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Oh, to live on sugar mountain
With the barkers and the colored balloons,
You cant be twenty on sugar mountain
Though youre thinking that youre leaving there too soon,
Youre leaving there too soon.

Its so noisy at the fair
But all your friends are there
And the candy floss you had
And your mother and your dad.

Oh, to live on sugar mountain
With the barkers and the colored balloons,
You cant be twenty on sugar mountain
Though youre thinking that youre leaving there too soon,
Youre leaving there too soon.

Theres a girl just down the aisle,
Oh, to turn and see her smile.
You can hear the words she wrote
As you read the hidden note.

Oh, to live on sugar mountain
With the barkers and the colored balloons,
You cant be twenty on sugar mountain
Though youre thinking that youre leaving there too soon,
Youre leaving there too soon.

Now youre underneath the stairs
And youre givin back some glares
To the people who you met
And its your first cigarette.

Oh, to live on sugar mountain
With the barkers and the colored balloons,
You cant be twenty on sugar mountain
Though youre thinking that youre leaving there too soon,
Youre leaving there too soon.

Now you say youre leavin home
cause you want to be alone.
Aint it funny how you feel
When youre findin out its real?

Oh, to live on sugar mountain
With the barkers and the colored balloons,
You cant be twenty on sugar mountain
Though youre thinking that youre leaving there too soon,
Youre leaving there too soon.

Oh, to live on sugar mountain
With the barkers and the colored balloons,
You cant be twenty on sugar mountain
Though youre thinking that youre leaving there too soon,
Youre leaving there too soon.


Neil Young

been on a real allan sherman kick lately

some more great ones

Shake Hands With Your Uncle Max
(Parody of "Shake Hands With Your Uncle Mike")

I sell a line of plastics
And I travel on the road
And I have a case of samples
Which believe me is a load

Every night a strange cafe
A strange hotel and then
Early in the morning
I am on the road again

When the season's over
And my lonesome journey ends
That's the only time I see
My family and my friends

I drive up Ocean Parkway
And before I stop the car
My ma leans out the window
And she hollers, "Here we are!"

Shake hands with your Uncle Max, my boy
And here is your sister Shirl
And here is your cousin Isabel
That's Irving's oldest girl
And you remember the Tishman twins
Gerald and Jerome
We all came out to greet you
And to wish you welcome home

Meet..
Merowitz, Berowitz, Handelman, Schandelman
Sperber and Gerber and Steiner and Stone
Boskowitz, Lubowitz, Aaronson, Baronson,
Kleinman and Feinman and Freidman and Cohen

Smallowitz, Wallowitz, Tidelbaum, Mandelbaum
Levin, Levinsky, Levine and Levi
Brumburger, Schlumburger, Minkus and Pinkus
And Stein with an "e-i" and Styne with a "y"

Shake hands with your Uncle Sol mein boy
And here is your brother Sid
And here is your cousin Yetta
Who expects another kid

Whenever you're on the road my boy
Wherever you may roam
We'll all be here when you come back
To wish you welcome home


Sarah Jackman
(Parody of "Frere Jacques")

Hello?
Is this 418-9749?
Speaking.
Sarah?
Yeah.

Sarah Jackman,
Sarah Jackman,

How's by you?
How's by you?

How's by you the family?
How's your sister Emily?

She's nice too.
She's nice too.

Jerry Bachman,
Jerry Bachman,

So what's new?
So what's new?

Whatcha doing Sarah?

Reading John O'Hara.

He's nice too.
He's nice too.

Sarah Jackman,
Sarah Jackman,

How's by you?
How's by you?

How's your brother Bernie?

He's a big attorney.

How's your sister Doris?

Still with William Morris.

How's your cousin Shirley?

She got married early.

How's her daughter Esther?

Skipped a whole semester.

How's your brother Bentley?

Feeling better ment'ly.

How's your cousin Ida?

She's a freedom rider.

What's with Uncle Sidney?

They took out a kidney.

How's your sister Norma?

She's a non-conforma.

How's yours cousin Lena?

Moved to Pasadena.

How's your Uncle Nathan?

Him I got no faith in.

I ain't heard from Sonja.

I'll get her to phone ya.

How's her daughter Rita?

A regular Lolita.

How's your cousin Manny?

Signed up with Vic Tanny.

How's your nephew Seymour?

eymour joined the Peace Corps.

He's nice too.
He's nice too.

Sarah Jackman,
Sarah Jackman,

How's by you? Jerry Bachman,
How's by you? Jerry Bachman,

Give regards to Hi now. So what's new?

Gotta say goodbye now. So what's new?

