#1927 songs

[cametotheshowinsd]

I love you, it's ruining my life.

THE TORTURED POETS DEPARTMENT || April 19th, 2024

[yoursghouly]

x

[injuries-in-dust]

Can I interest you all in a song that was probably written by some lesbians in the 1920's?

[bixels]

Your au takes place in the 1920’s. I know your au has rarijack, are there any issues because of them being lesbians or is that not really a problem (the general existence of cadence may have caused people to be more accepting sooner idk)

Not really a problem. This AU's supposed to be fun, it wouldn't be fun having to write 90% of characters and settings as vehemently and violently anti-gay. At the very least, bigotry still exists, but social progress is more similar to the 2010s, where queerness is more normalized.

[rubylured]

All of the covers I made for my Weimar film class papers.

[officialpenisenvy]

backwater blues by bessie smith and when the levee breaks are about the same historical event?????

[misterradio]

daisy bell is such a swag song so is come josephine in my flying machine <- yeah i listened to that bc it was in titanic. anyways i ought 2 listen to more older tunes.....

[monkeyssalad-blog]

1927 i've never seen a straight banana by Al Q

[professionalnooneatall]

"'Misirlou' (Greek: Μισιρλού < Turkish: Mısırlı 'Egyptian' < Arabic: مصر Miṣr 'Egypt'[1]) is a folk song[2] from the Eastern Mediterranean region. The song's original author is unknown, but Arabic, Greek, and Jewish musicians were playing it by the 1920s. The earliest known recording of the song is a 1927 Greek rebetiko/tsifteteli composition. There are also Arabic belly dancing, Albanian, Armenian, Serbian, Persian, Indian and Turkish versions of the song. This song was popular from the 1920s onwards in the Arab American, Armenian American and Greek American communities who settled in the United States." —Orginal Wikipedia Article https://en.wikipedia.org/wiki/Misirlou

[disneybooklist]

Content Warning

Uncle Remus Stories by Joel Chandler Harris (1927)

Song Of The South (1946)

[doyoulikethissong-poll]

Soggy Bottom Boys - I Am a Man of Constant Sorrow 2000

"I Am a Man of Constant Sorrow" is a traditional American folk song first recorded by Dick Burnett, a partially blind fiddler from Kentucky. The song was originally titles "Farewell Song" when printed in a Richard Burnett songbook in 1913. Burnett recorded the song in 1927 but this version was unreleased and the master recording destroyed. The first commercially released record was by Emry Arthur in 1928, and which gave the song its current title.

It's been covered plenty of times during the years with lyrical tweaks, but the biggest impact worldwide happened with the release of the 2000 film O Brother, Where Art Thou?, where it plays a central role in the plot, earning the three runaway protagonists public recognition as the Soggy Bottom Boys. The song had lead vocals by Dan Tyminski, who also was the vocalist on Avicii's 2013 hit "Hey Brother". "I Am a Man of Constant Sorrow" received a CMA Award for "Single of the Year" in 2001 and a Grammy for "Best Country Collaboration with Vocals" in 2002, and also named Song of the Year by the International Bluegrass Music Association in 2001. It earned a total of 70,4% total yes votes here.

If you love great movies with amazing music, please do check this one out! :D <3

[lamentationsofalonelypotato]

You Call It Madness But I Call It Love

Pairing: Pairing: Soldier Boy x f!reader, Reader POV

Tropes: Friends to Lovers, Slow Burn

Song Inspiration For The Series: You Call It Madness But I Call It Love By Russ Columbo

Series Playlist (Spotify)🥀

Summary: When the reader left Payback 40 years ago after a falling out with her childhood best friend she never looked back, but when two men show up to her apartment and start asking her questions about the past, the reader begins to think those things can’t stay hidden and starts to question what’s real and what’s fantasy.  This is a re-telling of The Boys Season 3, where the reader is a supe who's known Soldier Boy since 1927. The chapters fluctuate between past and present, beginning in 1934. SPOILERS FOR THE BOYS S3

Chapter 1: You Shouldn't Have Answered the Door

Chapter 2: Late Night Visitor

Chapter 3: Summer Has to End Someday

Chapter 4: It's My Party and I'll Eat Cake If I Want To

Chapter 5: The Man, The Myth, The Legend

Chapter 6: Batter Up

Chapter 7: Are We Old Friends Or Old Enemies?

