Mike Chapman shot John Lennon dead. With Lennon’s death any hope of ever seeing the beatles reunited faded away for good. May this beatlesong by John Lennon serve as a tribute to him. May he rest in peace. We will never forget him.
The Beatles
Love, love, love, love, love, love, love, love, love. There’s nothing you can do that can’t be done. Nothing you can sing that can’t be sung. Nothing you can say but you can learn how to play the game It’s easy. There’s nothing you can make that can’t be made. No one you can save that can’t be saved. Nothing you can do but you can learn how to be you in time - It’s easy.
All you need is love, all you need is love, All you need is love, love, love is all you need. Love, love, love, love, love, love, love, love, love. All you need is love, all you need is love, All you need is love, love, love is all you need. There’s nothing you can know that isn’t known. Nothing you can see that isn’t shown. Nowhere you can be that isn’t where you’re meant to be. It’s easy. All you need is love, all you need is love, All you need is love, love, love is all you need. All you need is love (all together now) All you need is love (everybody) All you need is love, love, love is all you need.
Aquí tenemos una versión de la canción compuesta por Bennie Benjamin, Gloria Caldwell and Sol Marcus para la cantante/pianista Nina Simone, que la grabó por primera vez en 1964. “Don’t Let Me Be Misunderstood” ha sido versioneada en multitud de ocasiones, siendo, quizá ésta que os ofrecemos a continuación la más exitosa de todas ellas.
Aquí tenéis la versión original, otra joya de la gran Nina Simone
Aquí tenemos una versión de la canción compuesta por Bennie Benjamin, Gloria Caldwell and Sol Marcus para la cantante/pianista Nina Simone, que la grabó por primera vez en 1964. “Don’t Let Me Be Misunderstood” ha sido versioneada en multitud de ocasiones, siendo, quizá ésta que os ofrecemos a continuación la más exitosa de todas ellas.
Aquí tenéis la versión original, otra joya de la gran Nina Simone
Para finalizar, ésta que traerá recuerdos a más de un cuarentón, entre los cuales me cuento. Se trata de la versión disco latino que hicieron Santa Esmeralda en 1977.
The Animals were an English music group of the 1960s known in the United States as part of the British Invasion. Known for their gritty, bluesy sound and deep-voiced frontman Eric Burdon, as exemplified by their signature songs “The House of the Rising Sun”, “Sky Pilot” and “We Gotta Get out of This Place”, the band balanced tough, rock-edged pop singles against rhythm and blues-oriented album material. The Animals underwent numerous personnel changes and emerged as an exponent of psychedelic rock before dissolving at the end of the decade. They had a comeback in 1983 and started a world tour. In early 1984 the band disbanded. There have been several reunions of the original group and in recent times Burdon and original drummer John Steel have been touring with new versions of the Animals as Eric Burdon & the Animals and Animals & Friends respectively. READ MORE Spanish Wikipedia
The Song
“The House of the Rising Sun” is a folk song from the United States. Also called “House of the Rising Sun” or occasionally “Rising Sun Blues”, it tells of a life gone wrong in New Orleans. The most successful version was recorded by the English rock group The Animals in 1964, which was a number one hit in the United Kingdom, United States, Sweden and Canada.
The House of the Rising Sun es una canción folk de los Estados Unidos. También llamada “Rising Sun Blues”, narra la vida de alguien que ha tenido poca fortuna en Nueva Orleans (estado de Luisiana). No se conoce exactamente su autor ni la fecha de creación, pero podría rastrearse su origen incluso en el siglo XIX. Dependiendo de la versión, la canción puede ser interpretada desde la perspectiva de una mujer o de un hombre. Las dos versiones más conocidas son la del grupo británico The Animals de 1964, que alcanzó el n.º 1 en Estados Unidos y en el Reino Unido; y la de Joan Baez en 1959-60.