Toodle-oo. Give regards to Moe now.

Toodle-oo. Well I gotta go now.

Toodle-oo. Toodle-oo.

Toodle-oo. Toodle-oo.

Toodle-oo. Toodle-oo.

Wonderin'
Neil Young

I've been walking all night long
My footsteps made me crazy
Baby, you've been gone so long
I'm wonderin' if you'll come home
I'm hopin' that you'll be my baby
I'm wonderin' if I'll be alone
Knowin' that I need you to save me.

I've been talking all day long
To keep my heart from sadness
Baby, you've been gone so long
I'm wonderin' if you'll come home
I'm hopin' that you'll be my baby
I'm wonderin' if I'll be alone
Knowin' that I need you to save me.

I'm wonderin',
I'm wonderin',
I'm wonderin',
I'm wonderin',

Well, I'm knowin' that I need you to save me
Knowin' that I need you to save me.
Knowin' that I need you to save me.
Knowin' that I need you to save me.
I'm wonderin',
I'm wonderin'.

Powderfinger
Neil Young

Look out, Mama,
there's a white boat
comin' up the river
With a big red beacon,
and a flag,
and a man on the rail
I think you'd better call John,
'Cause it don't
look like they're here
to deliver the mail

And it's less than a mile away
I hope they didn't come to stay
It's got numbers on the side
and a gun
And it's makin' big waves.

Daddy's gone,
my brother's out hunting
in the mountains
Big John's been drinking
since the river took Emmy-Lou
So the powers that be
left me here
to do the thinkin'
And I just turned twenty-two
I was wonderin' what to do

And the closer they got,
The more those feelings grew.
Daddy's rifle in my hand
felt reassurin'
He told me,
Red means run, son,
numbers add up to nothin'

But when the first shot
hit the docks I saw it comin'
Raised my rifle to my eye
Never stopped to wonder why.
Then I saw black,
And my face splashed in the sky.

Shelter me from the powder
and the finger
Cover me with the thought
that pulled the trigger
Think of me
as one you'd never figured
Would fade away so young
With so much left undone
Remember me to my love,
I know I'll miss her.

Great songs, dj, and edgar, and I'm wondering if I shouldn't be wandering off to bed, but before a sleepy Lettybee turns in, folks.

Here's a fair song for edgar, and an original for dj and Mr. Sherman.

Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Johnny's so long at the fair.

He promised to buy me
A trinket to please me
And then for a smile,
Oh, he vowed he would tease me
He promised to buy me
A bunch of blue ribbons
To tie up my bonnie brown hair.

Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Johnny's so long at the fair.

He promised to bring me
A basket of posies
A garland of lilies,
A wreath of red rosies
A little straw hat to
Set off the blue ribbons
That tie up my bonnie brown hair.

Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Johnny's so long at the fair.

He promised he'd buy me
A beautiful fairing,
A gay bit of lace that
the lassies are wearing,
To set off the hat that
Sets off the blue ribbons,
That tie up my bonnie brown hair.

Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Oh, dear! What can the matter be?
Johnny's so long at the fair.




Frère Jacques,
Frère Jacques,
Dormez vous?
Dormez vous?
Sonnez les matines,
Sonnez les matines,
Din, din, don!
Din, din, don!

Before the morning bells ring, I think I shall say goodnight.

To all of you........

From Letty with love

Good morning, WA2K, listeners and contributors. Let's begin the day with Shelley, shall we?

Ozymandias

I met a traveler from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read,
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed,
And on the pedestal these words appear:
"My name is Ozymandias, King of Kings:
Look upon my works, ye Mighty, and despair!"
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.
-Percy Bysshe Shelley
1792-1822

Aren't You Glad You're You
Bing Crosby

[Words by Johnny Burke and Music by Jimmy Van Heusen]

Do you make the most of your five senses
Or is your life like Old Mother Hubbard's shelf
Well, mark this on your slate
Life is not an empty plate
That's if you appreciate yourself

Ev'ry time you're near a rose
Aren't you glad you've got a nose
And if the dawn is fresh with dew
Aren't you glad you're you
When a meadowlark appears
Aren't you glad you've got two ears
And if your heart is singing, too
Aren't you glad you're you
You can see a summer sky
Or touch a friendly hand
Or taste an apple pie
Pardon the grammar, but ain't life grand
And when you wake up each morn
Aren't you glad that you were born
Think what you've got the whole day through
Aren't you glad you're you

Good morning, edgar. Well, Texas, at this point I can think of people I would NOT want to be. <smile>

And an answer from old blue eyes:

