Friday, November 27, 2015

Hear Frank Sinatra Sing “It Had to be You,” with the Full Lyrics, Including the Intro!

Re-posted by Nicholas Stix


[Previously, at WEJB/NSU:

Mark Steyn on “It Had to be You” (Steyn on Sinatra).]

It Had to be You
Music by Isham Jones
Lyrics by Gus Kahn

Why do I do just as you say?
Why must I just give you your way?
Why do I sigh?
Why do I try to forget?

It must have been that
Something lovers call fate,
Kept me saying,
“I had to wait.”

I saw them all
Just couldn't fall,
‘Til we met.

It had to be you,
It had to be you,
I've wandered around,
Finally found somebody who.

Could make me be true,
Could make me be blue,
And, even be glad just to be sad
Thinkin' of you.

Some others I've seen,
Might never be mean,
Might never be cross,
Or, try to be boss,
But, they wouldn't do.

For nobody else
Gave me a thrill,
With all your faults,
I love you still.

It had to be you,
Wonderful you,
It had to be you.

‘Cause nobody else gave me a thrill
With all your faults, I love you still now
And it had to be you, it just had to be you
It had to be you.


Published on July 7, 2015 by Frank Sinatra Greatest Hits.

Re-posted by Nicholas Stix


Steyn, Sinatra, and “New York, New York” (the Wrong Song)



Re-posted by Nicholas Stix

"Theme from New York, New York"
Steyn's Song of the Week
By Mark Steyn
Steyn Online

On the first of our Sinatra Century audio specials, Frank's longtime pianist and musical director Vincent Falcone talks about the many years he spent working with the singer mostly on stage but also in the studio. For example, on September 19th 1979 in Los Angeles, it fell to Vinnie Falcone to conduct what would become one of the biggest Sinatra recordings of all time:

Start spreading the news
I'm leaving today
I want to be a part of it...

As I say on the podcast, it's one of the most famous records on the planet. I mention that it turns up as a musical joke en passant during a car chase in the new Bond movie, Spectre. Just the opening bars - that famous John Kander vamp that Vincent Falcone conducts - and that's all it needs, because few records have such an instantly recognizable intro. Everyone in the movie theater got the joke, as I'm sure they did almost everywhere the film's been shown.

It was written by two men: One was John Kander, born in 1927 in Kansas City, Missouri, and educated at Oberlin. I don't know whether he spread the news on the day of his leaving, but he wanted to be a part of it - New York, New York, that is - and he has been, ever since 1957, when he was hired as rehearsal pianist for West Side Story. Two years later, he was the dance arranger on Gypsy, and a couple of years after that he began writing music with a young lyricist called Fred Ebb. Unlike the Missourian Kander, Mr Ebb didn't have to spread the news of his leaving. He was a part of it from day one - born in New York, New York, either in 1928 or 1933, according to which reference book you believe. I knew him from the Eighties onward, and to me he looked young, if only by Broadway standards. He spent his entire life waking up in the city that doesn't sleep, but had a harder job becoming top of the heap. He hung around the theatre; wrote a revue with a guy called Paul Klein, who quit showbiz to go into waterproofing; and was taken under the wing of Phil Springer, composer of Sinatra's "How Little We Know" and "Santa Baby". And then in 1964 he was introduced to John Kander and they wrote a hit song called "My Coloring Book". Four decades later, at the time of Fred's death, their second show Cabaret was virtually a permanent fixture in New York and in London, and the film version of Chicago was an Oscar-winning Best Picture.

This last decade can't have been easy for John Kander, by common consent one of the nicest guys in a business not known for niceness. Ebb's death from a heart attack in 2004, at the peak of Chicago's success on stage and screen, ended the last monogamous writing partnership on Broadway. There used to be a lot of those - George & Ira Gershwin, Rodgers & Hart, Rodgers & Hammerstein - and then there were only Kander & Ebb. "One reason why they've avoided the career slumps that almost everyone else has had is simply that they've stayed together," Alan Jay Lerner once told me. "A composer and lyricist grow together." Lerner had hits like My Fair Lady and flopperoo one-night stands like Dance A Little Closer, the kind of mega-disaster that Kander & Ebb, Broadway's last surviving words-and-music team, almost uniquely managed to steer clear of. "Even when we write lousy, Fred and I always have a good time," Kander said to me a few years ago.

