So what was he doing with Julio down by the schoolyard?
Bear
Steve Parker wrote:
> In the song "Me and Julio Down By the Schoolyard" what exactly are the
> narrator and Julio doing? All we know is that "it was against the
> law", and that it was so bad that "momma looks down and spits on the
> ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
> if I get that boy, I'm gonna stick him in the house of detention."
>
> So, what did he and Julio do?
And what was the role of Rosie, the queen of Corona, if any?
--
Bear
Steve Parker
narrator and Julio doing? All we know is that "it was against the
law", and that it was so bad that "momma looks down and spits on the
ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
if I get that boy, I'm gonna stick him in the house of detention."
So, what did he and Julio do?
Steve
Jim Shaffer, Jr.
>> So, what did he and Julio do?
>
>And what was the role of Rosie, the queen of Corona, if any?
And what did the priest do that was so radical that he ended up on the cover of
"Newsweek"?
--
If it looks like a hydra, and moves like a hydra, it's a hydra.
Bear
SJF 1959 wrote:
> >So, what did he and Julio do
>
> Well, according to friends of mine who claim to know, they were exploring their
> sexuality.*
>
> * Those of you who can't stand this sort of euphemizing may read this as
> "commiting sodomy."
>
> Regards from Deborah
This could provide one explanation for the line "Goodbye to Rosie, the queen of
Corona", even though I always thought it referred to a female.
--
Bear
Bear
Tim Robinson wrote:
> >spar...@mindspring.com (Steve Parker) writes:
> >
> >In the song "Me and Julio Down By the Schoolyard" what exactly are the
> >narrator and Julio doing? All we know is that "it was against the
> >law", and that it was so bad that "momma looks down and spits on the
> >ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
> >if I get that boy, I'm gonna stick him in the house of detention."
> >
> >So, what did he and Julio do
>
> Whatever it was, they did it to a mean individual stranded in a
> limousine. That's why all the fuss.
My turntable (see Media of the Past, at the Technology Museum) isn't set up
-- what're the lines about the limo?
--
Bear
SJF 1959
spar...@mindspring.com (Steve Parker) writes:
>In the song "Me and Julio Down By the Schoolyard" what exactly are the
>narrator and Julio doing? All we know is that "it was against the
>law", and that it was so bad that "momma looks down and spits on the
>ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
>if I get that boy, I'm gonna stick him in the house of detention."
>
>So, what did he and Julio do
Well, according to friends of mine who claim to know, they were exploring their
sexuality.*
* Those of you who can't stand this sort of euphemizing may read this as
"commiting sodomy."
Regards from Deborah
FAQ file: http://members.aol.com/SJF1959/index.html
Mailing list: http://www.listbot.com/subscribe/sjf1959.aol.com
Archive: http://www.listbot.com/archive/sjf1959.aol.com
Tim Robinson
>
>In the song "Me and Julio Down By the Schoolyard" what exactly are the
>narrator and Julio doing? All we know is that "it was against the
>law", and that it was so bad that "momma looks down and spits on the
>ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
>if I get that boy, I'm gonna stick him in the house of detention."
>
>So, what did he and Julio do
Whatever it was, they did it to a mean individual stranded in a
limousine. That's why all the fuss.
| Tim Robinson | Lonely Web page. Please visit. |
| timt...@ionet.net | http://www.ionet.net/~timtroyr |
| "The text of the First Amendment makes no distinction between print, |
| broadcast, and cable media." Justice Clarence Thomas' lone dissent. |
D.P. Roberts
>Corona", even though I always thought it referred to a female.
Lifted from www.lyrics.ch we get the following. There appears to be
no difference between the studio version and this live version
Simon Paul
Live Rhymin'
Me And Julio Down By The Schoolyard
The mama pajama rolled out of bed
And she ran to the police station
When the papa found out he began to shout
And he started the investigation
It's against the law
It was against the law
What the mama saw
It was against the law
The mama looked down and spit on the ground
Everytime my name gets mentioned
The papa said oy if I get that boy
I'm gonna stick him in the house of detention
Well I'm on my way
I don't know where I'm going
I'm on my way I'm taking my time
But I done know where
Goodbye to Rosie the queen of Corona
See you, me and Julio
Down by the schoolyard
See you, me and Julio
Down by the schoolyard
Me and Julio down by the schoolyard
In a couple of days they come and
Take me away
But the press let the story leak
And when the radical priest
Come to get me released
We was all on the cover of Newsweek
And I'm on my way
I don't know where I'm going
I'm on my way I'm taking my time
But I don't know where
Goodbye to Rosie the queen of Corona
See you, me and Julio
Down by the schoolyard
See you, me and Julio
Down by the schoolyard
See you, me and Julio
Down by the schoolyard
D.P. Roberts
>See you, me and Julio
>Down by the schoolyard
"See you, me and Julio down by the schoolyard"
There were at least three people: you, me and Julio.
"Rosie" is an euphemism among males for masturbation. Rosie Palm and
her five sisters. That may be stretching things a bit.
So how about the three of us masturbating while looking into the
girls' locker room?
Tim Robinson
>
>Tim Robinson wrote:
>
>> >spar...@mindspring.com (Steve Parker) writes:
>> >
>> >In the song "Me and Julio Down By the Schoolyard" what exactly are the
>> >narrator and Julio doing? All we know is that "it was against the
>> >law", and that it was so bad that "momma looks down and spits on the
>> >ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
>> >if I get that boy, I'm gonna stick him in the house of detention."
>> >
>> >So, what did he and Julio do
>>
>> Whatever it was, they did it to a mean individual stranded in a
>> limousine. That's why all the fuss.
>
>-- what're the lines about the limo?
Darn... explained humor is never funny. I referred to another Paul
Simon tune:
He was a mean individual, he had a heart like a bone.
He was a naturally crazy man and better off left alone.
Well he stopped one night at a traffic light,
and when that light turned green,
There was a mean individual stranded in a limousine.
[forget some lyrics here]
They cried "Mama! Oh! Papa! Oh! See what I have seen!
There is a mean individual stranded in a limousine."
[sirens wail at various points in the song]
Anway, the reference to Mama and Papa in both songs and the link of
victim in one song and victimizers in the other made me connect the two
songs in my head. Maybe Paul meant it that way.
Bear
Tim Robinson wrote:
> >> >In the song "Me and Julio Down By the Schoolyard" what exactly are the
> >> >narrator and Julio doing? All we know is that "it was against the
> >> >law", and that it was so bad that "momma looks down and spits on the
> >> >ground every time" the narrator's name "is mentioned. Poppa says 'Oy'
> >> >if I get that boy, I'm gonna stick him in the house of detention."
> >> >
> >> >So, what did he and Julio do
> >>
> >> Whatever it was, they did it to a mean individual stranded in a
> >> limousine. That's why all the fuss.
> >
> >My turntable (see Media of the Past, at the Technology Museum) isn't set up
> >-- what're the lines about the limo?
>
> Darn... explained humor is never funny. I referred to another Paul
> Simon tune:
Okay, my "Doh!".