(Wikipedia)
There is a house in New Orleans Hay una casa en Nueva Orleans They call the Rising Sun Llamada el Sol Naciente And it’s been the ruin of many a poor boy Y ha sido la ruina de más de un pobre chico And God I know I’m one Y ¡Dios! Yo sé que soy uno de ellos
My mother was a tailor Mi madre fue modista She sewed my new bluejeans Me cosió mis vaqueros azules nuevos My father was a gamblin’ man Mi padre era tahur Down in New Orleans Allá en Nueva Orleans
Now the only thing a gambler needs Ahora lo único que un jugador necesita Is a suitcase and trunk es una maleta y un baúl And the only time he’s satisfied Y solo estará contento Is when he’s on a drunk Cuando esté borracho
—— organ solo ——
Oh mother tell your children Oh madre, dile a tus hijos Not to do what I have done Que no hagan lo que yo hice Spend your lives in sin and misery Y pasen sus vidas en el pecado y sufrimiento In the House of the Rising Sun en la Casa del Sol Naciente
Well, I got one foot on the platform Bien, Tengo un pie en el andén The other foot on the train El otro en el tren I’m goin’ back to New Orleans Regreso a Nueva Orleans To wear that ball and chain Para ponerme la argolla y arrastrar la bola
Art Garfunkel’s Bright Eyes was a great hit in Britain, where it was the biggest selling single of 1979; however, it did poorly in the United States, failing to reach the Billboard Hot 100. It was written by Mike Batt for the soundtrack of the 1978 filmWatership Down.
Is it a kind of dream, Floating out on the tide, Following the river of death downstream? Oh, is it a dream?
There’s a fog along the horizon, A strange glow in the sky, And nobody seems to know where you go, And what does it mean? Oh, is it a dream?
Bright eyes, Burning like fire. Bright eyes, How can you close and fail? How can the light that burned so brightly Suddenly burn so pale? Bright eyes.
Is it a kind of shadow, Reaching into the night, Wandering over the hills unseen, Or is it a dream?
There’s a high wind in the trees, A cold sound in the air, And nobody ever knows when you go, And where do you start, Oh, into the dark.
Bright eyes, burning like fire. Bright eyes, how can you close and fail? How can the light that burned so brightly Suddenly burn so pale? Bright eyes.
Es una especie de sueño Que surge flotando sobre la marea Siguiendo corriente abajo el río de la muerte / Oh, ¿es un sueño?
Una niebla se extiende por el horizonte, Un extraño brillo en el cielo, Y nadie parece saber a dónde vas, Y ¿Qué significa? Oh, ¿es un sueño?
Ojos brillantes, Ardientes como el fuego, Ojos brillantes,
¿Cómo podéis cerraros y fracasar? ¿Cómo puede la luz que brilló tan intensamente De repente arder de manera tan débil?
Ojos brillantes
¿Es una especie de sombra Que se adentra en la noche Vagando por colinas invisibles? Oh, ¿es un sueño?
Hay un fuerte viento en los árbloles, Un frío sonido en el aire, Y nadie sabe nunca cuando vas Y dónde empiezas a adentrarte
Oh, en la oscuridad
Ojos brillantes, Ardientes como el fuego, Ojos brillantes, ¿Cómo podéis cerraros y fracasar? ¿Cómo puede la luz que brilló tan intensamente De repente arder de manera tan débil?
William Butler Yeats (pronounced /ˈjeɪts/; 13 June 1865 – 28 January 1939) was an Irishpoet and dramatist, and one of the foremost figures of 20th century literature. A pillar of both the Irish and British literary establishments, in his later years Yeats served as an Irish Senator for two terms. He was a driving force behind the Irish Literary Revival, and along with Lady Gregory and Edward Martyn founded the Abbey Theatre, serving as its chief during its early years. In 1923 he was awarded the Nobel Prize in Literaturefor what the Nobel Committee described as "inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation." He was the first Irishman so honored.[1] Yeats is generally considered one of the few writers who completed their greatest works after being awarded the Nobel Prize;[2] such works includeThe Tower (1928) and The Winding Stair and Other Poems (1929).READ MORE (FROM WIKIPEDIA, THE FREE ENCYCLOPEDIA)
Yeats was born and educated in Dublin but spent his childhood in County Sligo. He studied poetry in his youth, and from an early age was fascinated by both Irish legends and the occult. Those topics feature in the first phase of his work, which lasted roughly until the turn of the century. His earliest volume of verse was published in 1889, and those slow paced and lyrical poems display debts to Edmund Spenser and Percy Bysshe Shelley, as well as to the Pre-Raphaelite poets. From 1900, Yeats' poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. Over the years, Yeats adopted many different ideological positions, including, in the words of the critic Michael Valdez Moses, "those of [the] radicalnationalist, classical liberal, reactionaryconservative and millenariannihilist".[3
William Butler Yeats (1835-1939), periodista polémico, senador, autor y empresario de teatro, Premio Nobel. En cierta forma, mago, pero antes que nada, poeta, en obra y vida. Apasionado del ocultismo, y por sobre todo de Irlanda, por cuya independencia trabajó y a cuyo renacimiento artístico dio impulso decisivo. Los poemas fueron cambiando bastante a lo largo de su vida ; hay mucho de simbolismo y de folklore y leyendas celtas. A continuación escucharemos a Loreena McKenitt en una recreación de unos de los poemas más conocidos de Yeats, “The Stolen Child”. Este poema cuenta la historia de un niño al que las hadas se lo llevan embelesándolo con sus encantos. Se enmarca dentro del enorme interés que tenía Yeats en las leyendas paganas irlandesas.
