WA2K Radio is now on the air

Arrrgh! The site wasn't cooperating! I am sorry for the multiple posts!

I was having the same problem, bermbits.

Music to get drowned by?

Well, sometimes, folks, the equipment in our station gets a bit out of whack, and our Seed used to take care of things, but he's too busy flirting with Montana.

Quotes for the day:



Culture
Bacteria are the only culture some people have.

Culture is roughly anything we do and the monkeys don't.
Lord Raglan (1927-1964)

No statue has ever been put up to a critic.
Jean Sibelius (1865-1957)

When I hear the word 'culture' I reach for my gun.
Hanns Johst (1890-1978)

You can lead a horticulture, but you can't make her think.
Dorothy Parker (1893-1967)

I've always said if it's worth saying once, it's worth saying four times. Don't worry (be happy). Before you I held the record for doing that and hope to regain it in the championship round.

Frances Langford died yesterday.

Frances Langford
From Wikipedia, the free encyclopedia.
Frances Langford
Enlarge
Frances Langford

Frances Newbern Langford (April 4, 1914 - July 11, 2005) was a successful singer and entertainer during the "Golden Age of Radio", who also made occasional film appearances.

Born in Lakeland, Florida, Langford originally trained as an opera singer. While a young girl she required surgery on her throat, and as a result was forced to change her vocal style to a more contemporary big band, popular music style. She began singing for radio during the early 1930s, and was heard by Rudy Vallee, who invited her to become a regular on his radio show. She was a well-known radio performer before making her film debut in Every Night at Eight in 1935, in which she introduced one of her most popular songs, "I'm In The Mood For Love". From 1935 until 1938 she was a regular performer on Dick Powell's radio show.

From 1936 she began appearing frequently in films such as Broadway Melody of 1936 (1936) and Yankee Doodle Dandy (1942) with James Cagney, in which she performed the popular song "Over There".

From 1941 she worked on Bob Hope's radio show, and during World War II she performed frequently with Hope entertaining troops. Her association with Hope continued into the 1980s; in 1989 she joined him for a USO tour.

She worked for several years in the late 1940s on Spike Jones' show before being teamed with Don Ameche in 1951 for a shortlived television program, The Frances Langford/Don Ameche Show. She and Ameche later enjoyed outstanding success with a comedy radio series The Bickersons.

Langford was the host of two self titled variety television programs, Frances Langford Presents (1959) and The Frances Langford Show (1960).

She married three times. Her first husband, from 1934 until 1955, was the actor Jon Hall. In 1955, she married outboard motor heir Ralph Evinrude. They moved to her estate in Jensen Beach, Florida and opened the Outrigger Resort where Langford frequently performed. Evinrude died in 1986. In 1994 she married Harold Stuart, who had been assistant secretary of the United States Air Force under President Harry S. Truman.

Although her greatest successes were in radio, her star on the Hollywood Walk of Fame, at 1500 Vine Street, acknowledges her contribution to Motion Pictures.

She died at her Jensen Beach, Florida home after suffering from congestive heart failure.

http://en.wikipedia.org/wiki/Frances_Langford


I'm In the Mood for Love
Words & Music by Jimmy McHugh & Dorothy Fields, 1935
Recorded by Frances Langford, 1936 (#5 on the Hit Parade)
From the movie "Every Night at Eight"


D G6 A7 D
I'm in the mood for love, simply because you're near me.

F#m7 Fdim Em7 A7 D Em7 A7
Funny, but when you're near me, I'm in the mood for love.



D G6 A7 D
Heaven is in your eyes, bright as the stars we're under;

F#m7 Fdim Em7 A7 D DM7
Oh, is it any wonder I'm in the mood for love?



Bridge:

G6 A7 D Am6 B7
Why stop to think of whether

Em6 A7 D
This little dream might fade?

Bm6 C#7 F#m
We've put our hearts together;

Dm6 C7-5 C7 Gdim Em7 A7
Now we are one, I'm not afraid!



D G6 A7 D
If there's a cloud above, if it should rain, we'll let it;

F#m7 Fdim Em7
But for tonight, forget it!


First time:

A7 D A7
I'm in the mood for love.


Last time:

A7sus4 A7 Gdim D Bm7 G Gdim D
I'm in the mood for love.

Thanks, Bob, for that alert on Frances Langford. My sister loved her, and I like "I'm in the Mood for Love."

and for you and bermbits and the multiples thereof:

Artist: Waylon Jennings
Song: Heartaches By The Number

(Harlan Howard)

Heartache number one was when you left me
I never knew that I could hurt this way
Heartache number two was when you came back again
You came back but never meant to stay.

