"She will never learn the most necessary, most difficult and principal thing in music, that is time, because from childhood she has designedly cultivated the habit of ignoring the beat." Letter to Leopold Mozart (24 October 1777)
The best scene in the movie according to the late Roger Ebert was the theme where Rocky proves he has the fortitude not not quit and *goes the distance*. That great scene simply doesn’t work without a piece of music so perfect that Stallone cried when he heard it, knowing it was the clinching element to make a movie of inspiration, enthusiasm and power.
Ita me habere potui Downeaster “Alexa”
Et quo ad Oceanum est abyssi
Sunt gigantum reputata est et in canyons
Et optimus imperator non laberetur in somnum
EGO got laoreet reddere atque necessarium filios et vestimenta sua
Scio enim de illic ‘pisces: sed ubi? Dominus solus novit,
Dicunt isti quod aquae non sunt, esse solebat,
Sed surrexit populi mei super terram quis numerare
Billy Joel was born and raised on Long Island, New York, United States.
As one who exudes empathy in his songs, in DOWNEASTER ALEXA he sings about the once reliable lifestyle of the hardworking fisherman who cannot fish as they once did because of pollution and overfishing in the “overkill”.
The lyrics, legally for hobby and personal use in latin –
Bene ego sum, et in Downeaster “Alexa”
Et Ego in illo uagari Clausus Island Novum
Scilicet ego et charted ad vineam pullum
At ego hac nocte Nantucket vinctum
Non tulit retro pellentesque ex hesterno die in Montauk
Hac mane a bell reliquit in Gardiners Bay
Ut omnis hie locus est vendere Ego quoque mea
Superbus est discedere, et digitos meos ad os operatur
Bily Joel -Downeater Alexa –
Ita me habere potui Downeaster “Alexa”
Et quo ad Oceanum est abyssi
Sunt gigantum reputata est et in canyons
Et optimus imperator non laberetur in somnum
EGO got laoreet reddere atque necessarium filios et vestimenta sua
Scio enim de illic ‘pisces: sed ubi? Dominus solus novit,
Dicunt isti quod aquae non sunt, esse solebat,
Sed surrexit populi mei super terram quis numerare
Ergo si vidisti me Downeaster “Alexa”
Et si vos opus cum virga, et turbabuntur
Dic mihi uxor mea certare sumperiphorais ad Atlantis,
Et etiam Ego got manus super rotam
Yay, O
Yay, O
Yay, O
Yay-o-Yay
Nunc mea eiciam Downeaster “Alexa”
Quotannis ferme plus fluctibus
Cum autem ad me non possum vendere non stripers
Hie et illic ‘nulla fortuna in swordfishing
Pater esset in conspectu meo: sicut et ego bayman
Non potes facere vivos sicut iam bayman
Non est multum in posterum, qui operatur in mare
Nulla relicta insula non me tamen insulanorum
“I Believe In Father Christmas,” that song also made it to #2. The part at the end is based on “Lieutenant Kije Suite” by Russian composer Sergei Prokofiev.
Of all the attempts at fitting Russian classical music into a popular sing, as Sting’s use of Prokofiev in RUSSIANS, no song is as sweet to my ear as Emerson Lake & Palmer’s adaption in Father Christmas: Like “I Believe In Father Christmas,” that song also made it to #2. The part at the end is based on “Lieutenant Kije Suite” by Russian composer Sergei Prokofiev.
‘Lorenzo’s Oil’ was a film with Nick Nolte and Susan Sarandon about the same thing.
Lorenzo is the story of the true search for a cure for adrenoleukodystrophy in an oil invented by a 15 year old boy.
That boy, the child who refused to be a victim and instead became his own healer, sent lyrics to Phil Collins about his story and Phil wrote a song out of it. Phiil’s touring keyboardist the fantastically talented Brad Cole said, “Phil, these are some of the best lyrics you’ve ever written!”
‘Lorenzo’s Oil’ was a film with Nick Nolte and Susan Sarandon about the same thing.
Just a moment of perfection. Around the part of the song that Pat comes in after the major break. I had my walkman on, which was not a usual thing at that time. Yeah, passing the White House, listening to this at about 7 PM, finishing a post work beer.
Au-Lait Pat-Metheny-Lyle-Mays
In 1984 I had a college internship in Washington, D.C.
After work, the bus used to pass in front of the East Lawn of the White House, and there was one night on hearing this song for the first time and looking out the window I had a DC “peak experience.” Just a moment of perfection. Around the part of the song that Pat comes in after the major break. I had my walkman on, which was not a usual thing at that time. Yeah, passing the White House, listening to this at about 7 PM, finishing a post work beer.
This song for whatever reason – I think it’s Nana’s Brazilian percussion – reminds me of the basic Chicago sound I grew up in during the 1960s. It was not music from rock music. Rather, it was Debussy, Bach, Beethoven, Mozart when my Dad studied then Beatles and Burt Bacharach when my dad went back to the hospital in Chicago to learn to be a surgeon.
“#41” was the forty-first song written by the Dave Matthews Band.
Dave-Matthews-Band-Number-41
Dave-Matthews-Band-Number-41-774-ms
“#41” was the forty-first song written by the Dave Matthews Band.
On the album Live from Luther College as he plays duet with Tim Reynolds, before they launch #41 Dave calls the title, in a joke self mocking way, “about as creative as the Dave Matthews band.”
IN the late 20th century the band called the Indigo Girls wrote a brilliantly fun song about the most horribly brutal situation: Galileo, who’s “head was on the block/His crime?/Was giving up the truth.”
IN the late 20th century the band called the Indigo Girls wrote a brilliantly fun song about the most horribly brutal situation: Galileo, who’s “head was on the block/His crime?/Was giving up the truth.”
Matherton and me are listening to this as I type. I’m thinking : 25 year old song, better than ever. Jackie is pushing for a comparison to a live version, both to compare speed and because it’s such a darned good piece of music!
median speed 
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