Showing posts sorted by relevance for query The Lost World. Sort by date Show all posts
Showing posts sorted by relevance for query The Lost World. Sort by date Show all posts

May 22, 2025

Sir Arthur Conan Doyle & The Lost World

 ~  

 
Today is the birthday of Sir Arthur Conan Doyle who is famous for his creation of the sleuth, Sherlock Holmes, in 1887. However, due to my lifelong fascination with dinosaurs, it is his fantasy novel, The Lost World, I have always loved.    
 
The book has been depicted MANY times on film:     

Filmography

     
      
     
     
Viewfinder links:
     
Dinosaurs           
Claude Rains     
     
YouTube links:
      
The Lost World (1925 silent) (1 hr., 8 mins.)         
The Lost World (1925 silent) (stop motion shots)(18 mins.)        
The Lost World (1969) (1 hr., 50 mins.)       
The Lost World (1960) Trailer     
The Lost World (1998) complete (1 hr., 33 mins.)           
     
     
     
     
Styrous® ~ Thursday, May 22, 2025   


 









April 6, 2014

Kronos @ the Hertz ~ Happy Birthday World War I





photo by Styrous®




I inadvertently began the commemoration of the 100th anniversary of World War I this evening. Yep, it was a hundred years ago this year that the 'Great War' began with the shooting of Archduke Franz Ferdinand of Austria on June 28, 1914, in Sarajevo. The incident precipitated Austria-Hungary's declaration of war against Serbia. The result of the assassination: the Central Powers (Germany and Austria-Hungary) and the Allies of World War I (countries allied with Serbia) declared war on each other, igniting the First World War

18 December 1863 – 28 June 1914
photo published in:
The War of the Nations (New York)
December 31, 1919
Newspaper Pictorials
The war of the nations : 
portfolio in rotogravure etchings : 
compiled from the Mid-week pictorial, 
New York :
New York Times, Co., 1919


This is a hell of a way to start a music article but the performance by the Kronos Quartet at the Hertz Hall in Berkeley centered around this event with the World Premier of Beyond Zero by Serbian-born composer, Aleksandra Vrebalov, who was there in attendance.

photo by Sasha Jancic


I'd had no thought about World War One or the Kronos Quartet and had never heard of Vrebalov but the day before the concert I was at the wedding celebration of friends when Shelly Gardner said she had a ticket for a concert but couldn't go and asked, did I want it? The Kronos? Of course I did! 

It turns out the concert was everything and far more than I had expected. The media involved in the performance was right up my alley; it utilized vintage 78 recordings of the period. Scratches, pops and tinny sounding, they were fantastic. There were recordings of opera, rally and patriotic songs, and many others. The sound recordings were used between and, at one point, accompanied by the Quartet.

The program was a series of short compositions, many no more than a minute, a few a mere 10 seconds or so, performed without intermission. That's a good thing as it would have disrupted the flow of the work. There was no applause until the end of the entire program, another good thing.

Music in the program consisted of a Byzantine chant 
Three pieces for String Orchestra by Igor Stravinsky
Last Kind Words by the blues singer Geeshie Wiley, arranged by trombonist Jacob Garchik
Eviç Taksim by Tanburi Cemil Bay, arranged by Stephen Prutsman 
Trois Beaux Oiseaux du Paradis by Maurice Ravel, arranged by J. J. Hollingsworth, of soundSFound
Six Bagatelles by Anton Webern, arranged by Jacob Garchik
They Are There! Fighting for the People's New Free World by Charles Ives and
Nunc Dimittis from All-Night Vigil by Serge Rachmaninoff, arranged by Kronos

The original version of Last Kind Words by Geeshie Wiley is one of the most unique blues songs ever written. It's modulations are exquisite. It was recorded in 1929 with guitar played by Elvie Thomas. Geeshie was born in Natchez, Mississippi, and during the 20's she worked at a fairground in Jackson, Mississippi. She was married to Casey Bill Weldon who was Memphis Minnie's ex husband. The nickname "Geeshie" was commonly given to people from around coastal South Carolina and Georgia and is another name for the Gullah ethnic group in that region. Be sure to check out the music video (link below).

During the Ives work, They Are There!, the Kronos performed with the recording (actually sung by Ives who also played piano). Ives was off-key, dissonant at times and hilarious! The song was recorded at the Mary Howard Studio in New York City on 24 April 1943.

