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[John]

The Three Little Pigs" is a fable about three pigs who build their houses of different materials. A Big Bad Wolf blows down the first two pigs' houses which are made of straw and sticks respectively, but is unable to destroy the third pig's house that is made of bricks. The printed versions of this fable date back to the 1840s, but the story is thought to be much older. The earliest version takes place in Dartmoor with three pixies and a fox before its best known version appears in English Fairy Tales by Joseph Jacobs in 1890, with Jacobs crediting James Halliwell-Phillipps as the source. In 1886, Halliwell-Phillipps had published his version of the story, in the fifth edition of his Nursery Rhymes of England, and it included, for the first time in print, the now-standard phrases "not by the hair of my chiny chin chin" and "I'll huff, and I'll puff, and I'll blow your house in".[1][2]

The phrases used in the story, and the various morals drawn from it, have become embedded in Western culture. Many versions of The Three Little Pigs have been recreated and modified over the years, sometimes making the wolf a kind character. It is a type B124[3] folktale in the Thompson Motif Index.

"The Three Little Pigs" was included in The Nursery Rhymes of England (London and New York, c.1886), by James Halliwell-Phillipps.[4] The story in its arguably best-known form appeared in English Fairy Tales by Joseph Jacobs, first published on June 19, 1890, and crediting Halliwell as his source.[5] The earliest published version of the story is from Dartmoor, Devon, England in 1853, and has three little pixies and a fox in place of the three pigs and a wolf. The first pixy had a wooden house:

The story begins with the title characters being sent out into the world by their mother, to "seek out their fortune". The first little pig builds a house out of straw, but the wolf blows it down and devours him. The second little pig builds a house out of sticks, which the wolf also blows down, though with more blows and the second little pig is also devoured. Each exchange between wolf and pig features ringing proverbial phrases, namely:

The third little pig builds a house out of bricks, which the wolf fails to blow down. He then attempts to trick the pig out of the house by asking to meet him at several places at specific times, but he is outwitted each time since the pig gets to those places earlier than the wolf. Finally, the infuriated wolf resolves to come down the chimney, whereupon the pig who owns the brick house lights a fire under a pot of water on the fireplace. The wolf falls in and is fatally boiled, avenging the death of the final pig's brothers. After cooking the wolf, the pig proceeds to eat the meat for dinner.

In some versions, the first and second little pigs are not eaten by the wolf after he demolishes their homes but instead runs to their sibling's house, who originally had to take care of the two other pigs and build a brick house in a few versions. Most of these versions omit any attempts by the wolf to meet the third pig out of the house after his failed attempt to blow the house in. After the wolf goes down the chimney, which is lit by a fire with a pot of water over it, he either dies, as in the original, or simply burns his tail and runs away and never returns to eat the three little pigs, or in some versions the wolf faints after trying to blow down the brick house. All three of the pigs survive in each case.

The story uses the literary rule of three, expressed in this case as a "contrasting three", as the third pig's brick house turns out to be the only one which is adequate to withstand the wolf.[8]Variations of the tale appeared in Uncle Remus: His Songs and Sayings in 1881. The story also made an appearance in Nights with Uncle Remus in 1883, both by Joel Chandler Harris, in which the pigs were replaced by Brer Rabbit. Andrew Lang included it in The Green Fairy Book, published in 1892, but did not cite his source. In contrast to Jacobs's version, which left the pigs nameless, Lang's retelling cast the pigs as Browny, Whitey, and Blacky. It also set itself apart by exploring each pig's character and detailing the interaction between them. The antagonist of this version is a fox, not a wolf. The pigs' houses are made either of mud, cabbage, or brick. Blacky, the third pig, rescues his brother and sister from the fox's den after the fox has been defeated.

Writer Bruno Bettelheim, in his book The Uses of Enchantment, interprets the tale as a showcase of the capacity for anticipation and courage in the face of adversity, symbolized by the wolf. According to him, the individual who is content to prepare themself as the first two pigs will be destroyed by the vicissitudes of life, and only a person who builds a solid base can face such hazards. He viewed the tale as a means of telling children that one cannot always act according to the pleasure principle, and must submit to the reality principle when life demands it. He exemplified this point by observing that the first two pigs valued gratification rather than planning and foresight as the third pig had.[9]

The video uses an edited version of the thumbnail with the title changed to read "Bad BARKLEYs", a tinted picture of Charles Barkley's face superimposed over Ross, and a blank white line at the bottom.

