J. D. Salinger
From Wikipedia, the free encyclopedia
Born: January 1, 1919 (age 88)
Manhattan, New York
Jerome David Salinger (born January 1, 1919) is an American author best known for The Catcher in the Rye, a classic novel that has enjoyed enduring popularity since its publication in 1951. A major theme in Salinger's work is the strong yet delicate mind of "disturbed" adolescents, and the redemptive capacity of children in the lives of such young men. Salinger is also known for his reclusive nature; he has not given an interview since 1974, and has not made a public appearance, nor published any new work, since 1965. In the mid 1990s, there was a flurry of excitement when a small publisher announced a deal with Salinger to bring out the first book version of his final published story, "Hapworth 16, 1924," but amid the ensuing publicity, Salinger quickly withdrew from the arrangement.
Life
Jerome David Salinger was born in Manhattan, New York to a Jewish father and a half-Scottish, half-Irish mother. (His mother changed her name to Miriam and passed as Jewish when she married; J. D. did not find out that his mother was not Jewish until just after his bar mitzvah [1]). His father, Solomon, worked for a meat importer. The young Salinger attended public schools on the West Side, the private McBurney School in ninth and tenth grades, and then was happy to get away from the overprotectiveness of his mother by entering the Valley Forge Military Academy in Wayne, Pennsylvania, [2]. He started his freshman year at New York University (NYU) but dropped out the next spring to work on a cruise ship. The next fall, he was prevailed upon to learn the meat-importation business and was sent to work at the company in Vienna, where he could also perfect his French and German skills. He left Austria only a month or so before the country fell to Hitler, on March 12, 1938. That fall he attended Ursinus College in Collegeville, Pennsylvania, but for only one semester. While there, Salinger was called "the worst English student in the history of the College" by one of his professors[3]. Salinger attended a Columbia University evening writing class in 1939. The teacher was Whit Burnett, longtime editor of Story Magazine. During the second semester of the class, he saw some degree of talent in the young author. In the March-April 1940 issue of Story, Burnett published Salinger's debut short story, a vignette of several aimless youths entitled The Young Folks. Burnett and Salinger would correspond for several years after, although a mix-up involving the proposed publication of a short story collection, also entitled The Young Folks, would leave them estranged.
In 1941, he started dating Oona O'Neill, daughter of Eugene O'Neill, writing long daily letters to her. This ended when Oona began a relationship with Charlie Chaplin.
He was drafted into the Army in 1942, where he saw combat with the U.S. 4th Infantry Division in some of the fiercest fighting of World War II, including action on Utah Beach on D-Day and in the Battle of the Bulge. During the campaign from Normandy into Germany, he met Ernest Hemingway, then a war correspondent, in Paris. He was assigned to Counter-Intelligence, in which he interrogated prisoners of war, putting his language skills to use. He was among the first soldiers to enter a liberated concentration camp. He told his daughter later, "You never really get the smell of burning flesh out of your nose entirely, no matter how long you live."[4] His experiences perhaps scarred him emotionally (he was hospitalized for a few weeks for combat stress reaction after Germany was defeated), and it is likely that he drew upon his wartime experiences in several stories, such as "For Esmé with Love and Squalor," which is narrated by a traumatized soldier. He continued to publish stories in magazines such as Collier's and the Saturday Evening Post during and after his war experience.
After the defeat of Germany, he signed up for a six month period of "de-Nazification" duty in Germany. Among those Nazis he arrested was a low-level official, Sylvia, whom he married and brought back to the States. The marriage fell apart after a few months and Sylvia returned to Germany. (In 1972, his daughter Margaret was with her father when he received a letter from Sylvia. He looked at the envelope, tore it up, and discarded it, unread. He said that that was the first time he had heard from her since she left, but "when he was finished with a person, he was through with them"[5].)
From The New Yorker to novels
By 1948, with the publication of a critically-acclaimed short story entitled "A Perfect Day for Bananafish," Salinger began to publish almost exclusively in The New Yorker. "Bananafish" was one of the most popular stories ever published in the magazine, and he quickly became one of the publication's best-known authors. It was not his first experience with the magazine; in 1942, Salinger had received his first acceptance from The New Yorker for a story entitled "Slight Rebellion off Madison," which featured a semi-autobiographical character named Holden Caulfield. The story was held from publication until 1946 because of the war. "Slight Rebellion" was related to several other stories featuring the Caulfield family, but perspective shifted from older brother Vince to Holden.