Chapter 8: Jealousy Doesn't Look Good On Anybody Except...

Chapter 9: Wedding Bells or Gong of Destruction?

Chapter 10: How Did It End Up Like This?

Chapter 11: I Can't Think With You Yelling At Me!

Chapter 12: My Heart Is Beating For You Constantly

Chapter 13: You Made A Plaything Out of Romance

Chapter 14: You're All I'm Dreaming Of

Chapter 15: What Do You Know About Love?

Chapter 16: Please Come Back To Me

Chapter 17: How Could I Ever Forget?

Chapter 18: First Impressions Are Often Correct

Chapter 19: I Know Who You Are

Chapter 20: You Were There

Chapter 21: Try To Understand

Chapter 22: I May Be Right Or I May Be Crazy

Chapter 23: Extreme Makeover Backyard Edition

Chapter 24: What The Past Held

Chapter 25: Are Family Reunions Always This Awkward?

Chapter 26: I Hate You, I Love You

Chapter 27: Take Me Back To The Beginning

Epilogue: True Love Is Hard To Find

Last Updated: 10/08/2024 (Series Complete)

One Shots:

Guess Who's Coming To Dinner?: All you wanted was for Ben to have a nice Thanksgiving, but when your daughter brings her new boyfriend over, all hell brakes loose!

[Extras]

Chapter 7.5: The Only Escape (Unused)

Happy Halloween! (Takes Place After Main Series)

If you'd like to be added to the taglist for this series let me know :)

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(Photos on mood board from Pinterest)

[mariacallous]

“If it should be, and he came to London, with his teeming millions. … There may be a solemn duty; and if it come we must not shrink from it.”—Bram Stoker, Dracula

A vampire must avoid direct sunlight to avoid crumbling into ash, yet few folk horrors have been subject to more scrutiny than the transformative bloodsuckers who dominate the night. A new and absolutely terrific cinematic take on the myth, Robert Eggers’ Nosferatu, has hit theaters, and its most notable element, in addition to outstanding performances, dialogue, and production design, is that this new version really amps up the lusty goth quotient. (So much hallucinatory writhing and moaning!) However, its release so close to the inauguration of a U.S. president who has stoked fears of immigrants draws out xenophobic elements inherent to the text, and an inner tension with its own reactionary origin is part of the genius of this new film.

If you aren’t a subscriber to Fangoria magazine, you may not know the Nosferatu backstory. The first version, released in 1922, is a landmark of German filmmaking that plundered intellectual property as if it were the grave of a Victorian noblewoman buried with her jewels—a fate some of the characters in Dracula think has befallen poor Lucy Westenra, before it is revealed she is actually an accursed undead demon!

Unlike his most famous literary creation, though, Irish-born writer Bram Stoker does not walk the earth a century after his death. As such, the theater manager who wrote books on the side would likely be surprised at the strength of his legacy. Dracula, published in 1897, was only a modest success at the time. It was not even the first book about vampires published in English; how it became the wellspring for vampire iconography—to the point that is used to sell breakfast cereal—is perhaps due to vivid, dueling film interpretations.

In 1921, a German film producer with an interest in the occult created a new studio (Prana) with an eye toward making supernatural-themed films, and kicked things off with an adaptation of Dracula. He hired Henrik Galeen, who co-wrote the outstanding expressionist The Golem: How He Came Into the World, to write the screenplay, and F. W. Murnau—who would later make Sunrise: A Song of Two Humans, one of the undisputed masterpieces of silent cinema—to direct. But he did not pay for the rights to Bram Stoker’s book. Instead, Galeen changed the names of the characters (Count Dracula to Count Orlok) and the location (London to Wisborg, a fictional German city), and made some additional tweaks to the narrative. The title, Nosferatu, is a word used in Dracula to categorize vampires, meaning undead. (The etymology of this word remains debated, but it may have its roots in the Greek nosophoros, meaning “disease-bearing.”)