Oh, wow, missed this, too - forgot to follow them on Spotify, apparently. For me, their best album was Picture You, which I loved enough to include in my 100 Best Albums of the 2010s: -2010s-anearfuls-first-decade.html Psyched to listen to this!! Dandelioness is great, too...featured a song by her on my podcast and would love to see her live.

If you enjoy this album, why not share or subscribe to Check This Out!? You\u2019ll receive fresh tunes, reviews, playlists, and more in your inbox while supporting this entirely independent music e-rag. Rad!

I was late to The Amazing game when I came across their fourth album, Ambulance, all the way back in 2016. As easy as it is to keep up with all of the great indie bands in Sweden, the unhurried textures of three guitarists, along with singer Christoffer Gunrup\u2019s knack for muttering lyrics in a fashion that would make I.R.S.- era Michael Stipe blush, made Ambulance a dream pop smash. At least on my headphones.

In Transit followed two years later and cranked up the psych nob while staying true to The Amazing\u2019s formula. Like Ambulance, it stayed in heavy rotation for a year or two, and both were ones that I often revisited when I needed a break from all of the ugliness at the beginning of this decade.

The Amazing isn\u2019t a band you hear much about stateside, and six years later, I figured they had disappeared into the ether like all of the other great acts who have come and gone. So color me surprised when last week, MusicHarbor, the nice lil app that scans your library and keeps you posted on new releases by artists within your non-existent digital collection, told me that Piggies, the latest from The Amazing had arrived.

What a pleasant treat this album is. It still sounds like the Stockholm band always has, but things seem to have chilled out even more. Piggies slowly slops through the indie folk mud with fantastic results. Maybe it\u2019s because their last few records were on Partisan Records, an indie label with a reasonably great roster that lent to some press, and now this one is on an indie out of Sweden called Fashionpolice Records. Still, I can\u2019t find any reviews or press for this lovely winter offering. Maybe it\u2019s because Piggies is eight songs of wandering textures that often land over the four-minute running time, and it\u2019s not great music for making TikToks.

I\u2019ve tried to avoid this comparison, but the best way to describe this version of The Amazing on Piggies is like listening to Red House Painters without the guilt of knowing what a predatory piece of shit Mark Kozelek is. If you want to listen to Red House Painters I or Songs For a Blue Guitar like I often do but can\u2019t listen to Kozelek\u2019s voice anymore, reach for this one instead. The back half is especially worth the ticket, as the dualing E-bows on \u201CCinnamon\u201D make for the album highlight, and \u201CI Think I Found A Way,\u201D \u201CFigurehead,\u201D and \u201CThrough the Cracks\u201D finish a fantastic run. I also really appreciate Lisa Isaakson\u2019s vocal additions to \u201CStreetfighter,\u201D \u201CLast Stand,\u201D and \u201CCinnamon.\u201D

On Saturday night, we had a double bill at the hotel, which I had been really looking forward to, with Betty Benedeadly headlining and Dandelioness supporting. Benedeadly just relocated to Santa Fe from Austin, and wow, we are lucky to have her in town. Also part of the band Sheverb, Benedeadly\u2019s solo material is instrumental ambient western that offers a campfire familiarity while placing you on another planet with her music\u2019s otherworldliness. With just a guitar or banjo and some backing tracks, Benedeadly had the packed house following each note.

Dandelioness pulled in the crowd and set the mood with her ethereal voice and sparse electric guitar-picking. I\u2019ve seen her a few times over the last year-plus, always outside in some odd setting. Those shows were strong enough to invite her to the hotel for this show, but talk about meeting the moment and vibing with a room. Her 45-minute set of self-described \u201Csouthwest soft goth\u201D had the entire bar in a collective hush as she ranged from a whisper to coyote howls. At that moment, I told a friend this version of Danelioness reminded me of early PJ Harvey, and listening to \u201CTeclo\u201D off of To Bring You My Love, confirmed this notion.

Both released albums last year, with Benedeadly teaming up with Braden Guess for At the Institute of Mentalphysics and Dandelioness\u2019s debut, Scorpio Ballads - I highly recommend listening to both.

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