Twas a dark day in Dallas, November '63 A day that will live on in infamy President Kennedy was a-ridin’ high Good day to be livin' and a good day to die Being led to the slaughter like a sacrificial lamb He said, "Wait a minute, boys, you know who I am?" "Of course we do. We know who you are." Then they blew off his head while he was still in the car Shot down like a dog in broad daylight Was a matter of timing and the timing was right You got unpaid debts; we've come to collect We're gonna kill you with hatred; without any respect We'll mock you and shock you and we'll put it in your face We've already got someone here to take your place
The day they blew out the brains of the king Thousands were watching; no one saw a thing It happened so quickly, so quick, by surprise Right there in front of everyone's eyes Greatest magic trick ever under the sun Perfectly executed, skillfully done Wolfman, oh wolfman, oh wolfman howl Rub-a-dub-dub, it's a murder most foul
Hush, little children. You'll understand The Beatles are comin'; they're gonna hold your hand Slide down the banister, go get your coat Ferry 'cross the Mersey and go for the throat There's three bums comin' all dressed in rags Pick up the pieces and lower the flags I'm going to Woodstock; it's the Aquarian Age Then I'll go to Altamont and sit near the stage Put your head out the window; let the good times roll There's a party going on behind the Grassy Knoll
Stack up the bricks, pour the cement Don't say Dallas don't love you, Mr. President Put your foot in the tank and step on the gas Try to make it to the triple underpass Blackface singer, whiteface clown Better not show your faces after the sun goes down Up in the red light district, they've got cop on the beat Living in a nightmare on Elm Street
When you're down in Deep Ellum, put your money in your shoe Don't ask what your country can do for you Cash on the ballot, money to burn Dealey Plaza, make left-hand turn I'm going down to the crossroads; gonna flag a ride The place where faith, hope, and charity died Shoot him while he runs, boy. Shoot him while you can See if you can shoot the invisible man Goodbye, Charlie. Goodbye, Uncle Sam Frankly, Miss Scarlett, I don't give a damn
What is the truth, and where did it go? Ask Oswald and Ruby; they oughta know "Shut your mouth," said the wise old owl Business is business, and it's a murder most foul
Tommy, can you hear me? I'm the Acid Queen I'm riding in a long, black limousine Riding in the backseat next to my wife Heading straight on in to the afterlife I'm leaning to the left; got my head in her lap Hold on, I've been led into some kind of a trap Where we ask no quarter, and no quarter do we give We're right down the street from the street where you live They mutilated his body, and they took out his brain What more could they do? They piled on the pain But his soul's not there where it was supposed to be at For the last fifty years they've been searchin' for that
Freedom, oh freedom. Freedom cover me I hate to tell you, mister, but only dead men are free Send me some lovin'; tell me no lies Throw the gun in the gutter and walk on by Wake up, little Susie; let's go for a drive Cross the Trinity River; let's keep hope alive Turn the radio on; don't touch the dials Parkland hospital, only six more miles
You got me dizzy, Miss Lizzy. You filled me with lead That magic bullet of yours has gone to my head I'm just a patsy like Patsy Cline Never shot anyone from in front or behind I've blood in my eye, got blood in my ear I'm never gonna make it to the new frontier Zapruder's film I seen night before Seen it 33 times, maybe more It's vile and deceitful. It's cruel and it's mean Ugliest thing that you ever have seen They killed him once and they killed him twice Killed him like a human sacrifice
The day that they killed him, someone said to me, "Son The age of the Antichrist has only begun." Air Force One coming in through the gate Johnson sworn in at 2:38 Let me know when you decide to thrown in the towel It is what it is, and it's murder most foul
What's new, pussycat? What'd I say? I said the soul of a nation been torn away And it's beginning to go into a slow decay And that it's 36 hours past Judgment Day
Wolfman Jack, speaking in tongues He's going on and on at the top of his lungs Play me a song, Mr. Wolfman Jack Play it for me in my long Cadillac Play me that "Only the Good Die Young" Take me to the place Tom Dooley was hung St. James Infirmary and the Port of King James If you want to remember, you better write down the names Play Etta James, too. Play "I'd Rather Go Blind" Play it for the man with the telepathic mind Play John Lee Hooker. Play "Scratch My Back." Play it for that strip club owner named Jack Guitar Slim going down slow Play it for me and for Marilyn Monroe