Where dips the rocky highland Of Sleuth Wood in the lake, There lies a leafy island Where flapping herons wake The drowsy water-rats: There we’ve hid our faery vats, Full of berries And of reddest stolen cherries. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world’s more full of weeping than you can understand.
Donde se zambullen las montañas rocosas Del bosque de Sleuth en el lago, Hay una boscosa isla Donde las garzas al aletear despiertan A las soñolientas ratas de agua: Allí hemos ocultado nuestras tinajas encantadas, Llenas de bayas Y de las cerezas robadas más rojas. ¡Márchate, oh niño humano! A las aguas y lo silvestre con un hada, de la mano, pues hay en el mundo más llanto del que puedes entender.
Where the wave of moonlight glosses The dim grey sands with light, Far off by furthest Rosses We foot it all the night, Weaving olden dances, Mingling hands and mingling glances Till the moon has taken flight; To and fro we leap And chase the frothy bubbles, While the world is full of troubles And is anxious in its sleep. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world’s more full of weeping than you can understand.
Donde las olas del claro de luna alumbran Las oscuras arenas grises con su brillo, Lejos, en el lejano Rosses Nosotros caminamos por ellas toda la noche, Tejiendo viejas danzas, Juntando las manos y juntando las miradas Hasta que la luna emprende el vuelo; Saltamos de un lado a otro Y cazamos las burbujas de la espuma, Mientras el mundo está lleno de problemas Y duerme con ansiedad. ¡Márchate, oh niño humano! A las aguas y lo silvestre con un hada, de la mano, pues hay en el mundo más llanto del que puedes entender.
Where the wandering water gushes From the hills above Glen-Car, In pools among the rushes That scarce could bathe a star, We seek for slumbering trout And whispering in their ears Give them unquiet dreams; Leaning softly out From ferns that drop their tears Over the young streams. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world’s more full of weeping than you can understand.
Donde el agua errante cae Desde los cerros a Glen-Car, En lagunas entre los rápidos Que casi podrían bañar una estrella, Buscamos las truchas que dormitan Y susurrando en sus oídos Les damos sueños inquietos; Inclinándonos con suavidad desde Los helechos que lloran Sobre los jóvenes arroyos. ¡Márchate, oh niño humano! A las aguas y lo silvestre con un hada, de la mano, pues hay en el mundo más llanto del que puedes entender.
Away with us he’s going, The solemn-eyed: He’ll hear no more the lowing Of the calves on the warm hillside Or the kettle on the hob Sing peace into his breast, Or see the brown mice bob Round and round the oatmeal-chest. For he comes, the human child, To the waters and the wild With a faery, hand in hand, From a world more full of weeping than he can understand.
Con nosotros se marcha El de mirada solemne: Ya no oirá el mugido De los terneros en la cálida colina O a la tetera en la cocina Cantar paz para su pecho, Ni verá el cuello pardo de los ratones Alrededor del cajón de la harina de avena. Pues se viene, el niño humano, A las aguas y lo silvestre Con un hada, de la mano, Desde un mundo con más llanto del que puede entender.
“Dust in the Wind” is a hit single released by the American progressive rock band Kansas in 1977. It peaked at #6 on the Billboard Hot 100 chart the week of April 22, 1978, making it Kansas’ only top ten Billboard Hot 100 charting single. Written by Kerry Livgren, it was one of the band’s first acoustic tracks; its slow melody and melancholy lyrics differ from their other hits, such as “Carry On Wayward Son” and “The Wall”. The song’s instrumental bridge contains a distinctive and highly memorable melodic line for solo viola played by Robby Steinhardt. Kansas also released a live version of the song on their album Two for the Show.
Con los Beatles recién separados, George Harrison emprende su carrera en solitario a lo grande y edita un triple LP, All Things Must Pass, algo insólito en la época. Todo parecía ir sobre ruedas, una de las canciones incluidas en él, My Sweet Lord alcanzaba el nº 1 tanto en el Reino Unido como en los Estados Unidos. Sin embargo, este rotundo éxito se vio empañado por el hecho de que la compañía neoyorquina Bright Tunes demandó al ex-beatle por plagio. Al parecer My Sweet Lord era muy similar al éxito compuesto por Ronnie Mack e interpretado por el grupo femenino The Chiffons. Se le condenó a pagar una multa por plagio inconsciente, hecho éste que no impidió que siguiera vendiendo discos. Curiosamente, el mismo juez que dictaminó esta sentencia dijo que le gustaba más la versión de George, que acabó haciéndose con los derechos de He’s so fine.