Salinger had confided to several people that he felt Holden deserved a novel, and The Catcher in the Rye was published in 1951. It was an immediate success, although early critical reactions were mixed. While never confirmed by Salinger himself, it is believed that several of the events in the novel are semi-autobiographical. A novel driven by the nuanced, intricate character of Holden, the plot is quite simple. The book became famous for Salinger's extensive and exceptional eye for subtle complexity, detail, description, ironic humor, and the depressing and desperate atmosphere of New York City. The novel was banned in some countries, and some US locales, because of its bold and offensive use of language; "goddam" appears 255 times. The book is still widely read, particularly in the United States, where it is considered an especially authoritative depiction of teenage angst. It is not unusual to see The Catcher in the Rye on a "required reading" list for American high school students. It still sells about 250,000 copies per year as of 2000.
In 1953, Salinger published a collection of seven short stories in The New Yorker ("Bananafish" among them), as well as two that they had rejected. The collection was published as Nine Stories in the United States, and For Esmé with Love and Squalor in the UK (after one of the most beloved stories). It was also very successful, although Salinger had already begun to tightly regulate publicity. He would not allow publishers to illustrate the dust jacket, so that his readers would have no preconceived notion of how the characters looked.
Salinger published Franny and Zooey in 1961, and Raise High the Roof-Beam, Carpenters and Seymour: An Introduction in 1963. Each contained a pair of related short stories or novellas. Some of the material had been originally published in the The New Yorker.
In July 1951, his friend and New Yorker editor William Maxwell in Book of the Month Club News asked Salinger about his literary influences. Salinger said, "A writer, when he's asked to discuss his craft, ought to get up and call out in a loud voice just the names of the writers he loves. I love Kafka, Flaubert, Tolstoy, Chekhov, Dostoyevsky, Proust, O'Casey, Rilke, Lorca, Keats, Rimbaud, Burns, E. Brontë, Jane Austen, Henry James, Blake, Coleridge. I won't name any living writers. I don't think it's right." [6]
Later years
After the notoriety of The Catcher in the Rye, Salinger gradually withdrew into himself. In 1953, he moved from New York to Cornish, New Hampshire. Early in his time in Cornish he was relatively sociable, particularly with the high school students who treated him as one of their own. However, after one interview for the high school newspaper ended up in the city paper, Salinger felt betrayed. Salinger withdrew from the high schoolers entirely and was seen less frequently around the town, only seeing one close friend regularly, jurist Learned Hand.
In 1955, when he was 36, he married Claire Douglas, a Radcliffe student. He insisted that she drop out of school, only four months shy of graduation, and live with him, which she did. Certain elements of the story "Franny", published in January, 1955, are based on Claire, including the fact that Claire had the book The Way of the Pilgrim[7]. They had two children, Margaret and Matthew. Due to their isolated location and Salinger's proclivities, they hardly saw other people for long stretches of time. Margaret reports that her mother admits living with Salinger was not easy, due to the isolation and his controlling nature, and the jealousy of Margaret replacing her in Salinger's affection[8]. Margaret was sick much of the time, but Salinger refused to take her to a doctor as he had embraced Christian Science. In later years, Claire confessed to Margaret that she, Claire, went "over the edge;" she had made plans to murder the thirteen-month-old Margaret and then commit suicide. It was to happen during a trip to New York with her husband. "It would be she, Claire, not the fictional Seymour, who'd go bananas and leave guts spattered across the hotel room for the horrified spouse to witness." Instead, Claire, when in the hotel, acted on a sudden impulse to take the child and run away[9]. The marriage with Claire ended in divorce in 1965.
His last published work was "Hapworth 16, 1924," an epistolary novella in the form of a long letter from seven-year-old Seymour Glass from summer camp, that was published in the New Yorker in June 1965. It is said that, on several occasions in the 1970s, he was on the verge of publishing another work but decided against it at the last minute. In 1978, Newsweek reported that Salinger, while attending a banquet in an army friend's honor, said he had recently finished "a long, romantic book set in World War II," but no further details are known about that book.