The last and longest work was Beyond Zero: 1914 - 1918 in which the Quartet played during the running of a film by Bill Morrison. The film consisted of reels of decaying nitrate film from the World War I period. They were processed to enhance the decay and at times simulated the effect of projector burn-out.

Beyond Zero: 1914-1918
video by Bill Morrison

The old footage from the period (silent film, of course, sound film had not been invented yet) varied from a huge steamship with thousands of men jamming the decks, men marching off to war, men in training exercises, men barb-wiring the battle field, tanks and guns firing on cities and villages and the aftermath of war. The whole while I kept wondering how many of the young men in the films survived the cataclysm (from the Greek, kataklysmos, to 'wash down' (kluzein "wash" + kata "down"). I use the word cataclysm because it did indeed wipe away an entire world and way of life. The world was changed forever by it.

The finale of the film was accompanied by the striking of two old Vietnamese artillery shells which, when struck, had the beautiful but sombre sound of brass bells or gongs.

It is ironic that afterwards, World War I was considered to be the war to end all wars. They had no inkling of the horrors the future held in store for mankind. Also ironic is the fact that here the politicians are again repeating the same stupid actions. When will they ever learn?  


Net links:


Bill Morrison videos on YouTube:

Light Is Calling (music by Michael Gordon)
Decasia (music by Michael Gordon)
My everlasting thanks for an incredible evening of stunning music to the Kronos Quartet, Aleksandra Vrebalov, Bill Morrison but especially to Shelly Gardner.


April 30, 2014

101 Reel-to-Reel Tapes 63: ELO (Electric Light Orchestra) ~ A New World Record







ELO (Electric Light Orchestra)
A New World Record






In addition to my 20,000 Vinyl LP collection I'm selling, I have reel-to-reel, pre-recorded tapes for sale as well (see link below). If interested, contact me by email please, not by a comment. 

~ ~ ~

The Electric Light Orchestra (ELO) was a once in a lifetime experience to see and hear in concert. I remember seeing the group at the Oakland Arena (this was before Oaklnnd started naming it after various corporations) during The Big Night tour in 1978. I bought the souvenir program from the concert.

I have A New World Record, the reel-to-reel tape, as well as the program up for sale on eBay. Links to the eBay postings and the program below.

A New World Record is the sixth studio album by Electric Light Orchestra (ELO); it was released in 1976. The intro to the album, Tightrope, snags you and the album keeps you locked into the journey it takes and doesn't let go until the final song, Shangri-La, has finished.



Electric Light Orchestra ~ A New World Record
reel-to-reel tape box cover
photo by Styrous®



From the book, Unexpected Messages

The tour, dubbed "A New World Record Tour Of America" toured North America only, running from October 1976 to April of 1977 with a break in December. The reason the tour was only in North America can probably be attributed to the band's high success rate in the USA. If so, it's somewhat ironic given that late in 1976 Livin' Thing was ELO's breakout hit in England. The book, Unexpected Messages, states that it was a 40 city tour, but as the book only mentions the second leg of the tour (January to April 1977), it is unclear if the 40 cities was for the entire tour or the second leg only.

Another explanation for the tour being only in North America (and brief compared to previous tours) could be simply due to scheduling issues. The band may have had the tour booked without consideration for when an album was to be released, thus the timing was that the A New World Record tour only happened in North America.



Electric Light Orchestra ~ A New World Record
reel-to-reel tape box cover detail
detail photo by Styrous®





As in previous shows, Mik Kaminski and Hugh McDowell performed solo violin and cello performances during the show. Mik performed a self-written and unnamed solo piece which merged with the drums, bass and keyboards joining in on a modern arrangement of the traditional Jewish folk song Hava Nagila. Hugh performed his own self-written and unnamed solo piece which similarly merged with bass, drums and guitar joining in for a modern arrangement of the traditional Hungarian folk song Csárdás and more of Hugh's self-written piece. This information is drawn from the one an only bootleg recording of a performance from the A New World Record tour, so it is also possible that the performance varied from show to show. 

Beyond these small bits and one bootlegged performance from New York City's Madison Square Garden on February 11, 1977, very little else is known about this tour.





Electric Light Orchestra ~ A New World Record
reel-to-reel tape box cover detail
detail photo by Styrous®




The band's frontman Jeff Lynne regards his own songwriting at this point to have reached a new high.
"The songs started to flow and most of them came quickly to me. To have all those hits, it was just ...I mean amazing really. Going from doing okay for probably three or four years to suddenly being in the big time, it was a strange but great thing."
– Jeff Lynne 2006; A New World Record remaster
ELO spent a staggering 225 weeks in the singles charts and 393 weeks in the album charts, worldwide sales were in excess of 100million records, in the UK they had 27 top 20 hits and 11 top 10 albums, including two number ones – Discovery and Time.