> He was a mean individual, he had a heart like a bone.
> He was a naturally crazy man and better off left alone.
> Well he stopped one night at a traffic light,
> and when that light turned green,
> There was a mean individual stranded in a limousine.
> [forget some lyrics here]
> They cried "Mama! Oh! Papa! Oh! See what I have seen!
> There is a mean individual stranded in a limousine."
> [sirens wail at various points in the song]
While I'm a fan of the older Simon stuff (with Artie, primarily), I'm not up on much of his later, solo work. That
one doesn't ring a single bell. Come to think of it, the only things I have post S&G are probably "Still Crazy..."
and "Graceland". And I haven't heard SC for years.
> Anway, the reference to Mama and Papa in both songs and the link of
> victim in one song and victimizers in the other made me connect the two
> songs in my head. Maybe Paul meant it that way.
Gotcha.
--
Bear
Bear
"D.P. Roberts" wrote:
Sorry -- it's my night to rotate the geraniums.
--
Bear
Bill Kinkaid
>>Goodbye to Rosie the queen of Corona
>>See you, me and Julio
>>Down by the schoolyard
>
>"See you, me and Julio down by the schoolyard"
> There were at least three people: you, me and Julio.
>
>"Rosie" is an euphemism among males for masturbation. Rosie Palm and
>her five sisters. That may be stretching things a bit.
>
As in the song by Jackson Browne.
Bill in Vancouver
(delete EAT-SPAM-AND-DIE
from e-mail address to respond)
John Dean
discussion of this song a few months ago with no-one claiming to know the
truth but the major theories (hey, when did not knowing stop any of us from
answering questions?) are a) homosexual activity and b) pot smoking. Several
contributors claim that rhymin simyn hisself is 'on record' (but nobody
gives a cite. And many don't give a f***) as saying even he doesn't know
what was going on, it was probably something to do with sex but he just
liked the phrase 'Me & Julio'. Some contributors discuss whether this should
be 'Julio & Me' & others think it should be 'Julio & I'. 'Rosie' (Queen of
Corona) is allegedly a reference to Rosie Palm (Of Rosie Palm & the 5
Fingers? Remember 'Coming Home now Momma'? 'Pass me the Kleenex Buddy'? But
that doesn't mean you couldn't upgrade from JerkOff (c) 5.0 to Sodomy (c)
1.01
So anyway, it all ends up with someone wanting to know what 'the cross is in
the ballpark' means.
Presumably all this stuff is on a Simon Fansite somewhere but I'm too tired
to look
John
Oxford
SJF 1959 wrote in message <19981126213148...@ngol01.aol.com>...
>
>spar...@mindspring.com (Steve Parker) writes:
>
>>In the song "Me and Julio Down By the Schoolyard" what exactly are the
>>narrator and Julio doing? >>
>>So, what did he and Julio do
>
Robert William Vesterman
kin...@eat.spam.and.die.bc.sympatico.ca (Bill Kinkaid) wrote:
> Somebody said:
>>"Rosie" is an euphemism among males for masturbation. Rosie Palm and
>>her five sisters. That may be stretching things a bit.
>>
>
>As in the song by Jackson Browne.
I was so grossed out the first time that I actually thought about the
lyrics to "Rosie". Song hasn't been the same since.
Bob Vesterman.
--
This is the coolest of all sig files.
Greg Goss
See you, me and Julio, down by the schoolyard.
I year the "See you" as a connective or a stammerism. Meaning "Listen
up, this is the key part".
BobKinDC
the Man and redistributing all power to the people.
--Bob Kennedy
Washington, DC
Kim Sara
: >
: >>In the song "Me and Julio Down By the Schoolyard" what exactly are the
: >>narrator and Julio doing? >>
: >>So, what did he and Julio do
I had always heard they were collecting pop can tabs for kidney dialysis.
--
Kim Sullivan
sa...@uidaho.edu
Bear
Kim Sara wrote:
That's a good possibility, especially since the song predates both putting HIV
needles in pay phone coinboxes and selling Mrs. Fields' cookie recipes for
two-fifty.
--
Bear
Bear
Steve Parker wrote:
> On Sun, 29 Nov 1998 01:56:44 -0000, "John Dean" <john...@msn.com>
> wrote:
>
> >In my exhaustive research on alt.music.paul-simon (see earlier post) I
> >learned that Paul-heads believe the lyric to be 'See you, me, and Julio'
> >i.e. the three of us including the person to whom the song is addressed. I'm
> >not convinced but I thought I'd put their views on the record
> >
> So then, if there are three participants in the incident down at the
> schoolyard (You, Me and Julio), which one is Jr. Pajama? "Me" seems
> most likely at first glance, but it could just as easily be Julio or
> (much less likely) You. The one clue is ambiguous: "The Momma look
> down and spit on the ground every time my name gets mentioned" etc. If
> the Momma Pajama thought that "Me" had somehow instigated the
> schoolyard incident that Julio Pajama was involved in, it makes sense
> for her to spit on the ground. On the other hand, if it was "Me"
> Pajama, the incident would have to be pretty bad for his own parents
> to react that strongly. My guess is that Momma and Poppa are Julio's
> parents based on the fact that Me didn't call her My Momma Pajama, and
> referred to her as The Momma Pajama
>
> Steve
> (What kind of last name is Pajama, anyway?)
I don't know that there *is* a "Mama Pajama". I always understood that to be
"Mama pajama'ed" -- after all, she did just roll out of bed. If it's a modifier,
and not a name, then there *are* no Pajamas.
But I think the parents are those of the narrator.
As for accuracy of the quoted lyrics posted here, they also include "But I done
know where". Surely, the third word of that line is slurred so you don't hear
the "t', as is common, but the word is still "don't".
And for the Possibly Misunderstood Lyrics Collection, I always heard "singin' me
and Julio", rather than "see you...", and "Papa said, 'Oy, you can forget that
boy..."
But I knew better than to hear CCR's "There's a bathroom on the right."
--
Bear
Robert William Vesterman
There's also the fact that it follows "goodbye to Rosie, the Queen of
Corona".
Lyrics don't always go line by line - sometimes meaning breaks across
lines:
"Goodbye to Rosie, the Queen of Corona - see you"
"Me and Julio down by the schoolyard".
John Dean
learned that Paul-heads believe the lyric to be 'See you, me, and Julio'
i.e. the three of us including the person to whom the song is addressed. I'm
not convinced but I thought I'd put their views on the record
John
Oxford
Greg Goss wrote in message <36654f95....@news.direct.ca>...