Would you like to swing on a star
Carry moonbeams home in a jar
And be better off than you are
Or would you rather be a mule

A mule is an animal with long funny ears
He kicks up at anything he hears
His back is brawny - and his brain is weak
Hes just plain stupid with a - stubborn streak

And by the way, if you hate to go to school
You may grow up to be a mule

Would you like to swing on a star
Carry moonbeams home in a jar
And be better off than you are
Or would you rather be a pig

A pig is an animal with dirt on his face
His shoes are a terrible disgrace
He aint got no manners when he eats his food
Hes fat and lazy - and extremely rude

But if you dont care a feather or a fig
You may grow up to be a pig

Would you like to swing on a star
Carry moonbeams home in a jar
And be better off than you are
Or would you rather be a fish

A fish wont do anything but swim in a brook
He cant write his name or read a book
And to fool the people is his only thought
Though he slippery - he still gets caught
But then if that sort of life is what you wish
You may grow up to be a fish

And all the monkeys arent in a zoo
Every day you meet quite a few
So you see its all up to you
You can be better than you are
You could be swinging on a star

Good morning.

Bing's "Swingin' on a Star" from "Going My Way" reminded me of this one from his movie with Fred Astaire ("Blue Skies") that was on TCM for the first time the other day and expresses how I felt when I woke up this morning.

"(Running Around in Circles) Getting Nowhere"

A greyhound who had lots of speed was surely bound to fail
For morning, noon and evening, he'd be chasing his own tail
He was running around in circles
Running around in circles getting nowhere

A squirrel in a treadmill cage, around and 'round he'd go
You'd think that he'd be in a rage, but seems he didn't know
He was running around in circles
Running around in circles getting nowhere

The man who runs a carousel is often heavy-hearted
He rides all day, but sad to say, he winds up where he started

So, concentrate and clear your mind of schemes that never last
Or you'll wake up someday and find your chances all have passed
You've been running around in circles
Running around in circles getting nowhere
Getting nowhere very fast


And remembering the Bolero man who used to celebrate a birthday on this date:

Well, there's our Raggedy with a song from skies of blue and a picture of Ravel. Thanks, PA. The search machine told me that Frank Zappa did a reggae version of Ravel's Bolero; however, I could not find it, but I did find an interesting comment about that piece by Maurice.

Ravel's Bolero comes under psychiatric investigation

September 1997 - A British study, published in today's Psychiatric Bulletin, suggests that Ravel's Bolero, reputed to be the most often played composition in the repertoire, was the work of a pathological mind. Dr Eva Cybulska, the author of the study, claims that the famous melody repeated 18 times without change.

For the rest of this brief abstract, see here:

http://www.culturekiosque.com/klassik/news/rheravel.htm

I am certain that the hawkman will be along shortly, but in the interim, how about a classic by Joan Baez.

These are not the lyrics that I know, folks, but they will have to suffice.



Love, oh, love, oh careless love
Love, oh, love, oh careless love
Love, oh, love, oh careless love
You see what love has done to me



I'd love my mama and papa too
I'd love my mama and papa too
Id love my mama and papa too
I'd leave them both to go with you



What, oh what, will mama say
What, oh what, will mama say
What, oh what, will mama say
When she learns I've gone astray



Once I wore my apron low
Once I wore my apron low
Once I wore my apron low
I couldn't scarcely keep you from my door



Now my apron strings don't pin
Now my apron strings don't pin
Now my apron strings don't pin
You pass my door and you don't come in

I never heard that Baez song, Letty, and I thought I heard them all. Bravo, PD!

I prefer this explanation, or whatever you want to call it, of Ravel's Bolero.

http://www.musicweb-international.com/Programme_Notes/rav_bolero.htm

Ah, Raggedy, I may have well cited the wrong performer. I'll go back and check again. A sleepless night may have kept my synapses from firing properly.

Great critique of Bo Derek, er I mean Ravel and his bolero. Thanks, gal.

Oh no, Letty. I wasn't questioning it. You're correct. I was just surprised that Baez sang that one and if I checked through my Baez CD's, I'd probably find it.

I've never heard Joan do that song, Raggedy, but my sister and I sang a contrapuntal type duet using Careless Love and Have I Stayed alway too long. It worked beautifully.


Have I stayed away too long?
Have I stayed away too long?
If I came home tonight, would you still be my darlin'?
Or, have I stayed away too long?

The love light that shone so strong
Pretty love light that shone so strong
If I came home tonight, would that same light be burnin'?
Or, have I stayed away too long?

I'm just outside of town
I'll soon be at your door
Maybe I'd be wrong to hurry there
I'd best keep out of town, and worry you no more
For, maybe someone else has made you care.

