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jpbjazz · 13 days ago

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LÉGENDES DU JAZZ

DOC CHEATHAM, QUOI DE NEUF, DOCTEUR ?

''I'm almost the last of the line. I've talked to kids who come to hear us who don't even know who Louis Armstrong is. But they listen. 'How do you do that?' they'll ask. 'That's beautiful,' they'll say. When I'm gone, it'll be just about over, my kind of playing. It will be as if it hadn't existed at all, as if all of us hadn't worked so long and hard.''

- Doc Cheatham

Né le 13 juin 1905 à Nashville, au Tennessee, Adolphus Anthony Cheatham était le fils d’un barbier et d’une institutrice. Le père de Cheatham était d’origine autochtone, et descendait des Choctaws et des Cherokees qui s’étaient installés dans le comté de Cheatham, au Tennessee.

Cheatham s’était familiarisé avec le jazz en écoutant des disques et en assistant aux concerts des groupes qui étaient de passage à Nashville à la fin des années 1910. Cheatham avait commencé à jouer de la batterie à l’âge de quinze ans, avant de passer au saxophone et au cornet. À l’adolescence, Cheatham avait suivi ses premiers de cours de trompette auprès du professeur N.C. Davis de l’Université Fisk, une université réservée aux gens de couleur.

DÉBUTS DE CARRIERE

Cheatham avait amorcé sa carrière dans les années 1920 en jouant de la trompette et du saxophone soprano dans la fosse d’orchestre du African American Vaudeville Theater de Nashville. Il avait par la suite fait partie d’un groupe qui accompagnait les chanteurs de blues sur le circuit de la Theater Owners Booking Association (il avait joué notamment avec Bessie, Mamie et Clara Smith ainsi qu’avec la chanteuse de jazz Ethel Waters). Comme Cheatham l’avait expliqué dans le cadre d’une entrevue accordée à Whitney Balliett du magazine Down Beat, ''Clara Smith was twice as powerful as Bessie. She shook the rafters. And she was rough. You better not make one mistake when she came off the train tired and mean and evil.'' Au cours de cette période, Cheatham avait également fait partie d’un petit groupe qui se produisait au Meharry Medical College. C’est d’ailleurs à cette époque que Cheatham avait acquis son surnom de ‘’Doc’’. Il expliquait: ''My parents didn't care for my becoming a musician at all. I think they hoped I'd somehow study to be a doctor [en réalité un pharmacien], because I used to play in a little band over at the Meharry Medical College, which is how I got my nickname.''

En 1924, Cheatham était déménagé à Chicago et avait commencé à jouer avec des groupes locaux comme les Synco Jazzers de John Williams. Il avait fallu du temps à Cheatham pour faire sa marque à Chicago, où il avait vécu dans une petite chambre avec cinq autres musiciens.

Même si Cheatham avait d’abord été influencé par Henry Busse et Johnny Dunn, il avait eu une véritable révélation après avoir entendu jouer King Oliver, où il était déménagé en 1924. Oliver avait d’ailleurs fait cadeau à Cheatham d’une sourdine, qu’il avait conservée comme un trésor et avec laquelle il avait joué pour le reste de sa carrière. Cheatham avait eu une nouvelle révélation l’année suivante lorsque Louis Armstrong était retourné à Chicago. Cheatham avait d’ailleurs déjà travaillé avec l’épouse d’Armstrong, Lil Hardin. Armstrong avait influencé Cheatham durant l’ensemble de sa carrière, et l’avait décrit comme une sorte d’Albert Einstein de la musique. Commentant sa collaboration avec Armstrong, Cheatham avait déclaré avec humour: ''Louis would give me gigs he couldn't make.’’ Cheatham avait d’ailleurs obtenu une des grandes chances de sa carrière en remplaçant Armstrong dans le groupe d’Oliver, car le trompettiste avait un autre engagement avec le groupe d’Erskine Tate. Cheatham admirait tellement Armstrong qu’il avait appris ses solos par coeur. Des années plus tard, Cheatham avait déclaré qu’il ne se passait pas une journée sans qu’il fasse jouer un des disques d’Armstrong.

Cheatham avait éventuellement franchi une étape déterminante dans sa carrière lorsqu’il avait décidé d’apprendre à lire la musique. Comme Cheatham l’avait expliqué plus tard au cours d’une entrevue accordée au magazine Down Beat, "I was in {pianist} Charlie Johnson's band only one night. I was fired that same night [...]. I couldn't read the show music. So that's when I got busy down there. I found a teacher, Viola something."

Après avoir joué avec le groupe d’Albert Wynn et remplacé à l’occasion Armstrong au Vendome Theater, Cheatham avait enregistré avec la chanteuse de blues Ma Rainey (au saxophone). Après s’être installé à Philadelphie en 1927, Cheatham avait fait partie des groupes de Bobby Lee et de Wilbur de Paris (dans lequel il avait joué le rôle de second trompettiste derrière Sidney De Paris, le frère de Wilbur). Décrivant Wilbur de Paris comme un homme dur et même un peu radin, Cheatham avait précisé: ''I lived at his house, and he charged me for rent and food. He kept a file on all the extra biscuits I ate.''

Cheatham était déménagé à New York l’année suivante et avait formé son propre groupe. Après un bref séjour dans le groupe de Chick Webb, dans lequel il s’était produit aux côtés du trompettiste Jabbo Smith (qu’il avait décrit comme ‘’faster than Louis and seemed even greater to me''), Cheatham avait fait une tournée en Europe avec le groupe de Sam Wooding.

Rentré aux États-Unis en 1930, Cheatham avait joué avec Marion Handy avant de rejoindre Rex Stewart et Joe Smith dans la section des trompettes des légendaires McKinney's Cotton Pickers. Décrivant le groupe comme une grande école, Cheatham avait commenté: ''It was like a college of jazz.’’

En 1931, sur la recommandation de Benny Carter, Cheatham était devenu le principal trompettiste soliste de l’orchestre de Cab Calloway avec lequel il était demeuré jusqu’en 1939. Cheatham, qui admirait grandement Calloway, avait été impressionné par ses talents de ‘’showman’’ ainsi que par l’attention qu’il accordait au moindre détail. En 1931, Cheatham avait aussi étudié durant six mois avec Max Schlossberg. Cheatham, qui avait énormément d’estime pour Schlossberg, avait commenté: "I approached the topic, at Sweet Basil's, because his tone was like Schlossberg's; I had heard Schlossberg, my grand uncle, play once, at home, in 1936."