Steve Parker
wrote:
>In my exhaustive research on alt.music.paul-simon (see earlier post) I
>learned that Paul-heads believe the lyric to be 'See you, me, and Julio'
>i.e. the three of us including the person to whom the song is addressed. I'm
>not convinced but I thought I'd put their views on the record
>
SJF 1959
spar...@mindspring.com (Steve Parker) writes:
>>
>So then, if there are three participants in the incident down at the
>schoolyard (You, Me and Julio), which one is Jr. Pajama? "Me" seems
>most likely at first glance, but it could just as easily be Julio or
>(much less likely) You. The one clue is ambiguous: "The Momma look
>down and spit on the ground every time my name gets mentioned" etc. If
>the Momma Pajama thought that "Me" had somehow instigated the
>schoolyard incident that Julio Pajama was involved in, it makes sense
>for her to spit on the ground. On the other hand, if it was "Me"
>Pajama, the incident would have to be pretty bad for his own parents
>to react that strongly. My guess is that Momma and Poppa are Julio's
>parents based on the fact that Me didn't call her My Momma Pajama, and
>referred to her as The Momma Pajama
>
>Steve
>(What kind of last name is Pajama, anyway?)
>
The farther we go with this thread, the more I am convinced that Paul Simon
dreamed up an interesting rhythm and went looking for words to drop into it.
Hoyt
SJF 1959 wrote in message <19981129084018...@ngol06.aol.com>...
>
>The farther we go with this thread, the more I am convinced that Paul Simon
>dreamed up an interesting rhythm and went looking for words to drop into
it.
>
I have noticed that song parodies typically have new words written over an
old melody, not the other way around. This makes me suspect that it is
easier to write lyrics than music and supports your conclusion.
Is it because "we" are more practiced at writing words or because fewer have
the gift of writing music? What does this say about lyric writers like
Mercer and why have so few poets been successful lyric writers?
(What did you _think_ this post was about anyway?)
73,
Hoyt
Robert William Vesterman
>I have noticed that song parodies typically have new words written over an
>old melody, not the other way around. This makes me suspect that it is
>easier to write lyrics than music and supports your conclusion.
>
>Is it because "we" are more practiced at writing words or because fewer have
>the gift of writing music? What does this say about lyric writers like
>Mercer and why have so few poets been successful lyric writers?
I think your suggestion here is incorrect. I think it's because
lyrics have a greater range of possible humor than music does.
"Gee, it really was funny that Weird Al used a G there instead of a
C".
All of his comedy awards aside, I have *never* heard *anyone* laugh
during a PDQ Bach song. The only thing I've heard people do during a
PDQ Bach song is explain why it's funny. With a straight face.
mike_williams
>
> Steve Parker wrote:
>
> > On Sun, 29 Nov 1998 01:56:44 -0000, "John Dean" <john...@msn.com>
> > wrote:
> >
> > >In my exhaustive research on alt.music.paul-simon (see earlier post) I
> > >learned that Paul-heads believe the lyric to be 'See you, me, and Julio'
> > >i.e. the three of us including the person to whom the song is addressed. I'm
> > >not convinced but I thought I'd put their views on the record
> > >
> > So then, if there are three participants in the incident down at the
> > schoolyard (You, Me and Julio), which one is Jr. Pajama? "Me" seems
> > most likely at first glance, but it could just as easily be Julio or
> > (much less likely) You. The one clue is ambiguous: "The Momma look
> > down and spit on the ground every time my name gets mentioned" etc. If
> > the Momma Pajama thought that "Me" had somehow instigated the
> > schoolyard incident that Julio Pajama was involved in, it makes sense
> > for her to spit on the ground. On the other hand, if it was "Me"
> > Pajama, the incident would have to be pretty bad for his own parents
> > to react that strongly. My guess is that Momma and Poppa are Julio's
> > parents based on the fact that Me didn't call her My Momma Pajama, and
> > referred to her as The Momma Pajama
> >
> > Steve
> > (What kind of last name is Pajama, anyway?)
>
> I don't know that there *is* a "Mama Pajama". I always understood that to be
> "Mama pajama'ed" -- after all, she did just roll out of bed. If it's a modifier,
> and not a name, then there *are* no Pajamas.
>
> But I think the parents are those of the narrator.
Is it possible that mama and papa are used here as some sort of slang term
for two adults, without necessarily implying a relationship to either of the
boys? I'm not familiar with such usage, but it would seem rather extreme
coincidence that the mother of one of the participants would happen to
observe the events at the schoolyard, and the father would happen to be the
policeman on duty at the time.
Thus:
An unrelated woman observes the boys at the schoolyard. She gets out of
bed (?), runs to the police station and informs the officer on duty.
The officer is alarmed by the woman's story and starts an investigation by
taking a statement from her. During the taking of the statement, the woman
mentions "my" name and spits. The officer considers that the facts of the
matter are sufficient to warrant the culprit being detained.
The offence is apparently considerably newsworthy. When a liberal clergyman
appeals for the culprit's release, it becomes front page news.
I also concur with the idea that "see you" is separate from the "me and
Julio", rather like the Scots idiom. If Paul had intended to indicate three
people, he would have put the musical accent on the word "you" rather than
the word "me". (e.g. using the same rhythm as "The mama looked down", where
the accent is on the first sylable of "mama").
--
Mike Williams
Robert William Vesterman
>In <36618843...@news.webspan.net> buo...@webspan.net (Robert William Vesterman) writes:
>
>>All of his comedy awards aside, I have *never* heard *anyone* laugh
>>during a PDQ Bach song. The only thing I've heard people do during a
>>PDQ Bach song is explain why it's funny. With a straight face.
>
>Try sitting in the orchestra. It's really hard to play that stuff without
>falling over laughing.
Yeah, I bet.
D.P. Roberts
>at least, musically schooled enough to get the joke.
What do you expect from a group of people who hear "Ride of the
Valkyrie" and start singing "kill de wabbit" (to themselves, I hope)?
Some actor -- Jeremy Irons, I believe -- did a stingingly hilarious
skit on Saturday Night Live a number of years ago, where he did all
those old Bugs Bunny skits, as you would see in perhaps a K-Tel
commercial. I was in hysterics. Having worked at a classical music
radio station, we used to make fun of the songs all the time.
Shalom Septimus
Vesterman) wrote:
>I was so grossed out the first time that I actually thought about the
>lyrics to "Rosie". Song hasn't been the same since.
<aol>MEE TO!</aol>
I've had that album for years, and was a bit slow on the uptake the
first few times I heard that song. Then I heard it one night on the
radio while I was driving somewhere, and suddenly it dawned on me...
Omigawd, is *THAT* what he meant...!
That song has gotta be one of the finest double entendres ever
committed to wax. There isn't a single line in the song that couldn't
have an "innocent" interpretation... assuming the implied meaning,
though, it's kind of a lonesome song. Leaves you sorta feeling sorry
for the narrator.
(of course, even assuming the "innocent" interpretation, he still
intended to cheat on his wife/girlfriend, so how innocent could it be
after all?)
--
Shalom Septimus, RPh
drug...@p0b0x.c0m <---unmung in obvious fashion
Gwen Lenker
<36619e76...@news.webspan.net>...