Play "Please Don't Let Me Be Misunderstood" Play it for the First Lady, she ain't feeling any good Play Don Henley, play Glenn Frey Take it to the limit and let it go by Play it for Karl Wirsum, too Looking far, far away at Down Gallow Avenue Play tragedy, play "Twilight Time" Take me back to Tulsa to the scene of the crime Play another one and "Another One Bites the Dust" Play "The Old Rugged Cross" and "In God We Trust" Ride the pink horse down the long, lonesome road Stand there and wait for his head to explode Play "Mystery Train" for Mr. Mystery The man who fell down dead like a rootless tree Play it for the Reverend; play it for the Pastor Play it for the dog that got no master Play Oscar Peterson. Play Stan Getz Play "Blue Sky"; play Dickey Betts Play Art Pepper, Thelonious Monk Charlie Parker and all that junk All that junk and "All That Jazz" Play something for the Birdman of Alcatraz Play Buster Keaton, play Harold Lloyd Play Bugsy Siegel, play Pretty Boy Floyd Play the numbers, play the odds Play "Cry Me A River" for the Lord of the gods Play Number 9, play Number 6 Play it for Lindsey and Stevie Nicks Play Nat King Cole, play "Nature Boy" Play "Down In The Boondocks" for Terry Malloy Play "It Happened One Night" and "One Night of Sin" There's 12 Million souls that are listening in Play "Merchant of Venice", play "Merchants of Death" Play "Stella by Starlight" for Lady Macbeth
Don't worry, Mr. President. Help's on the way Your brothers are coming; there'll be hell to pay Brothers? What brothers? What's this about hell? Tell them, "We're waiting. Keep coming." We'll get them as well
The field is where his plane touched down But it never did get back up off the ground Was a hard act to follow, second to none They killed him on the altar of the rising sun Play "Misty" for me and "That Old Devil Moon" Play "Anything Goes" and "Memphis in June" Play "Lonely At the Top" and "Lonely Are the Brave" Play it for Houdini spinning around his grave Play Jelly Roll Morton, play "Lucille" Play "Deep In a Dream", and play "Driving Wheel" Play "Moonlight Sonata" in F-sharp And "A Key to the Highway" for the king on the harp Play "Marching Through Georgia" and "Dumbaroton's Drums" Play darkness and death will come when it comes Play "Love Me Or Leave Me" by the great Bud Powell Play "The Blood-stained Banner", play "Murder Most Foul"
"Madrepérola" dá nome ao terceiro disco de Capicua e a uma das novas canções. A rapper do Porto estreou-se nas edições em 2012 e dedicou-se, nos últimos anos, aos projetos Mão Verde, direcionado a um público mais juvenil a meias com Pedro Geraldes, e em Língua Franca, que partilhou com Valete, Emicida e Rael. Camané, Catarina Salinas, Pedro Lamares, Karol Conka, Mallu Magalhães, Ricardo Ribeiro, Lena d’Água, Emicida, Rael e Rincon Sapiência são os convidados especiais de Capicua em "Madrepérola".
March 11, 2020 | Tom Huizenga -- The last time pianist Kirill Gerstein was at NPR we gave him a full-size, grand piano to play in a big recording studio. But for this Tiny Desk performance, we scaled him down to our trusty upright. "What will you ask me to play the next time," he quipped, "a toy piano?"
Even if we had handed him a pint-sized instrument, I'm sure Gerstein could make it sing. Just listen to how Chopin's lyrical melodies, built from rippling notes and flamboyant runs, flow like a song without words in Gerstein's agile hands.
The Chopin Waltz, Op. 42 is one of the composer's hits, but the next two pieces Gerstein offers are rarities. The Berceuse for solo piano was written for Gerstein by Thomas Adès, adapted from his 2016 opera The Exterminating Angel. The work, both brooding and beautiful, receives its premiere recording at the Tiny Desk. Gerstein follows by dusting off a truly neglected – and quirky – Hungarian March by Franz Liszt. To my knowledge it's been recorded only once.
The 40-year-old pianist, born in Voronezh, Russia, taught himself to play jazz by listening to his parents' record collection. A chance meeting with vibraphonist Gary Burton landed him a scholarship to study jazz at Boston's Berklee College of Music. At age 14, Gerstein was the youngest to enroll at the institution.
Although he is among the elite pianists of the classical world (he won the coveted Gilmore Award in 2010), Gerstein's jazz background is still close to his heart. Which brings us to his lovely-rendered closer: Gershwin's "Embraceable You," arranged by the American pianist Earl Wild.
