Music of War
Resources, Patriotism, Propoganda and Protest
First Nation Songs, Civil War, WW1, WW2, Military War music Patriotic, Protest and Union Songs
"U can't march off 2 war in 3 / 4" ~ Karen Ellis
The scrolls depicted ceremonial songs "concerning the most fundamental laws and needs of the [Ojibwe] people.
" A group of elders has confirmed that they are long-lost records of the Bois Forte lodge of the Midewiwin, or Grand Medicine Society, a selective Ojibwe religious order that preserved its rites on birch bark and was driven underground for most of the 20th century, when Indian religions were outlawed by the U.S. government. Experts who have studied similar scrolls say they most often contain "mnemonic," or memory-aiding symbols, to recall songs among a people with no written language. Similar scrolls were destroyed by missionaries and others during the century that the Midewiwin was outlawed.
Songs of War for America
There is a song that is played at all the state arrival ceremonies at the White House for foreign leaders but the monarch of Britain.
What song is it?
A: The special song is "Yankee Doodle"
It is a tradition for the Old Guard Fife and Drum Corps, a military band dressed in 18th-century colonial uniforms, to perform it while marching in front of the visiting foreign leaders.
However, because soldiers from the Thirteen Colonies used to sing it when they fought against the British armies for independence, the song will be spared in ceremonies for British kings and queens.
WHAT ARE THE REAL WORDS TO "YANKEE DOODLE?"
It depends what you mean by the "real" words. The lyrics that George Washington probably heard sung to the tune of "Yankee Doodle" are NOT the words now known around the world. The earliest known appearance of the common words relating to "pony, feather, and macaroni" is in James Orchard Halliwell's The Nursery Rhymes of England (London, 1842), p. 82. No earlier reference to these lyrics has been found. But Washington probably did know the chorus about minding the music and the step. It comes from the Boston area in 1775 and was set to the tune we all know. The song must have struck home because by 1830, over one hundred more topical lyrics were printed, sung to the same tune and using the same basic chorus. In the twentieth century, this chorus was added to the "macaroni" verse from 1842, making up the song we know today. Transcribed from a broadside in the Rosenbach Collection in Philadelphia, illustrated in Vera Brodsky Lawrence, Music for Patriots, Politicians, and Presidents: Harmonies and Discords of the First Hundred Years (New York: Macmillan Publishing Co., 1975), p. 61.
Music Has A National Character
Music has a national character Music: The international language - Summary
There seems to be something distinctly English about Elgar's Pomp and Circumstance march, which concert-goers accompany with a lusty rendition of the anthem Land of Hope and Glory. Music has a national character, says AniruddhPatel of the Neurosciences Institute in San Diego, California. Put simply, music echoes speech.
Patel and his colleagues came to this conclusion after comparing the rhythms and pitch variations of English and French music and speech, focusing on the classical music of the late 19th and early 20th centuries. This was a time when many composers were actively seeking to express their own nationality, so national musical characteristics might be expected to be particularly prevalent. Patel and his colleague Joseph Danielestarted their analysis by looking at rhythm. The rhythms of everyday speech are notoriously hard to codify, but there is a measure called the normalised pairwise variability index (nPVI), devised by linguists Esther Grabe of the University of Oxford and her colleagues Low Ee Ling and Francis Nolan. This index measures the variation in length between successive vowels in a spoken phrase. Grabe and others have shown that the average nPVI of British English is significantly higher than that of French. That is, adjacent vowels in English tend to have rather different durations - long and then short, say - whereas in French the durations are more similar.
So can the same pattern be seen in musical rhythm? When Patel and Daniele examined the patterning of note duration in their music samples, they saw no clear national bias in nPVI among individual composers, but when they averaged the values for all composers from each country, they found a significant difference. As with speech, the nPVI of the English music was higher than that of the French selection.
Pitch proved more difficult to analyse. Linguist Piet Mertens of the Catholic University of Leuven (KUL), Belgium noted that the pitch perceived by listeners for a given syllable is largely defined by the average pitch of the syllable's vowel. So a spoken sentence can be reduced to a series of steps between these pitches.
Applying this to French and English, Patel's team found that although the average change in pitch between two syllables is the same in each language, there is more variation in English the variation from the average interval tended to be greater for English composers.
Why should music share these acoustic similarities with speech? Patel thinks that the latter probably shapes the former. Composers, he suggests, absorb the speech patterns - the contours of pitch and rhythm - that they have heard since childhood, and unconsciously build these into their music. Patel's latest work shows that the contingencies of history, as well as the exigencies of nationality, can play a part.
