The Walrus and The Carpenter

Coo Coo Cachew I am the Walrus

The Walrus and The Carpenter

Lewis Carroll

(from Through the Looking-Glass and What Alice Found There, 1872)
The sun was shining on the sea,
Shining with all his might:
He did his very best to make
The billows smooth and bright–
And this was odd, because it was
The middle of the night.
The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done–
“It’s very rude of him,” she said,
“To come and spoil the fun!”
The sea was wet as wet could be,
The sands were dry as dry.
You could not see a cloud, because
No cloud was in the sky:
No birds were flying overhead–
There were no birds to fly.
The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand:
“If this were only cleared away,”
They said, “it would be grand!”
“If seven maids with seven mops
Swept it for half a year.
Do you suppose,” the Walrus said,
“That they could get it clear?”
“I doubt it,” said the Carpenter,
And shed a bitter tear.
“O Oysters, come and walk with us!”
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach:
We cannot do with more than four,
To give a hand to each.”
The eldest Oyster looked at him,
But never a word he said:
The eldest Oyster winked his eye,
And shook his heavy head–
Meaning to say he did not choose
To leave the oyster-bed.
But four young Oysters hurried up,
All eager for the treat:
Their coats were brushed, their faces washed,
Their shoes were clean and neat–
And this was odd, because, you know,
They hadn’t any feet.
Four other Oysters followed them,
And yet another four;
And thick and fast they came at last,
And more, and more, and more–
All hopping through the frothy waves,
And scrambling to the shore.
The Walrus and the Carpenter
Walked on a mile or so,
And then they rested on a rock
Conveniently low:
And all the little Oysters stood
And waited in a row.
“The time has come,” the Walrus said,
“To talk of many things:
Of shoes–and ships–and sealing-wax–
Of cabbages–and kings–
And why the sea is boiling hot–
And whether pigs have wings.”
“But wait a bit,” the Oysters cried,
“Before we have our chat;
For some of us are out of breath,
And all of us are fat!”
“No hurry!” said the Carpenter.
They thanked him much for that.
“A loaf of bread,” the Walrus said,
“Is what we chiefly need:
Pepper and vinegar besides
Are very good indeed–
Now if you’re ready, Oysters dear,
We can begin to feed.”
“But not on us!” the Oysters cried,
Turning a little blue.
“After such kindness, that would be
A dismal thing to do!”
“The night is fine,” the Walrus said.
“Do you admire the view?
“It was so kind of you to come!
And you are very nice!”
The Carpenter said nothing but
“Cut us another slice:
I wish you were not quite so deaf–
I’ve had to ask you twice!”
“It seems a shame,” the Walrus said,
“To play them such a trick,
After we’ve brought them out so far,
And made them trot so quick!”
The Carpenter said nothing but
“The butter’s spread too thick!”
“I weep for you,” the Walrus said:
“I deeply sympathize.”
With sobs and tears he sorted out
Those of the largest size,
Holding his pocket-handkerchief
Before his streaming eyes.
“O Oysters,” said the Carpenter,
“You’ve had a pleasant run!
Shall we be trotting home again?’
But answer came there none–
And this was scarcely odd, because
They’d eaten every one.

Boogie Stomp! documentary film tells the story of boogie woogie origins

#boogie stomp.com documentary film, Boogie Woogie, Detroit Bob Baldori, Bob Seeley Chuck Berry, Meade Lux Lewis. Dan Cassidy is in the film. Learn the Irish etymology of Jazz, Jizz, Jive & Boogie.

Bob Seeley and Bob Baldori Friends of the Educational CyberPlayGround, Inc.

Boogie Stomp! is a documentary film that will tell the story of boogie woogie, its origins, subsequent history and ongoing development while profiling its two greatest living players – Bob Seeley and Bob Baldori. Seeley spent his formative years playing with Meade Lux Lewis and other Jazz greats. Though playing in obscurity for decades at Charley’s Crab in Detroit, he became known to insiders as the best boogie and stride player in the world.
Learn the Irish etymology of Jazz, Jizz, Jive & Boogie.
Find footage of American Book Award Winner Daniel Cassidy who said, “We used the words boogie and boogaloo to mean move fast or depart quickly with no reference to music.”~ Dan Cassidy
Find The source of giniker and the source Jazz. Word origin of Jazz, Irish American Vernacular English and the hidden influence of Irish and Scots-Gaelic on what we call American English, and the history of Jazz.
Continue reading “Boogie Stomp! documentary film tells the story of boogie woogie origins”

MARYLAND STATE ARTS COUNCIL AWARDS $50,000 IN GRANTS TO SUPPORT LIVING TRADITIONS IN MARYLAND BALTIMORE, MD

MARYLAND STATE ARTS COUNCIL AWARDS $50,000 IN GRANTS TO SUPPORT LIVING TRADITIONS IN MARYLANDBALTIMORE, MD (October 9, 2012)