Their last show, starring David Hyde Pierce (from TV's "Frasier"), was, appropriately, Curtains. It was a musical murder mystery, which isn't as surefire a blend of boffo genres as it sounds. There have never really been any mystery musicals, for obvious reasons. "The audience wants to get on with the mystery. So they don't want to stop for songs," Fred Ebb agreed when I pointed this out a couple of years before his death. "That's the challenge - and I love a challenge." By the time it opened, a play about a murderer stalking a Broadway musical had itself lost a few of its creators to the grim reaper, including lyricist Ebb, librettist Peter Stone and orchestrator Michael Gibson. And John Kander found himself facing his first first night since A Family Affair way back in 1964 without his greatest writing partner. Many of their songs are known, but not on this scale:

If I can make it there
I'll make it anywhere
It's up to you

New York, New York!

It's a school of song that's quintessentially American. As Will Friedwald writes:

It exemplifies the anger and the optimism, the ambition and the aggression, the hostility and the energy, the excitement and the excrement that is New York...

"The excitement and the excrement" is a droll way of putting it: Kander & Ebb's valentine to "the city that doesn't sleep" is both a cliché and a triumphant vindication that rises above it. Fred Ebb's words are the last written in conventional American songbook style to become part of the vernacular. I especially loved a column my late colleague at The Independent Miles Kington wrote a few years ago. Even in its denunciation of the buoyant razzle-dazzle optimism of American showbusiness, the headline was a kind of sour tribute to its potency:

If They Can Make It There, Why Can't They Keep It There?

There are lots of New York songs, and at least two others in the preferred US Postal Service city/state formulation. Gerard Kenny's "New York, New York" ("so good they named it twice") post-dates Kander & Ebb, and this one, by Leonard Bernstein, Betty Comden and Adolph Green, pre-dates them by three decades:

New York, New York
A helluva town
The Bronx is up
And the Battery's down...

There's no copyright in title, although I think you'd have to be pretty demented to turn in a new song called "White Christmas" or a novel titled Gone With The Wind. Jule Styne and Sammy Cahn wrote a ballad called "Time After Time" in the Forties and so did Cyndi Lauper in the Eighties, which irked Sammy Cahn no end. As a young man, John Kander had been a rehearsal pianist on Bernstein's West Side Story, so, to avoid (or at least mitigate) offence to the man who composed the show on which he got his break, the new "New York, New York" is officially called "Theme from New York, New York". It was an assignment song. In 1977, Martin Scorsese was making a film about the big band era, with his on-screen alter-ego Robert De Niro as a touring musician, a sax player, one of the boys on the bus. The gal was Liza Minnelli, still hot(ish) from Cabaret and a seemingly shrewd choice for playing the band's canary. That made it all but certain that the songs for the film would be by her off-screen mentors Kander & Ebb. It wasn't a musical, but Scorsese needed a handful of numbers to establish the period and relate to the story, and in particular they needed a big title song to be "written" by De Niro's and Minnelli's characters in the course of the plot. The saxophonist is married to the vocalist, and he writes a tune, and several scenes and dramatic vicissitudes later she puts a lyric to it.

So Kander and Ebb went off and wrote a "New York, New York" number, and they played it for Scorsese and his two stars. Fred Ebb was a lethal song demonstrator, in the same class as Sammy Cahn. With Johnny at the piano, Freddie would put his heart and soul and guts into the song, and if he couldn't sell you a new number nobody could. And they sold this one:

New York, New York
New York, New York
New York, New York
New York, New York
They always say it's a nice place to visit
But I wouldn't want to live there
New York
They always say it's a nice place to sightsee
But I wouldn't want to live there
New York
Of course I do like a 'do on Park Avenue
Or to view a gnu at the Central Park Zoo...

They thought it had gone over well.

And then De Niro beckoned to Scorsese. And, as Fred Ebb put it to me, "They stood up and took one of their famous Italian walks. And we could see but not hear De Niro talking."

"And he was also gesturing," said Kander. "Which we knew was not a good sign."

When the Italian walk was over, De Niro and Scorsese came back to the couch and tried to explain it tactfully. Marty said how much they liked "And The World Goes Round" and the other numbers but that this song was the title song and "Bob thinks" it needs to be really strong, and "Bob wonders" if maybe they wouldn't mind trying again, and Bob this and Bob that and Bob the other. "And we were kind of insulted," chuckled Kander, "at an actor telling us how to write a song. But he turned out to be right."

"Even though," added Ebb, "we wrote the new song in a kind of rage."

It began with a vamp, one of those little musical intros that, when they work, really kick-start a song. But nobody vamps like John Kander, the champ of the vamps. "With Cabaret, we were trying to find the piece, to write our way into it," he once said to me. "The first thing we wrote was 'Willkommen' and the very first thing that ever happened was that little vamp." It was the same with Chicago and "All That Jazz". And, trying to write a big New York song that would be big enough for Robert De Niro, Fred Ebb tossed out a possible first line of lyric:

Start spreading the news.