His methods are now being used to study the rhythms in speech and music of other cultures, such as Welsh and Japanese. "One of our group's interests is in Thai music," says Patel, "since Thai has a high linguistic nPVI, and Thai culture has a well-developed classical instrumental musical tradition." What's more, Thai is a tonal language and Patel is keen to discover if that is reflected in the country's music. He also hopes to study the music from cultures in which the music is not written down, such as those in many African countries, to find out whether the link with language patterns still emerges.
Black Fife & Drum
Black Fife and Drum Music originally from Senagal ~ Otha Turner's Family Picnic
The Turner property in Gravel Springs, Mississippi. That's where, for the last 50 years, an annual event called the Turner Family picnic has taken place near the end of the summer. Now the Turner Family Picnic is called a picnic. And they've got plenty of goat barbecue for the goat barbecue lovers of the world. But what really sets the event apart is a singular style of music that one can hear there --- and only there -- called "Black Fife & Drum." It's a style of music derived from traditional West African music that features a fife player (basically playing a handmade flute carved out of bamboo) plus two or more drummers WAILING away on their drums in a fairly improvisational manner. The fact that the picnic was begun by Sharde Thomas's legendary grandfather, Otha Turner, makes it better yet. And the fact that she may be the last purveyer of this iconic musical style; descended from West African music and on the verge of dying out completely, makes it both exciting and a tad bittersweet. But for you, dear viewer, it can be a glimpse into something rare and extraordinary.
Gravel Springs FifeDrum - Otha Turner
Civil War Vets Fife Drum: BOYS OF '61 DEFIY FATHER TIME CELEBRATE THEIR 66TH ANNUAL REUNION
1930's clip from the Library of Congress, veterans stepped up to the mic, taking turns with their version of the "Rebel Yell."
Star Spangled Banner Lesson Plan
Musical Vocabulary Links: Learning by Association and Repetition Teach The Star Spangled Banner - The method can be used by parents, by school volunteers working with individuals or groups, and by teachers in classrooms. Two basic memory techniques are association (linking new learning to previous knowledge) and repetition. This method can be adapted for any age and any language.
STRAVINSKY - MUG SHOT
"In 1940 Igor Stravinsky re-orchestrated 'The Star Spangled Banner' for the Boston Symphony. Someone alerted the Boston police, who arrived at Symphony Hall, confiscated the instrumental parts to the Stravinsky orchestration and arrested Stravinsky for 'tampering with public property.'"
The Battle Hymn- of the Republic
Americas song of itself The USA's "second national anthem" "The Battle Hymn of the Republic," written by Julia Ward Howe in 1861 is a warrior's cry and a call to arms.It was a fitting finale to the life of a great American because the story of the "Battle Hymn" is the story of the United States. The song, now approaching its 150th anniversary, is a hallowed treasure and a second national anthem. The "Battle Hymn" has inspired suffragists and labor organizers, civil rights leaders and novelists—like John Steinbeck in The Grapes of Wrath. The editor of the Atlantic Monthly, James T. Fields, paid Howe five dollars to publish the poem, and gave it a title: "The Battle Hymn of the Republic." You can listen here to a 1908 recording of the song from "The Edison Phonograph Monthly," featuring "Miss Stevenson, Mr. Stanley and Mixed Quartette." But most of all, the "Battle Hymn" is a warrior's cry and a call to arms. Its vivid portrait of sacred violence captures how Americans fight wars, from the minié balls of the Civil War to the shock and awe of Iraq.
The origin of the American brass band tradition
The upper-class during the colonial era promoted ensembles who played serenades, feldparthien and divertimenti, such as those composed by Mozart and Haydn. Natural horns and bassoons provided harmonic support for the melodic line, played by clarinets and oboes. Thomas Jefferson suggested this instrumentation for the U.S. Marine Band, and asked fourteen Italian-American musicians to form the nucleus of that influential group, and thus these ensembles were the origin of the American brass band tradition, which flourished in the 19th century, having moved from upper-class entertainment to that of the common folk.
World War One Gold Star Mothers Song - 1926
Gold Star Mothers Day On June 23, 1936 the Congress, by Senate Joint Resolution 115 (49 Stat.1895), further recognized the sacrifice of these Gold Star Mothers when it set aside the last Sunday in September of each year as Gold Star Mothers Day, and authorized the President to issue a proclamation in observance of that day.