En 1939, Cheatham avait été victime d’une mystérieuse maladie qui l’avait contraint de mettre sa carrière sur pause durant quatre ans. Après avoir avoir obtenu son congé de l’hôpital, Cheatham était parti en Europe pour récupérer. À son retour aux États-Unis, Cheatham avait joué brièvement avec les orchestres de Teddy Wilson et Benny Carter, mais sa santé étant toujours précaire, il s’était retiré de la scène et avait travaillé durant un certain temps pour le Service des postes. Revenu sur scène en 1943, Cheatham s’était joint au sextet de Eddie Haywood, qui était alors un des petits groupes les plus respectés de New York, et avec qui il avait commencé à attirer l’attention pour la qualité et le lyrisme de ses improvisations. Il avait aussi joué avec Teddy Wilson, Fletcher Henderson, Claude Hopkins et Benny Carter.

Après la Seconde Guerre mondiale, à la suite de la perte de popularité des big bands, Cheatham avait commencé à travailler régulièrement avec des groupes de jazz latin de New York, incluant ceux de Perez Prado, Marcelino Guerra, Ricardo Ray et Machito. Au cours de son premier séjour avec le groupe de Machito, Cheatham avait été congédié parce qu’il ne maîtrisait pas le rythme de la clave, un instrument de percussion d’origine africaine. Tout en continuant de jouer avec des groupes de jazz latin, Cheatham s’était de nouveau produit avec Wilbur de Paris et le pianiste Sammy Price. Dans les années 1950, il avait aussi joué avec le tromboniste Vic Dickenson �� Storyville, un club de Boston qui était la propriété de l’impresario George Wein.

En 1957, Cheatham avait fait une apparition dans l’émission de télévision ‘’The Sound of Jazz'' diffusée sur le réseau CBS. Participaient également à l’émission des trompettistes légendaires comme Rex Allen, Rex Stewart, Joe Wilder, Joe Newman et Roy Eldridge. Même si Cheatham avait refusé d’interpréter le moindre solo sous prétexte qu’il n’était pas vraiment un artiste, il avait accepté d’accompagner la chanteuse Billie Holiday sur la chanson ''Fine and Mellow''. L’enregistrement était éventuellement devenu un grand classique.

En 1959, Cheatham avait fait partie du groupe d’Herbie Mann dans le cadre d’une tournée en Afrique financée par le Département d’État. D’une durée de quatorze semaines, la tournée s’était amorcée le 31 décembre 1959 et s’était terminée le 5 avril 1960. L’alignement du groupe comprenait Mann à la direction, à la flûte et au saxophone, Johnny Rae au vibraphone et aux arrangements, Don Payne à la contrebasse, Cheatham à la trompette, Jimmy Knepper au trombone, Patato Valdés aux congas et Jose Mangual aux bongos. La tournée avait permis de visiter plusieurs pays d’Afrique, dont la Sierra Leone, le Liberia, le Nigeria, le Mozambique, la Rhodésie, le Tanganyika, le Kenya, l’Éthopie, le Soudan, le Maroc et la Tunisie.

Après avoir formé son propre groupe à Broadway en 1960, Cheatham était parti en tournée durant cinq ans avec Benny Goodman. À la fin des années 1960, Cheatham avait été de plus en plus reconnu comme improvisateur et avait fait de nombreuses apparitions dans les clubs, les salles de concert et les festivals de jazz à travers le monde.

DERNIERES ANNÉES

Cheatham était dans la soixantaine avancée lorsqu’il avait décidé de quitter le groupe de Ricardo Rey afin de se réorienter vers le jazz. Après avoir formé un nouveau groupe, il avait participé à l’ouverture du Festival de jazz de Nice en France, ce qui avait contribué à relancer sa carrière sur la scène internationale.

Dans les années 1970, Cheatham avait fait de sérieux efforts pour améliorer son jeu. Il s’était même enregistré de façon à faire sa propre autocritique et à éliminer tous les clichés qui étaient toujours présents dans son jeu. Continuant toujours de se tenir informé des derniers courants musicaux, Cheatham écoutait tout autant les trompettistes de l’ancienne génération que de ‘’jeunes loups’’ comme Clifford Brown. Le perfectionnisme de Cheatham avait porté fruit et lui avait permis d’obtenir plus d’attention de la part de la critique. L’historien du jazz Phil Schaap expliquait: ''He was getting beat up every night by Benny Goodman, so Doc said, 'I've gotta be better.’’ It's as though Picasso had said: 'This guy Rembrandt is cutting me to ribbons. So I'm going into my garage for seven years and completely revamping my approach to art and craft' -- and then comes out with 'Guernica.'''

On dit souvent que si Cheatham avait arrêté de jouer dans les années 1970, il serait complètement tombé dans l’oubli, puisqu’il avait produit ses plus grandes oeuvres au cours de cette période. Un critique avait même déclaré avec ironie qu’il était le plus grand trompettiste de quatre-vingt-dix ans à avoir jamais enregistré !

Cheatham avait commencé à chanter un peu par accident. Le 2 mai 1977, lors d’un test de son au début d’une session d’enregistrement avec le groupe de Sammy Price, Cheatham avait commencé à chanter du scat sur la chanson "What Can I Say Dear After I Say I'm Sorry". Les résultats ayant été concluants, la prise avait été publiée sur l’album Doc Cheatham: Good for What Ails You. La chanson ayant été bien accueillie, Cheatham avait continué de chanter et de jouer de la trompette durant le reste de sa carrière. Comme vocaliste, Cheatham avait connu de grands succès avec des chansons comme ''My Buddy'', ''Cherry'' et ''I Guess I'll Get the Papers and Go Home''. Décrivant le style de Cheatham comme chanteur, le critique John S. Wilson du New York Times avait déclaré qu’il chantait ''with a twinkle in his eye and a twinkle in his voice.’’

Mais même s’il faisait partie des pionniers du jazz, Cheatham n’avait jamais eu de goût pour la nostalgie et avait continué d’innover. Même à l’aube de son quatre-vingt-dixième anniversaire de naissance, la vituosité de Cheatham dans les hauts registres était toujours aussi impressionnante. Après avoir éclipsé un jeune trompettiste dans un festival de jazz majeur, Cheatham s’était presque excusé en disant: ''Well, I'm sorry about that. But I'm going to keep doing it until I can't.'' Commentant son intérêt pour les solos, Cheatham avait précisé: ''Taking a solo is like an electric shock. First, I have no idea what I will play, but then something in my brain leads me to build very rapidly, and I start thinking real fast from note to note. I don't worry about chords, because I can hear the harmonic structure in the back of my mind. I have been through all that so many years it is second nature to me.’’ Cheatham avait ajouté: ''I also have what I think of as a photograph of the melody running in my head. I realize quickly there is no one way to go in a solo. It's like traveling from here to the Bronx -- there are several ways, and you must choose the right way immediately. So I do, and at the same time I never forget to tell a story in my solo.''