Further exposure
Salinger tried to escape public exposure and attention as much as possible ("A writer's feelings of anonymity-obscurity are the second most valuable property on loan to him," he wrote.) However, he continued to struggle with the unwanted attention he received as a popular-culture figure.
On learning of the intent of British writer Ian Hamilton to publish In Search of J. D. Salinger: A Writing Life (1935-65), a biography including letters Salinger had written to other authors and friends, Salinger sued to stop the book's publication. The book was finally published with the letters' contents paraphrased. The court ruled that, though a person may own a letter physically, the language within it belongs to the author. An unintended consequence of the lawsuit was that many details of Salinger's private life, including that he had written two novels and many stories but left them unpublished, became public in the form of court transcripts.
In 1972, when Salinger was 53, he had a year-long relationship with 18-year old writer Joyce Maynard, already an experienced writer for Seventeen magazine. The New York Times had asked Maynard to write an article for them which, when published as "An Eighteen Year Old Looks Back On Life" on April 23, 1972, made her a celebrity-of-the-moment. Salinger wrote a note to her warning her about living with such fame. They corresponded. Maynard spent ten months as a guest in Salinger's home; the relationship ended, he told his teenaged daughter Margaret at a family outing, because Maynard wanted children, and he felt he could not stand the reality of children again (as opposed to the fantasy children in his writings) [10]. Twenty five years later, controversy ensued when Maynard put Salinger's letters to her up for auction. The sale helped to publicize a memoir of Maynard's, At Home in the World : A Memoir, which, among other indiscretions, described how Maynard's mother had consulted with her on how to appeal to the aging author. Maynard claimed that she was forced to do so for financial reasons; she would have preferred to donate them to Beinecke Library. In 1999, software developer Peter Norton bought the letters for $156,000 and announced his intention to return them to Salinger [11].
In a surprising move, Salinger gave a small publisher, Orchises Press, permission to publish "Hapworth 16, 1924," the previously uncollected novella; it was to be published in 1997, and listings for it appeared on Amazon.com and other book-sellers. However, the date was pushed back a number of times, the last time to 2002. It was not published and no new date has been set.
Margaret Salinger's memoir Dream Catcher, its cover featuring a rare photograph of Salinger.In 2000, Salinger's daughter Margaret Salinger, by his second wife, Claire Douglas, published Dream Catcher: A Memoir. In her "tell-all" book, Ms. Salinger dispelled many of the Salinger myths established by Ian Hamilton's book. Foremost among these challenges is that Salinger's experience with Post Traumatic Stress Disorder somehow means that he is a psychologically scarred individual who cannot deal with the traumatic nature of his war service. Ms. Salinger paints a picture of J. D. as a man immensely proud of his service record, maintaining his military haircut, service jacket, and moving about his compound (and town) in an old Jeep. Ms. Salinger offered many insights into the Salinger myths, including her father's supposed long-time interest in macrobiotics and involvement with what is today known as "alternative medicine" and Eastern philosophies.
Salinger had been a follower of Zen Buddhism, and had met the scholar D. T. Suzuki. Then he became a life-long student of Advaita Vedanta Hinduism. This has been described at length by Som P. Ranchan in his book, An Adventure in Vedanta: J. D. Salinger's the Glass Family (1990). Sri Ramakrishna and his student Vivekananda were important contemporary figures he studied. In this tradition, celibacy and detachment from human responsibilities such as family are emphasized for those seeking enlightenment. Margaret Salinger says that she may have never been born if her father had not read Autobiography of a Yogi by Paramahansa Yogananda who brought the possibility of enlightenment to those following the path of the "householder" (i.e. married person, with children). J. D. and Claire were initiated into this path of Kriya yoga in a small store-front Hindu temple in a lower-middle class neighborhood of Washington, DC. They received a mantra and breathing exercises that they were to practice for ten minutes twice a day. Salinger had sudden jumps of enthusiasm for different belief-systems that he then insisted Claire also follow. Salinger tried Dianetics (later called Scientology), even meeting L. Ron Hubbard himself, Claire recalls[12]. [1] This was followed by a number of spiritual/medical/nutritional belief systems including Christian Science, teachings of Edgar Cayce, homeopathy, accupuncture, macrobiotics, fasting, megadoses of Vitamin C, vomiting to remove impurities, solar reflectors for tanning, drinking one's own urine (this is part of the folk-medicine of several cultures around the world; see urine therapy), "speaking in tongues" (glossolalia) which he learned at a Charismatic church, and sitting in a Reichian "orgone box" to accumulate "orgone energy."
