegel and Raft encouraged the publicity that stimulated his early career, and continued to work steadily. He was also a friend of Owney Madden, who he had grown up with in Hell's Kitchen. Raft was considered one of Hollywood's most dapper and stylish dressers and he achieved a level of celebrity not entirely commensurate with the quality or popularity of his films.

He was definitely one of the three most popular gangster actors of the 1930s, along with James Cagney and Edward G. Robinson (Humphrey Bogart never matched Raft's stardom during that decade). Raft and Cagney worked together in Each Dawn I Die (1939) as fellow convicts in prison. His 1932 film Night After Night launched the movie career of Mae West. He appeared the following year in Raoul Walsh's turn of the century period piece The Bowery as Steve Brodie, the first man to jump off the Brooklyn Bridge and survive, with Wallace Beery, Jackie Cooper, Fay Wray, and Pert Kelton.

Some of his other popular films include If I Had A Million (1932), Bolero (1934; a rare starring role, with him as a dancer rather than a gangster), The Glass Key (1935) (remade in 1942 with Alan Ladd in Raft's role), Souls At Sea (1937) with Gary Cooper, two with Humphrey Bogart: Invisible Stripes (1939) and They Drive by Night (1940), each with Bogart in supporting roles, and Manpower (1941) with Edward G. Robinson and Marlene Dietrich (the memorable posters said, "Robinson - He's mad about Dietrich. Dietrich - She's mad about Raft. Raft - He's mad about the whole thing.")

His career went into a period of decline over the next decade, and Raft achieved a place in Hollywood folklore as the actor who turned down some of the best roles in screen history, most notably High Sierra (he didn't want to die at the end) and The Maltese Falcon (he didn't want to work on a remake of the pre-code version of The Maltese Falcon (1931 film)); both roles made Humphrey Bogart a major force in Hollywood in 1941. He was also reported to have turned down Bogart's role in Casablanca (1942), saying he didn't want to work with "some unknown Swedish broad."

Approached by director Billy Wilder, he refused the lead role in Double Indemnity (1944), which led to the casting of Fred MacMurray in a towering classic that would have undoubtedly revived Raft's career. His lack of judgment (probably grounded in the fact that he was more or less illiterate, which made judging scripts even more problematic than usual), combined with the public's growing distaste for his apparent gangster lifestyle effectively ended his career as a leading man.

He satirized his gangster image with a well-received performance in Some Like it Hot (1959), but this did not lead to a comeback, and in he spent the remainder of the decade making films in Europe. His final film appearances were Sextette (1978) with Mae West and The Man with Bogart's Face (1980).

Raft died from leukaemia, aged 85, in Los Angeles, California and was interred in Forest Lawn - Hollywood Hills Cemetery in Los Angeles. His corpse and that of his old co-star Mae West happened to be in the same mortuary at the same time for an eerie posthumous reunion.

In the 1991 biographical movie Bugsy, the character of George Raft was played by Joe Mantegna.

George Raft has two stars on the Hollywood Walk of Fame for his contributions to Motion Pictures, at 6150 Hollywood Boulevard, and for Television at 1500 Vine St.

Good morning, WA2K listeners and contributors.

Bob, your bio's are particularly intriguing to me, because I never quite understood T.S. Eliot's "The Wasteland."

Well, folks, while we await the hawkman's usual humor, let's listen to a poem about John Chapman, written by his grandson.

Autumn

Give me the colour of autumn days, and the tang of cleaner air,
With Russet apples on bending boughs, there is nothing that can compare,
You love the gold of the harvest sheaves
and the ripple and the sigh of rustling leaves?

When limbs of trees are lifeless from fierce autumn winds and the rain,
After cold winter frosts and the ice and snow
brings the piercing chill winds in their train,
There's peace in the woods and hillside, and a lull hangs aloft in the air,
For nature has emptied her generous heart of all things consistent and fair.

In a faithful fond hope she deserves to be blessed,
for the earth is now weary and worthy of rest.
It is a small thing after all to live and serve life's urgent call
Does anyone live, who's unimpressed by being the great creator's guest?

To feel the sun and watch the rain, to revel in springtime and autumn again.
It is so small a matter given the bounty of sky and sea?
To have loved and suffered, laughed and taught,
learned and listened, helped and fought!

as Eddy Arnold sang it;

I don't want to set the world on fire
I just want to start a flame in your heart
In my heart I have but one desire
And that one is you no other will do

I've lost all ambition for wordly acclaim
I just want to be the one you'd love
And with your admission that you'd feel the same
I'll have reach the goal I'm dreaming of believe me
I don't want to set the world on fire
I just want to start a flame in your heart

(I've lost all ambition for wordly acclaim)
I just want to be the one you'd love
(And with your admission could you'd feel the same)
I'll have reach the goal I'm dreaming of believe me
I don't want to set the world on fire
I just want to start a flame in your heart

Good morning, dys. That song is quite a surprise. I recall it, but cannot remember who did it originally. How about another flame, cowboy.