En 1980, à l’âge de plus de soixante-dix ans, Cheatham était devenu un incontournable du légendaire club Sweet Basil de Greenwich Village où il se produisait tous les dimanches après-midi. Il était aussi un régulier du JVC Festival (anciennement connu sous le nom de Festival de jazz de Newport), des concerts de jazz de Carnegie Hall et du Lincoln Center. En 1982, on avait rendu hommage à Cheatham dans le cadre de la série new-yorkaise Highlights in Jazz. Ses pairs musiciens lui avaient rendu un autre hommage en 1991 dans le cadre du JVC Festival.

Cheatham avait également recommencé à enregistrer. En 1993, il avait fait paraître The 87 Years of Doc Cheatham, un album enregistré avec son groupe de travail, un quartet qui comprenait Chuck Folds au piano. L’album comprenait des classiques comme “Blues In My Heart”, “Muskrat Ramble”, “Wolverine Blues” et “Miss Brown To You.” Au moment de l’enregistrement de l’album, Cheatham n’avait pas dirigé de session depuis 1972. Très actif à la fin de sa carrière, Cheatham s’était produit en tournée avec ses propres groupes tout en collaborant avec des groupes de salsa et de rock n’ roll, ainsi qu’avec le Lincoln Center Jazz Orchestra

Dans le cadre d’une de ses performances à La Nouvelle-Orléans, Cheatham s’était lié d’amitié avec le jeune trompettiste de vingt-trois ans Nicholas Payton. En 1996, le duo avait enregistré avec le pianiste Butch Thompson un CD intitulé Doc Cheatham and Nicholas Payton. Très bien accueilli par la critique, l’album s’était classé parmi les vingt meilleurs albums de jazz de l’année. Le critique Richard Harrington du Washington Post avait qualifié l’album de "cross-generational communion full of timeless verve and abundant joy." Payton avait décrit sa collaboration avec Cheatham de la façon suivante: "Doc has a strong sense of melody, and I like to play melodically. He knows how to play very strong and powerful, but he can play subtle, too. I'm the same way." Il avait ajouté: "Doc loves to call tunes that I don't know to really keep me on my toes. I'm just amazed that he's able to play as strong as he is at his age."

La performance de Cheatham sur l’album lui avait valu d’être mis en nomination pour deux prix Grammy dans les catégories du meilleur solo de jazz instrumental et de la meilleure performance de jazz instrumental par un individu ou groupe. Cheatham avait éventuellement remporté, mais à titre posthume, un prix Grammy pour le meilleur solo de jazz instrumental sur la pièce "Stardust" tirée du même CD. C’est la veuve de Cheatham, Amanda, et sa fille Alicia qui avaient accepté le prix en son nom.

Doc Cheatham est mort d’une crise cardiaque le 2 juin 1997 au George Washington University Hospital de Washington, D.C., à onze jours de son quatre-vingt-douzième anniversaire de naissance. La veille, Cheatham avait été victime d’une attaque dans sa chambre d’hôtel. Le président Bill Clinton et son épouse Hillary avaient été très attristés par le décès de Cheatham. "He inspired musicians and amazed fans with his timeless play’’, avait déclaré le président. Collaborateur régulier du New Orleans Jazz and Heritage Festival, Cheatham devait se produire le 28 juin lors de la dernière soirée du festival. Même si Cheatham avait des difficultés à marcher en raison de son arthrite, il avait toujours refusé de se déplacer en chaise roulante.

Cheatham avait continué de jouer jusqu’à deux jours avant sa mort. Cheatham, qui vivait à Manhattan, avait livré sa dernière performance au club Blues Alley de Washington. Ont survécu à Cheatham son épouse Amanda ainsi que sa fille Alicia. Cheatham avait été marié auparavant avec une danseuse du Cotton Club. Le couple avait eu deux enfants mais le mariage s’était terminé sur un divorce.

Trompettiste lyriste et élégant, Cheatham avait surtout travaillé comme accompagnateur et ne s’était vraiment fait connaître qu’à la fin de sa carrière. Il était cependant très respecté par ses pairs comme trompettiste soliste. Le style de Cheatham comme trompettiste et chanteur avait toujours reflété sa personnalité discrète, enjouée et très alerte. Très à l’aise devant une foule, Cheatham avait toujours eu le don d’utiliser son charme pour transmettre l’esprit et le contenu de sa musique. Le trompettiste Jon Faddis, qui s’était souvent produit aux côtés de Cheatham au cours de sa carrière, avait décrit ainsi l’influence que ce dernier avait exercée sur son jeu: ''The thing I learned from Doc was economy. When a musician reaches his 70's or 80's, every note becomes profound, and Doc was like that, each note had its own meaning.''

Conscient d’être un des derniers survivants de la période pionnière du jazz, Cheatham avait toujours ressenti le besoin de trasmettre le flambeau aux nouvelles générations. Comme il l’avait expliqué au critique Whitney Balliett du magazine Down Beat: ''I'm almost the last of the line. I've talked to kids who come to hear us who don't even know who Louis Armstrong is. But they listen. 'How do you do that?' they'll ask. 'That's beautiful,' they'll say. When I'm gone, it'll be just about over, my kind of playing. It will be as if it hadn't existed at all, as if all of us hadn't worked so long and hard.''

Cheatham était le grand-père du trompettiste, chanteur et producteur Theo Croker.

#jazz #french #history

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unrivaled-super-hottie · 5 years ago

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QZGS Masquerade 2019 Reveals

The guesses are in for Masquerade and now it’s time to reveal everyone! There were 22 guesses (+1 late guess I tossed in for fun), and one author remained unguessed throughout the whole event!

(Please note the collection will be de-anoned by 11/15 at 11:59 pm EST so if you still want to keep your fic on anonymous to the general public who doesn’t know about masquerade, please add it to the general anonymous connection on AO3 in addition to the masquerade collection)

Read below to see results/statistics for all the fics

(later on i realized i forgot to ask for a discord ID/ao3 name on the form but luckily I knew the first place at least)

First off for the guessers:

The one who guessed the most authors correctly: TheDefenestrator [ni(redacted)@gmail.com] with 16/21 correct guesses

Honorable Mention: Dayadhvam [da(redacted)@gmail.com] with 13/21 correct guesses

The average number of correct guesses was: 4.826086957

Median number of correct guesses: 4

Both of them left cool deductions so please check out the raw spreadsheet at the end of this post!

Now for the fic which will be revealed in order of most to least guessed

disclaimer: In my comments, when I said I guessed someone, I’m referring to my active speculation I made as I read a fic before I checked the form submissions. I did not actually make an official guess that was part of the statistics

Number of Correct Guesses: 9/21 (43%)

Most Incorrectly Guessed as: Lauchis and eloboosting (2 guesses each)

Correct Author: Battle_god_Ye_Xiu

Host Comments: Look i guessed this was you almost immediately because I saw Zheng Xuan tag + the words “soft family” (you like using soft a lot, with ur “uwu soft angst” )

Number of Correct Guesses: 9/22 (41%)

Most Incorrectly Guessed as: Autumn_Rain, DesertRain, Syncogon (2 guesses each)

Correct Author: desikauwa

Host Comments: Everyone said you have a really distinctive style and I agree, especially the paragraph length + dialogue. I enjoyed the rarer Fang Rui content!