Ms. Salinger writes that J. D. rarely had sex with his wife, kept her "a virtual prisoner," refused to allow her to see friends or relatives, insisted on extensive meals and other house-work like laundered and ironed sheets in their poorly equipped rural house[12]. Perhaps the most insightful myth-busting that Ms. Salinger offers describes her father as anything but a recluse or withdrawn. She claims that her father travels often, has friends all over the world, and is a bon vivant in every aspect, except where publicity and celebrity are concerned.
Salinger's third wife is Colleen O'Neill (b. June 11, 1959), a nurse and quiltmaker. She is 40 years younger than her husband. Colleen told Margaret that she and Salinger were trying to have a child[13].
Trivia
Salinger is also the father of actor Matt Salinger, Margaret's brother, most famous for starring in a direct-to-video version of Captain America.
In the check in between the The Daily Show and The Colbert Report Stephen Colbert jokingly claimed he was interviewing Salinger. Stewart playfully said "Why must you lie" and he responded "If you really want to know about it..." alluding to Holden Caufield's opening in The Catcher in the Rye. Colbert ended with "Raise High the Roofbeam, Jon-o!"
At the end of another episode of The Colbert Report Stephen Colbert jokingly apologized to Salinger and Nelson Mandela for not having time to interview them during the show, which featured appearances by Henry Kissinger, Peter Frampton and N.Y. governor-elect Eliot Spitzer.
Salinger refuses to allow any more of his works to be recreated in film; he has not licensed any of his stories or novels since "Uncle Wiggily in Connecticut" (released as My Foolish Heart), which he reportedly detested. (Jerry Lewis, for one, attempted to get the rights to Catcher in the Rye.) Salinger however is a classic film lover and has an extensive collection of classic movies from the 1940s in 16mm prints (this, of course, predating VCRs).
The novel Shoeless Joe, by author W. P. Kinsella, features the protagonist seeking out J. D. Salinger. When this book was adapted into film as Field of Dreams, the character was changed to a fictional African-American author, "Terence Mann" (played by James Earl Jones).
The novel The Catcher in the Rye was carried by Mark David Chapman at the time he assassinated John Lennon on December 8, 1980. John Hinckley, Jr., who attempted to assassinate Ronald Reagan, was reported to be obsessed by the novel.
In 2002, 80 letters from writers, critics and fans to Mr. Salinger were published in the book Letters to J. D. Salinger, edited by Chris Kubica.
Salinger has continued to write in a disciplined fashion, a few hours every morning. Salinger has several floor-to-ceiling safes containing manuscripts, marked with notations such as "to be published as-is", "to be edited", etc., in anticipation of his entry into parinirvana (a "final" nirvana) [14].
Salinger has three cats named Kitty 1, Kitty 2, and Kitty 3[15].
Frank Langella
From Wikipedia, the free encyclopedia
Frank Langella (born January 1, 1940) is an American stage and film actor. He has twice won the Tony Award for Best Featured (Supporting) Actor in a Play, in 1975 for Edward Albee's Seascape and in 2002 for Fortune's Fool, and been twice nominated for Best Leading Actor in a Play, in 1978 for the Edward Gorey-designed revival of Dracula and 2004 for Match.
Biography
Early life
Langella, an Italian American,[1] was born in Bayonne, New Jersey to Frank Langelhla, Sr. He is a brother of the Alpha Chi Rho fraternity.
Career
A versatile and overwhelmingly charismatic actor -- and, in his youth, a strikingly handsome one-- early in Langella's career he was best known for his success in the title role of Dracula in the Broadway production designed by Edward Gorey. In a recent interview Langella commented that people (in fact, mostly men) always complimented him on the sexual energy of his stage performance as the Count, telling him, "Boy, did my wife make love to me that night!" after seeing him onstage. Despite his initial misgivings about continuing to play the role, he was persuaded to star opposite Laurence Olivier in the subsequent film version directed by John Badham. On his last day of shooting, Langella reports that he hung the cloak on costume rack firmly knowing he could never pick it up again for fear of being typecast.