Nosferatu: A Symphony of Horror was released to significant acclaim, but one person who wasn’t happily chomping on popcorn was Florence Balcombe, Bram Stoker’s widow. An anonymous informant sent her a handbill from the movie’s lavish premiere at the Marble Hall of the Berlin Zoological Gardens. The promotional material boasted that the film was “freely adapted” from Dracula. Balcombe took this to court, won her case, and bankrupted Prana, which was ordered to destroy every copy of Nosferatu. Clearly, this did not happen, as you can still watch the movie today—and, despite the iffy ethical origins, you should; it’s terrific.

But what Balcombe did next was key. Springboarding off the increased interest in the story (and to guarantee proper payment on copyrighted material), she greenlit a stage production. The show ended up being a hit in London in 1927, then moved to New York later the same year. That version starred Bela Lugosi. Four years later, Lugosi reprised the role for Tod Browning’s film version for Universal Pictures, the first talkie in the Universal Monsters series. It was a sensation, and Lugosi’s sharp-toothed Transylvanian is now an early screen icon on par with Chaplin’s Little Tramp.

Other Dracula movies were soon in the works—a Spanish-language version was actually shot concurrently with Browning’s, using the same sets—and have never stopped. Hammer Studios in Britain made several classics starring Christopher Lee; there’s the Andy Warhol-presented Blood for Dracula; the disco era’s comedy Love at First Bite; Francis Ford Coppola’s stylistic version from the 1990s; and then there’s Adam Sandler’s Hotel Transylvania cartoons. Moreover, Lugosi knew a good gig when he saw it. The actor reprised his role for comedy (Abbott and Costello Meet Frankenstein—and also the Count!) and special appearances (a gig on Fred Allen’s top rated Texaco Star Theater radio show is just one example), and also starred in several Dracula-esque horror titles like The Devil Bat. While Lugosi’s lines from Dracula were instantly quotable (“I never drink … wine” is certainly my favorite), behind it all was the less hokey, dreamlike silent film version of Nosferatu, sprung from illicit origins and filled with striking sinister imagery.

Shadow of the Vampire, released in 2000, imagines that the original production was cursed because actor Max Schreck, who played Count Orlok, was truly a vampire. (Willem Dafoe was nominated for an Oscar for his performance of Schreck in this behind-the-scenes comedy, which is especially amusing because he plays the part of Prof. von Frantz, a spin on Stoker’s Dr. Van Helsing, in the new film.) Shadow of the Vampire’s premise—the cover up of an unsettling (fictional) aspect of the original Nosferatu—works because, while the intentions of Murnau and company are hard to know, it is easy to see how German audiences of the 1920s could read Nosferatu as antisemitic.

The film and its source material read like a laundry list of antisemitic tropes: The Count comes from “the East,” a backwards, superstitious land. (Transylvania, while certainly a real place, means “beyond the woods.”) He has somehow amassed a fortune despite living apart from the villagers who fear and despise him. He is a non-metaphorical bloodsucker. When he gets to civilization, he immediately starts preying on women. In most versions of the story, the first woman he assaults turns into a vampire herself, then starts draining the blood of babies and children, recalling the many examples of supposed blood libel used to excuse antisemitic violence throughout the previous centuries. When the character of Mina Harker (called Ellen Hutter in Nosferatu) is finally penetrated by the count, she declares that her blood is “unclean.” The Count’s curse demands that he sleep each night in the earth of his origin, but he comes up with a sneaky loophole by packing several coffins filled with Transylvanian dirt. One way to interpret the Count’s actions is metaphorical: The immigrants are unwilling to assimilate and they taint our family lines and drag their traditions along with them from the old country. But on a much more literal level, it is quite bluntly blut und bloden, blood and soil, a Nazi rallying cry since the 1920s that, unfortunately, persists to this day.