Para que podáis comparar os pongo la supestamente plagiada, la canción de las Chiffons, titulada He’s so fine. En mi modesta opinión, la versión de George es infinitamente superior a la supuestamente original. Juzgad vosotros.
¿Cómo se forma el pasado perfecto de un verbo? De forma similar a como se construía el presente perfecto – con el verbo ‘had’ (have en pasado) más el participio de pasado (inf+-ed o 3ª columna) del verbo principal:
Estructura Sintáctica del Past Perfect
Sintácticamente, la estructura de la oración en pasado perfecto es similar a la del presente perfecto. Sólo tendremos que tener en cuenta que el auxiliar de past perfect es had. El auxiliar de los tiempos de perfecto aparece siempre (afirmativa, negativa e interrogativa).
Tipo de oración
AFIRMATIVA
Sujeto
Auxiliar
Verbo -ing
complementos
I
had
studied
maths before he came
They
had
shut
the door before they left
NEGATIVA
Sujeto
Auxiliar Negado
verbo principal en infinitivo
complementos
I
hadn ‘t
studied
maths before he came
They
hadn ‘t
shut
the door before they left
INTERROGATIVA
(Wh)
Aux
sujeto
verbo principal en infinitivo
complementos
?
had
you
studied
maths before he came
?
What
had
I
studied
before he came
?
had
they
shut
the door before they left
?
What
had
they
shut
before they left
?
Uso del Past Perfect
Para entender bien el uso del past perfect es preciso presentarlo en oraciones compuestas en las que aparece también un past simple. Se trata de dos acciones que empiezan y acaban en el pasado. Sin embargo, la acción que se expresa en past perfect es anterior a la que se expresa en pasado simple
When I arrived home, my parents had already left
Se puede ver que la acción que se expresa en past simple “When I arrived home” es posterior a la de “my parents had already left”, que describe una acción que ocurrió antes de que la otra empezara. En este caso se puede acudir a la traducción literal, ya que el past perfect es equivalente a nuestros pretéritos pluscuamperfectos, tanto los de indicativo (yo había salido, tu habías salido, …) como los de subjuntivo, que veremos cuando abordemos las condicionales de tipo 3 o imposibles. La traducción literal, como decía, es perfectamente válida y quedaría así
Cuando llegué a casa, mis padres ya se habían marchado
Resulta evidente que la acción de llegar a casa tuvo lugar con posterioridad a que mis padres se marcharan. Dicho con otras palabras, cuando yo llegué a mi casa, mis padres ya no estaban allí.
The song was originally recorded in August 1986 in New York, but never released in the United States. That version can be heard on the CD single as part of the "Oobu Joobu" section.
Someone’s gone out fishing, someone’s high and dry. Someone’s on a mission to the lonely Lorelei. Some folk’s got a vision of a castle in the sky and I’m left stranded, wondering why. You and me together, nothing feels so good, even if I get a medal from my local neighbourhood I won’t need a castle, they’ve got castles in Versailles and i’m still stranded, wondering why. Make it a beautiful night for me, it’s a beautiful night for love, a wonderful sight for lovers of love to behold. Make it a beautiful night for me, it’s a beautiful night for love, a wonderful sight for lovers of love to behold. Some boat’s on the ocean, we’re here in this room, seems to me the perfect way to spend an afternoon. We can look for castles, pretty castles in the sky, no more wondering, wondering why. Things can go wrong, things can go right, things can go bump in the dead of the night. So let me be there, let me be there, let me be there with you in the dead of the night. Make it a beautiful night for me, it’s a beautiful night for love, a wonderful sight for lovers of love to behold. Make it a beautiful night for me, it’s such a beautiful night for love, such a wonderful sight for lovers of love to behold. Yeah, it’s a beautiful night, yeah, it’s a beautiful night. Ah - yeah, beautiful night, beautiful night, yeah, it’s such a beautiful night, beautiful, beautiful night. Yeah beautiful night, beautiful night, beautiful night, beautiful night, beautiful night, beautiful night, beautiful night, beautiful night, beautiful night. Yeah! Beautiful night, beautiful night, (beautiful) beautiful night, (ooh) beautiful night, (it’s a beautiful, beautiful night) beautiful night, beautiful night, beautiful night, beautiful night, beautiful night. Beautiful night, beautiful night, beautiful night, (ooh) beautiful night, beautiful night, beautiful night. (yeah) “lordie, lordie..” -”mighty mama!” “give me that… (”beautiful night) “away, on your way, thank you!” Y podría traducirse de la siguiente manera Alguien ha salido a pescar Alguien está en la estacada Alguien está en una misión en la solitaria Lorelei Algunos ven un castillo en el aire