Number of Correct Guesses: 8/22 (36%)

Most Incorrectly Guessed as: swanfrost (3 guesses)

Correct Author: Shirou_UOHS

Host Comments: Shirou I think your writing is really distinctive and I guessed you right away because you love sibling stuff and YOU LITERALLY DREW FANART OF THIS AND POSTED IT ON THE SERVER. SO SUSPICIOUS. I think you would have been guessed more, but kiri (desertrain) gave you some cover because both of you use “gege” in your fics and you were guessed a lot for the other fic.

(Also for the swan as most incorrectly guessed, RNG was 2/3 of those guesses so not as accurate..)

Number of Correct Guesses: 7/21 (33%)

Most Incorrectly Guessed as: fayah (4 guesses)

Correct Author: sakuchii

Host Comments: So many people guessed me for this one! Probably because Su Muqiu/Ye Xiu, jokes on you all I wouldn’t be that obvious. I didn’t guess this one to be you off the bat but apparently you had something stylistically distinct because a lot of people did correctly guess!

Number of Correct Guesses: 7/21 (33%)

Most Incorrectly Guessed as: syncogon (4 guesses)

Correct Author: Dayadhvam

Host Comments: Most people concluded that this fic was written by someone familiar with Chinese because of the references so I’m not surprised Synco was the most guessed. This was one of the fics I knew who wrote it almost immediately as I read it because Journey to the West references!! I remember one of the first posts I saw from you in the server was you explaining LJY’s old username. I laughed that your profile pic on discord this whole event was Innocent Eye Fang Rui, I wonder if that helped anyone guess/suspect?

Also can I say the dialogue for this was great and this was my favorite fic out of the masquerade

Number of Correct Guesses: 6/21 (29%)

Most Incorrectly Guessed as: Shirou_UOHS (5 guesses)

Correct Author: DesertRain

Host Comments: So many people guessed this off the usage of “gege” which was why Shirou was guessed so often! (Also Shirou under suspicion for Ye Twin fic I’m guessing) For the first 4 guesses you had a 100% guess rate even by RNG and it made me laugh a lot, congrats on not ending up as most guessed despite your early lead!. Also “no beta we die like su muqiu” is the best tag you win just for that

Number of Correct Guesses: 6/21 (29%)

Most Incorrectly Guessed as: Missing_Ninja_History (4 guesses)

Correct Author: eloboosting

Host Comments: I think this was one of the easier fics to guess because so few people in the fandom write porn. Gma (Missing_Ninja_History) was probably guessed the most because she recently posted TKA nsfw rare pair fic lmao. Also Tread (havingonlydreams) was guessed twice since she wrote nsfw hanzhang before. Zoe ( Battle_god_Ye_Xiu) tried to convince everyone this was possibly her fic but absolutely no one believed this except 1 random rng guess.

I may or may not have been converted to HanZhang by this fic.

Number of Correct Guesses: 5/21 (24%)

Most Incorrectly Guessed as: senata_isivelia (3 guesses)

Correct Author: qyff

Host Comments: I think your style was somewhat distinct but SO MANY people guessed you for another fic! Not one of the ones I was 100% sure of off the bat, but is it weird that I suspected you just for the triple question marks? haha

Number of Correct Guesses: 5/21 (24%)

Most Incorrectly Guessed as: Dayadhvam, qyff, and rimenorreason (2 guesses)

Correct Author: Swanfrost

Host Comments: I thought your summary style should have given you away so much more! The block quote + one line zinger is so you. Also I was happy to see so many good gen pieces for masquerade! The fluffy feelings here also vaguely reminded me of your other fic, I guessed you pretty much off the bat when entries were coming in

[From this point onward, we’ve reached the top 50% of well-hidden authors!!]

Number of Correct Guesses: 4/21 (19%)

Most Incorrectly Guessed as: DesertRain (4 guesses)

Correct Author: Missing_Ninja_History

Host Comments: This was another one of those fics I guessed off the bat because of your copious use of dashes and the “Happy birthday, Qiu.” near the end. That last part basically ruled out most of the more Chinese-knowledgeable writers. I also felt under 2k words would be a breeze for you so the early submission just gave me the strongest gut-feeling this was you. Felt so validated when I checked the forms and was correct haha

This was also a somewhat popular guess for the two authors that didn’t have previous fic history

Number of Correct Guesses: 4/21 (19%)

Most Incorrectly Guessed as: qyff (10 guesses)

Correct Author: qq_riri

Host Comments: So this was THE most successful fake-out fic out of the bunch, because qyff is so well known for liking MF + QYF. I just read from you that you did this on purpose and it worked so, so well /slow clap

Number of Correct Guesses: 4/21 (19%)

Most Incorrectly Guessed as: jellysunfish (4 guesses)

Correct Author: DancingBloomTKA

Host Comments: The way you formatted BOLDED poetic lines in between your storytelling was really obvious, even if you tried to hide it with adding the spacing lines. I think Jelly was guessed because they also do this, but you do single lines so I immediately suspected you!! I just didn’t expect you would join the event with IRL and stuff keeping you busy, I’m glad you did!

Also I totally noticed in the server you asked “Who’s the “Time to let my inner demons out” in Dying Flame? Li Xuan?” How shameless, asking about your own fic. I feel this should have made more people suspect you rather than throw them off, but alas I don’t think many people noticed this except me.

Number of Correct Guesses: 3/21 (14%)

Most Incorrectly Guessed as: swanfrost (3 guesses)

Correct Author: wackernagel

Host Comments: This was a really cool rarepair! Unfortunately it also was one of the things that outed you haha. That and you accidentally kinda said when you finished your fic and your wordcount woes and tried to bluff it off with editting but apparently some people remembered

Number of Correct Guesses: 3/21 (14%)

Most Incorrectly Guessed as: Missing_Ninja_History (6 guesses)

Correct Author: Lauchis

Host Comments: This was the third most misdirected fic. Maybe because Gma (Missing_Ninja_history) wrote Wu Xuefeng rarepair before? I like how you stole Tread’s headcannon post but Tread (havingonlydreams) was suspected for so many other fic instead that everyone just chose to blame Gma. Also thank you for using the title I was trying to bait people into using!! Unfortunately we only fooled one person with this :(

Number of Correct Guesses: 3/21 (14%)

Most Incorrectly Guessed as: senata_isivelia and DancingBloomTKA (4 guesses)

Correct Author: rimenorreason

Host Comments: Since you and Senata both had no fic history, a lot of people actually did tend to guess which two fics you two wrote but mixed up the correct order haha. I didn’t guess this one right at all tbh :’D

[From this point onward, we have the top 25% most well hidden authors]

Number of Correct Guesses: 2/21 (10%)

Most Incorrectly Guessed as: lauchis (4 guesses)

Correct Author: Fayah

Host Comments: This was mine! I did a few things to throw people off - I never wrote Tang Rou before so I picked her as a subject. I just rushed this in 24 hours and hoped that was enough to make my writing not sound so much like myself. I also never use long (parenthesis) lowercase titles so I hoped that it helped throw some people off too. Vaguely I tried to implicate Syncogon because she wrote WangRou before and the lyrics were from the TKA live action which I haven’t watched but she has posted about listening to the OST repeatedly.