I've got heartaches by the numbers, troubles by the score
Every day you love me less, each day I love you more
I've got heartaches by the numbers, a love that I can't win
But the day that I stop counting that's the day my world will end.

--- Instrumental ---

Heartache number three was when you called me
You said that you were coming back to stay
With hopeful heart I waited for your knock on my door
I waited but you must have lost your way.

I've got heartaches by the numbers, troubles by the score
Every day you love me less, each day I love you more
I've got heartaches by the numbers, a love that I can't win
But the day that I stop counting that's the day my world will end...


So listeners, It doesn't matter how many times we play it, nor how many ways we say it, it's still wonderful.

Love it, Letty! On the same note, here are a few more good quotations on critics and criticism....


Critic, n. A person who boasts himself hard to please because nobody tries to please him. --Ambrose Bierce

Critics are like eunuchs in a harem: they know how it's done, they've seen it done every day, but they're unable to do it themselves. --Brendan Behan

A critic is a legless man who teaches running. --Channing Pollock

A critic is a gong at a railroad crossing clanging loudly and vainly as the train goes by. --Christopher Morley

Has anybody ever seen a drama critic in the daytime? Of course not. They come out after dark, up to no good. --P. G. Wodehouse

Drooling, driveling, doleful, depressing, dropsical drips. ---Sir Thomas Beecham

Critics are like pigs at the pastry cart. --John Updike

A book reviewer is usually a barker before the door of a publisher's circus. --Austin O'Malley

A dramatic critic is a man who leaves no turn unstoned. --George Bernard Shaw

For critics I care the five hundred thousandth part of the tythe of a half-farthing. --Charles Lamb

Critics are a dissembling, dishonest, comtemptible race of men. Asking a working writer what he thinks about critics is like asking a lamppost what it feels about dogs. --John Osborne

I had another dream the other day about music critics. They were small and rodent-like with padlocked ears, as if they had stepped out of a painting by Goya. --Igor Stravinsky

There be some men are born only to suck out the poison of books. --Ben Jonson

Criticism is prejudice made plausible. --H. L. Mencken

Criticism is a study by which men grow important and formidable at very small expense. --Samuel Johnson

Criticism is the art wherewith a critic tries to guess himself into a share of the artist's fame. --George Jean Nathan

Reviewing has one advantage over suicide: in suicide you take it out of yourself; in reviewing you take it out of other people. --George Bernard Shaw

Delightful, Eva. Sometimes we see the lopsided effect of critics being frustrated performers and artists. When I have a chance, listeners, I'll express some opinions of others on abstract art.

Right now, it's happy hour at the Letty household

Back later, all.

This is cyberspace, WA2K radio.

some thoughts on culture, from the pet shop boys

DJ Culture
Pet Shop Boys

(Attention! Attention!
Trente-neuf, quarante)

Imagine a war which everyone won
Permanent holiday in endless sun
Peace without wisdom, one steals to achieve
Relentlessly, pretending to believe
Attitudes are materialistic, positive or frankly realistic
Which is terribly old-fashioned, isn't it?
Or isn't it?

(DJ Culture) Dance with me
(DJ Culture) Let's pretend
Living in a satellite fantasy
Waiting for the night to end
(DJ Culture)

Let's pretend we won a war
Like a football match, ten-nil the score
Anything's possible, we're on the same side
Or otherwise on trial for our lives
I've been around the world for a number of reasons
I've seen it all, the change of seasons
And I, my Lord, may I say nothing?

(DJ Culture) Dance with me
(DJ Culture) Let's pretend
Living in a satellite fantasy
Waiting for the night to end (DJ Culture)
(DJ Culture) Dance with me
(DJ Culture) Let's pretend
Living in a satellite fantasy
Wondering who's your friend (DJ Culture)

Now as a matter of pride
Indulge yourself, your every mood
No feast-days, or fast-days, or days of abstinence intrude

Consider for a minute who you are (consider/who you are)
What you'd like to change, never mind the scars (change)
Bury the past, empty the shelf (bury the past)
Decide it's time to reinvent yourself (it's time)
Like Liz before Betty, she after Sean
Suddenly you're missing, then you're reborn
And I, my Lord, may I say nothing?