He went on to play Sherlock Holmes in an HBO adaptation (1981) of William Gillette's famous stage play.
For decades afterward, he largely stayed away from film in order to pursue serious theatre; however, later years have seen more film and television work having found a niche; he made a memorable three-episode appearance on Star Trek: Deep Space Nine as the devious Jaro Essa, and also appeared in a 2003 episode of Law & Order: Special Victims Unit and as a villainous pirate in the summer release 'Cutthroat Island'. He more recently appeared in Good Night, and Good Luck. (2005) as network honcho William S. Paley. He recently appeared as Daily Planet editor Perry White in Superman Returns (2006). He is also an accomplished stage actor, most recently appearing in Peter Morgan's Frost/Nixon at the Donmar Warehouse in London.
The elderly priest, speaking to the younger priest, said, "It was a
good idea to replace the first four pews with plush bucket theater
seats. It worked like a charm. The front of the church always fills first
now. The young priest nodded, and the old priest continued, "And you
told me a little more beat to the music would bring young people back
to church, so I supported you when you brought in that rock 'n roll
gospel choir. We are packed to the balcony!!"
"Thank you, Father," answered the young priest. "I am
pleased that you are open to the new ideas of youth."
"Well," said the elderly priest, "I'm afraid you've gone too
far with the drive-thru confessional."
"But, Father," protested the young priest, "my confessions
and the donations have nearly doubled since I began that!"
"I know, son," replied the elderly priest, "but that flashing
neon sign, Toot 'n Tell or Go To Hell' can't stay on the church roof."
Happy 2007, hawkman. Loved the anecdote about the priests and their generation gap. Toot'nTell? Hilarious.
As usual, folks, will wait for our Raggedy to provide us with those silent pictures that she is so adept at doing.
I recall "Catcher in the Rye" having been banned in Virginia high schools, and as a teacher at the time, I became curious and promptly read it. The best way to get a kid to read is to ban a book. Interesting info about Salinger.
Well, Raggedy, our bio's and photo's are brief today, no? thanks, PA.
Could we refer to these two as dualism in philosophy?
Hmmm. Dana and Frank. Those two together would make a formidable team. One drinks liquor and the other drinks blood.
But today, folks, I'm thinking of ONE although it's done by three dogs.
One is the loneliest number that you'll ever do
Two can be as bad as one
It's the loneliest number since the number one
"No" is the saddest experience you'll ever know
Yes, it's the saddest experience you'll ever know
'Cause one is the loneliest number that you'll ever do
One is the loneliest number, whoa, worse than two
It's just no good anymore since you went away
Now I spend my time just making rhymes of yesterday
One is the loneliest number
One is the loneliest number
One is the loneliest number that you'll ever do
One is the loneliest, one is the loneliest
One is the loneliest number that you'll ever do
It's just no good anymore since you went away
Number
One is the loneliest
Number
One is the loneliest
Number
One is the loneliest number that you'll ever do
(Repeat in various forms)
Good afternoon and best wishes for 2007 from Johnboy in the red clay country of Virginia. I don't hang out here much; I don't know much about music.
I hang out in the politics threads and also one entitled "NFL-2006-The Road To New Orleans." It's about football, another subject I know little about.
One of the players is Cowdoc, a large animal vet in Idaho. For the last 20+ years he has hosted a radio show on New Year's Eve featuring tunes from the 1950-1960 era. From the station there in Salmon, Idaho. He strung together a 42 second montage of tunes with a common theme, as I understand it. He claims that smart A2Kers could figure it out without actually hearing the songs.
I challenge someone at WA2K to (1) import the list from NFL-2006 and then (2) one of yall to solve it.
Well, for goodness sake. Here's our John of Virginia back with us. I don't quite understand what you mean by "import the list", buddy. Can you explain further?
Hey, you don't have to know a lot about music to be a part of our cyber station.
Know this one?
That good old song
of Wahoo-wa
We'll sing it o'er and o'er
It cheers our hearts
and warms our blood
to hear them shout and roar.
We come from old Virginia
where all is bright and gay.
Let's all join hands and give a yell
for dear old UVA!
Wahoo-wa Wahoo-wa
Uni-v Virginia!