While these symbolic plot elements exist in the 1897 novel, it was the 1922 German film that dialed them up, adding some undeniable antisemitic visual tropes. Count Orlok, compared to the Spirit Halloween-ready Count Dracula, has a hooked nose and rodent-like clutching hands, an exaggerated reinterpretation of the Count’s features compared to how they are described in Stoker’s book. (Lugosi’s Dracula from 1931 eases up on the visual stereotypes considerably, but he does wear a six-pointed star the first time we see him.)

Murnau also added a plague element to Nosferatu’s storyline. When the Count’s ship comes to Wisborg, it arrives with rats and a rapidly spreading sickness. This “verminization” goes hand-in-hand with the notion of the “dirty Jew.” It is believed that Julius Streicher, editor-in-chief of the Nazi mouthpiece Der Stürmer, was a fan of the film, and Hitler himself, in Mein Kampf, compared Jews to vampires.

So hold on a second, you are telling me that a major motion picture studio has released a work of antisemitic propaganda, and it’s in theaters right now? Do I need to send an angry letter? No, not at all. Please do not cancel Robert Eggers, one of the more brilliant directors on the scene today, whose take on Nosferatu tamps down the antisemitism. (This is his fourth film, following The Witch, The Lighthouse, and The Northman, all very sharp plays on genre storytelling, and all worth watching.). Now, Count Orlok just has a weird and striking nose, not a hook nose. He is also less of a schemer. He is compelled to come to Wisborg, as if it is part of his burdensome curse. If one were to ask, “Why make this movie again?” I’d say that, apart from the exemplary sets and performances and cinematography, Eggers emboldens the supernatural, psychosexual connection between the Count and Ellen. Yes, the town leaders of Wisborg—ostensibly the heroes—remain understandably xenophobic. But Eggers adds a top layer of tragedy, by making the subtext text: The Count and Ellen should be able to get their telepathic freak on, but the social codes of the 1830s are so stifling that even the Prince of Darkness can’t fight them. This creates a tension to the story (and its anti-immigration strain) that feels entirely new.

Considering that hardly anyone watching the new Nosferatu will be unfamiliar with vampire tropes, Eggers is well within his rights to essentially copy-paste elements from the more problematic version and build on it. The added shading, leaving the audience wondering if maybe the Count isn’t such a villain, is enough nuance to keep this from feeling like a definitive political statement. After all, the first thing you’ll likely talk about after seeing it is Ellen’s (Lily-Rose Depp) several moments of bed-ridden, prurient murmuring “he’s coming!” from a dream-like haze. For a director who has made three sharp movies dealing with the supernatural or fantastic, this story is in Eggers’ blood.

10 Vampire Streaming Recommendations

Nosferatu: A Symphony of Horror (1922), dir. F.W. Murnau: The original nightmare.

Dracula (1931), dir. Tod Browning: The birth of a franchise. Warning: Though there are many classic moments, much of this movie is dull.

Dracula Has Risen from the Grave (1968), dir. Freddie Francis: The third Christopher Lee Dracula picture, and one that likely influenced the new one—as it was, for its time, a bit on the randy side.

Blacula (1972), dir. William Crain: An 18th century African prince is transformed into a vampire by Count Dracula himself, and ends up in 1970s Los Angeles. Released during the first wave of blaxploitation films, this was the first one to get supernatural.

Love at First Bite (1979), dir. Stan Dragoti: The Count comes to groovy New York and is faced with nonstop schtick. Richard Benjamin plays the famed vampire hunter Van Helsing’s grandson, a neurotic shrink named Dr. Jeffrey Rosenberg.

Nosferatu the Vampyre (1979), dir. Werner Herzog: Before Eggers, there was this German-language take focusing on Count Orlok. A slow-paced film that goes heavy on the plague storyline, featuring a substantial number of rats.