(DJ Culture) (UNE FOIX!)
(DJ Culture) (DEUX FOIS!)
Living in a satellite fantasy
Waiting for the night to end (DJ Culture)
(DJ Culture) Dance with me
(DJ Culture) Let's pretend
Living in a satellite fantasy
Wondering who's your friend (DJ Culture)
(DJ Culture) And I, my Lord, (Une foix!)
(DJ Culture) May I say nothing? (Deux fois!)
Living in a satellite fantasy
Waiting for the night to end (DJ Culture)

(Attention! Attention! Attention! Attention!)

Cell Phone Use Quadruples Car Crash Risk



TUESDAY, July 12 (HealthDay News) -- Drivers distracted by cell phone conversations quadruple their risk of a serious accident, according to new research out of Australia.


The University of Sydney study also found that hands-free mobile phones are no safer than handheld mobile phones while driving.

Researchers analyzed data on 456 drivers who owned or used mobile phones and had been in a traffic crash resulting in injuries requiring hospitalization.

As part of the study, they interviewed the drivers and used phone company records to assess their mobile phone use immediately before the crash and during trips occurring at roughly the same time of day 24 hours, three days, and seven days before the crash. This meant, in effect, that researchers could compare crash risks in the same driver at the same time of day, with the only difference being whether or not they were using their cell phone.

Reporting Tuesday in the online edition of the British Medical Journal, they found that cell phone use occurring in the 10 minutes prior to a crash was linked to a quadrupled risk of having an accident. The researchers also found similar results for the interval of up to five minutes before a crash.

This link between mobile phone use and increased crash risk held true irrespective of driver age, sex, or whether or not he or she was using a hands-free mobile phone, the researchers added in a prepared statement.

More information

The U.S. National Highway Traffic Safety Administration has more about cell phones and driving.

As long as I'm mentioning safety isssues, for the swimmers in our midst:



The Ocean's Deadliest Trick
By Bjorn Carey
LiveScience Staff Writer
posted: 12 July 2005
10:05 am ET


Year after year, the ocean's most successful killer is not the great white shark. It's not the deadly jellyfish. Not even monster waves or hurricane-force winds. Your worst ocean nightmare during a day at the beach is more likely to be a rip current.

Every year more than 100 beachgoers drown in these strong rushes of water that pull swimmers away from the shore. And that's just in the United States.


Last year, in an estimated 232 million visits to U.S. beaches, lifeguards made 48,514 rescues, according to the United States Lifesaving Association. Of those frightening situations, 21,123 were related to rip currents.

That makes rip currents, also known as rip tides or undertows, a much bigger threat than sharks, which are widely feared but only kill about six people a year worldwide.

This summer the National Oceanic and Atmospheric Association (NOAA) and the National Weather Service (NWS) are working together to provide better education about this potentially deadly phenomenon.

How they work

A common perception is that rip currents pull you underwater, but in reality they're roughly horizontal currents that gradually suck you further and further from the beach.

Here's how they originate: Waves break differently at different parts of a shore -- in some places the waves are strong and in others they are weak. These differing conditions carve out channels in sand bars that lie just off the beach. When water returns to the ocean, it follows the path of least resistance, which is typically through these channels.

This creates a strong and often very localized current capable of sweeping unsuspecting swimmers out to sea. The currents usually move at one to two feet per second but stronger ones can pull at up to eight feet per second. (On a track, Olympic sprinters cover about 34 feet per second.)

Heavy breaking waves can trigger a sudden rip current, but rip currents are most hazardous around low tide, when water is already pulling away from the beach.
Fear This


Hurricanes, widely spaced swells, and long periods of onshore wind flow can also drum up stronger than normal currents. These conditions also create larger waves, which sometimes draw more people into the water.

What to do

It is easy to be caught in a rip current. Most often it happens in waist deep water, experts say. A person will dive under a wave, but when they resurface they find they are much further from the beach and still being pulled away.

What they do next can decide their fate.

Those who understand the dynamics of rip currents advise remaning calm. Conserve energy. A rip current is like a giant water treadmill that you can't turn off, so it does no good to try and swim against it.

The United States Lifesaving Association (USLA) suggests trying to swim parallel to the shore and out of the current. Once you've gotten out of the current, you can begin swimming back to shore.

However, if it is too difficult to swim sideways out of the current, try floating or treading water and let nature do its thing. You'll wash out of the current at some point and can then make your way back to shore.

If neither of these options seems to be working for you, continue treading water and try to get the attention of someone on shore, hopefully a lifeguard.


