1 Muahahahahahahaha!

2 HR1592 is still in the House - http://www.govtrack.us/congress/bill.xpd?bill=h110-1592

3 It's about time for

Reality Check Number III

By George M Weinert V

Tuesday, May 01, 2007 http://www.americanjihad.blogspot.com/

 

A maddening feature of our politically correct world is the identification of  the outhouses of the Arab Alley and ghetto garbage cans in America as manifestations of ‘culture’!  I hold a Masters Degree in Music Composition and have spent over 40 years in the wonderful world of Music, symphonies, jazz and Composition so can  judge.

 

This is the real definition of culture:

 

Boyd Pehrson wrote (December 28, 2001):

The Lutheran artistic and musical milieu of J.S. Bach's local parish church during his childhood was perhaps not unlike the situation described in Berlin, 1659, 26 years before Bach's birth. Here is recounted the Christmas Matins in the Berlin Lutheran church 342 years ago. Interestingly, the recounting of activities tells us that women and girls sang in the churches, and that children were an important part of the church services, as was the Cantor. The preacher of this Berlin Church is none other than Paul Gerhardt, who wrote some of the

most important hymns Bach used in his sacred works, such as "Oh Sacred Head now Wounded" whose theme permeates the St Matthew's Passion.

 

The recounting below may be a peek into Bach's own childhood experiences, and perhaps can shed some light on why an orthodox Lutheran like Bach was able to write about Christ as the Joy of Man's Desiring. The situation in Lutheran churches of the time had become a tug of war between two polemic theological camps, the Orthodox and the Pietistic congregations. The Pietists emphasized the subjective experiences of Faith, while the Orthodox grounded themselves in the

Bible and in the Traditions of their Church. Bach was an Orthodox Lutheran, but had a complete understanding of the Pietistic movement, as Bach's theological library attests, with books from many key Pietistic theologians. Thus Bach was able to construct Cantatas that used scripture and liturgical wording, but that also spoke of adoring Jesus with one's heart.

 

If one has the necessary discernment to choose the best from the styles of different countries, a mixed style (ein vermischter Geschmack) results that, without overstepping the bounds of modesty, could well be called the German style, not only because the Germans came upon it first, but because it has already been established at different places in Germany for many years, flourishes still, and displeases in neither Italy, nor France, nor in other lands.'"

 

Webber, Geoffrey: "German Courts and Cities" in

Sadie, Julie Anne: Companion to Baroque Music

London: J.M. Dent & Sons Ltd., 1990.

p.157-158

 

Wolfgang Amadeus Mozart (1756-1791)

 

Introduction

(born Salzburg, 27 January 1756; died Vienna, 5 December 1791). Son of Leopold

Mozart.

He showed musical gifts at a very early age, composing when he was five and when

he was six playing before the Bavarian elector and the Austrian empress. Leopold

felt that it was proper, and might also be profitable, to exhibit his children's

God-given genius (Maria Anna, 'Nannerl', 1751-1829, was a gifted keyboard

player): so in mid-1763 the family set out on a tour that took them to Paris and

London, visiting numerous courts en route. Mozart astonished his audiences with

his precocious skills; he played to the French and English royal families, had

his first music published and wrote his earliest symphonies. The family arrived

home late in 1766; nine months later they were off again, to Vienna, where hopes

of having an opera by Mozart performed were frustrated by intrigues.

They spent 1769 in Salzburg; 1770-73 saw three visits to Italy, where Mozart

wrote two operas (Mitridate, Lucio Silla) and a serenata for performance in

Milan, and acquainted himself with Italian styles. Summer 1773 saw a further

visit to Vienna, probably in the hope of securing a post; there Mozart wrote a

set of string quartets and, on his return, wrote a group of symphonies including

his two earliest, nos.25 in g Minor and 29 in A, in the regular repertory. Apart

from a joumey to Munich for the premiere of his opera La finta giardiniera early

in 1775, the period from 1774 to mid-1777 was spent in Salzburg, where Mozart

worked as Konzertmeister at the Prince- Archbishop's court; his works of these

years include masses, symphonies, all his violin concertos, six piano sonatas,

several serenades and divertimentos and his first great piano concerto, K271.

 

 Franz Liszt (1811-1886)

 

Introduction

(born Raiding, 22 October 1811; died Bayreuth, 31 July 1886).

He was taught the piano by his father and then Czerny (Vienna, 1822-3),

establishing himself as a remarkable concert artist by the age of 12. In Paris

he studied theory and composition with Reicha and Paer; he wrote an opera and

bravura piano pieces and undertook tours in France, Switzerland and England

before ill-health and religious doubt made him reassess his career. Intellectual

growth came through literature, and the urge to create through hearing opera and

especially Paganini, whose spectacular effects Liszt eagerly transferred to the

piano in original works and operatic fantasias. Meanwhile he gave lessons and

began his stormy relationship (1833-44) with the (married) Countess Marie

d'Agoult. They lived in Switzerland and Italy and had three children.