>On 29 Nov 1998 14:05:37 -0500, dfo...@panix.com (David Foster) wrote:
>
>>In <36618843...@news.webspan.net> buo...@webspan.net (Robert
William Vesterman) writes:
>>
>>>All of his comedy awards aside, I have *never* heard *anyone* laugh
>>>during a PDQ Bach song. The only thing I've heard people do during a
>>>PDQ Bach song is explain why it's funny. With a straight face.
>>
>>Try sitting in the orchestra. It's really hard to play that stuff
without
>>falling over laughing.
>
>Yeah, I bet.
Some years ago, I taught myself how to play the rubber bathtub sprayer,
but not well enough to play professionally, I'm afraid.
Everyone ought to try it at least once. (Use a new one, fresh out of
the package -- drop hints that this is what you want for whichever
gift-giving occasion you celebrate.) Sure, it tickles your lips
something fierce, but the funniest part is how amazed you continue to
be -- while you're doing it -- that it *works*.
GrapeApe
Rosie is a considerable stretch sorry, I see that as merely some person in the
neighborhood they dont expect to see again) Don't you think it would be much
more likely for a couple of youth to get into some other sort of shennanigans
that would get then in trouble with the law? Typical small hood stuff like
lifting a wallet, hotwiring a car, rolling a bag lady called rosie, Disturbing
the peace by singing doowop, that sort of thing. (of course if it was public
performance Simon was referring to, sometimes people consider all performers to
be 'pleasuring themselves' to some degree?
Whats with the priest and the cover of Newsweek?
A Priest might come as a character witness to any youth taken in on any charge,
trumped up or no.
Was the cover of Newsweek an allusion his and Arties fame? I don't see aspect
of the lyrics as tying in to anyones "masturbation" angle in any way shape or
form. (Its Time magazine that has wanker of the year)
Greg Goss
>I have noticed that song parodies typically have new words written over an
>old melody, not the other way around. This makes me suspect that it is
>easier to write lyrics than music and supports your conclusion.
If you change tempo and instrumentation, you can get humour. If I
hadn't been already sitting when I first heard "polkas on 45" by Weird
Al, I would have fallen over. I was laughing that hard.
(In a gadda da vida, or smoke on the water or several Rolling Stones
song fragments set to a polka beat. Each Al Yankovich album has a
polka medley of pop songs, partly as a tradition, partly as a tribute
to his father)
VentrellaM
their
sexuality.*
* Those of you who can't stand this sort of euphemizing may read this as
"commiting sodomy.">>
The problem with that is that the lyrics say "Me, YOU and Julio down by the
schoolyard." You I assume is the aforementioned Rosie, the Queen of
Corona...in which case, it could be a lot more...
(If you listen closely, you can hear the "you")
Mike Ventrella
Tim Robinson
Huh? Al is an accordian player. Accordians and Polka go together like
Romeo and Juliet, Rogers and Hammerstein, Lewis and Clark, Peter and the
Dyke... whoops... let's not go there.
LUCKY 202
kids in the 70's
_____
| |
| |
| | __ __ ____
| | | |__| | | __| | | /_/ \ \ / /
| | |_____| |____| |_| \_\ |_|
| |__________________________
|________________________________
adzag
><<<Well, according to friends of mine who claim to know, they were exploring
>their
>sexuality.*
>
>* Those of you who can't stand this sort of euphemizing may read this as
>"commiting sodomy.">>
>
>The problem with that is that the lyrics say "Me, YOU and Julio down by the
>schoolyard." You I assume is the aforementioned Rosie, the Queen of
>Corona...in which case, it could be a lot more...
I heard it as:
Goodbye Rosie, the Queen of Corona
See me and Julio down by the schoolyard
I'd heard the song on the radio before, but had no idea what it was
about, as I didn't pay much attention to the lyrics. A couple years
ago, I went on a trip to the mountains with some people, and one of
the CDs brought along was Paul Simon's "Negotiations and Love Songs"
(iirc), which has that song. I asked the owner of the CD "so what the
hell is 'Me and Julio' about, anyway?" He said that it was based on a
real-life incident in which two teenagers raped a girl and had to get
the hell out of town, so that's why they're saying goodbye to Rosie
(presumably a friend, or possibly the victim).
Ada
>
>(If you listen closely, you can hear the "you")
>
>Mike Ventrella
------------------------------------------------
Someone in a club tonight has stolen my idea.
--They Might Be Giants
"The World's Address"
Please remove "nospam" from my address to e-mail.
Ellen Kline
>So, what did he and Julio do?
>
Isn't it obvious?
Paul Simon visionary that he was....
He and Julio opened fire on their classmates, one of whom was named
Rosie. She apparently was parading around the playground with a
Corona six pack case, which she had found discarded amidst the
suburban choas, on her head claiming to be queen.
The radical priest is of course a celeb lawyer who has attained
religious status due to his ability to control the destinies of
murders and return them to the populus at large.
Newsweek is of course a general reference to the hype media, and an
appropriate choice since Merve never covered pop crime, and Oprah was
still a unknown entity.
A touching momento to a sad situation.
David Samuel Barr
>
> All of his comedy awards aside, I have *never* heard *anyone* laugh
> during a PDQ Bach song. The only thing I've heard people do during a
> PDQ Bach song is explain why it's funny. With a straight face.
Then obviously you've never been in a packed concert hall (e.g. Avery
Fisher and Carnegie, not to mention dozens of others across the country)
with the whole audience howling with laughter. (Peter Schickele, the
man behind PDQ Bach, has been a friend of mine for nearly 27 years, and
I've been to many dozens of his PDQ Bach concerts and recording sessions
[one of which I produced] since 1970. Laughter has never been in short
supply at any of them.)
Of course, it all depends on the audience. Peter did do a couple of
PDQ Bach performances on the old Johnny Carson "Tonight" show, where
even though he used pieces with rather broad parody, the humour went
right over the head of the Carson audience. Similarly, I put Peter's
"Unbegun" Symphony (a pastiche of many familiar classical and popular
melodies knitted together) on the program of a set of holiday concerts I
produced, and again even the most obvious musical jokes went over the
head of the audience, whose musical tastes turned out to be limited to
Broadway shows.
David Samuel Barr
>
> In <3664a02d...@news.swbell.net> in...@montoya.net (D.P. Roberts) > writes:
>
> >>let's not fall into one of *those* threads). Nor are most
> >>Americans, at least, musically schooled enough to get the joke.
>
> >What do you expect from a group of people who hear "Ride of the
> >Valkyrie" and start singing "kill de wabbit" (to themselves, I hope)?
>
> head saying "I'm not making this up you know".
Those of you who don't hear the same voice, go out right now and pick
up a copy of "The Anna Russell Album". No home should be without one.
David Samuel Barr
>
> Whats with the priest and the cover of Newsweek?
Probably a reference to Daniel Berrigan or one of the other popular
"radical priests" of the 1960s peace movement who did end up on the
covers of Time, Newsweek, etc.
Sitric
that twenty four hours ago I had never heard of In A Gadda Da Vida,
and it has cropped up in three different contexts since then.
(Borrowed compilation CD, episode of Friends on British TV, Hoyt post
about Weird Al).