Like all master performers, Gerstein gives you the illusion that he's making it all up as he goes along, even though the virtuosic transcription is intricately mapped out. And somehow, he makes that upright piano sound nine feet long.
SET LIST Chopin: "Waltz in A-flat, Op. 42" Adès: "Berceuse from The Exterminating Angel" Liszt: "Ungarischer Geschwindsmarsch" Gershwin-Earl Wild: "Embraceable You"
MUSICIANS Kirill Gerstein: piano
CREDITS Producers: Tom Huizenga, Morgan Noelle Smith, Kara Frame; Creative director: Bob Boilen; Audio engineer: Josh Rogosin; Editor: Melany Rochester; Videographers: Kara Frame, Melany Rochester, Shanti Hands; Associate Producer: Bobby Carter; Executive producer: Lauren Onkey; VP, programming: Anya Grundmann; Photo: Max Posner/NPR
Written and performed by KAZU and Ian Chang Produced by Ian Chang Mixed by @Ryan Lott Mastered by Heba Kadry Directed and animated by Qieer Wang (www.qieerwang.com)
everyone keeping secrets in their minds everyone except you and i explaining unspeakable truths with our eyes with our minds with our bodies on this day on this stage on this life, is there one anymore audacious
why are you telling me the line starts back there? if you are not caught in telling lies, not the same as you telling the truth with our eyes, with our minds with our bodies on this day, on this stage, on this life is there one any more audacious everyone
everyone keeping secrets everyone except you and i with our eyes with our minds with our bodies on this day on this stage on this life aaaah
Produced by: Bright Eyes Engineered by: Mike Mogis Assistant Engineer: Adam Roberts Mixed by: Mike Mogis Mastered by: Bob Ludwig Lyrics: Conor Oberst Writers / Composers: Conor Oberst
Getting dressed for a date Put on blue aftershave Wore a kilt like a Celt Hid the way that I felt Combat boots fallen leaves West Village Halloween To a Bollywood song Taking shots ‘til we’re gone Unwelcome in the autumn Persona Non Grata I’m the last of the best I’m your thoughts in the swamp There’s a playground of children In the shadows of buildings There’s a line out the church Where your homelessness works Where the stain glass of crimson Meets Ezekiel’s Visions Saw a valley of bones Where no man shall be saved
And now you, you come to me, asking that And now you, you come to me, and you’re asking that Oh how can we reconcile?
Left your innocence there In Tiananmen Square You were filled with despair Underfed and depressed Vacant lot where a prison stood God knows you never would Lie to yourself But you do every time Made a life of deception And passive aggression Going to scream when I sing Going to die in the ring Turn me on You’re a knockout Climb up on to my cloud Do your worst to me now Before I change my mind
And now you, you want to be true, to me once again And you want me to be true, to you once again Oh yeah you, you want to be true, to me once again And you want me to be true, to you once again
Directed & Shot by Lauren Josephine and Zoe Prinds-Flash Edited by Lauren Josephine
"Steady" by POLIÇA Music produced by Ryan Olson Lyrics/Singing - Channy Leaneagh Bass & Vocals - Chris Bierden Drums - Drew Christopherson and Ben Ivascu Carmen Carmerei - brass Alistar Sung - cello Alejandro Peltonemi - Sub Contractor Aaron Baum - keys & synth
Now I know I’m grown cuz I’m all alone Don’t got no one to call to drive me home, Cuz I’m home Babes are in bed, honey gonna sleep it off when he’s dead I do it for them, I do it all cuz I can We sit on the stoop and we look ahead “hey boy” Maybe you’ll follow-- maybe you could lead us like the best Now we’re blowing bubbles and chasing birds Sing so sweet and laughing into the world Make me better before I break you under my...
Back in the day mama held me steady, Steady Back in the day Momma held me steady I don’t feel that steady Back in the day momma held me steady
It’s hard to see how living could be easy That the higher you fly the farther you fall You won’t always feel this way One day we’re dead what more can I say Hard to see how living is easy. Gonna take a moment to see myself Wasn’t even a mirror but some quote left high Up on a shelf, reminding me I’m cruel and weak As hell, can’t control you or myself Sorry’s getting old, it’s getting stale Don’t do me well
Back in the day mama held me steady, Steady Back in the day Momma held me steady I don’t feel that steady It’s hard to see how living is easy