He gave concerts in Paris, maintaining his legendary reputation, and published

some essays, but was active chiefly as a composer (Annees de pèlerinage). To

help raise funds for the Bonn Beethoven monument, he resumed the life of a

travelling virtuoso (1839-47); he was adulated everywhere, from Ireland to

Turkey, Portugal to Russia. In 1848 he took up a full-time conducting post at

the Weimar court, where, living with the Princess Carolyne Sayn-Wittgenstein, he

wrote or revised most of the major works for which he is known, conducted new

operas by Wagner, Berlioz and Verdi and, as the teacher of Hans von Bülow and

others in the German avant-garde, became the figurehead of the 'New German

school'. In 1861-9 he lived mainly in Rome, writing religious works (he took

minor orders in 1865); from 1870 he journeyed regularly between Rome, Weimar and

Budapest. He remained active as a teacher and performer to the end of his life.

 

The Romantic Era

      After Beethoven, composers turned their attention to the expression of

      intense feelings in their music. This expression of emotion was the focus

      of all the arts of the self-described "Romantic" movement. Whether in the

      nature imagery or passionate violence found in the paintings of

      Friederich, Delacroix, and Goya,  the strange and fanciful literature of

      Edgar Allan Poe, or the adventure and myths of the great collections of

      fairy tales and folk poetry, the depiction in art of the beautiful, the

      strange, the sublime, and the morbid was the ruling credo of the period.

      In music, the nineteenth century saw the creation and evolution of new

      genres such as the program symphony, pioneered by Beethoven and now

      developed by Hector Berlioz; its off-shoot, the symphonic poem was

      developed by Franz Liszt; the concert overture, examples of which were

      composed by Felix Mendelssohn and virtually every composer thereafter; and

      short, expressive piano pieces written for the bourgeois salons of Europe

      by Robert Schumann and Frédéric Chopin. Italian operas were composed in

      the Bel canto traditions, and these led directly to the masterworks of

      Giuseppe Verdi, while the idea of the German music drama was established

      by Richard Wagner. For inspiration, many Romantic composers turned to the

      visual arts, to poetry, drama and literature, and to nature itself. Using

      the classical forms of sonata and symphony as a starting point, composers

      began focusing more on new melodic styles, richer harmonies, and ever more

      dissonance, in the pursuit of moving their audiences, rather than

      concerning themselves with the structural discipline of Classical forms.

      Later composers of the nineteenth century would further build on the forms

      and ideas developed by the Romantic composers.

 

This is Islamic “Culture”   - Koran 47:4

When you meet the unbelievers in the Jihad strike off their heads and, when you have laid them low, bind your captives firmly. Then grant them their freedom or take ransom from them, until War shall lay down her burdens.

Koran 52:1-52:15

On that day they shall be sternly thrown into the fire of Hell, and a voice will say to them: 'This is the Fire which you denied...Burn in its flames. It is the same whether or not you show forbearance. You shall be rewarded according to your deeds.'

Koran 69:30-37

We shall say: 'Lay hold of him and bind him. Burn him in the fire of Hell, then fasten him with a chain seventy cubits long. For he did not believe Allah the tremendous, and urged not on the feeding of the wretched. Today he shall be friendless here; filth shall be his food, the filth which sinners eat...

Koran 9:73

Prophet, make war on the unbelievers and the hypocrites and deal rigorously with them. Hell shall be their Home: an evil fate.

Koran 43:74

..The unbelievers shall endure forever the torment of Hell. The punishment will never be lightened, and they shall be speechless with despair. We do not wrong, themselves.

Koran 55:41-52

That is the Hell which the unbelievers deny. They shall wander between fire and water fiercely seething. Which of your Lord's blessing would you deny?

 

This is American Jungle Bunny “Culture”:

 

YOU A HO!

 

YOU A HO!!

YOU A HO!!!

 

You dare to refer to this garbage as “Culture” – you don’t even know what it is!!! If you want to learn about culture, you go the Chicago Symphony, the Art Institute, a performance of the ballet – not to some Negro Whorehouse to hear the blues and see some African wildmen jump around like baboons with hemorrhoids and not to some mosque to watch a sordid collection of Muslim Terrorists!!!

 

What in God’s name is wrong with you ?

 

Let us Pray: St. Michael, the Archangel, Defend us in battle.  Be our defense against the wickedness and snares of the Devil.  May God rebuke him, we humbly pray.  And do Thou, O heavenly host, through the Power of God, THRUST INTO HELL SATAN, and all the EVIL SPIRITS that prowl about the world SEEKING THE RUIN OF SOULS AMEN.

 

Praise the Lord and God Bless America.

4 AJ, express your opinion all you want but that comment borders on spam.. It whores too many links. You have been warned.

5 Howie,
 

You were actually able to find an opinion in AJ's post??? Sorry I must have missed it…completely. And oddly enough as an individual possessing a Bachelors in Music I was completely incapable of finding a connection between his screed and the topic at hand…Hmmm, perhaps I just don’t take enough drugs anymore…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.mp3.com.au/artist.asp?id=16834

6 AJ: Try Bourbon. Lots of it. It helps. What it is?

7 Mozart sucks. Willie Nelson is God.

8 greyrooster,
 

You crazy old geezer, the quote is Eric Clapton is god, a quote which Eric insists was misspelled and is suppose to read Eric Clapton is Good. Willey is just another damn broke dicked pot smoking Dixi Chunk lovin hippy surrendercrat. I seriously think you need to re-evaluate your tastes in music you old fart….

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
http://www.mp3.com.au/artist.asp?id=16834

9 Yeah I found an opinion, I think he called me/us/we hoes