Billie Holiday
» My Old Flame


Arthur Johnson / Sam Coslow

My old flame
I can't even think of his name
But it's funny now and then
How my thoughts go flashing back again
To my old flame
My old flame
My new lovers all seem so tame
For I haven't met a gent

So innocent or elegant
As my old flame

I've met so many men
With fascinating ways
A fascinating gaze in their eyes
Som who sent me up to the skies
But their attempts at love
Were only imitations of
My old flame
I can't even think of his name
But I'll never be the same
Untill I discover what became
Of my old flame

I've met so many men
With fascinating ways
A fascinating gaze in their eyes
Som who sent me up to the skies
But their attempts at love
Were only imitations of
My old flame
I can't even think of his name
But I'll never be the same
Untill I discover what became
Of my old flame

Good morning one and all, do you believe in…

Big Rock Candy Mountains
Harry "Haywire Mac" McClintock

On a summer day in the month of May a burly bum came hiking
Down a shady lane through the sugar cane, he was looking for his liking.
As he roamed along he sang a song of the land of milk and honey
Where a bum can stay for many a day, and he won't need any money

Oh the buzzin' of the bees in the cigarette trees near the soda water fountain,
At the lemonade springs where the bluebird sings on the Big Rock Candy Mountains

There's a lake of gin we can both jump in, and the handouts grow on bushes
In the new-mown hay we can sleep all day, and the bars all have free lunches
Where the mail train stops and there ain't no cops, and the folks are tender-hearted
Where you never change your socks and you never throw rocks,
And your hair is never parted

Oh the buzzin' of the bees in the cigarette trees near the soda water fountain,
At the lemonade springs where the bluebird sings on the Big Rock Candy Mountains

Oh, a farmer and his son, they were on the run, to the hay field they were bounding
Said the bum to the son, "Why don't you come to the big rock candy mountains?"
So the very next day they hiked away, the mileposts they were counting
But they never arrived at the lemonade tide, on the Big Rock Candy Mountains

Oh the buzzin' of the bees in the cigarette trees near the soda water fountain,
At the lemonade springs where the bluebird sings on the Big Rock Candy Mountains

One evening as the sun went down and the jungle fires were burning,
Down the track came a hobo hiking, and he said "Boys, I'm not turning."
"I'm heading for a land that's far away beside the crystal fountains;"
"So come with me, we'll go and see the Big Rock Candy Mountains."

In the Big Rock Candy Mountains, there's a land that's fair and bright,
The handouts grow on bushes and you sleep out every night
Where the boxcars all are empty and the sun shines every day
On the birds and the bees and the cigarete trees,
The lemonade springs where the bluebird sings
In the Big Rock Candy Mountains

In the Big Rock Candy Mountains, all the cops have wooden legs
And the bulldogs all have rubber teeth and the hens lay soft-boiled eggs
The farmer's trees are full of fruit and the barns are full of hay
Oh I'm bound to go where there ain't no snow
Where the rain don't fall, the wind don't blow
In the Big Rock Candy Mountains

In the Big Rock Candy Mountains, you never change your socks
And little streams of alcohol come a-trickling down the rocks
The brakemen have to tip their hats and the railroad bulls are blind
There's a lake of stew and of whiskey too
And you can paddle all around 'em in a big canoe
In the Big Rock Candy Mountains

In the Big Rock Candy Mountains the jails are made of tin,
And you can walk right out again as soon as you are in
There ain't no short-handled shovels, no axes, saws or picks,
I'm a-goin' to stay where you sleep all day
Where they hung the jerk that invented work
In the Big Rock Candy Mountains

I'll see you all this comin' fall in the Big Rock Candy Mountains!



Due to the nature of the lyrics, may I point out:

Smoking is Hazardous to Health:
Alcohol Abuse is Hazardous to Health:
Sugar will rot your teeth:

Having some trouble, folks. Evidently, my equipment is mal functioning.

Well, Try, that hobo song with its disclaimer is great, buddy. There is also a child's version.

Here's some unusual news:

Let me be your teddy bear?

Updated: 8:54 p.m. ET Sept 25, 2006
MILFORD, N.H. - A teddy bear has been implicated in 2,500 deaths. Of trout, that is. State officials say a teddy bear dropped into a pool at a Fish and Game Department hatchery earlier this month clogged a drain. The clog blocked the flow of oxygen to the pool and suffocated the fish.