Have all my dreams gone wrong?
All my beautiful dreams gone wrong?
If I came home tonight, would you still be my darlin'?
Or, have I stayed away too long?

Anna Magnani
From Wikipedia, the free encyclopedia



Born March 7, 1908
Rome, Italy
Died September 26, 1973, aged 65
Rome, Italy

Academy Awards

Best Actress
1955 The Rose Tattoo
Anna Magnani (March 7, 1908 - September 26, 1973) was an Academy Award-winning Italian actress, with stage experience.





Biography

Born in Rome, she was brought up in poverty by her maternal grandmother in a slum district of the city. After some education at a convent school, she enrolled at Rome's Academy of Dramatic Art and sang in nightclubs and cabarets to support herself. Due to her work in nightclubs, Magnani was dubbed the Italian Édith Piaf.

In 1927 she acted in the screen version of La Nemica e Scampolo. She had also been in the stage production. She met Italian filmmaker Goffredo Alessandrini in 1933 and the two were married in 1935. He was one of the first Italian filmmakers to adapt the new sound technology used in American cinema. Her marriage to Alessandrini ended in 1950, and she never married again. Magnani once said, "Women like me can only submit to men capable of dominating them, and I have never found anyone capable of dominating me".

In 1941, Magnani starred in Teresa Venerdì, ("Friday Theresa") which the writer and director, Vittorio De Sica, called Magnani's "first true film". In it she plays Loletta Prima, the girlfriend of Di Sica's character, Pietro Vignali. De Sica had called her laugh, "loud, overwhelming, and tragic".

She had worked in films for almost 20 years before gaining international renown as 'Pina' in Roberto Rossellini's neorealist milestone Roma, Cittá Aperta. (also known as Rome, Open City, 1945). Her harrowing death scene remains one of cinema's most devastating moments. In Italy (and gradually elsewhere) she soon became established as a star, although she lacked the conventional beauty and glamour usually associated with the term. Slightly plump and rather short in stature with a face framed by unkempt raven hair and eyes encircled by deep, dark shadows, she attracted through her seething earthiness and volcanic temperament.

Magnani was Rossellini's second choice to play the role of Pina. He had originally wanted Clara Calamai, the lead of Ossessione, (a part Luchino Visconti had originally offered Magnani) but she was already under contract and working on another film. Rossellini almost had to resort to his third actress choice because Magnani demanded she be paid the same amount of money the male lead, Aldo Fabrizi was getting. The difference in salary was only 100,000 lire, and was really over principle more so than price. Rossellini, whom she called, "this forceful, secure courageous man", was her lover at the time, and she was to go on and collaborate with him on other films.

Other collaborations with Rossellini include L'Amore, a two part film from 1948: The Miracle and The Human Voice (Il miracolo, and Una voce umana.) In the former, Magnani, playing a peasant outcast who believes the baby she's carrying is Christ, plumbs both the sorrow and the righteousness of being alone in the world. The latter film, based on Jean Cocteau's play about a woman desperately trying to salvage a relationship over the telephone, is remarkable for the ways in which Magnani's powerful moments of silence segue into cries of despair. One could surmise that the role of this unseen lover was Rossellini, and was based on conversations that took place throughout their own real-life affair.

In 1951's Luchino Visconti's Bellissima she plays Maddalena, a blustery, obstinate stage mother who drags her daughter to Cinecittà for the "Prettiest Girl in Rome" contest. When she realizes that the studio heads are laughing at her daughter's screen test, a shattering close-up of Magnani's face reveals rage, humiliation, and maternal love. She starred as Camille, a woman torn between three men, in Jean Renoir's 1953 film Le Carrosse d'or (also known as The Golden Coach). Renoir called her "the greatest actress I have ever worked with."

As the widowed mother of a teenage daughter in Daniel Mann's 1955 film of Tennessee Williams's The Rose Tattoo, Magnani's adroit, mercurial performing offsets the hammy Method acting style of co-star Burt Lancaster. It wasn't until then that she broke into Hollywood mainstream cinema with her first English speaking role. Playing Serafina Delle Rose in The Rose Tattoo, she won the Best Actress in a Leading Role Oscar. Tennessee Williams wrote it and based the character of Serafina on Magnani, since the two were good friends. It was originally put on stage starring Maureen Stapleton, because Magnani's English was too limited at the time for her to star. Magnani worked with Williams again in his 1959 film, The Fugitive Kind, where she played Lady Torrance and starred opposite Marlon Brando.