Maryland Traditions, the folklife program of theMaryland State Arts Council (MSAC), has awarded $50,000 in grants for FY 2013. In total, $20,000 was appropriated for the Apprenticeship Awards program and $29,000 was appropriated for the Project Grants program.“The Maryland Traditions Apprenticeship and Project Awards play a vital role in preserving Maryland’s traditional art forms,” said MSAC Executive Director Theresa Colvin. “We are pleased to be able to support our individual artists in passing their unique skills on to future generations, as well as provide arts organizations with the funding they need to better serve their communities.”Now in its eleventh year, Maryland Traditions develops statewide infrastructure for folk arts and folklife through the MSAC with funding from the National Endowment for the Arts. The program identifies, documents and celebrates living traditions, communities and practitioners that constitute the state’s folk and traditional arts and folklife; supports the dissemination of information to wider audiences through publication, presentation and other educational activities; and works directly with individuals and cultural institutions in order to sustain living traditions and folk arts. For information contact Maryland Traditions Director, Cliff Murphy, 410-767-6450.Ten Master-Apprentice teams that practice folk arts and traditional occupational skills have been chosen to receive Maryland Traditions Apprenticeship Awards. The apprenticeships began in July 2012 and continue through June 2013. The awards, up to $2,000 per team ($1,800 for the master artist and $200 for the apprentice) will help cover apprenticeship-related expenses to help ensure the continuity of Maryland’s diverse living traditions for future generations.Apprenticeship Award recommendations were made by a jury of regional folklife experts for artists who express and practice traditional folk arts, including traditions in music, dance, boat building, duck decoy carving and metalwork.
2013 Apprenticeship Awardees:
Rehoboth Welsh Church Pastor Richard Baskwill of Baltimore County will teach his grandson Bradley Martin of Harford County the Welsh hymns and folksongs performed by the internationally-known church choir;Leland Hedgecock Smith of Wicomico County, a master clockmaker, will focus on the making of clocks and restoration of antique clock movements with his apprenticeSara Smoker, also of Wicomico County;Prince George’s County resident Sam-Oeun Tes, a recipient of the 1998 National Endowment for the Arts National Heritage Fellowship for her expertise in Cambodian traditional dance, and her apprentice Bonavy Chhim (Prince George’s County) will explore techniques of the Khmer Classical Court Dance;Master boat builder and restorer, Mike Vlahovich of Talbot County, will focus on the restoration of traditional Chesapeake Bay skipjacks with apprentice John Rafter ofWorcester County;Baltimore City’s Rose Duke, a former craftswoman for the Steiff Silver Company, will teach silver engraving to apprentice Wayne Warner of Harford County;Master duck decoy carver Warren Saunders, from Dorchester County, will pass his carving and painting skills onto his apprentice, Roger Webster of Wicomico County;A member since 1948 of the legendary Baltimore City doo-wop group, The Swallows,Edward “Eddie” Rich, will teach rhythm & blues melodic styles, harmony and repertoire to Leroy “Linky” Miller. Both men are from Baltimore City;Anila Kumari from Montgomery County will teach apprentice Mrinalini Pillai, also ofMontgomery County, the techniques of Kuchipudi Classical Indian Dance;Master Manding Kora player, Amadou Kouyate, will work on the repertoire and technique of traditional Malian Kora music with apprentice Jumoke Ajanku. Both Kouyate and Ajanku hail from Baltimore City;Master bladesmith E. Jay Hendrickson of Frederick County will teach advanced bladesmithing, including the making of Damascus Steel, to Shawn Hendrickson, also of Frederick County.In addition to the ten Apprenticeship Awards, nine organizations across Maryland have been selected to receive FY 2013 Maryland Traditions Project Grants. These organizations will receive funding for innovative projects instituted between July 2012 and June 2013 that work to document, preserve and present the state’s rich traditional arts and culture. Grant amounts for the Maryland Traditions Project Grants range from $1,000 to $5,000.2013 Maryland Traditions Project Grant Awardees:The Accokeek Foundation in Prince George’s County has been awarded $3,000 to support the oral history project, “Piscataway Connection to the Land”, which will explore living traditions of the indigenous Piscataway Indian tribes for an upcoming exhibition in Piscataway Park;The Coastal Heritage Alliance in Talbot County has been awarded $5,000 to create a temporary interpretive and educational heritage center on Deal Island dedicated to promoting the traditional skills and knowledge concerning boat-building and restoration of Chesapeake watermen;Harford Community College has been awarded $4,500 to conduct ethnographic fieldwork on the Welsh living traditions of Northern Harford County that will culminate in an exhibit at the Hays-Heigh House, a Welsh choral concert and a one-day festival of Welsh living heritage at the college;Historic St. Mary’s City in St. Mary’s County has received a $2,000 grant to support community-led demonstrations of the Southern Maryland living tradition of stuffed-ham making at their annual “Hearth and Home” event;Jayamangala, a non-profit organization in Howard County devoted to teaching Indian Classical music and dance, has been awarded $1,500 to convene a week-long meeting with community members to discuss issues of reviving and recording Indian Classical music and dance in Maryland;$3,000 was given to The Jewish Museum of Maryland in Baltimore City to work alongside the Reginald F. Lewis Museum of Maryland African American History and Culture to produce “Sabbath Tales”, a joint project focused on exploring, documenting and strengthening the living traditions of Jewish and African-American story-telling around the Sabbath table;Native American Lifelines, Inc. of Baltimore City was awarded $3,500 to support an educational program devoted to teaching younger generations the living traditions (dance, drumming, beading and regalia-making) of Baltimore’s Native American groups;The Queen Anne’s County Waterman’s Festival received $3,000 for the last phase of production of the documentary film, “Chesapeake Free”, which features three families of watermen and the struggles they undergo in sustaining their traditional ways of life on the Chesapeake;The South Broadway Baptist Church of Baltimore City has been granted $3,500 to assist in the research and documentation of Lumbee/Eastern Carolina Native American Southern Gospel Music as it is practiced in Baltimore; the project will culminate in community workshops, a concert and a DVD on the musical living traditions.###About the Maryland State Arts Council
The Maryland State Arts Council, an agency of the Maryland Department of Business & Economic Development, Division of Tourism, Film and the Arts, is dedicated to cultivating a vibrant cultural community where the arts thrive. The mission of the council is to encourage and invest in the advancement of the arts for the people of Maryland. In Fiscal Year 2010, Maryland State Arts Council grantees’ activities support more than 10,600 jobs and generate $1 billion in local economic activity and $36.5 million in state and local taxes.
For more information, visit www.msac.org