How many national anthems are plagiarised?
Several of the world's national anthems are shockingly similar to other compositions. Is this because composers pilfer other people's tunes - or does it tell us more about the difficulties of writing an original melody.
"God Bless America"
Sung by Kate Smith.
Irving Berlin (1888-1989) wrote "God Bless America
"Initially, he wrote it in 1918 for his WWI revue "Yip, Yip, Yaphank." It was cut from that show, but Berlin reviewed it with slightly revised words in 1938. It was introduced during a nation-wide radio broadcast by Kate Smith on Armistice Day, 1938. Musically, I would agrue that it really is a great song, and far less bellicose than the Star Spangled Banner. To his credit, Berlin donated all royalties from it to the Boy and Girl Scouts of America.
God Bless America.
Land that I love
Stand beside her, and guide her
Thru the night with a light from above.
From the mountains, to the prairies ,
To the oceans, white with foam
God bless America
My home sweet home.
God Bless America.
Land that I love
Stand beside her, and guide her
Thru the night with a light from above.
From the mountains, to the prairies ,
To the oceans, white with foam
God bless America
My home sweet home.
God bless America
My home sweet home.
Yankee Doodle Dandy
by George M. Cohan
I'm a Yankee Doodle Dandy
A Yankee Doodle, do or die
A real live nephew of my Uncle Sam
Born on the Fourth of July
I've got a Yankee Doodle sweetheart
She's my Yankee Doodle joy
Yankee Doodle came to London
Just to ride the ponies
I am the Yankee Doodle Boy
Mel Brooks does Frank doing AMERICA THE BEAUTIFUL
Dr. Alan Singer assumes his hip-hop persona as MC “Reeces Pieces” in one of his history classes in New York City. Folk songs have a long history of being repurposed to suit new contexts. Sometimes students, without knowing traditional tunes, simply perform Pete Seeger’s “Talking Union” or “Paddy on the Railway” as if they were raps. My use of folk songs as primary source documents for understanding the lives of ordinary people, both as a teacher and historian, draws on ideas that I learned from the work of W.E.B. DuBois, The Souls of Black Folk (1903) and E.P. Thompson, The Making of the English Working Class (1963). DuBois analyzed traditional African American church hymns to better understand the aspirations of Black people in the era of Jim Crow segregation. In a similar fashion, Thompson explored the ideology of pre- and early industrial British workers through their religious and secular music. I once had the good fortune of witnessing Thompson lecture on the American Revolution and his entire presentation consisted of singing one revolutionary song after another.
Historical background and foreground resources:
I. W. W. song tradition
Matthew Billy, host of the podcast "Between the Liner Notes" is hoping to do just that, with a petition to exonerate Joe Hill, over 100 years after his execution by the state of Utah. Hill arrived to the United States in 1902 as an indigent, unknown Swedish immigrant. By the time of Hill's death in 1915 — a penalty for a murder that historians, including Billy, say that he did not commit — Hill had become the leader of the labor union Industrial Workers of the World, commonly known as the "Wobblies." The Wobblies were known for their use of song as a form of protest, the lyrics of which — penned by Hill — they circulated through the "Little Red Songbook." Though before recording technology existed, Hill's legacy lived on through his songs made famous through the likes of Joan Baez and Pete Seeger. Click on the 'Listen' button above to hear Matthew Billy discuss the Joe Hill saga, and click here for the full "Between the Liner Notes" episode on the labor activist.
- Archie Green's Wobblies, Pile Butts, and Other Heroes (U of Illinois Press, 1993), Part Two, chapter 3: "The Name 'Wobbly' Holds Steady." It is a thoughtful, readable discussion of the IWW's history, nickname and songs and a preface to the centennial edition of _The Big Red Songbook_ forthcoming from Charles Kerr Publishing Co.
The Western Federation of Miners building is the predecessor of the IWW, Industrial Workers of the World, with whom Joe Hill was best known. By the way, my father, Wayne Walden, was one of the Wobblies sent to pick up Joe Hill's body from Utah when he was murdered. I remember hearing the story from him that there were more bullet holes in Joe Hill than the supposed 6 from the official firing squad. I've never seen that verified by any other source. ~Eleanor Walden
- "I dreamed I saw Joe Hill last night"
- The Little Red Songbook:
Songs to Fan the Flames of Discontent, the best primary source you can find.