The Wild, Wild Women (1958) is notable for pairing Magnani, as an unrepentant streetwalker, with Giulietta Masina in a women-in-prison film. In Pier Paolo Pasolini's Mamma Roma (1962), Magnani is both the mother and the whore, playing an irrepressible prostitute determined to give her teenage son a respectable middle-class life. Mamma Roma, is one of Magnani's critically acclaimed films, yet it wasn't released in the United States until 1995, for having been deemed too controversial.

It was after this role along with her many other parts of playing poor women that Magnani was quoted in 1963 as having said, "I'm bored stiff with these everlasting parts as hysterical, loud, working class women."

Magnani made her final film performance as Rosa in The Secret of Santa Vittoria. Towards the end of her career, Magnani was quoted as having said, "The day has gone when I deluded myself that making movies was art. Movies today are made up of…intellectuals who always make out that they're teaching something."

She died at the age of 65 in Rome, after a long battle with pancreatic cancer. A huge crowd gathered for her funeral in a final salute that Romans usually reserve for Popes. She was provisionally laid to rest in the Roberto Rossellini's family mausoleum, her favorite director and longtime friend. She now rests in the Cimitero Comunale, San Felice Circeo, Lazio, Italy.

Peter Wolf
From Wikipedia, the free encyclopedia

Peter Wolf (born Peter Blankfield on March 7, 1946) is an American rock and roll musician, best known as the lead vocalist for the J. Geils Band from 1967 to 1982.

He planned a career as an artist, but landed a job in the late 1960s as a disc jockey on then-cutting edge Boston FM radio station WBCN and began exploring his interest in blues and rhythm and blues music, giving himself the nickname "the Woofer Goofer", sometimes expanded to "the Woofer Goofer with the Green Teeth". He formed a group called the Hallucinations, then saw the then J. Geils Blues Band in concert and quickly joined. He was the vocalist and frontman, and often acted as a sort of manager. He and keyboard player Seth Justman were responsible for most of the song writing, but Wolf left the group in 1983. He and the group felt their creativity was stagnating and they were faced with a decision to follow the path they had been on, or the new path which had won them chart success with "Centerfold", a pop music record with very little traditional blues or rhythm and blues content.

Wolf was a solo act for the next 15 years, but in 1999 the J. Geils Band reunited for several appearances, with Wolf resuming his duties as lead vocalist; however, despite the eager anticipation of fans, ticket sales were extremely disappointing. They have since separated again, probably with no hope of reunion, and Wolf is once more touring as a solo act.

Wolf's first solo record, Lights Out, was produced by Michael Jonzun of the Jonzun Crew, also features Adrian Belew, and has a somewhat funky, electro sound. His last two solo albums, Fool's Parade and Sleepless (the latter featuring guest appearances from Mick Jagger and Keith Richards), were both highly praised by Jann Wenner in Rolling Stone, receiving four-and-a-half and five stars, respectively. Sleepless was noted as one of the 500 greatest albums of all time in Rolling Stone issue 937. He has performed on stage with his friend, Bruce Springsteen.

Wolf was married to actress Faye Dunaway from 1974 to 1979.

TEACHERS

The dinner guests were sitting around the table discussing life. One
man, a CEO, decided to explain the problem with education. He argued,
"What's a kid going to learn from someone who decided his best option
in life was to become a teacher?"

He reminded the other dinner guests of the old adage about teachers:
"Those who can, do. Those who can't, teach."

To stress his point he said to another guest:
"You're a teacher, Jane. Be honest. What do you make?"

Jane, who had a reputation for honesty and frankness replied, "You want
to know what I make?

I make kids work harder than they ever thought they could.
I make a C+ feel like the winner of the Congressional Medal of Honor
for a student who has tried her or his best. I make kids sit through 40
minutes of study hall in absolute silence."

"You want to know what I make?
I make kids wonder.
I make them question.
I make them criticize.
I make them apologize and mean it.
I make them write.
I make them read, read, read.
I make them show all their work in math and
perfect their final drafts in English."

"I make them understand that if you have the brains and follow your
heart and, if someone ever tries to judge you by what you make, you
must pay no attention because that person just didn't learn."

Jane paused and then continued. "You want to know what I make? I MAKE A
DIFFERENCE. What do you make?"

Hoorah for Jane, hawkman. Love that, Boston. Once again your bio's are great, and we always learn from them. Thanks, Bob. My little add on to that "those who can do" adage. Those who can, do, because they CAN'T teach.

Back later with more songs and anecdotes. Time for a station break.

This is cyber space, WA2K radio. Don't touch that dial.

In case you missed this, Letty.



Here's Anna: