Linda Henry nee Pizzuti is a daughter of affluent real estate family and a doll
indeed Google pix of Celtics owner Wyc Grousbecks wife for a comp.
Pizzuti/Henry seems smart and competent. She is probably responsible for how
much I have been paying.
The Wonderland we are in is truly incomprehensible and will end badly as it is
fueled and sustained by debt which we are adding to it at a parabolic rate.
This only works for short periods of time and parabolas end abruptly with steep
declines. In debt it will be a decline of value—ie inflation and currency. I
think we will see at least the beginning of the downside but who knows. And
Rome rallied back a couple of times so maybe...
Sent from my iPhone
On Feb 24, 2021, at 5:06 PM, rhelkins (Redacted sender "rhelkins" for DMARC)
<dmarc-noreply@xxxxxxxxxxxxx> wrote:
I see that the wife of the owner of the Red Sox and the Globe is the new CEO
of the Globe. She is a looker, for sure, and emblematic of the takeover of
America by sexy, white, sociopathic females, who make up all of the non-male,
non-white Democratic members of congress and our state and local legislative
bodies. All we have left of a great America is our memories. It seems
impossible what has happened, and so quickly, but it's a good lesson for
future historians how the morals, ethics, values and collective wisdom of a
country can be hollowed out in a mere fifty years to make it a dumbed down,
authoritarian version of Pleasure Island in Pinnochio. I bet there were a lot
of Romans who had feelings similar to ours back in the day. I thought I was
paying a lot for WaPo ($260) and am blown away by how much the Globe charges.
I told the ole ball and chain that I would no longer pay for WaPo and she was
so addicted to the TV section that she renewed on her own.
-----Original Message-----
From: jmcculcuba <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 4:47 pm
Subject: [pa64] Re: This is what WaPo is teaching kids these days
The Globe is the same. The editorial page is almost all vitriolic left. The
sports pages are not what they used to be either, and the internet allows me
to read as much about sports as I want to.
I am close to cutting the paper which now costs about $1,000/year. I will
miss a couple of the comics and the Bridge column, and some local news. Old
habits die hard, but I am sick of getting the BS shoved in my face every
morning.
-----Original Message-----
From: rhelkins <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 2:37 pm
Subject: [pa64] Re: This is what WaPo is teaching kids these days
This is typical example of why the Washington Post is unreadable. I still
trust the Bridge column, which they buy from a syndicate, and they have not
yet found a way to inject race into the Sudoku puzzle. Other than that, the
Post is a true bag of worthless, biased, white-hating, male-hating,
Jew-hating horseshit. "Intersectionality" apparently doesn't apply to people
who are all of the following: (1) straight, (2) white and (3) male. Or
perhaps there's a separate Post definition of "white supremacist" which they
would---and in fact do---define in terms of such intersectionality. Who'd a
thunk back in the day that we would all sixty years later be presumed without
further inquiry to be white supremacists, our sympathy for the civil rights
movement notwithstanding? Must have been the Rush Limbaugh malevolent
influence.
-----Original Message-----
From: jmcculcuba <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 1:43 pm
Subject: [pa64] Re: This is what WaPo is teaching kids these days
It is ironic, both overt and subtle.
-----Original Message-----
From: rhelkins <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 12:51 pm
Subject: [pa64] Re: This is what WaPo is teaching kids these days
You will find that all of the Black iconic performers (other than Motown
artists) who have died within the last few years are lauded for particular
iconic recordings which were written by Whites and produced by Whites,
although that is rarely if ever mentioned in the obituaries. Only blackness
matters. For example, The New York Times obituary of Aretha Franklin in 2018
opens with specific mention of five iconic songs she recorded, but only
identifies the composer for one of them, who was black. This is typical of
the subtle and blatant anti-White racism that pervades the media today.
-----Original Message-----
From: jmcculcuba <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 12:32 pm
Subject: [pa64] Re: This is what WaPo is teaching kids these days
One could conclude that the writers were key, since both performers did very
well with the song.
L&S wrote a number of hit songs, many for the Coasters. Down in Mexico and
Run, Red, Run lesser known personal favorites
-----Original Message-----
From: rhelkins <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 12:02 pm
Subject: [pa64] Re: This is what WaPo is teaching kids these days
And they were Jewish as well, so if you apply intersectionality to them, they
would be doubly hated and despised by certain prominent cohorts of today's
Democratic Party. It would be nice if at least in one of these
all-white-people-are-evil-racists articles the author would point out that
the record business, as with virtually all commercial enterprises, value
sales above all, and that the white population in the early 1950s was roughly
six times the size of the black population and that the record companies
recorded and promoted what they thought would sell best. I guess that's too
much to ask.
-----Original Message-----
From: jmcculcuba <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 11:44 am
Subject: [pa64] Re: This is what WaPo is teaching kids these days
Those black guys Leiber and Stoller who wrote it must have got screwed too.
-----Original Message-----
From: rhelkins <dmarc-noreply@xxxxxxxxxxxxx>
To: pa64@xxxxxxxxxxxxx <pa64@xxxxxxxxxxxxx>
Sent: Wed, Feb 24, 2021 11:18 am
Subject: [pa64] This is what WaPo is teaching kids these days
I personally would have preferred this if it were part of a quiz to teach
kids to identify and describe misandry and anti-White racism. Might as well
add in intersectionality as well while we're at it.
KidsPost
Blues singer ‘Big Mama’ Thornton had a hit with ‘Hound Dog.’ Then Elvis came
along.
After the “king of rock-and-roll” recorded a version, Thornton’s original was
largely forgotten.
By
Haben Kelati
Feb. 24, 2021 at 8:00 a.m. EST
Imagine you have a good idea, but someone copies it and gets more credit.
That’s basically what happened to rhythm-and-blues singer Willie Mae “Big
Mama” Thornton with her song “Hound Dog.” If you know the song, you might
only know “King of Rock-and-Roll” Elvis Presley’s version. But before the
song helped Elvis’s career skyrocket, it was a big hit for Thornton.
Thornton, who was born in Ariton, Alabama, in 1926, signed with Peacock
Records in 1951. She stood out when compared with other female singers.
Nearly six feet tall and 200 pounds, she got the nickname “Big Mama.”
“She had this tough exterior, and she had this very powerful voice which made
her also seem very tough,” says Maureen Mahon, a music professor at New York
University.
She often performed while wearing a suit jacket and tie with cowboy boots.
“Sometimes she would wear a dress or gown, but she also liked to wear what
people would refer to as men’s clothes,” Mahon says.
Mahon says Thornton had an aggressive power when performing while staying
true to the emotions of a song.
“She could convey many emotions and different kinds of feelings through her
vocals. That’s a really important part of blues singing,” Mahon says.
Watching Thornton sing inspired Jerry Leiber and Mike Stoller to write “Hound
Dog” for her in 1952. Thornton recorded it with a growl emphasizing the
frustration that the song lyrics suggest — coping with a boyfriend who is
also dating someone else.
Thornton had moderate success with the song in 1953. It reached Number 1 on
the Billboard rhythm-and-blues chart. Several musicians recorded their own
versions, but none had much success until Elvis.
The 21-year-old performer had heard a version of the song in early 1956 with
some of the words changed. (It was about a dog, not a man.) Elvis decided to
record it. His recording climbed to the top of the Billboard Hot 100 chart
and stayed there for 11 weeks.
The song is seen as an important beginning of rock-and-roll, especially in
its use of the guitar as the key instrument, according to Mahon.
Mahon says Elvis’s cool stage presence, which captivated audiences, can be
traced to Thornton’s influence.
“I think he was getting that attitude from a singer like Big Mama Thornton,
who was projecting that in her song,” she says.
Elvis was able to get his version to wider audiences than Thornton, in part
because he was a White man, according to Gayle Wald, professor of American
studies and English literature at George Washington University. He had hit
songs by 1956, but he also had access to larger, mainstream markets.
“Popular music history is filled with examples of Black women being pushed to
the margins,” Wald says.
Wald points to the start of the blues as an example. “The first [vocal] blues
songs that were ever recorded [in the 1910s], were recorded by White singers.
It wasn’t until 1920, when Mamie Smith put out ‘Crazy Blues,’ that a Black
woman actually was on record singing a blues song. Even though blues was an
African American art form.”
“[Thornton] belongs in that story. . . . Because of the way race works in the
United States, Elvis got accolades” for “Hound Dog,” Wald says. “He received
exposure and celebrity and praise for it.”
Thornton’s influence on Elvis and American popular music as a whole is an
important part of her legacy. Although her work may have been forgotten by
some, researchers such as Mahon and Wald continue to study and elevate her
music and its impact.
“I think we’re making a lot of progress,” Wald says. “The Internet has made
it easier to let people know about artists from the past.”