- "AMERICAN FOLKSONGS OF PROTEST" BY JOHN GREENWAY. A.S.BARNES AND COMPANY,
INC. NEW YORK. PERPETUA EDITION. 1960. (THERE ALSO WAS A UNIVERSITY OF PENNSYLVANIA EDITION, 1953.)
IN THE 1960 A.S. BARNES AND COMPANY PERPETUA EDITION, THERE IS IWW DISCUSSION OF Pp.S 9n; 11; 13; 50; 56; 173-199; 202; 203; 211; 253; 264; 283.
- Show Tunes - 'm a Yankee Doodle Dandy + You're a Grand Old Flag -- George M. Cohan and Over There
Soviet Army - Dance of the Soldiers
Barbra Streisand Sings Hatikvah Isreal's National Anthem and Speaks to Golda Meir
CARLA L. BENSON
Listen to First Lady of Philadelphia Soul
Carla L. Benson Sings Hatikvah Isreal's National Anthem
Hawaiian War Chant
learn about Hawaiian Pidgin Creoles
WAR ON DRUGS
The Mexican corrido tragic ballad. This 150 year old format narrates tragic tales based on real events. There is a corrico associated with narcocorridos, that glorifies Mexican drug lords and their lavish lifestyles.
"Songs that empower people fantasy" video - While cartels make parts of Mexico dangerous, their cultural impact is felt over the border in southern California Narco-corridos, or "drug ballads" narrative songs where singers tell of imagined or real-life drug war stories. While the songs brag about murder or other violent exploits, some who study narco-corridos say the music not unlike the gangster rap of the 1990s - reflecting violence that already exists.
Mexican Folk Music about Terrorism
NPR Morning Edition Monday, November 19, 2001 NPR's Renee Montagne talks with Elijah Wald. He's a musician who's spent years researching Mexican "narco-corrido" music -- ballads made from combining waltzes with border music that celebrate the lifestyle of borderland drug traffickers. (8:59)
Morning Edition Tuesday, November 20, 2001 Terror Corridos
NPR's Mandalit Del Barco reports on the latest innovation in the history of corridos, Mexican ballads with tragic lyrics and polka-and-waltz-like beats. Corrido composers are struggling with how to write songs about the acts of terrorism that struck the United States on Sept. 11. (8:17)
How to Write a Mexican Corrido in 8 Steps You, too, can write a modern version of this traditional Mexican folk song.
MENTARIES UPRISING DRUMS, VOICE OF RESISTANCE
This project is part one of a trilogy that explores through cultural expression the historical and cultural connections between Santiago de Cuba, New Orleans, and Haiti. The popular traditions in this project include: “Las Congas” from Santiago de Cuba, the “Second Line” from New Orleans, and the “Rara” from Haiti. Through a video documentary and photographic essay, we analyze power dynamics during popular festivals in the Caribbean region, exploring issues of resistance in the context of Afro Diasporic communities. In doing so, we draw connections between the New Orleans, Cuba, and Haiti.
We are reflections of the sound as is the sound a living mirror of the energy that is us. Rhythms are spirits and spirits have their own rhythm waves like fingerprints like waves of water and so these days during the annual Invasion Parade when the Conga moves down the street with the big drums slipping from rhythm to big rhythm they’re actually invoking the different faces of the gods.
LA TUMBA FRANCESA
http://spoti.fi/2i45KLh "We Can't Make It Here" James McMurtry 2006 acoustic take:
"Fuck Tha Police" N.W.A. 1988
"Ohio" Crosby, Stills, Nash & Young 1970
"It's Alright, Ma (I'm Only Bleeding)" Bob Dylan 1965
"For them that obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Do what they do just to be
Nothing more than something they invest in"
"While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society's pliers
Cares not to come up any higher
But rather get you down in the hole That he's in"
Eve Of Destruction" Barry McGuire 1965
"Ain't Got No" "Hair (Original Broadway Cast Recording)" 1968
"My Shot" "Hamilton (Original Broadway Cast Recording)" 2015
"Immigrants, we get the job done"
"Blowin' In The Wind" Peter, Paul and Mary 1963
"I Ain't Marching Anymore" Phil Ochs 1965
"War" Edwin Starr 1970 "What is it good for? ABSOLUTELY NOTHIN'!"