I never expected lauchis (who also ships wangrou) to join the event and give me even MORE cover. Thanks lauchis :)

Number of Correct Guesses: 2/21 (10%)

Most Incorrectly Guessed as: Fayah and Autumn_Rain (3 guesses)

Correct Author: Syncogon

Host Comments: This was really obvious to me and I was surprised it wasn’t guessed more because you’ve actually written fem!YX fic?? And talked about this fic in the server. YOU’VE ALSO LITERALLY USED THE “Alternate Universe - Always a Different Sex“ TAG BEFORE!!!!!! This guess rate is a true miracle, this wins the “most surprised that it wasn’t guessed more.” Maybe because you have 41 fic and people gave up before going to page 3 and seeing your very first fic that was fem!YX

Number of Correct Guesses: 2/21 (10%)

Most Incorrectly Guessed as: Battle_god_Ye_Xiu, qq_riri, sakuchii (3 guesses)

Correct Author: senata_isivelia

Host Comments: I figured you would do well since you had no other fic. I also helped secretly beta this fic though I don’t know if that actually would have affected people’s guesses. Not surprised that Zoe (Battle_god_Ye_Xiu) got guessed frequently for this because YuHuang. One of the times you got correctly guessed was from RNG but I’m really surprised someone did guess you accurately!

Number of Correct Guesses: 1/21 (4.8%)

Most Incorrectly Guessed as: fayah (4 guesses)

Correct Author: havingonlydreams

Host Comments: I’m so surprised everyone thought I wrote Liu Hao fic??? I’m honored because I enjoyed the perspective, but still baffled. Tread, I’m really disappointed you weren’t 2nd place because you really deserve it - you had some Zhang Jiale level luck in this event. The one person who guessed you cited RNG as their reason.

Number of Correct Guesses: 1/22 (4.5%)

Most Incorrectly Guessed as: havingonlydreams (8 guesses)

Correct Author: Autumn_Rain

Host Comments: This is probably the strongest accidental masquerade misdirection that happened because I know you had no clue Tread (havingonlydreams, who is strongly associated with Thunderclap) would participate. I did not expect to see/read this pairing but it was a really fun fic!

Only one person (Fenes/The Defenestrator) guessed correctly and saved my ass from having a two-way tie for first. Congrats on the Zhang Jiale award!

Number of Correct Guesses: 0/22

Most Incorrectly Guessed as: Autumn_Rain (5 guesses)

Correct Author: jellysunfish

Host Comments: Our masquerade winner! I think your spacing made people think Autumn_Rain. I definitely couldn’t pin you down either, so congrats! I’ll DM you when I start working on the art :)

[Raw Data Spreadsheet + Deductions if guesser chose to include]

[Raffle Ticket List]

And the winner of free Nitro is Syncogon!

Thank you so much to everyone who participated! I hope you had fun. Also feel free to slide me your feedback/suggestions/if you would be interested in doing this again next year :)

#QZGSMasquerade2019 #quanzhi gaoshou #the king's avatar #qzgs #tka #qzgs masquerade

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pknexgenshop · 3 years ago

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aion-rsa · 4 years ago

Text

Who Was Ma Rainey’s Real Band?

https://ift.tt/3nIVe9F

Ma Rainey’s Black Bottom is one of those rare films with only one major setting: a Chicago recording studio in 1927. The entire film, and the play it was based on, tells the story of four backing musicians waiting for Madame “Ma” Rainey (Viola Davis) to arrive and cut some sides. According to the label on the 78, Rainey’s 1927 recording of “’Ma’ Rainey’s Black Bottom” and her remake of “Moonshine Blues” of that year was done by “Ma” Rainey and her Georgia Jazz Band.

The Musicians

There are no session notes on the musicians who played on the title song of the Netflix film. Indeed, when Den of Geek sat down with the cast of Ma Rainey’s Black Bottom actor Glynn Turman told us, “We found photographs of her band members, but that was the closest and most detailed information that we had. Not so much as any particular story about any one of the band members, but we did see photographs of the groups, and the sometimes different groups.”

However, Ragtimedorianhenry.com does at least list three of the four musicians who backed Rainey on her ode to bootleg hooch. Albert Wynn played the tuba, which was translated into the upright bass for the film. The bassist in the film is named Slow Drag (Michael Potts), and according to a synopsis for the play it’s based on, Slow Drag got his name from a gig where he slow-danced with women for hours for money. Conversely, low register horn player Wynn fronted many of his own bands: Al Wynn And His Gutbucket Five, Al Wynn’s Gutbucket Seven, Albert Wynn’s Creole Jazz Band, as well as filling a seat with Fletcher Henderson and His Orchestra.

The clarinet player on the record is Artie Starks, a steady reedman who played with outfits like Albert Ammons and His Rhythm Kings, Preston Jackson’s Uptown Band, Richard Jones and His Jazz Wizards, and Starks Hot Five.

Levee (Chadwick Boseman) is the “talented and temperamental trumpet player” of the band, according to the playbill. He is the youngest, and is doing time playing in Rainey’s group until he can put together his own band. The cornet player on the actual recording is Shirley Clay.

Clay started playing when he was a teenager in St. Louis, Missouri, sometime around 1920. His early gigs included touring with John Williams’ Synco Jazzers. By the late 1920s and through the 1940s, he was a sought-out session player, backing artists like Billie Holiday, Cab Calloway, and The Mills Brothers, and swinging with Benny Goodman. He led his own band from 1944 to 1951.

The piano player is listed as unknown. While Rainey also worked with pianists Claude Hopkins and Willie “the Lion” Smith in this period, based on the date of the recording sessions, the pianist was probably Lillian Hardaway Henderson, the wife of cornetist Fletcher Henderson, who became the leader of Rainey’s band. The play synopsis says guitar and trombone player Cutler (Colman Domingo) is the leader of all the other instrumentalists.

The film and play’s piano player is Toledo (Glynn Turman), who doubles as the band philosopher. He loves books and believes style and musicianship are the main contributors to performance. Rainey’s pianist also loved to read, and preferred musicians who could read notation.