The band and crew on the tour were:
Jeff Lynne: vocals, guitar
Bev Bevan: drums
Richard Tandy: keyboards
Kelly Groucutt: bass, vocals
Mik Kaminski: violin
Melvyn Gale: cello
Don Arden: Business and personal management
Dave Arden: Business and personal management
Sharon Arden: Tour manager

Other crew is uncertain, although probably Jake Commander, Brian Jones and Phil Copestake were involved as engineers or technician as they were known to be good friends with the band and involved in most of their tours.




Electric Light Orchestra ~ A New World Record

reel-to-reel tape box back detail
detail photo by Styrous®





Tightrope, recorded in 1976 at Musicland, Munich, West Germany), has a dramatic and spacey but reverent feeling intro with its orchestral (real strings, not synthesizers) sound and chorus. It goes into a bouncy but delightful and grand tune that is truly wonderful.




Electric Light Orchestra ~ A New World Record

reel-to-reel tape box back detail
detail photo by Styrous®






Telephone Line became their "biggest single success in the US and was their first UK gold award for a single. With ELO's continuing success in America it seemed obvious to Lynne to use an American ring tone during the song.

Writer/guitarist, Lynne explained:

"To get the sound on the beginning, you know, the American telephone sound, we phoned from England to America to a number that we know nobody would be at, to just listen to it for a while. On the Moog we recreated the sound exactly by tuning the oscillators to the same notes as the ringing of the phone."

The song charted in the Top Ten in both the UK and the US, peaking at number 8 in the UK and number 7 in the US. The tune was on the Hot 100 for 23 weeks, nearly a full month longer on that chart than any other ELO tune. In 1977, the song would reach number 1 in New Zealand and Canada. As was the norm, many ELO singles were issued in different colors, but the US version of this single was the only green single ELO issued. It became the band's first single to achieve Gold sales figures.

It opens with the typical telephone sounds of the day with vocoder processed vocal at the start by Lynn. It goes into a slow, dreamy ballad about loneliness and and possibly lost love.







Rockaria! opens with a short but beautiful soprano (Mary Thomas) intro that is glorious, then the song bursts into a delightfully ambitious romp with the soprano making an appearance throughout the song. To me, it has a sort of Little Richard feeling to the rhythm.

Thomas flubbed the first take of the introduction by starting the vocal too early. However, Lynne elected to use the take (complete with her interjection, "Oops!") anyway (later pressings of the album are missing this part). During live performances, the 'aria' was provided by the band's bassist Kelly Groucutt, illustrating his wide-ranging vocal talents.








Mission (A World Record) is about an alien who has been charged to watch over us poor earthlings; he watches and does nothing other than observe. A slow, dreamy melody that strolls along wondering about life in general.

Livin' Thing has a great, gypsy-sounding violin intro that is beautiful. The gypsy violin returns from time to time.

Above the Clouds opens with a male vocal with a blues feeling and goes into a moderate tempo, syncopated, staccato tune that is fascinating. It has a theremin which adds a very nice touch.

Shangri-La, the final track from the abum, is a slow, dreamy and lovely melody and the longest on the album. Once again, the voice of the soprano (Mary Thomas) makes its appearance. The steel guitar intro is reminisant of the 1959 song, Sleep Walk by Santo & Johnny Farina.

Rockaria!  and Shangri-La are my favorite songs from A New World Record.






Track listing

All songs written by Jeff Lynne.

Side one:

    "Tightrope" – 5:03
    "Telephone Line" – 4:38
    "Rockaria!" – 3:12
    "Mission (A World Record)" – 4:25

Side two:

    "So Fine" – 3:54
    "Livin' Thing" – 3:31
    "Above the Clouds" – 2:16
    "Do Ya" – 3:43
    "Shangri-La" – 5:32


Personnel:


Additional personnel:




Recorded on July 1976 at Musicland Studios, Munich 
Released on 11 September 1976 (UK)
Released on 12 September 1976 (US)

Label: Jet, United Artists- 1R1 6588

Producer: Jeff Lynne


Music videos on YouTube:

Tightrope
Telephone Line
(live)
Rockaria!

Rockaria! (original recording with "Oops!" mistake}
Mission (A World Record) 
So Fine
Livin' Thing
(live 1977)
Above the Clouds
Do Ya
(live)
Shangri-La 







ELO 1987 World Wide Tour souvenir program 

ELO program on eBay
 
reel-to-reel tapes on eBay 



Styrous® ~ Wednesday, April 30, 2014
~

February 4, 2024

20,000 vinyl LPs 353: Ida Lupino ~ Twilight Zone & The Sixteen-Millimeter Shrine

 ~   
vinyl LP front cover
photo by Styrous®


Today is the birthday of British actress, director, writer, and producer, Ida Lupino, who was born on February 4, 1918, at 33 Ardbeg Road in Herne Hill, London. She is widely regarded as the most prominent female filmmaker working in the 1950s during the Hollywood studio system. With her independent production company, she co-wrote and co-produced several social-message films and became the first woman to direct a film noir, The Hitch-Hiker, in 1953.        
 
From Wikipedia:
 
Among Lupino's other directed films, the best known are Not Wanted (1949), about unwed pregnancy; Never Fear (1950), loosely based upon her own experiences battling paralyzing polio; Outrage (1950), one of the first films about rape; The Bigamist (1953) (which was named in the book 1001 Movies You Must See Before You Die); and The Trouble with Angels (1966). Her short yet immensely influential directorial career, tackling themes of women trapped by social conventions, usually under melodramatic or noir coverings, is a pioneering example of proto-feminist filmmaking.        
 
She was the only woman to direct an episode of the original The Twilight Zone series (The Masks), and the only director to star in an episode (The Sixteen-Millimeter Shrine). There is an excellent analysis of the episode on YouTube (link below).      


vinyl LP back cover detail
detail photo by Styrous®


The score for the episode was written by veteran film composer, Franz Waxman who also scored the film Sunset Boulevard, which also dealt with the theme of aging actresses.      
 
The episode tells the story of Barbara Jean Trenton, a former silver-screen starlet whose radiant beauty and flourishing career were the envy of the 1930s. Now living in the twilight of her life, Barbara is a disillusioned actress struggling to come to terms with her faded fame and the inexorable march of time that has carried both her youth and her career away from her.

Unable to accept her current reality, Barbara secludes herself in her opulent but lonely mansion, where she spends her days in her private screening room. There, she obsessively watches her old films, living vicariously through the black and white images that capture her in her prime, a time when she was adored by fans and surrounded by the glamour of Hollywood's golden age.

The world outside of Barbara's curated screenings is jarringly different. The contemporary film industry has little interest in the aging actress, and her attempts at a comeback are met with a harsh reception—parts are scarce, and the few that come her way are demeaning and far from the leading-lady roles she once monopolized. Friends from her past have moved on or passed away, and she is left with only her loyal agent, Danny Weiss (Martin Balsam), who tries in vain to help her find a place in the changed landscape of the entertainment world.

Barbara's devotion to her past glories turns compulsive and unhealthy. The characters in her films start to seem more real to her than the people outside her projection room. She grows increasingly detached from reality, finding solace only in the flickering light of the projector that casts illusions of a past that no longer exists.

As Barbara's fixation deepens, the story takes an eerie turn, true to The Twilight Zone signature blending of reality and the supernatural. Unsettling occurrences blur the lines between the celluloid world and the physical world, suggesting that her nostalgia may have opened a door to something extraordinary. Her refusal to move forward in time sparks a mysterious chain of events that tease at the possibility of a world where time stands still, maintaining the images and emotions of one's greatest moments eternally.
      
The Sixteen-Millimeter Shrine is a contemplative episode, rich in symbolism and thematic depth. It explores the human preoccupation with the past and the sometimes-destructive nature of our yearning for days gone by. Through Barbara Jean Trenton's story, viewers are invited to consider the dangers of living in a cocoon of memory, where the comfort of nostalgia can become a trap that disconnects us from the progression of life.

The narrative is beautifully framed within Rod Serling's trademark introduction and closing monologues, which provide philosophical commentary on the tale at hand. As with all episodes of The Twilight Zone, viewers are thrust into a world that is at once familiar and unsettlingly strange. The episode examines the nature of success and the ephemeral quality of fame, highlighting the conflict between a person's inner world and the relentless forward push of time.    

The Sixteen-Millimeter Shrine uses the unique format of The Twilight Zone to delve into the human psyche, scrutinizing our attitudes towards aging and the inevitable changes that life brings. Herein lies an allegorical exploration, a tale of a woman lost in the shadows of her own life, unwilling to emerge into the stark light of the present. The story raises the question: what happens when our desire to relive the past becomes more than just a figment of our imagination? Can one ever really reclaim what has been lost to time—or does such an attempt come with an unspoken price?

While the theme of "be careful what you wish for" permeates many episodes of The Twilight ZoneThe Sixteen-Millimeter Shrine wraps this message in a hauntingly beautiful narrative that stays with the viewer long after the final credits roll. It is an episode that encapsulates the spirit of the show—a journey into another dimension, not only of sight and sound but of mind, where each twist of fate lies just beyond the borders of the known and into the shadowy outskirts of The Twilight Zone.         
 









   
Tracklist:
       
Side 1:
        
A - House In Cypress Canyon, Voice Actor – Robert Taylor - 30:00
       
Side 2:
       
B - Fugue In C Minor, Voice Actors – Ida Lupino, Vincent Price - 30:00
       
Companies, etc.
       
    Phonographic Copyright ℗ – Great American Audio Corp.
    Manufactured By – Great American Audio Corp.
    Distributed By – Great American Audio Corp.
       
Credits:
       
    Suspense Theme Written By Franz Waxman
       
Notes:
       
Original episode numbers and broadcast dates are:
Track A: Episode 222 - 12/05/1946 - The House In Cypress Canyon: A chilling story of the supernatural.
Track B: Episode 094 - 06/01/1944 - Fugue In C Minor: A story about a huge pipe organ built throughout an entire house, that tends to play itself.

"Radio's Outstanding Theatre of Thrills"
Two Complete Unedited Radio Adventures
Licensed For Home Use Only © MF Productions, Inc.

Robert Taylor (11) / Vincent Price (2) And Ida Lupino – Suspense (Original Radio Broadcast)
Label:    Nostalgia Lane – NLR-1022
Format:    Vinyl, LP
Country: US
Released: 1978
Genre: Non-Music
Style: Radioplay
   
         
Viewfinder links:        
        
Martin Balsam        
Ida Lupino        
Franz Waxman        
        
Net links:       
         
MeTV ~ Ida Lupino        
The View From the Junkyard ~ The Twilight Zone: The Sixteen-Millimeter Shrine    
Virtual Virago ~ Ida Lupino and The Twilight Zone           
        
YouTube links:        
                      
The Twilight Zone: 16mm Shrine (Episode Analysis)        
        
         
 
 
Ida Lupino 
 
 
        
Styrous® ~ Sunday, February 4, 2024    
       
 
 














March 6, 2020

Kurt Weill song lyrics

~    

Oh, show me the way to the next whiskey bar
Oh, don't ask why, oh, don't ask why!
For we must find the next whiskey bar
For if we don't find the whiskey bar
I tell you we must die
I tell you we must die
I tell you
I tell you
I tell you we must die!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have whiskey, oh you know why!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have whiskey, oh you know why!

Oh, show me the way to the next pretty boy
Oh, don't ask why, oh, don't ask why!

For we must find the next pretty boy
For if we don't find the next pretty boy
I tell you we must die
I tell you we must die
I tell you
I tell you
I tell you we must die!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have boys, oh you know why!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have boys, oh you know why!

Oh, show me the way to the next little dollar
Oh, don't ask why, oh, don't ask why!
For we must find the next little dollar
For if we don't find the next little dollar
I tell you we must die
I tell you we must die
I tell you
I tell you
I tell you we must die!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have dollars, oh you know why!

Oh, moon of Alabama
We now must say good-bye
We've lost our good old momma
And must have dollars, oh you know why!        
       
     



The Bilbao Song
(Kurt Weill / Bert Brecht – English Lyrics by Johnny Mercer)

Recorded by: Chet Atkins; Clusone Trio; Dave Douglas; Eastside Sinfonietta; Gil Evans; Marianne Faithfull; Jacqueline François; Greta Keller; Masabumi Kiluchi; Ute Lemper; Lottie Lenya; Frank Portolese; André Previn; Martha Schlamme; Sextet of Orch. USA; Tethered Moon; Cal Tjader; Julie Wilson, Andy Williams.   

That old Bilbao moon, I won't forget it soon
That old Bilbao moon, just like a big balloon
That old Bilbao moon would rise above the dune
While Tony's beach saloon rocked with an old-time tune
We'd sing a song the whole night long and I can still recall
Those were the greatest (those were the greatest)
Those were the greatest (those were the greatest)
Those were the greatest nights of them all

No paint was on the door (no paint was on the door)
The grass grew through the floor (the grass grew through the floor)
Of Tony's two by four (of Tony's two by four)
On the Bilbao shore (on the Bilbao shore)
But there were friends galore (howdy do, howdy do)
And there was beer to pour (chug-a-lug, chug-a-lug)
And moonlight on the shore (and the moon shines above)
That old Bilbao shore (on the shore, not the rug)
We'd sing all night with all our might and I can still recall
Those were the greatest (those were the greatest)
Those were the greatest (those were the greatest)
Those were the greatest nights of them all

That old Bilbao moon, I won't forget it soon
That old Bilbao moon, just like a big balloon
That old Bilbao moon would rise above the dune
While Tony's beach saloon rocked with an old-time tune
We'd sing all night with all our might and I can still recall
Those were the greatest (those were the greatest)
Those were the greatest (those were the greatest)
Those were the greatest nights of them all

(Extra verse not used by Andy Williams)

Those old Bilbao Guys, they loved to harmonize
Who stopped to realize how fast the summer flies
The moon was on the rise, we'd catch the ladies' eyes
And whisper Spanish lies, They never did get wise.

We'd sing the whole night long
And I can still recall
Those were the greatest,
Those were the greatest
Those were the greatest days of them all.


     


Lost In The Stars

Before Lord God made the sea or the land
He held all the stars in the palm of his hand
And they ran through his fingers like grains of sand
And one little star fell alone

Then the Lord God hunted through the wide night air
For the little dark star on the wind down there
And he stated and promised he'd take special care
So it wouldn't get lost no more

Now, a man don't mind if the stars get dim
And the clouds blow over and darken him
So long as the Lord God's watching over them
Keeping track how it all goes on

But I've been walking through the night and the day
Till my eyes get weary and my head turns gray
And sometimes it seems maybe God's gone away
Forgetting his promise and word he'd say

And we're lost out here in the stars
Little stars, big stars, blowing through the night
And we're lost out here in the stars          

       



Surabaya Johnny

I was young, I was just sixteen then,
when you came up from Burma one day.
And you told me to pack up my suitcase,
and I did, and you took me away.
I said, "Do you work nice and steady,
or do you go sailing and roving out to sea?"
And you said, "I have a job on the railroad,
and baby, how swell it's all gonna be."
You said a lot, Johnny. It was all lies.
You sure had me fooled, right from the start.
I hate you when you laugh at me like that.
Take that pipe out of your mouth, Johnny.

Surabaya Johnny. Is it really the end?
Surabaya Johnny. Will the hurt ever mend?
Surabaya Johnny. Ooh, I burn at your touch.
You got no heart, Johnny, but oh, I love you so much.

Oh, at first you were kind and gentle,
'til I packed up and went off with you.
And it lasted two weeks until one day
you laughed at me and hit me too.
You dragged me all over the city,
up the river and down to the sea.
Now I look at myself in the mirror
and some old woman looks back at me.
You didn't want love, Johnny, you wanted money.
I gave you all I had. You wanted more.
Oh, don't look at me that way.
I'm only trying to talk to you.
Wipe that grin off your face, Johnny.

Surabaya Johnny. Is it really the end?
Surabaya Johnny. Will the pain never mend?
Surabaya Johnny. How I burn at your touch.
You got no heart, Johnny, but oh, I love you so much.

When we met I forgot to ask you
why they called you that funny name,
but in every hotel on the seacoast
I found out, and I loved you all the same.
I'm tired. I'm worn out.
The sea's pounding in my ears.
And I reach out my arms to hold you.
You're not here and who even cares?
You got no heart, Johnny. You're just no good.
You going now? Oh, tell me why.
I love you after all, Johnny, like that very first day.
Don't laugh at me no more, Johnny.

Surabaya Johnny. Is it really the end?
Surabaya Johnny. Will the hurt ever mend?
Surabaya Johnny. Oh, I burn at your touch.
You got no heart, Johnny, but oh, I love you,
I love you, I love you so much. 
     
          
         
          
Viewfinder links:        
      
Lotte Lenya              
André Previn          
Martha Schlamme ‎~ The World of Kurt Weill
       
Cal Tjader          
Kurt Weill         
            
          
         
Styrous® ~ Thursday, March 5, 2020           




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