Hatcheries supervisor Robert Fawcett said the bear ?- a Paddington Bear dressed in yellow raincoat and hat ?- is believed to be the first stuffed bear to cause fatalities at the facility.

"We've had pipes get clogged, but it's usually with more naturally occurring things like a frog or even a dead muskrat," he said. "This one turned out to be a teddy bear, and we don't know how it got there."

A new sign reads: No teddy bears allowed.

Good afternoon.

Mallfunctioning equipment will NOT do, Letty.

Two for the gallery - Edmund as we probably remember him best.

Well, thank goodness, folks, our Raggedy is back with a duo. Thanks, PA. Could your appearance here be a miracle on 34th street? <smile>

As for George, he always had a raft of problems with gangsters.

Well, all, I can't believe they are already beginning a count down 'til Christmas.

How about a little blue grass:

[C] Now JUST BECAUSE you think you're so pretty
JUST BECAUSE you think you're so [G7] hot
JUST BECAUSE you think you've got something
Nobody else has [C] got
You have made me spend all my money
You laugh and call me old Santa [F] Claus
I'm telling you, honey, I'm [C] through with [D7] you
Because, [G7] JUST BE-[C] CAUSE.

Now, there'll come a time you'll be lonesome
There'll come a time you'll be blue
Old Santa Claus won't be near you
To pay all them bills for you
You made me spend all my money
You laugh and call me old Santa Claus
I'm telling you, honey, I'm through with you
Because, JUST BECAUSE.

TAG:
Made me spend all my money
You laugh and call me old Santa Claus
I'm telling you, honey, I'm through with you
Because, JUST BECAUSE.

Anyone ever heard of Kimmie Rhodes? I was a wee bit surprised that I found her among the blue grass fans.

I left West Texas heaven (it was the only one I've ever known.)
I've been on the road down here driving with my blinders on.
All life was to me was like a truck stop where you want to stay.
I never even saw it when you built your dream right in my way.
No, I just passed on through it like a lonely town.



Playing in my head I heard this music like a radio
in another town somebody turned on somewhere down the road.
Everywhere I turned I tuned in something that you had to say.
Your signal never cleared I guess it matters that you're so far away.
So, I just passed on through like a lonely town.



I left West Texas heaven. No, I guess I'm never going back that way.
Did your love get lost,Babe,or did your love just get misplaced?
Everywhere I go the ghost of you just follows me.
Everywhere I go I hear you whisper down my empty streets.
Everywhere I go looks like a lonely town.

Words & Music: Kimmie Rhodes

Mary's Theme
Buffy Sainte-Marie

(from the play "She's in Bitterness, by H. Peter Gezork)

Yonder I see a star
Oh how bright it's burning
Joseph my time is come
The son of God is yearning
To come to come

Ask the man for some room to spare
And a candle dimly burning
Joseph my time id come
The son of God is yearning
To come to come

Pain of birth is surely great
And yet my fate's been told me
Do I see and angel bright
Descending to behold me
He comes he comes he comes

Lovely annunciation, edgar. Surprised that you aren't familiar with Kimmie Rhodes.

Well, folks. Let's do a little AC/DC

Back in black
I hit the sack
I've been too long I'm glad to be back [I bet you know I'm...]
Yes, I'm let loose
From the noose
That's kept me hanging about
I've been looking at the sky
'Cause it's gettin' me high
Forget the hearse 'cause I never die
I got nine lives
Cat's Eyes
Abusin' every one of them and running wild

CHORUS:
'Cause I'm back
Yes, I'm back
Well, I'm back
Yes, I'm back
Well, I'm back, back
(Well) I'm back in black
Yes, I'm back in black

Back in the back
Of a Cadillac
Number one with a bullet, I'm a power pack
Yes, I'm in a bang
With a gang
They've got to catch me if they want me to hang
Cause I'm back on the track
And I'm beatin' the flack
Nobody's gonna get me on another rap
So look at me now
I'm just makin' my play
Don't try to push your luck, just get out of my way

CHORUS

Well, I'm back, Yes I'm back
Well, I'm back, Yes I'm back
Well, I'm back, back
Well I'm back in black
Yes I'm back in black

hooo yeah
Ohh yeah
Yes I am
Oooh yeah, yeah Oh yeah
Back in now
Well I'm back, I'm back
Back, I'm back
Back, I'm back
Back, I'm back
Back, I'm back
Back
Back in black

Little Man in Chinatown
Jim Lowe

There once was a little man in Chinatwon
He was a little man indeed
One day this little man in Chinatown
He was a little man indeed

In case you wonder what the story is
Here it is here it is here it is

So this little man in Chinatown
He was a little man indeed
Well this little man in Chinatown
He was a little man indeed

In case you wonder what the story is
Here it is here it is here it is

He was a little man indeed