I have nothing sensible to say about it, however. Sorry.
So: why the enduring link between chickens and hypnotists? Why do they
never get someone to pretend to be something equally common and
risible, like a cow? When did it start?
-Kevin "and why do birds sing so gay?" McGee
Alan Morgan
Greg Goss <gg...@direct.ca> wrote:
>"Hoyt" <hdu...@worldnet.att.net> wrote:
>
>>I have noticed that song parodies typically have new words written over an
>>old melody, not the other way around. This makes me suspect that it is
>>easier to write lyrics than music and supports your conclusion.
Or it may have something to do with the fact that parodies are funny
and tunes typically aren't. Thus the humor must come from the lyrics.
>If you change tempo and instrumentation, you can get humour. If I
>hadn't been already sitting when I first heard "polkas on 45" by Weird
>Al, I would have fallen over. I was laughing that hard.
And who could forget "Stairway to Heaven" sung to the tune of
"Gilligan's Island"?
Certainly not me. Try though I may.
I've also heard "Take me out the the Ball Game" sung with the
words one syllable out of sync with the tune. Very bizarre.
Alan
Bill Baldwin
>And who could forget "Stairway to Heaven" sung to the tune of
>"Gilligan's Island"?
I just can't get this to work. The syllables are all different.
But you can, if you want, sing just about any Emily Dickinson poem to "The
Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
marriage of music and meaning.
--
Bill Baldwin
Paul Drye
>But you can, if you want, sing just about any Emily Dickinson poem to "The
>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
>marriage of music and meaning.
Did you just inadvertantly out yourself as a Babylon 5 fan, Bill? For that
matter, did *I* just...?
Cheers,
Paul Drye
--
------------------------------------------------------------
My apologies, but to reply to me by e-mail you'll have to
remove the spam-cruncher "boguspart" from my address.
------------------------------------------------------------
Hoyt
Greg Goss wrote in message <366bbdf2...@news.direct.ca>...
>"Hoyt" <hdu...@worldnet.att.net> wrote:
>
>>I have noticed that song parodies typically have new words written over an
>>old melody, not the other way around. This makes me suspect that it is
>>easier to write lyrics than music and supports your conclusion.
>
>hadn't been already sitting when I first heard "polkas on 45" by Weird
>Al, I would have fallen over. I was laughing that hard.
>
>song fragments set to a polka beat. Each Al Yankovich album has a
>polka medley of pop songs, partly as a tradition, partly as a tribute
>to his father)
I frequently perform "Sleigh Ride" as a bossa nova - and in the summertime,
too. It always gets strange looks followed by a smile ."O, Holy Night" as a
fast samba gets their attention. I do a bluesy version of "Oh, How I love
Jesus"; few recognize the song. I was tempted to sneak it in at a bar
mitzvah, but better sense prevailed. I would play a liturgical-sounding
"Smoke Gets In Your Eyes" at a cremation service if given a chance, though.
Even though Ellington performed "Take the 'A' Train" in one version as a 3/4
(waltz), people get annoyed when I do it although a few chuckle as the try
to follow along with their 4/4 memory of the song.
But back to the point of my original post.
The music is only funny in the context of other songs and the other songs
need to be well-known for the humor to work effectively. The written word is
much easier to use (and understand) for humor and usually any tune can work.
This may be why song parodies are more frequently lyric-based than
music-based.
73,
Hoyt
Mark E. Smith
> If you change tempo and instrumentation, you can get humour.
> If I hadn't been already sitting when I first heard "polkas on
> 45" by Weird Al, I would have fallen over. I was laughing that
> hard.
>
> (In a gadda da vida, or smoke on the water or several Rolling
> Stones song fragments set to a polka beat. Each Al Yankovich
> album has a polka medley of pop songs, partly as a tradition,
> partly as a tribute to his father)
Polka music is an invitation to comedy. Somebody took James
Brown's recording of "I Feel Good," kept the vocal and replaced
the band with a polka backup. The result is enough to give your
brain whiplash.
By the way, I believe that polka star Frankie Yankovic (who died
recently) was Weird Al's uncle. Al's Saturday morning kid's show
contain periodic references to Al's "evil uncle Frank."
--
Mark E. Smith <smi...@netins.net>
Jim Ellwanger
Smith) wrote:
>By the way, I believe that polka star Frankie Yankovic (who died
>recently) was Weird Al's uncle. Al's Saturday morning kid's show
>contain periodic references to Al's "evil uncle Frank."
The obituaries I read and the liner notes to the Weird Al box set concur
that they weren't related. Al believes that his parents encouraged his
accordion playing, though, because they wanted there to be more than one
accordion-playing Yankovic in the world.
--
Jim Ellwanger <trai...@mindspring.com>
<http://trainman1.home.mindspring.com/> gives you much more.
"Slush Puppie's a tramp. I've had Slush Puppie."
Bill Baldwin
>Bill Baldwin says...
>>But you can, if you want, sing just about any Emily Dickinson poem to "The
>>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
>>marriage of music and meaning.
>
>Did you just inadvertantly out yourself as a Babylon 5 fan, Bill? For that
>matter, did *I* just...?
Hmmm! I've never watched a complete episode of Babylon 5, though I do know
several fans. I learned the Yellow Rose/Emily Dickinson connection as an
English major at UC Irvine in 1988. Does this come up on B5 as well?
--
Bill Baldwin
Greg Goss
>In article <366bbdf2...@news.direct.ca>,
>Greg Goss <gg...@direct.ca> wrote:
>>"Hoyt" <hdu...@worldnet.att.net> wrote:
>>
>>>I have noticed that song parodies typically have new words written over an
>>>old melody, not the other way around. This makes me suspect that it is
>>>easier to write lyrics than music and supports your conclusion.
>
>Or it may have something to do with the fact that parodies are funny
>and tunes typically aren't. Thus the humor must come from the lyrics.
>
>>If you change tempo and instrumentation, you can get humour. If I
>>hadn't been already sitting when I first heard "polkas on 45" by Weird
>>Al, I would have fallen over. I was laughing that hard.
>
>And who could forget "Stairway to Heaven" sung to the tune of
>"Gilligan's Island"?
>
>Certainly not me. Try though I may.
I don't think I've heard that one. But, now that you mention it,
there was the Beverly Hillbillies opening theme done to the melody of
Money for Nothing.
("Lyrics by [somebody], music by Mark Knopfler (sp?), arrangement by
Al Yankovic")
mlo...@pop.slip.net
> I may bore everyone into a coma, but it is impossible not to record
> that twenty four hours ago I had never heard of In A Gadda Da Vida,
> and it has cropped up in three different contexts since then.
> (Borrowed compilation CD, episode of Friends on British TV, Hoyt post
> about Weird Al).
That kind of thing is happens to me all the time. I had never heard
of tiramasu (some kind of dessert), then for about a month, every food-
service person I met was trying to get me to eat it.
Did you see the Simpsons episode where Bart slips "In the Garden of
Eden" into the church hymnals? (Reverend Lovejoy: "Wait a moment, that
sounds like rock and/or roll.")
M.
D.P. Roberts
>that twenty four hours ago I had never heard of In A Gadda Da Vida,
>and it has cropped up in three different contexts since then.
About ten years ago I went to college with a woman who claimed to be
the girlfriend of keyboardist Doug Ingle. I believe her because it is
such a bizarre claim to make. I would think that if she were pulling
a Clinton on me that she would have chosen any other musician.
Robert William Vesterman
Smith) wrote:
>By the way, I believe that polka star Frankie Yankovic (who died
>recently) was Weird Al's uncle. Al's Saturday morning kid's show
>contain periodic references to Al's "evil uncle Frank."
Al may have had an evil uncle Frank, but *the* Frank Yankovic (i.e.
the polka great) and Weird Al were unable to figure out how they were
related to each other. They were most definitely not uncle and
nephew.
Jim Shaffer, Jr.
>Did you just inadvertantly out yourself as a Babylon 5 fan, Bill? For that
>matter, did *I* just...?
The first time I heard it mentioned in the media was a long time before B5.
Possibly "Head of the Class", an American comedy about gifted students.
Speaking of B5 and music, am I the only one disappointed that in the entire five
years of the show, none of the characters ever said "Mars ain't the kind of
place to raise your kids"?
--
If it looks like a hydra, and moves like a hydra, it's a hydra.
Alan Morgan
Bill Baldwin <rev...@gte.net> wrote:
>Alan Morgan wrote:
>>And who could forget "Stairway to Heaven" sung to the tune of
>>"Gilligan's Island"?
>
It fits if you push it. You have to sing double-time but it
(mostly sorta) works. Most people have to bring on a stunt
singer to pull if off.
>But you can, if you want, sing just about any Emily Dickinson poem to "The
>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
>marriage of music and meaning.
Yup. I remember this one from "Bimbos of the Death Sun".
Alan
GrapeApe
GrapeApe
>"Gilligan's Island"?
I have.
I've heard it many times but Its taken me this long (typing this) to remember
that hee lyrics are the same (I thought their might bave been special lyrics to
shmoosh them in) The meter is still a bit awkward so the joke is awkward.
Advice to song parodists: Make sure the words fit naturally in length and
meter- otherwise you are showing everyone how unmusical you are (or how funny
you think you are that you can ignore fitting the words in properly; guess
what? NO ONES that funny)
David Samuel Barr
>
> I don't think I've heard that one. But, now that you mention it,
> there was the Beverly Hillbillies opening theme done to the melody of
> Money for Nothing.
>
> ("Lyrics by [somebody], music by Mark Knopfler (sp?), arrangement by
> Al Yankovic")
Lyrics by Paul Henning (who also wrote the music to the original theme);
Music by Mark Knopfler and Sting
David Samuel Barr
www.lyrics.ch has just lost any credibility it may have had. They have
a half-dozen different versions of the lyrics, most supplied by
individuals who have created some pretty distorted versions thereof,
rather than using the official published lyrics which are readily
available from the various album covers/CD booklets/sheet music.
Apparently there is no form of editorial oversight to conform different
submissions of the same lyrics/titles or to discard the obviously
incorrect ones. According to the published lyrics, the word is
"priest", not "breach". (What would "when the radical breach came to
get me released" mean?)
J. Michael Looney
> I frequently perform "Sleigh Ride" as a bossa nova - and in the
summertime,
> too. It always gets strange looks followed by a smile ."O, Holy Night" as
a
> fast samba gets their attention. I do a bluesy version of "Oh, How I love
> Jesus"; few recognize the song. I was tempted to sneak it in at a bar
> mitzvah, but better sense prevailed. I would play a liturgical-sounding
> "Smoke Gets In Your Eyes" at a cremation service if given a chance,
though.
> Even though Ellington performed "Take the 'A' Train" in one version as a
3/4
> (waltz), people get annoyed when I do it although a few chuckle as the
try
> to follow along with their 4/4 memory of the song.
The Brain Surgeons did "Felize Nazadad" (sp) to the tune of Blue Oyster
Cult's classic, "Cities on Flame (with Rock and Roll)". Very strange thing
that is.
Of course the Al Bouchard was the drummer for BOC, and is the leading force
in tBS.
Glenn Rice
>
> Alan Morgan wrote:
> >And who could forget "Stairway to Heaven" sung to the tune of
> >"Gilligan's Island"?
>
Here's another one, good for laughs at parties:
The words to "Amazing Grace" can be sung to the tunes of many old sitcom
theme songs. Gilligan's Island, My 3 Sons, etc
SCUBAMA
>The words to "Amazing Grace" can be sung to the tunes of many old sitcom
>theme songs. Gilligan's Island, My 3 Sons, etc
"Amazing Grace" sounds best, to me, sung to the tune of "House of the Rising
Sun".
kay w
Bill Baldwin
>Here's another one, good for laughs at parties:
>
>theme songs. Gilligan's Island, My 3 Sons, etc
Huh! No wonder they call it Common Meter. Something about the English language
just lends itself to iambic quatrains of alternating tetrameter and trimeter.
Emily Dickinson poems can also be sung to the tune of "Amazing Grace," and
therefore by the transitive property of alternative tunes, can be sung to the
tune of Gilligan's Island.
Can't recall how My Three Sons goes.
--
Bill Baldwin
Marie Martinek
>Bill Baldwin wrote:
>>
>> Alan Morgan wrote:
>> >And who could forget "Stairway to Heaven" sung to the tune of
>> >"Gilligan's Island"?
>>
>> I just can't get this to work. The syllables are all different.
>
>
>
>
>
>The words to "Amazing Grace" can be sung to the tunes of many old sitcom
>theme songs. Gilligan's Island, My 3 Sons, etc
Oh, no, we're getting into the "to the tune of" thread from rec.music.filk!
Ode to Joy scans to Gilligan's Island (thus to the ones above) scans to
Rolling Down to Old Maui scans to Clementine scans to the Hallelujah Chorus
scans to Mack the Knife (in a cavern, in a canyon/ excavating all his life/
dwelt a miner, forty-niner/ till he met with Mack the Knife!) scans to
Greensleeves (you can sing anything you want to Alice's Restaurant).
Marie Martinek
P. O. Box 172
Northbrook, IL 60065
mv-ma...@nwu.edu
Mark E. Smith
trai...@mindspring.com (Jim Ellwanger) wrote:
> The obituaries I read and the liner notes to the Weird Al box
> set concur that they weren't related. Al believes that his
> parents encouraged his accordion playing, though, because they
> wanted there to be more than one accordion-playing Yankovic in
> the world.
They thought that would be a good thing? In any case, I sit
corrected.
--
Mark E. Smith <msm...@lvnworth.com>
Dan
>
> h...@indigo.ie (Sitric) writes:
>
> > I may bore everyone into a coma, but it is impossible not to record
> > that twenty four hours ago I had never heard of In A Gadda Da Vida,
> > and it has cropped up in three different contexts since then.
> > about Weird Al).
>
> That kind of thing is happens to me all the time. I had never heard
> of tiramasu (some kind of dessert), then for about a month, every food-
> service person I met was trying to get me to eat it.
>
> Did you see the Simpsons episode where Bart slips "In the Garden of
> Eden" into the church hymnals? (Reverend Lovejoy: "Wait a moment, that
> sounds like rock and/or roll.")
>
> M.
I downloaded a sound clip of the whole thing if anyone is interested.
Llorta
>And who could forget "Stairway to Heaven" sung to the tune of
>"Gilligan's Island"?
>
The lyrics of the theme song on "Green Acres" go well with the tune of "Purple
Haze."
SJF 1959
David Samuel Barr <dsb...@mindspring.com> writes:
>www.lyrics.ch has just lost any credibility it may have had. They have
>a half-dozen different versions of the lyrics, most supplied by
>individuals who have created some pretty distorted versions thereof,
>rather than using the official published lyrics which are readily
>available from the various album covers/CD booklets/sheet music.
>Apparently there is no form of editorial oversight to conform different
>submissions of the same lyrics/titles or to discard the obviously
>incorrect ones. According to the published lyrics, the word is
>"priest", not "breach". (What would "when the radical breach came to
>get me released" mean?)
I agreed with you until you got to the argument implied by that last
parenthetical question. This is pop music we're talking about - if some of the
lyrics don't make any #$%& sense that is not necessarily evidence of a
transcription error.
Regards from Deborah
FAQ file: http://members.aol.com/SJF1959/index.html
Mailing list: http://www.listbot.com/subscribe/sjf1959.aol.com
Archive: http://www.listbot.com/archive/sjf1959.aol.com
GrapeApe
It never had much at all- it has always been an entirely VOLUNTEER database
(which helps account for the proliferance of top 40 dreck).
SJF 1959
amo...@Xenon.Stanford.EDU (Alan Morgan) writes:
>>But you can, if you want, sing just about any Emily Dickinson poem to "The
>>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
>>marriage of music and meaning.
>
>Yup. I remember this one from "Bimbos of the Death Sun".
This was done to great effect on the public radio program "Prairie Home
Companion" in the 198-mumble. Around the same time, they also did a Culture
Club medley in the style of Handel.
deepstblu
>
> In article <366bbdf2...@news.direct.ca>,
> Greg Goss <gg...@direct.ca> wrote:
> >"Hoyt" <hdu...@worldnet.att.net> wrote:
> >
> >>I have noticed that song parodies typically have new words written over an
> >>old melody, not the other way around. This makes me suspect that it is
> >>easier to write lyrics than music and supports your conclusion.
>
> Or it may have something to do with the fact that parodies are funny
> and tunes typically aren't. Thus the humor must come from the lyrics.
>
> >If you change tempo and instrumentation, you can get humour. If I
> >hadn't been already sitting when I first heard "polkas on 45" by Weird
> >Al, I would have fallen over. I was laughing that hard.
>
> "Gilligan's Island"?
>
> Certainly not me. Try though I may.
perpetrators sued by both Led Zepplelin and Gilligan's copyright
holders.
D.P. Roberts
>parenthetical question. This is pop music we're talking about - if some of the
>lyrics don't make any #$%& sense that is not necessarily evidence of a
>transcription error.
I was going to disagree with you, but now I have something else to do.
Please 'scuze me while I kiss this guy.
fastrada
>
> amo...@Xenon.Stanford.EDU (Alan Morgan) writes:
>
> >>But you can, if you want, sing just about any Emily Dickinson poem to "The
> >>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
> >>marriage of music and meaning.
Interesting. I always do Dickinson to "Amazing Grace."
> >
> >Yup. I remember this one from "Bimbos of the Death Sun".
Which is in a new paperback edition with introduction by Sharyn McCrumb
about how the book has become an underground bible for people making
first appearances at conventions. Worth looking for (besides being one
of the funniest mystery novels ever).
Regards,
Joe
David Samuel Barr
>
> David Samuel Barr <dsb...@mindspring.com> writes:
>
> >www.lyrics.ch has just lost any credibility it may have had. They
> >have a half-dozen different versions of the lyrics, most supplied by
> >individuals who have created some pretty distorted versions thereof,
> >rather than using the official published lyrics which are readily
> >available from the various album covers/CD booklets/sheet music.
> >Apparently there is no form of editorial oversight to conform
> >different submissions of the same lyrics/titles or to discard the
> >obviously incorrect ones. According to the published lyrics, the
> >word is "priest", not "breach". (What would "when the radical breach
> >came to get me released" mean?)
>
> parenthetical question. This is pop music we're talking about - if
> some of the lyrics don't make any #$%& sense that is not necessarily
> evidence of a transcription error.
You're inferring an argument I wasn't implying. The parenthetical
comment was just in response to the poster who suggested that "priest"
must be wrong (despite the fact that it's in the official lyrics and
it's clearly identifiable from Simon's singing) because the page he
looked at at www.lyrics.ch misquoted it as "breach". I was pointing out
that "breach" makes no sense when read within the context of the lyric.
As far as making sense, remember this is Paul Simon, not Jon Anderson
we're talking about. Simon may be a bit cryptic at times (particularly
when he is deliberately doing so, as with the song in question). but he
is not known for writing lyrics that are simply babble (they may be
lame and often pretentious, but they're not random verbiage).
"There's a bathroom on the right...." :)
Robert William Vesterman
<dsb...@mindspring.com> wrote:
>I was pointing out
>that "breach" makes no sense when read within the context of the lyric.
>As far as making sense, remember this is Paul Simon, not Jon Anderson
>we're talking about.
Exactly what part of "Dawn of light lying between a silence and sold
sources, chased amid fusions of wonder in moments hardly seen
forgotten, colored in pastures of chance dancing leaves cast spells of
challenge, amused but real in thought" don't you get?
Matt J. McCullar
>
> SJF 1959 wrote:
> >
> > amo...@Xenon.Stanford.EDU (Alan Morgan) writes:
> >
> > >>But you can, if you want, sing just about any Emily Dickinson poem to "The
> > >>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
> > >>marriage of music and meaning.
>
> Interesting. I always do Dickinson to "Amazing Grace."
"Gilligan's Island," "Amazing Grace," "From the Halls of Montezuma," and
"Stairway to Heaven." We actually did this on campouts in Scouts.
There really is a song called "Stairway to Gilligan's Island" by Little
Roger and the Goosebumps that's sensational.
Last year a rumor was flying around that talked about watching "The
Wizard of Oz" with the sound turned off, and listening to Pink Floyd's
"Dark Side of the Moon." Nobody said anything about what this was
supposed to prove, but I did see a sign in a record store in Denton, TX
in the PF section. "Wizard of Oz in VHS Section"
Matt J. McCullar
Arlington, TX
"You can have Marianne. I want GINGER!!!"
Jeffrey L. Bell
>...
>If you change tempo and instrumentation, you can get humour. If I
>hadn't been already sitting when I first heard "polkas on 45" by Weird
>Al, I would have fallen over. I was laughing that hard.
You don't have to change the instrumentation.
Consider Dread Zeppelin, which has an elvis impersonator singing Led Zep
songs to a reggae beat.
Gotta whole lot of love. (bip-bip um bip. bip-bip um bip.)[1]
-Jeff Bell
[1] Lame attempt at reggae up beats.
Briar Rose
>Robert William Vesterman wrote:
>>Exactly what part of "Dawn of light lying between a silence and sold
>>sources, chased amid fusions of wonder in moments hardly seen
>>forgotten, colored in pastures of chance dancing leaves cast spells of
>>challenge, amused but real in thought" don't you get?
>I read that one of the members of Yes was quite frank about their
>lyrics--he said they just used whatever 'sounded nice' and it didn't matter
>if the lyrics made sense or not.
Just ask the shining flying purple wolfhounds. They'll
show me where you are.
:) Connie-Lynne
--
"If _I_ was re-writing the constitution, I'd make a rule that there
could be no dumbass laws... 'I'm sorry, but your proposed referendum
is butt-stupid.'"
---Adam Villani
gale...@imap2.asu.edu
:SJF 1959 wrote:
:>amo...@Xenon.Stanford.EDU (Alan Morgan) writes:
:>>>But you can, if you want, sing just about any Emily Dickinson poem to "The
:>>>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
:>>>marriage of music and meaning.
:Interesting. I always do Dickinson to "Amazing Grace."
Gilligans island seems to work best for parties. :)
"...I could not join the thought behind into the thought before,
and all my thoughts went rolling down like balls upon the floor..."*
Novus Ordo Seclorum
Galen
* Or, Whatever. (I can't believe I don't have the whole thing down.)
* Thanks to the excellent memoir "Emily Dickenson, Jerk of Amherst?" for
information on her life, etc.
--
"Le superflu, chose | gkountz(at)asu.edu | Ave Kt'oohlhu,
tres necessaire." | (oO) | morituri te
-Voltaire | /||\ fnord | salutant.
Jim Shaffer, Jr.
>Just ask the shining flying purple wolfhounds. They'll
>show me where you are.
For most of my life, that line puzzled me. Eventually I decided that it must
have been written under the influence of the little-known hallucinogenic plant
mentioned elsewhere in the song*. But then, one day, I replaced my tape with a
CD, and suddenly I realized that it wasn't "wolfhound" but "wool cloud." Which
makes slightly more sense, in that they could be shining and purple under
precisely the right lighting conditions, but I still don't know how they're
supposed to show anyone where anyone is.**
* Don't try it if you don't know anything about it.
** Unless the person sought is a weather wizard -- which wouldn't really be out
of place in a Yes song, but doesn't seem to fit this one.
--
If it looks like a hydra, and moves like a hydra, it's a hydra.
James N Beaver
Marines Hymn ("From the halls of Montezuma....") to the tune of "Ghost
Riders in the Sky" and "Clementine." I think "Ghost Riders" is the funnier
of the two.
Jim Beaver
baj...@prodigy.com
Bill Kinkaid
>What would a musical parody of, say, Celine Dion sound like? Probably just
>like some other top 40 hit.
>
Celine Houston, Mariah Dion, and Whitney Carey ARE musical parodies.
Bill in Vancouver
(delete EAT-SPAM-AND-DIE
from e-mail address to respond)
Paul Drye
kin...@eat.spam.and.die.bc.sympatico.ca says...
>
>dfo...@panix.com (David Foster) wrote:
>
>>What would a musical parody of, say, Celine Dion sound like? Probably just
>>like some other top 40 hit.
>>
>
>Celine Houston, Mariah Dion, and Whitney Carey ARE musical parodies.
NME ran a review a while back of some European duo that had surveyed people to
find out what things the *most* liked in songs and *least* liked in songs. Then they
wrote, arranged, and recorded two songs (one around each set of results) and named
them, um..."The Most Popular Song In The World" and "The Least Popular Song In
The World". Something like that.
Anyway, the reviewer made the point that TMPSITW sounded like a top forty hit, while
TLPSITW -- a cowboy christmas song sung by a boy's choir to bagpipe backing, IIRC
-- was infinitely more interesting.
Cheers,
Paul Drye
--
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remove the spam-cruncher "boguspart" from my address.
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Bill Kinkaid
>fastrada (fast...@ix.netcom.com) wrote:
>:SJF 1959 wrote:
>:>amo...@Xenon.Stanford.EDU (Alan Morgan) writes:
>:>>>But you can, if you want, sing just about any Emily Dickinson poem to "The
>:>>>Yellow Rose of Texas." Try "Since I Could Not Stop for Death" for a great
>:>>>marriage of music and meaning.
>:Interesting. I always do Dickinson to "Amazing Grace."
>
> Gilligans island seems to work best for parties. :)
>
The Gilligan's Island theme works pretty well for the words to Amazing
Grace. And back in my high school days, we sang the words to Amazing Grace
to the tune of House of the Rising Sun. Very big improvement for both.
We also did Amazing Grace to the tune of Happy Wanderer.
The metre or rhythm is pretty basic; in fact, any good hymnal will tell you
that it's Common Metre, i.e. 8-6-8-6 (referring to the number of syllables
in each line; Short Metre is 6-6-8-6, as in "We give thee but thine own",
and Long Metre is four 8s, as in the Old 100th "Praise God from whom all
blessings flow"). In order that you can mix & match tunes with hymns, good
hymnals will have a list of tunes by metre in the back, and you'll find
that Common Metre has by far the largest number of tunes to choose from.
"Me and Julio" would be listed as "Irregular", with no discernable pattern
(at least to Northern European trained ears) as most modern song tunes that
make it into new hymnals are (e.g. "Shine Jesus Shine")
Fred Haineux
| >:Interesting. I always do Dickinson to "Amazing Grace."
| >
| > Gilligans island seems to work best for parties. :)
| The metre or rhythm is pretty basic; in fact, any good hymnal will tell you
| that it's Common Metre, i.e. 8-6-8-6 (referring to the number of syllables
| in each line; Short Metre is 6-6-8-6, as in "We give thee but thine own",
| and Long Metre is four 8s, as in the Old 100th "Praise God from whom all
| blessings flow"). In order that you can mix & match tunes with hymns, good
| hymnals will have a list of tunes by metre in the back, and you'll find
| that Common Metre has by far the largest number of tunes to choose from.
"Stairway to Gilligan's Island," by Little Roger and the Goosebumps, has
been, in my mind, the paragon by which all others are measured. You ought
to be able to find an MP3 copy of it somewhere...
Not to be outdone, Barnes and Barnes recorded "A Day in the Life of Green
Acres." It is also quite fine.
--
This posting in no way represents the official opinion of my employer.
Contact me at b...@wetware.com to discuss my personal opinions and those
of my employer. Have A Nice Day.