"Say It Loud I'm Black And I'm Proud" James Brown 1968
"Everyday People" Sly and the Family Stone 1968
Can't Find My Way Home by Bonnie Raitt
One of the two surviving film clips of Woody Guthrie performing. This one, of "Ranger's Command," is from 1945
Do you think he was in it for the money? It's when you're true to the sound, to the essence, to your inner being, that you last. And the truth is, when you last there's tons of dough. But even more, your work has impact. That's the power of ART!
Kirschner Concerts Present Jimmy Cliff The Harder They Come
Perhaps most moving, the original songs created by students: "The Separation," by Central High School students in Columbus, Georgia, is a lovely composition that wonders about voices and choices. Students at Marjory Stoneman Douglas listened during their walkout to the song their friends had written and performed at CNN's Town Hall in February. Soloist Tyler Jenkins performed his own song, "Save Me," written from the point of view of a school-shooting victim. 15-year-old Morro Bay, California student Amalia Fleming, accompanied herself on a mint-green guitar: "To hell with their games / We were born to be renegades / We spit our words to ignite the rage / And raise our voices to fan the flames."
This painting of the 21st Century Schizoid Man appears on the cover of the 1969 record album "Court of the Crimson King" by the British progressive rock group King Crimson. The band's leader, Robert Fripp, later linked the painting with the LP's cacophonous jazz-metal opener, 21st Century Schizoid Man – a dystopian montage of horrific images in which lyricist Pete Sinfield conflated the first world war with that of Vietnam. The song was dedicated to the former US vice president Spiro Agnew, bane of anti-war protestors in the first Nixon administration. King Crimson's debut album, In the Court of the Crimson King, which celebrates its 40th anniversary on 10 October 2009. Painted by a young artist and computer programmer named Barry Godber, the pink and blue gatefold sleeve depicted the face of a humanoid creature, flinching from some terrible torture.
"Cat's foot iron claw
Neuro-surgeons scream for more
At paranoia's poison door
Twenty first century schiziod man.
Blood rack barbed wire
Politicians' funeral pyre
Innocents raped with napalm fire
Twenty first century schiziod man.
Death seed blind man's greed
Poets' starving children bleed
Nothing he's got he really needs
Labor Union Songs
1935-2008: Bruce 'Utah' Phillips
Folksinger, Storyteller, Railroad Tramp Utah Phillips Dead at 73" Nevada City, California
Utah Phillips - Bruce "Utah" Phillips (b. May 15, 1935 in Cleveland, Ohio) is a labor organizer, folk singer, storyteller, poet and self-described "Golden Voice of the Great Southwest".
Utah Phillips - ANARCHY a story that give the advice that you must make your own decisions and think for yourself.
He describes the struggles of labor unions and the power of direct action. He often promotes the Industrial Workers of the World in his music, actions, and words. Anyone know and that name Ammon Hennacy? Utah wrote a song about him.
In 1979 Joe Glazer founded the Great Labor Arts Exchange at the George Meany Center for Labor Studies, now the National Labor College. In 1984 he helped found the Labor Heritage Foundation, a non-profit arts and culture organization which assists the labor movement by promoting artistic expression and labor history. In 1973 Joe wrote "Songs of Work and Protest" with Edith Fowke , one of the most significant labor history songbooks ever written.
Today Joe Glazer, Labor's Troubadour, died.
September 19, 2006.
"I dreamed that I had died
And gone to my reward
A job in heaven's textile plant
On a golden boulevard.
The mill was made of marble
The machines were made of gold
And nobody every got tired
And nobody every grew old."
From: The Mill was Made of Marble
Words and Music by Joe Glazer, 1918-2006
AFL-CIO Songbook, rev. 1974
"This machine kills fascists" These are the words Woody Guthrie had emblazoned on his guitar.
Woody Guthrie Wrote Angry Songs About Fred Trump who was Donald Trump’s Father
For two years, folk icon Woody Guthrie was a tenant in one of the Brooklyn apartment buildings managed by Fred Trump, father of current Republican presidential candidate Donald Trump.
Old Man Trump knows
Just how much
he stirred up
In the bloodspot of human hearts
When he drawed
That color line
Here at this
Eighteen hundred family project"
The Department of Justice sued the Trump real estate business in the 1970s for violating the Fair Housing Act. Guthrie, whose songs advocated for American equality and condemned racism, lamented the lack of diversity among the residents of Trump’s Beach Haven apartments.
LIKE FATHER LIKE SON Donald Trump was a nightmare landlord in the 1980s Trump fired the building manager and replaced him with Citadel Management. In his book, The Art of the Deal, Trump himself said he chose a company that "specialized in relocating tenants." Trump had cut off their hot water and heat during New York's freezing winters and stopped all building repairs. One claimed he allowed "a rodent infestation of the premises." Another said he imposed burdensome new rules in an attempt to force them out.
1970 Joni Mitchell
Joan Baez - We Shall Overcome
Horst-Wessel-Lied The anthem of the Nazi Party from 1930 to 1945
Marx Brothers Duck Soup War Song
during World War Two wrote "Round and Round Hitler's Grave"
"Acres of Clams"and also wrote "This Land." (This Land Is Your Land) as a poem,and the arrangement utilizes the melody of A. P. Carter's "Little Darling Pal of Mine." There's not an iota of difference. But Guthrie had grace when questioned. Of Carter he said, "He was a great song stealer, but I was greater than he, because I stole some of his." This Land Was Made For You And Me
Vietnam Veterans Oral History and Folklore Project
For bibiography, sources for recordings, articles
- Joan Baez singing and talking during the Vietnam era
- Barry McGuire's "Eve of Destruction"
- The Harry Smith Anthology
- The Memphis Jug Band (World War I songs);
- Buffy Ste. Marie
- Donovan's "Universal Soldier
- Bob Dylan
- " MacNamara's Banned"
- " Romping Through the Swamp" Dave van Ronk and the Hudson Dusters
- "Knee Deep in the Big Muddy" Pete Seeger
The Incomplete Folksinger by Pete Seeger
trace Pete's thinking and his activities in from right after World War Two on through the 1970's
- " God Bless the Grass" Malvina Reynolds
Literature -- Books/Song Collections
- Ron Cohen's "Rainbow Quest: The Folk Music Revival and the American Society,
1940-1970" (Amherst: U of Massachusetts Press, 2002)
- Agnes "Sis" Cunningham & Gorden Friesen (ed. Ron Cohen). "Red Dust and Broadsides: A Joint Autobiography." (Amherst: U of Massachusetts Press, 1999), which has lots about the publication, "Broadside," that carred anti-war songs.
- Josh Dunson's "Freedom in the Air: Song Movements of the '60s." (New York: International, 1965).
- Sing Out! archive (1950 to present), published by People's Songs, which carried many songs, Pete Seeger's Johnny Appleseed submissions to
P.O. Box 5460 Bethlehem, PA 18015-0460 USA Phone:
610-865-5366 Fax: 215-895-3052
Free: 888-SING-OUT info(at)singout(dot)org
- "Little Sandy Review," "Boston Broadside" (1962-1968)
- Caravan (1957-1958; mostly NYC scene).
- R.Serge Denisoff's book Great Day Coming: Folk Music and The Amercian Left
Woody Guthrie: A Life by Joe Klein talks about Woody's thoughts about War, Peace and protest before and after World War Two
Atomic Platters: Cold War Music [sadly you need Real Player]
Along with ushering in a new age of global unrest and high anxiety, the emergence of the atomic bomb had a curious and not totally unpredictable effect on the world of popular (and not-so-popular) music. This site brings together these various subgenres of "atomic" music in a way that's rather fun, intriguing, and at times, a bit scary. Visitors can look through such subgenres as "Atomic", "Cold War", "Flying Saucer", and so on. While most of the songs are not available in their full form, visitors can read all of the lyrics and interpretive essays. Of course, visitors can find plenty of audio joy at the "CONELRAD Audio Archives" area. Herein are contained such gems as the positively odd "The Complacent Americans" and the equally lovable novelty album "The Goldwaters Sing Folk Songs to Bug the Liberals"
WALL STREET PROTEST SONGS
AFTER THE WALL STREET CRASH AND OCCUPY WALL STREET
James McMurtry- We can't make it here
Right Said Fred (really!) appears on Last Week Tonight with John Oliver to tell Syrian president Bashar al-Assad what a dick he is. It's going to be especially disappointing to Assad, as they are one of his favorite bands.
War Hero Songs
5 most popular funeral songs
- My Way – Frank Sinatra/Shirley Bassey
- Wind Beneath My Wings – Bette Midler/Celine Dion
- Time To Say Goodbye – Sarah Brightman/Andrea Bocelli
- Angels– Robbie Williams
- Over The Rainbow – Eva Cassidy
Funeral songs to soothe those left behind like the Vera Lynn classic “We’ll meet again”.
5 unusual funeral songs