Hoo rah ray Hoo rah ray
Ray ray
UVA!
Wah Watusi
Orlons
Wah, wah-a Watusi
C'mon and take a chance and get-a with this dance
Wah, wah-a Watusi
Oh, baby, it's the dance made-a for romance (shoo-bop, shoo-bop, ahh)
Baby, baby, when you do The Twist
Never, never do you get yourself kissed
'cause you're always dancin' far apart
The Watusi, girl, is-a really smart
Wah-a, wah, wah-a Watusi
C'mon and take a chance and get-a with this dance (shoo-bop, shoo-bop, ahh)
Baby, baby, when you do The Fly
Your arms are wasted wavin' in the sky
Come on and hold me like a lover should
The Watusi makes you feel so good
Wah-a, wah, wah-a Watusi
Oh, baby, it's the dance made-a for romance
Yay!!
(shoo-bop, shoo-bop, ahh)
Baby, baby, that's the way it goes
Nothing happens when you Mash Potatoes
I just gotta fall in love with you
Watusi is the dance to do
Wah-a, wah, wah-a Watusi
C'mon and take a chance and get-a with this dance
Wah, wah-a Watusi
FADE
Oh, baby, it's the dance made-a for romance
ah, edgar. That song reminds me of hebba. Hope he is well.
John. Can you give us a link to the thread of which you speak? I can move the list as can edgar.
In the interim. An old favorite of mine, as many of you know.
Artist: Wilson Pickett
Song: Land Of A Thousand Dances
1-2-3
1-2-3
Ow! Uh! Alright! Uh!
Got to know how to pony
Like Bony Maronie
Mash potato, do the alligator
Put your hand on your hips, yeah
Let your backbone slip
Do the Watusi
Like my little Lucy
Hey! Uh!
Na na-na-na-na na-na-na-na-na-na-na-na-na-na na-na-na-na
I need somebody to help me say it one time
(Na na-na-na-na na-na-na-na-na-na-na-na-na-na na-na-na-na )
Wo--ow!
Saxophone solo
Wow! Uh! You know I feel alright! Huh! I feel pretty good y'all
Uh! Huh!
Na na-na-na-na na-na-na-na-na-na-na-na-na-na na-na-na-na
Come on y'all, let's say it one more time
(Na na-na-na-na na-na-na-na-na-na-na-na-na-na na-na-na-na )
Ooow!
Playing, it is a habit
With long tall Sally
Twistin' with Lucy
Doin' the Watusi
Roll over on your back
I like it like that
Do that Jerk-uh
Watch me work y'all
Ow! Do it!
Wow! Do it!
Just watch me do it
Aah help me
Aah help me
Aah help me
Aah help me
Fade
--------------------------------------------------------------------------------
As promised, here is the listing of the songs I put in a forty-two second medley. To my surprise, the winner was only able to identify four of the songs and artists, but was able to figure out the theme of the medley. Obviously, you can't hear the sound bite, but can you spot the theme?
Different Drum - Stone Poneys
Pied Piper - Crispian St. Peters
Little Arrows - Leapy Lee
Dancing Queen - Abba
Land of Milk and Honey - Vogues
I Can Help - Billy Swan
Lay, Lay, Lay - Bob Dylan
Rings - Cymarron
My Back Pages - Byrds
In the Mood - Henhouse Five Plus Two
She'd Rather Be With Me - Turtles
I Think I Love You - Partridge Family
Somehow, I don't think it will take A2Kers long to spot the commonality.
_________________
Originally, listeners were to have picked out names and artists from quick sound bites. These have now been revealed. There is a thread of commonality in the list of songs, which I have yet to decipher.
Thanks, edgar. Ah, sound bites. Ticomaya got the theme. It was The Twelve Days of Christmas. Did CowDoc mean Lay Lady Lay?
Sorry, I don't know but two of those songs then. Bet Raggedy does.
Might as well do the partridge family in a pear tree folks
I THINK I LOVE YOU!
I'm sleeping
And right in the middle of a good dream
Then all at once I wake up
From something that keeps knocking at my brain
Before I go insane
I hold my pillow to my head
And spring up in my bed
Screaming out the words I dread ....