Thomas A. Dorsey was also Ma’s manager, and musical arranger. He spotted the talent for Rainey’s touring ensemble, the Wild Cats Jazz Band. The musicians played blues, but also performed written sheet music for contemporary jazz numbers. Dorsey entered Rainey’s world in 1924. He left the touring band in 1926, but is credited in later sessions, including her last in 1928, for the songs “Black Eye Blues,” “Runaway Blues,” and “Sleep Talking Blues” with guitarist Hudson “Tampa Red” Whittaker.

“Georgia Tom” Dorsey is best known as “the father of Gospel music,” writing 3,000 songs, including “Peace in the Valley,” and working with legends like Mahalia Jackson.

Most of “Ma” Rainey’s songs were recorded under the name of “Ma” Rainey and her Georgia Jazz Band, which changed personnel frequently. It included such musicians as trombone players Wynn, Kid Ory, and Charlie Green and Al Wynn; reed players Don Redman, Buster Bailey, Coleman Hawkins, and Johnny Dodds. Rainey was also backed by pianist Jimmy Blythe and blues guitarist Blind Blake, as well as 12-string guitar player Miles Pruitt on the August 1924 eight-bar blues song “Shave ‘Em Dry.” Rainey was backed by trumpet players Tommy Ladnier, Artie Starks, Joe Smith, and Louis Armstrong.

Armstrong played cornet on her songs “Yonder Comes the Blues,” “Jelly Bean Blues,” “Moonshine Blues,” and “Countin’ the Blues.” When Rainey recorded her blues masterpiece “See See Rider Blues” in a New York studio in mid-October 1924, the lineup was Armstrong and Buster Bailey on cornet, Henderson on piano, Charlie Green on trombone,and Charlie Dixon on banjo. Armstrong never knifed anyone over a pair of shoes, but he kills on those songs.

The Studio

The sign outside the studio in Ma Rainey’s Black Bottom says the label is Hot Rhythm Recordings, a play on a nickname for the “rhythm and blues” and jazz music of that era. In truth, however, Rainey recorded with Paramount Records between 1923 and 1928. Formerly known as Black Swan, the company was founded in 1920, and was the second Black-owned record label in history. It was bought out in January 1924, by M. A. Supper, changing it to a white-owned company. But its output throughout both eras was called “race records,” and they made bank.

“Ma” Rainey was immensely popular in the Southern theater circuit. She’d been a popular solo performer before she teamed with her husband William “Pa” Rainey, forming together the “Assassinators of the Blues.” In 1916, Rainey separated from her husband and toured with her own band, Madam Gertrude “Ma” Rainey and Her Georgia Smart Sets. Her tent shows featured a chorus line, a Cotton Blossoms Show, and Donald McGregor’s Carnival Show. Talent scout and recording session supervisor Mayo “Ink” Williams brought her in for her first Paramount recordings in 1923, three years after the first blues singles were recorded by Mamie Smith.

Williams was the first Black producer at a major record label, and the most successful blues producer of his time. He earned his nickname because he was very successful getting African American musicians signed to recording contracts. He’d move on to Decca Records in 1934 where he produced or wrote songs for a wide range of artists and genres, including jump blues, which became rock and roll.

Rainey was 37 years old when she signed with Paramount in December 1923. Rainey wrote 38 of the 92 songs she recorded, and her first session was recorded with Lovie Austin and Her Blue Serenaders. She and Lovie also recorded with Louis Armstrong for the label.

Bigger genre labels like Okeh Records and Columbia Records, where Bessie Smith was signed, had much better studios. This complaint makes it into Ma Rainey’s Black Bottom several times, especially when a perfect performance never makes it through the needle because of a faulty microphone. Sound quality for most of Rainey’s recordings suffered at Paramount. The company went bankrupt in the 1930s.

While recording at Paramount, the studio did arrange a very successful promotional tour. Ma Rainey’s Black Bottom includes scenes from Rainey’s run at the renowned Grand Theater on State Street in Chicago. Rainey was the first country-style blues artist to play the venerable room. This context is something the movie explores at length.

Culture

Ma Rainey’s Life and Reign as the Mother of the Blues

By Tony Sokol

Movies

Ma Rainey’s Black Bottom Ending Explained

By Tony Sokol

About that Windy City setting, Turman also tells us, “You got to remember, there had just been a race riot in Chicago [before the movie is set] because a young Black boy had gone swimming in the lake there. And there was a section that he was not supposed to cross as a result of the discrimination. And so they would not let him swim back to shore and he drowned… so we had to forge these characters with a certain amount of steel in their backbone, because these were guys who were going into an area that anything could happen to them at any time.”

Over a period of five years, Rainey performed and recorded with her Georgia Jazz Band, her Tub Jug Washboard Band, and female bandleader and jazz pianist Lovie Austin and the Blues Serenaders.

As the movie points out, Rainey never stopped performing live. “Ma” toured with her Wild Jazz Cats on the Theater Owners Booking Association circuit consistently. The recordings were secondary, after all the sessions. “Ma” Rainey stayed on the road until she retired, and even then, she ran two theaters.

Ma Rainey’s Black Bottom premieres on Netflix now.

*Additional reporting by Don Kaye.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

The post Who Was Ma Rainey’s Real Band? appeared first on Den of Geek.

from Den of Geek https://ift.tt/37FVHEd

#aion-rsa #Den of Geek

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syncogon · 5 months ago

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szeth son son vallano truthless of shinovar wore white on the day he was to kill a fuckass bitch

#stormlight archive #synco talks #and so the shitposts continue #just reached row prologue on my reread...

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demcrumblies · 4 years ago

Video

youtube

Synco M3 Microphone Review - Good Results In A Light-Weight Package

The Synco M3 microphone is a cardioid microphone that can be used for both your camera or cellphone. The package comes with a TRS cable for cameras and a TRRS cable for cellphones. This mic is powered by 2X Triple AAA batteries and lasts for around 30 to 50 hours if you are not monitoring audio.

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benjamin-vague · 7 years ago

Text

The Truth And The Secret

This place so laden with the perfumes of old ages

Which ghosts sometimes commandeer to manifest

Scent-shapes; flocking, mocking, always talking.

I hear them even in my sleep.

They clamor ‘round as about a table

To discuss this their latest feat:

To bring him low, the Worded One,

To render bitter what once was sweet,

This craft of his to work storied cities

Of worded stories which so softens

Them in the deeps.

“He lies, you know!”

“Or he tells but the half!”

“Yes, but which half? His half, or the truth?”

“None of it!”

And so it goes about the table, these

Synco-syllabic sycophants to their own

Simmering grudges, for from them I took the prize

Of all conquerors: that which of the truth

I most admired. And of the last left

I discarded, derided,

And by the act to perfumed scent-shapes

Gave real Shape. Now they clamor, haunt, and rile,

As envenomed snakes from snouts of beasts,

Which from bilious lips gave pilloried testimony,

Demanding truth where I had forged

Whimsy and the pallid beauty of word-sense

Out of non-sense. Demons, these, and devils proud,

Grown tall from earth to towered cloud,

Demanding their due as is their due,

But they don’t understand...

What I have written I can’t now make untrue.

I’ve lost the thread back to those times

When from word and from rhyme

I crafted chaos to lines to leave

Bloodletting behind. This was my concession, you see--

To write or to cease--

Though true it was only a concession for me;

I gave what I could of bloodied prose a more magnificent face,

Substituted fact for fancy with a more pleasing face.

Of blood-hurt I made moonblossoms

And of rape I merely aped as wise old jesters do

To enamor the truth of a more becoming shape.

Of abandonment I spoken only of dark wings at dusk,

Beating ‘cross waters and casting through dust.

And the shame of it is, that now is the Shape.

I remember not the truth, not as they’d have it;

I remember only these baubles I spun ‘cross my webbing

And that, I’m afraid, is the dearest of all:

An untruth-y truth all of my own

That will still glister and glisten

When no new dawn will be flown.

So call me no more, fickle scent on the air,

Nor haunt my sleep; the truth and the secret

Are both mine to keep. And while I commend that it might

Not be totally fair, the face I have crafted is more fairest than theirs.

Besides, my memory-ghosts, my scent-shadows,

My creepers-at-midnight and singers-in-moonlight,

Your threats are as incense

For you’re not really there.

Sleep.

Sleep now.

Sleep.

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samanthasroberts · 6 years ago

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The Roots of Punk Drinking Songs

The last time we looked at drinking songs we divided them into two kinds, the upbeat, celebratory hymn to Bacchus and the introspective, dirge-like ode to alcohol as (to quote Homer—the Springfield one, not the ancient Ionian) “the cause of, and solution to, all of life’s problems.”

Our choice for the greatest drinking song of them all, Roger Ferris’s “The King is Gone (So Are You)” as cut by the mighty George Jones, fell firmly in the latter category, as do many of the greatest drinking songs. But the Bacchic hymns, packed as they are with exhilaration, disorder and anarchic freedom, have their moments, too.

Many of those moments are found in a subdivision of the category, the one devoted not to praising alcoholic beverages collectively or individually or to extolling drunkenness in general, but rather to celebrating and chronicling one particular drinking session. Call it—to use German, the language of genre theory and excessive drinking—the Sauforgienepos; the “swill-session epic.”

There are countless fine examples of the genre, from the Hibernian hilarity of the Dubliners’s “Finnegan’s Wake” (as cited in our previous article) to Virginia O’Brien’s jaunty toe-tapper, “Did I Get Stinkin’ at the Club Savoy,” from the 1942 film Panama Hattie, to “Drunk,” Jimmy Liggins’s monumental military-spec floor-pounder from 1953.

My favorite example, however, is “Peter and Paul,” a 1931 rarity by the Gene Kardos Orchestra that is both hotter than a shot of upcountry corn shine and also one of the weirdest songs ever recorded. The weirdness lies not in the music itself, the instrumentation or even the performance, but rather in the fact that it was recorded at all. Read the lyrics, given here in full, and you’ll see what I mean.

One summer day it came to pass

That Peter and Paul upon an ass

Went up to town to take a glass

And bum around Jerusalem

O Jerusalem,

Jerusalem the golden!

Then Peter started falling in:

“Come on, let’s have a hooker of gin.”

“Brother,” says Paul, “it would be a sin

To liquor in Jerusalem.”

O Jerusalem, etc.

But when they got into the bar,

Says Paul, “O look, Pete, here we are—

We must have followed the Hennessy star*

Instead of that of Bethlehem.”

[*Until the 1960s, a Cognac’s age was generally indicated by the number of stars on the label—ed.]

O-o Bethlehem, etc.

The barmaid had an ankle neat;

It soon began to get to Pete,

He grabbed her right behind the seat—

The seat of old Jerusalem.

O Jerusalem, etc.

Says Peter, “Paul, I have a notion:

Time to tend to my devotion.”

Says Paul, “you’re rolling like an ocean—

You’re all wet in Jerusalem.”

O Jerusalem, etc.”

Indeed. It’s not often you encounter scurrilous fanfic about the Apostles. What gives?

About the song itself, little is known. It was copyrighted—or at least the melody was—in November, 1931, by one “F. Arnold.” The label of Kardos’s recording—the only one the song has ever received—expands that “F” to “Florence.” After extensive searching, I believe that this is also the only song Florence Arnold ever copyrighted or published.

As to who she was, besides an impressive wiseass, I cannot say. There was a Florence Arnold, alias “the Irish nightingale” and “the blonde pony,” who sang and danced in vaudeville in the 1900s and 1910s and then married Charles Koster, the king of American circus publicists. Koster was a famous wiseass himself, and it wouldn’t be surprising if he married another one, but beyond that there’s no proof we’re talking about the same Florence Arnold or even if that was the composer of the song’s real name.

We know a little more about the song’s performers. Yugin “Gene” Kardos (1899-1980) is not one of the great names in jazz. He was neither a paradigm-shifting soloist nor a brilliant composer nor a flamboyant, larger-than-life personality. He was a Hungarian Jewish kid born and raised on the then-tough Upper East Side of Manhattan who lived with his parents. He talked with a thick, dese-dem-and-dose New York accent and had worked as a bookkeeper. But he could play the violin and the saxophone and he knew how to lead a band; how to keep it together; how to focus its energies; how to make sure everyone zigged when they were supposed to zig, zagged when they were supposed to zag, and went BRAP! BRAP! BRAP! with their horns precisely when they were supposed to go BRAP! BRAP! BRAP!

On the strength of that, Kardos got his Orchestra—any band too big to fit in the back of a taxi was an “orchestra” back then—a long-running gig at the Gloria Palast, a German dance hall on East 86th St., a contract with Victor records and a weekly half hour on national radio. In the depths of the Depression, that wasn’t nothing—indeed, those were the kinds of things that made most normal bands who had them famous.

That didn’t happen with these guys, although at first glance, Kardos’s band seemed perfectly normal. In its instrumentation, it was the standard eleven-piece dance band of its day. Two trumpets, a couple of guys who doubled on alto sax and clarinet, a tenor sax, a trombone, a rhythm section—banjo, tuba, piano and drums—and, of course, Kardos, who mostly waved a baton.

Most of the band’s material was pretty standard, too, at least on record: the way things worked, the A&R guy gave you the song and you played it, and most of those songs were corny, “synco-pep” (as it was sometimes called) dance numbers with novelty “vocal refrain.” For records, Victor even teamed the band up with Dick Robertson, their A-list vocal refrain-suppliers and a star in his own right.

It should have worked. I can’t say why it didn’t, but I think the recording session Gene and the boys held on October 23, 1931; the one where they cut “Peter and Paul,” gives us a pretty good clue, as does a band photo taken eight days later. The photo, which can be seen here, was admittedly taken on Halloween. But the band, although dressed in suits like everyone back then, come off as a bunch of stone punks.

One guy’s drinking a beer, a couple appear to be munching on sandwiches, all are disheveled and there is a disconcerting number of flat, “yeah, so?” stares into the camera, including from Kardos. The guy next to him, trumpeter Sid Peltyn, who appears drunk (and he’s not the only one) is pointing a toy gun at his head and leaning on a cane. He had the cane because he got shot in the leg during an affray at the Gloria Palast a few weeks before. Yeah.

During the session, they cut five songs, four of which were released. The one that wasn’t was a ditty called “Sweet Violets,” a novelty number where the verses set the listener up to expect the word “shit” only to have it replaced with “sweet violets.” Not funny, but indicative of the way things would go that day. I suspect the regular A&R guy, who was supposed to keep a tight leash on the proceedings, was hungover or out with the flu that day. In any case, the band did at least plod its way through an utterly forgettable ballad of the most commercial sort. But that left three songs: a college number, a thing called “You’ve Got to Sell It,” and our biblical Sauforgienepos.

They play “a Hot Dog, a Blanket, and You,” the college number, for laughs, throwing in a couple of made-up college cheers, one in a ridiculous falsetto (“Riddledy tiddledy tootsy toot / We are the boys of the institute / We are not rough, we are not tough, / But we are detoimined”). The other cheer, however, gives a clue to the amount of fuck you that the band, made up of nine Jews and two Italians, had in reserve:

Ikey, Moses, Jake and Sam

We are the boys that don’t eat ham

Baseball, football, swimming in a tank

We’ve got the money but we keep it in the bank!

At this point, Kardos closes things off by adding, in his East Side honk, “The only way to make us cheer / Is to give us back our prewar beer.”

“You’ve Got to Sell It” is a fast-tempo flag waver, as they used to be called, with the band riffing while Kardos explains the realities of the band business (“Now most people don’t know a good band when they hear it, good or bad / They most always say it’s the last woid when it’s really very sad … I’ve hoid some coahny bands who knock ‘em off theah seats / And I’ve seen Paderewskis kicked out in the streets”).

And finally, “Peter and Paul.” You don’t need electric guitars, leather jackets and bangs to play punk rock. With the right attitude, a mess of brass and reeds, a piano, a banjo and a drum kit will make plenty of noise. The blisteringly fast double time here, the chords punched out at maximum volume, the blaring trumpet solo, the shouted choruses, the scurrilous, even blasphemous subject matter, the drinking and the sex—pure punk. The Ramones didn’t come from nowhere.

Source: http://allofbeer.com/the-roots-of-punk-drinking-songs/

from All of Beer https://allofbeer.wordpress.com/2019/04/20/the-roots-of-punk-drinking-songs/

0 notes

adambstingus · 6 years ago

Text

The Roots of Punk Drinking Songs

One summer day it came to pass

That Peter and Paul upon an ass

Went up to town to take a glass

And bum around Jerusalem

O Jerusalem,

Jerusalem the golden!

Then Peter started falling in:

“Come on, let’s have a hooker of gin.”

“Brother,” says Paul, “it would be a sin

To liquor in Jerusalem.”

O Jerusalem, etc.

But when they got into the bar,

Says Paul, “O look, Pete, here we are—

We must have followed the Hennessy star*

Instead of that of Bethlehem.”

[*Until the 1960s, a Cognac’s age was generally indicated by the number of stars on the label—ed.]

O-o Bethlehem, etc.

The barmaid had an ankle neat;

It soon began to get to Pete,

He grabbed her right behind the seat—

The seat of old Jerusalem.

O Jerusalem, etc.

Says Peter, “Paul, I have a notion:

Time to tend to my devotion.”

Says Paul, “you’re rolling like an ocean—

You’re all wet in Jerusalem.”

O Jerusalem, etc.”

Indeed. It’s not often you encounter scurrilous fanfic about the Apostles. What gives?

Ikey, Moses, Jake and Sam

We are the boys that don’t eat ham

Baseball, football, swimming in a tank

We’ve got the money but we keep it in the bank!

At this point, Kardos closes things off by adding, in his East Side honk, “The only way to make us cheer / Is to give us back our prewar beer.”

from All Of Beer http://allofbeer.com/the-roots-of-punk-drinking-songs/ from All of Beer https://allofbeercom.tumblr.com/post/184327805242

0 notes

allofbeercom · 6 years ago

Text

The Roots of Punk Drinking Songs

There are countless fine examples of the genre, from the Hibernian hilarity of the Dubliners��s “Finnegan’s Wake” (as cited in our previous article) to Virginia O’Brien’s jaunty toe-tapper, “Did I Get Stinkin’ at the Club Savoy,” from the 1942 film Panama Hattie, to “Drunk,” Jimmy Liggins’s monumental military-spec floor-pounder from 1953.

One summer day it came to pass

That Peter and Paul upon an ass

Went up to town to take a glass

And bum around Jerusalem

O Jerusalem,

Jerusalem the golden!

Then Peter started falling in:

“Come on, let’s have a hooker of gin.”

“Brother,” says Paul, “it would be a sin

To liquor in Jerusalem.”

O Jerusalem, etc.

But when they got into the bar,

Says Paul, “O look, Pete, here we are—

We must have followed the Hennessy star*

Instead of that of Bethlehem.”

[*Until the 1960s, a Cognac’s age was generally indicated by the number of stars on the label—ed.]

O-o Bethlehem, etc.

The barmaid had an ankle neat;

It soon began to get to Pete,

He grabbed her right behind the seat—

The seat of old Jerusalem.

O Jerusalem, etc.

Says Peter, “Paul, I have a notion:

Time to tend to my devotion.”

Says Paul, “you’re rolling like an ocean—

You’re all wet in Jerusalem.”

O Jerusalem, etc.”

Indeed. It’s not often you encounter scurrilous fanfic about the Apostles. What gives?

Ikey, Moses, Jake and Sam

We are the boys that don’t eat ham

Baseball, football, swimming in a tank

We’ve got the money but we keep it in the bank!

At this point, Kardos closes things off by adding, in his East Side honk, “The only way to make us cheer / Is to give us back our prewar beer.”

from All Of Beer http://allofbeer.com/the-roots-of-punk-drinking-songs/

0 notes

lavondaanthony-blog · 7 years ago

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The Hosta A Cover Loving Perennial.

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