Y yo estoy aquí tirado, preguntandome por qué. Tu y yo juntos, No hay sentimiento mejor, Ni aunque me pongan una medalla en mi barrio No necesito un castillo, tienen castillos en Versalles Y yo estoy aquí tirado, preguntandome por qué. Haz que sea una bonita noche para mí, Es una bonita noche para el amor, Una maravillosa estampa para que los amantes la contemplen. Haz que sea una bonita noche para mí, Es una bonita noche para el amor, Una maravillosa estampa para que los amantes la contemplen. Algún barco está en el océano, Nosotros estamos aquí en esta habitación, Me parece la forma perfecta de pasar una tarde Podemos buscar castillos, bonitos castillos en el aire Sin preguntarnos más el por qué. Las cosas pueden estropearse, las cosas pueden arreglarse Pueden aparecer de golpe en plena noche Déjame estar aquí, déjame estar aquí Déjame estar aquí en plena noche Haz que sea una bonita noche para mí, Es una bonita noche para el amor, Una maravillosa estampa para que los amantes la contemplen. Haz que sea una bonita noche para mí, Es una bonita noche para el amor, Una maravillosa estampa para que los amantes la contemplen.
Band on the Run is an album by Paul McCartney & Wings, released in 1973. It was McCartney's fifth album since the breakup of The Beatles, and Wings' third album. It became Wings' most successful album and remains the most celebrated of McCartney's post-Beatles albums. It was 1974's top-selling studio album in the UK and Australia, and revitalised McCartney's critical standing.
In 2000 Q magazine placed Band on the Run at number 75 in its list of the 100 Greatest British Albums Ever. In 2003, the album was ranked #418 onRolling Stone magazine's list of the 500 greatest albums of all time.[1] A contemporary review by Jon Landau in Rolling Stone (issue #153) described the album as "the finest record yet released by any of the four musicians who were once called The Beatles".[2]
It is composed of a three-part structure that revolves around the themes of escape and liberation. The song tells a story about a band being confined to prison and then escaping and going on the run.
The first part (0:00-1:18) is soft and melodic. The singer complains about being stuck in one room forever alone, unable to see any nice people, like his mother.
The second part (1:19-2:05) is more of a soft rock melody with the guitar, drums, and bass becoming more prominent. The singer thinks about giving everything away if he does escape. George Harrison unwittingly contributed the first line of this part: "If we ever get out of here" when he said it during one of the many Beatles' business meetings.[1]
The third and main part (2:05 to 5:09) is the initial rock part, which talks about the band escaping and going on the run. The people in the town are trying to find them forevermore, but they will never be found.
The version played on the radio in America in 1974 was a shorter version of the song, edited down from the original 5:09 to 3:50 in length. The difference was largely caused by the removal of the middle or the second part of the song, as well as the verse that starts with "Well, the undertaker drew a heavy sigh..."[2]
The actual song is a juxtaposed story, where the first part is about being in relative safety of being in London England. The second part is about how McCartney and his wife and some of the band , went to Lagos Nigeria to record the album (Band on The Run) and ended up being interrogated by the Nigerian Police for theft of their African music. It became very apparent that McCartney was not stealing the Nigerian music when the police where invited into the recording Studio ( E.M.I. Studios Nigeria) and then forced McCartney, to play the songs that had been recorded. Linda McCartney had to explain to the Nigerian Police who Paul McCartney was, since most of the people who where involved didn't know who he was, or never heard of the group "The Beatles". Each verse ends with the line " will search for evermore" or "searching every one" The last line is "And the County Judge, who held a grudge Will search forevermore" which proves that the Nigerians where in fact searching to find out what McCartney was doing and if he was stealing their African music. The line "Well, the night was falling as the desert world" is a reference to Nigeria. The middle part is the connection between the juxtaposed parts of the song, the first part being the safety of England and the third part, the dangers of Nigeria. The line "In the town they're searching for us everywhere but we never will be found" is in reference to McCartney and his wife being so afraid for their safety that they left by plane under the darkness of night, without being seen by the police. READ MORE (from Wikipedia, the free encyclopedia)
.jpg)