"I think I love you!" (I think I love you)
This morning, I woke up with this feeling
I didn't know how to deal with
And so I just decided to myself
I'd hide it to myself
And never talk about it
And did not go and shout it
When you walked into the room .....
"I think I love you!" (I think I love you)
I think I love you
So what am I so afraid of?
I'm afraid that I'm not sure of
A love there is no cure for
I think I love you
Isn't that what life is made of?
Though it worries me to say
I've never felt this way
Believe me
You really don't have to worry
I only want to make you happy
And if you say
Hey, go away, I will
But I think better still
I'd better stay around and love you
Do you think I have a case?
Let me ask you to your face
Do you think you love me?
I think I love you
So what am I so afraid of?
I'm afraid that I'm not sure of
A love there is no cure for
I think I love you
Isn't that what life is made of?
Though it worries me to say
I've never felt this way
I don't know what I'm up against
I don't know what it's all about
I've go so much to think about
Hey!I think I love you!
So what am I so afraid of?
I'm afraid that I'm not sure of
A love there is no cure for
I think I love you
Isn't that what life is made of?
Though it worries me to say
I've never felt this way
I think I love you!
So what am I so afraid of?
I'm afraid that I'm not sure of
A love there is no cure for
I think I love you
Isn't that what life is made of?
Though it worries me to say
I've never felt this way
Sometimes, Eva, it is really slow and ornery, especially when one is on a dial up.
I'm still not quite certain how this game is played. I guess we need to have the sound bites.
How about a game song?
Monopoly by URGE OVERKILL
We're given life to live in
And we're never gonna live it again
Gotta lead it like a dog on a leash, yeah,
But my dragon kinda's wearing thin
Rolling dice with God as our witness
Down avenues, utilities and towns
It's survival of the richest
Moving our sinful pieces 'round and 'round
It's you and me on the Monopoly board
You land on the block where I got three hotels
But it's not like you want me to win
It was your face that placed the blame on you
And your kiss that turned to brown
Your face that placed the blame on you
And your face that turned me down
But when the night is over and you need a friend
Shame on you, You're your own Monopoly
Death is always annoying,
But then nothing here is meant to last
We're spending too much time on life's preparations
Haven't we lived and died before in the past?
I know we have
Now it's you and me on the Monopoly board
You land on the block where I got three hotels
Now you cheated before 'cause you know you're gonna win
and you do it again
It was your face that placed the blame on you
And your kiss that turned to brown
Your face that placed the blame on you
And your face that turned me down,
But when the night is over and you need a friend
Shame on you, you're your own Monopoly
'Cause when the night is over and you need a friend
Shame on you, you're your own Monopoly
Yes, you know you are
Your own monopoly
Yes, you know you are
Oh Monopoly
Monopoly.
Yes. I am told that the correct answer did indeed involve the 12 days of Christmas. My friend, Cowdoc, is one hard working dude. But perhaps, just perhaps, he can post the trivia questions about music that he posed to his audience last night in Salmon, Idaho. I will work on that.
Thanks, Virginia John.
Speaking of work:
Otis Redding
That's the sound of the men
They are working on the chain gang, huh
That's the sound of the men
They are working on the chain gang
That's the sound of the men
When they're working on the chain gang
All day long you hear them, pooh
I'm going home, just one of these ole days
Man, i'm going home to see my woman
For my love's so dear
But that means why
I gotta work right here now, huh
And that's the sound of the men
They're just working on the chain gang
That's the sound of the men
They're working on the highways and the biways
That's the sound of the men
Working on the highway and biway
All day long they're going, pooh
Man, i'm going home to see that woman
For my love's so dear
I gotta see the woman
For my love's so well
But that means why
I gotta work right here now, huh
Now that's the sound of us mens
When we're working on the chain gang
Oh, it's allright now, hoo
Out there
That's the sound of the men
When they're working on the chain gang, ha
That's the sound of the men
When they're working on the chain gang
All day long you hear them, pooh
Man, i'm going home one of these ole days
Man i'm going home
I got to see the woman
Whom my love's so dear
But that means why
I've gotta sit right here now, ha
Now that's the sounds of the mens
Working on the chain gang
Working, we're working
Ah, we're working man
Got to be working
Oh, every day we work a little bit stronger
Every night, man, a few bit longer
Got to be working, man
The time is going up
We got to be working, man...