Bram Stoker’s Dracula (1992), dir. Francis Ford Coppola: Gen X Dracula, with Winona Ryder, Gary Oldman, and Keanu Reeves.

Thirst (2009), dir. Park Chan-wook: Not a Dracula film, but an unpredictable spin on the vampire myth from one of South Korea’s great filmmakers.

Only Lovers Left Alive (2013), dir. Jim Jarmusch: Cinema’s king of deadpan cool presents artists and rock musicians as vampires eternally on the fringes of society. (A documentary?)

El Conde (2023), dir. Pablo Larraín: Perhaps of particular interest to Foreign Policy readers, this Spanish-language picture, available on Netflix, suggests that Augusto Pinochet was actually a vampire, and takes it from there.

[ltwilliammowett]

Sea Shanty Books

For all those who are looking for books on the subject of sea shanties.

The Early Naval Ballads of England, by J.O. Halliwell, 1841 Naval Songs, by S.B. Luce, 1883 The Music of the Waters, by Laura A. Smith, 1888 Songs of Sea and Sail, by Thomas Fleming Day, 1898 Old Sea Chanties, by J. Bradford and A. Fagge, 1904 Sailors' Songs or Chanties, by Ferries Tozer and F.J. Davis, 1906 Sea Songs and Shanties, by Captain W.B. Whall, 1910 Shanties and Forebitters, by Mrs. Clifford Beckett, 1914 Songs of Sea Labour, by Frank T. Bullen and W.F. Arnold, 1915 King's Book of Chanties, by Stanton H. King, 1918 Capstan Chanteys, by Cecil K. Sharp, 1919 Pullings Chanteys, by Cecil K. Sharp, 1919 Deep Sea Chanties, by Owen Trevine, 1921 The Shanty Book, Part 1, R.R. Terry, 1921 Sea Songs and Ballads, by C. Fox Smith, 1923 Roll and Go: Songs of American Sailormen, by Joanna C. Colcord, 1924 Sea Chanties, by Geoffrey Toye, 1924 Songs of the Sea and Sailors Chanteys, by Robert Frothingham, 1924 Ballads and Songs of the Shanty- Boy, by Franz L. Rickaby, 1926 The Shanty Book Part II, R.R. Terry, 1926 The Seven Seas Shanty Book, by John Sampson, 1927 A Book of Shanties, by C. Fox Smith, 1927 Salt Sea Ballads, by R.R. Terry, 1931 American Sea Songs and Chanteys, by Frank Shay, 1948 Shantymen and Shantyboys: Songs of the Sailor and the Lumberman, by W.M. Doerflinger, 1951 The Shell Book of Shanties, 1952 Sea Songs of Sailing, Whaling and Fishing, by Burl Ives, 1956 Shanties from the Seven Seas: Shipboard Work- Songs from the Great Days of Sail, Stan Hugill, 1961 Sailo's Songs and Shanties, by Michael Hur, 1965 Shanties and Sailors's Songs, by Stan Hugill, 1969

[never-was-has-been]

On 31 May 1927, Fred Trump, the father of US president Donald Trump, was arrested at a rally of the Ku Klux Klan in Queens, New York. He was initially arrested for "refusing to disperse" along with six other people after the rally descended into disorder. The Long Island Daily Press reported that all seven arrestees were wearing Klan robes. After Donald Trump was endorsed by David Duke, the former grand wizard of the Ku Klux Klan, Trump was questioned about his father's arrest. Donald claimed to journalist Jason Horowitz that "it never happened", despite it being reported in several newspapers. When Horowitz asked Trump if the address reported for his father in the newspapers, 175-24 Devonshire Rd, was accurate, Donald dismissed it as "totally false". However Fred Trump's wedding announcement in the Daily Press listed his address at 175-24 Devonshire Rd. Fred Trump was subjected to legal action by the Justice Department on multiple occasions for racist behavior as a landlord, and one of his former tenants, folk singer Woody Guthrie once wrote in a song mentioning Trump: "I suppose / Old Man Trump knows / Just how much / Racial Hate / He stirred up".