The USLA also emphasizes anyone planning to swim in the ocean should learn to swim well and never swim alone. Pick a beach with a lifeguard if you don't feel comfortable with your swimming abilities but still want to enjoy the surf. And finally, take a look at the water -- if it looks dangerous, don't even try it.

Better warning

The University Corporation for Atmospheric Research (UCAR) in Boulder, CO has recently begun a program to educate meteorologists at the National Weather Service about rip currents.

"Weather forecasters are familiar with the atmosphere, but they often don't have a background in physical oceanography," says UCAR meteorologist Kevin Fuell.

The program was pioneered successfully in Miami, where local media now routinely highlight areas of rip current risk and public awareness is high. Now rip current outlooks are provided for most of the East Coast, Gulf Coast, and Southern California.

Checking in to say "Hi" and to say so long as of tomorrow. Dys and I are going on a four day trip to southern Colorado, stopping in Durango and Lake City.

The area around Lake City was the home of Alfred Packer who ate his compatriots when they we caught in a blizzard. At his trial the judge said something like this: Goddam it Alfred, there were only seven Democrats in Hinsdale County and you ate five of them!

Here's a song about those poor Democrats:


The Ballad of Alfred Packer (Waste Not, Want Not)

In the Colorado Rockies,
Where the snow is deep and cold
And a man afoot can starve to death
Unless he's brave and bold

They sing of Alfred Packer
And some of them still rave
'Bout the Hinsdale County Democrats
Who never saw a grave

Old Packer set out on a trip
With five of his old friends
In the Colorado Rockies
In the snow and howling winds

But the way was long and weary
And the food got mighty short
But Alfred had his dinner
On the very last resort

Oh, Alfred Packer, you'll surely go to hell
While all the others starved to death
You dined a bit too well

Old Packer, fat and healthy
Came down onto the plains
He was lonely, he was horny
But he had no stomach pains

When he told his story
It made the strong men pale
So they grabbed old Alfred Packer
And they flang him into jail

They brought old Packer to the court
And had a speedy trial
A gory tale it was he told
That went into the file

The testimony shook the judge
Who trembled where he sat
He was horrified, but then of course
He was a Democrat

Oh, Alfred Packer
Please tell me for my sake
Did the Hinsdale County Democrats
Give you a tummy ache

Old Packer didn't kill them
He just et 'em when they died
So they couldn't call it murder
Or even fratricide

But they sent old Al to prison
To settle up his debt
For all the votin' Democrats
That Alfred Packer et

When the judge pronounced the sentence
He was in a righteous rage
And what he said can still be read
Upon the yellowed page

He wished that he could hang old Al
Until completely dead
So when he banged the gavel
It was in anger that he said

"Oh, Alfred Packer
You should be skinned alive
There was only seven Democrats
And you bastard, you et five

Hmmm. Pausing to look at dj's culture song. That's very arcane, dear, but I suppose it was meant to be. It most certainly will bear several readings to get the import. Strange how we love the unpredictable things in life, no?

Bob, we appreciate the update on the use of electronic messaging while driving. I'm afraid that I'm a rather boring driver. My cell phone is a walrus, but it is rather handy when Ma Bell doesn't function. It's simply a backup for me.

I will say this, Boston. Believe me I know about the rip tides and have learned how to read them. If a swimmer doesn't panic, and keeps his head, all he has to do is swim parallel to the shore until he is out of that trench created by high tide, but has its worst effect at low tide, as you noted.

For Eva:



Art
Abstract art: a product of the untalented sold by the unprincipled to the utterly bewildered.
Al Capp (1909-1979)

Art, like morality, consists of drawing the line somewhere.
G.K. Chesterton (1874-1936)

Buy old masters. They bring better prices than young mistresses.
Lord Beaverbrook (1879-1964)

Dada wouldn't buy me a Bauhaus.

I am a deeply superficial person.
Andy Warhol (1928-1987)

If it sells, it's art.

My art belongs to Dada.
Sir Tom Stoppard (1937-)

Perfection is achieved, not when there is nothing left to add, but when there is nothing left to take away.
Antoine de Saint-Exupéry (1900-1944)

The less I behave like Whistler's mother the night before, the more I look like her the morning after.
Tallulah Bankhead (1902-1968)

This is either a forgery or a very clever original.
Frank Sullivan

Van Gogh was a painter because he had no ear for music.

What garlic is to salad, insanity is to art.

Ah, listeners, it is approaching that time of night..my very best time of the day.

Artist - Joan Baez
Album - Come from the Shadows
Lyrics - To Bobby

(Words and Music by Joan Baez)

I'll put flowers at your feet and I will sing to you so sweet
And hope my words will carry home to your heart
You left us marching on the road and said how heavy was the load
The years were young, the struggle barely had its start
Do you hear the voices in the night, Bobby?
They're crying for you
See the children in the morning light, Bobby
They're dying

No one could say it like you said it, we'd only try and just forget it
You stood alone upon the mountain till it was sinking
And in a frenzy we tried to reach you
With looks and letters we would beseech you
Never knowing what, where or how you were thinking
Do you hear the voices in the night, Bobby?
They're crying for you
See the children in the morning light, Bobby
They're dying

Perhaps the pictures in the Times could no longer be put in rhymes
When all the eyes of starving children are wide open
You cast aside the cursed crown and put your magic into a sound
That made me think your heart was aching or even broken
But if God hears my complaint He will forgive you
And so will I, with all respect, I'll just relive you
And likewise, you must understand these things we give you

Like these flowers at your door and scribbled notes about the war
We're only saying the time is short and there is work to do
And we're still marching in the streets with little victories and big defeats
But there is joy and there is hope and there's a place for you
And you have heard the voices in the night, Bobby
They're crying for you
See the children in the morning light, Bobby
They're dying

for diane, a tale of cannibalism from down under

A Tale They Won't Believe
Weddings Parties Anything

We left Macquarie Harbour it was in the pouring rain
none of us quite sure if we would see England again
some fool muttered death or liberty
there was six of us together a jolly hungry crew
and as the days went by you know our hunger quickly grew
some fool muttered death or liberty

So that night we made fires out of twigs and out of bark
and our stomaches they were grumbling all through the night so dark
we were only trying to keep our selves alive
but when the sun came up next morning well the six had turned to five

And I said, right there's another one, don't you frown,
Chew the meat and hold it down, It's a tale they won't believe,
When I get down to Hobart town

All five of us were nervous and I'll tell you that's a fact
bu you should have seen the bastard who was carrying the axe
He was a sick man he had murder in his heart
And then we reached the Franklin River, and it took two days to cross
we were wet and almost starvin' and for food we're at a loss
we were hungry men with murder on our minds.

So that night we made a fire out of twigs and out of bark
and our stomachs they were rumbling all through the night so dark,
And they were making noises that death could not ignore
and when the sun came up next morning,
the five had turned to four!

And I said, right there's another one, don't you frown,
Chew the meat and hold it down, It's a tale they won't believe,
When I get down to Hobart town

Well the four of us kept on marching to a place called western teirs
A country full of tasty game but for us there was no cheer
we had no guns we were traveling without
but the axe it loomed so ominous and his hand was at play
a sick man is a type of game which can not run away
so stay yourself for the hand that is without

So that night we made fires out of twigs and out of bark
and our stomachs they were grumbling all through the night so dark
I can't say I feel guilty after all it wasn't me
but when the sun came up next morning the four had turned to three

And I said, right there's another one, don't you frown,
Chew the meat and hold it down, It's a tale they won't believe,
When I get down to Hobart town

well the three of us kept on moving but one was fading fast
he had been bitten by a snake and you could see he would not last
stay easy my good man your time is at hand
and when he could last no longer his days were fading fast
we were far to weak to carry him subsistency comes first
stay easy my good man your time is at hand

So that night we made fires out of twigs and out of bark
and our stomachs they were grumbling all through the night so dark
It was a messy job but it was one we had to do
but when the sun came up next morning the three had turned to two

And I said, right there's another one, don't you frown,
Chew the meat and hold it down, It's a tale they won't believe,
When I get down to Hobart town

Now he had been looking at me funny, sort of eyeing me for days,
And you would not need to be too bright to know that bastard's ways:
He was a sick man, he had murder in his heart.
But even bastards have to rest, and even bastards have to sleep,
And when he was in the land of Nod straight over I did creep,
and the axe that he had wielded now was mine.

So that night, I made the fire, out of twigs and out of bark,
and my stomach it kept rumbling all through the night so dark.
I can't say that I enjoyed it, and it wasn't exactly fun,
but when the sun came up next morning, the two had turned to one!

And I said, right there's another one, don't you frown,
Chew the meat and hold it down, It's a tale they won't believe,
When I get down to Hobart town

Well now history is a pack of lies, as any fool can tell,
So when I got down to Hobart town I told my story well,
But do you think they would believe one word I said?
For they thought that I was covering for my mates still at large,
Said they'd be roaming in the bush so wild and free,
And back to old Macquarie Harbour they sent me


But I remember the fires made out of twigs and made of bark
and my stomachs it was grumbling all through the night so dark
And this young fool he just said to me it's liberty or death
and he looked so utterly tasty I just could not help it singing

And I said, right there's another one, don't you frown,
Chew the meat and hold it down, It's a tale they won't believe
When I get down to Hobart town

ACK!! UGH! Thank you very much indeed, djjd. Next time though, let's try something a little less graphic.

edgar, who is "Bobby" in that song?

Surely not our Bobby from Boston; I refer to the karaoke Bob, of course. Was Joan's the other famous one?

You know, folks. It occurs to me that we only have tonight.

It's quiet now. The roofers have gone home; there is no sound; not even the sound of frogs.

For someone:

Hoagy Carmichael



D Bm7-5 G A7 D Cdim G/B G D
I get along without you very well, of course I do;

G G/F# Em7 A7 Em7 G A7
Except when soft rains fall and drip from leaves, then I recall

G G/F# Em7 A7 D9 Cdim Bm7-5 A7
The thrill of being sheltered in your arms, of course I do.

G E7 A7 D
But I get along without you very well.


D Bm7-5 G A7 D Cdim G/B G D
I've for - got - ten you, just like I should, of course I have;

G G/F# Em7 A7 Em7 G A7
Except to hear your name, or someone's laugh that is the same.

G G/F# E7 A7 G D
But I've forgotten you just like I should.


D7 G Gm7 D Bm7
What a guy! What a fool am I

Em7 Gm7 A7 D
To think my breaking heart could kid the moon.

D7 G Gm7 F#7 Bm7
What's in store? Should I 'phone once more?

Em7 E7 Em7 G/B A7
No, it's best that I stick to my tune.


D Bm7-5 G A7 D Cdim G/B G D
I get along without you very well, of course I do;

G G/F# Em7 A7 Em7 G G/B A7
Except perhaps in spring...but I should never think of spring,

G G/F# E7 A7 G D
For that would surely break my heart in two.

My goodness. I missed Diane and dj. Guess I was in an early evening reverie.

Diane, you and dys love traveling, and it must be wonderful. Please be careful, ok?

Well, Gal, you sorta set the cannibal rolling with that republican, Alfred Packer. <smile>

When I think about those folks in "Alive" and recall the story of the Donner Pass, guess it doesn't sound too insipid.

letty, the song was written to Bob Dylan.

Ah, I see, edgar. Hmmmm. Bobby Dylan just doesn't sound right somehow.

Dedication:


(kix brooks/tom shapiro/chris waters)

Sittin' in my world alone
I catch myself reachin' for the phone
Gotta get outta here and find a place to get my head clear
I make a wrong turn down your road
And how I got here, I'm afraid I know
A part of me keeps going too far
I can't stop my heart

Yeah it feels what it wants to feel
And it does what it wants to do
I tell it no, then before I know it
It's a right back to lovin' you
I can't stop my heart before it's through
It's gonna break itself in two
I can't stop my heart

I do my best to leave the past
But I can't keep my heart from going back
What am I gonna do, it just remembers what it wants to
And once it lets your memory in
I let myself get swept away again and again
I know it's always tearing me apart
I can't stop, stop my heart

Yeah it feels what it wants to feel
And it does what it wants to do
I tell it no, then before I know it
It's a right back to lovin' you
I can't stop my heart before it's through
It's gonna break itself in two
I can't stop my heart

Thinking of Nat King Cole--

WHEN SUNNY GETS BLUE

When Sunny gets blue, her eyes get gray and cloudy,
Then the rain begins to fall, pitter-patter, pitter-patter,
Love is gone, what can matter,
No sweet lover man comes to call.

When Sunny gets blue, she breaths a sigh of sadness,
Like the wind that stirs the trees,
Wind that sets the leaves to swaying
Like some violin is playing strange and haunting melodies.

Bridge:

*People used to love to hear her laugh, see her smile,
That's how she got her name.
Since that sad affair, she lost her smile, changed her style,
Somehow she's not the same.

When Sunny gets blue, pretty dreams will rise up
Where her other dreams fell through,
Hurry new love, hurry here, to kiss away each lonely tear,
And hold her near when Sunny gets blue.