John Kander liked it and out of the "start sprea-ding the" bit drew a vamp - the "dum-dum-da-de-dum", the all-time great killer vamp that's recognized by the world as a kind of five-note abbreviation for the spirit of New York. That's why Kander loves vamps: they're a good way of letting you know whether you're tonally on track. "When you find something you like, it tells you about the direction you want to go in. I don't mean you go through the process in a doped-up haze, but you have to trust your unconscious."

And from that vamp they never looked back. For a song that to its disparagers sounds like just a big up-and-at-'em showtune, it's actually quite unusually structured. Fred Ebb opted for a "Sunny Side Of The Street" rhyme structure – ie, rhyming not in couplets or quatrains but across the phrases:

Grab your coat and get your hat
Leave your worries on the doorstep
Just direct your feet
To the sunny side of the street

Can't you hear that pitter-pat?
Oh that happy tune is your step
Life can be so sweet
On The Sunny Side Of The Street...


Start spreading the news
I'm leaving today
I want to be a part of it
New York, New York

These vagabond shoes
Are longing to stray
And step around the heart of it
New York, New York...

It was a song that had everything going for it - if only the film hadn't flopped. But it did - and, although "New York, New York" got a Best Song nomination, it lost to "You Light Up My Life", which may be the silliest Oscar verdict in that category since "They Can't Take That Away From Me" was beaten by "Sweet Leilaini" 40 years earlier.

What transformed the song was Sinatra. On our centenary podcast, Vincent Falcone says he has a photograph of the precise moment when he, Frank and the song all got together:

I am sitting at the piano, he is standing behind me, and he handed me the sheet music to 'New York, New York' and he said, 'Play this for me...' He had gone to see the movie with Robert De Niro and Liza Minnelli, New York, New York. And he had heard the song and he brought me the sheet music and he said, 'Play this for me.' We were in rehearsal at NBC and I played it and we knew right away that the song had to be.

I believe the very first time Frank Sinatra sang "New York, New York" was at the Waldorf-Astoria on October 13th 1978, at a benefit for the Mercy Hospital. The eleven months between that first performance and the eventual recording were spent Sinatrafying the song, until he'd got it just the way he wanted it. As Vincent Falcone recalls:

At one point he said to me 'We will never record a song again until we have done it on stage for four or five months' - because he wanted to have the opportunity to fully develop the idea of the song, until he got it to the point that he wanted it.

New York, New York' started off being in the overture of a concert that we did at Carnegie Hall. Don Costa had written a new overture which was all New York songs and it ended with the introduction into "New York, New York" and in that introduction he would walk on stage and sing "New York" as the opening song in the show. Well, after the third night he said to me "We can't do this." He says, yeah That was a development that he did until we recorded it, and the end result was this dramatic way of singing this song, and everywhere we ever played it people were on their feet. You know, it's quite an achievement.

In 1978 he was playing a blockbuster engagement at Carnegie Hall and asked Don Costa to put together an overture of New York tunes – "Autumn In New York", "Sidewalks Of New York", and so on and so forth, concluding with Kander & Ebb's "New York, New York". And right on the opening pow! of the vamp Frank would enter, wait for the cheers to die down, and, as Will Friedwald put it, "start spreading the news".

The news spread pretty quickly. "Man, this thing is getting big," Frank said to Vincent Falcone after the third night. "We have to take it out of the overture."

"We were getting such a roar out of the audience, he realized that he can't open with that," said Falcone, "so I wrote an ending to the overture, took the chart of 'New York, New York' out of the overture and we moved it down into the show until eventually it became the closing song." When it began its life as a stand-alone number, Frank sometimes paired it with the "other" "New York, New York" (which is, after all, from a Sinatra movie) serving as a kind of verse, sung slowly and expectantly:

New York, New York
A helluva town
The Bronx is up
And the Battery's down
And the people ride in a hole in the groun'
New York, New York!
It's a...

Wham! On "town" the band would wallop in Kander's famous vamp and the crowd would go wild. The song never looked back, notwithstanding Fred Ebb's misgivings about Sinatra's lyrical evolution in the second chorus. In the Liza Minnelli original, rather than a straightforward reprise of "I want to wake up in a city that doesn't sleep/And find I'm king of the hill, top of the heap", Ebb extended the thought to make it even more dramatic:

I want to wake up in a city that doesn't sleep
To find I'm king of the hill
Head of the list
Cream of the crop
At the top of the heap!

That "crop"/"top" internal rhyme is typical of Ebb's unobtrusive professional craftsmanship. For his own even more showstopping rallentando, Sinatra changed it to:

I want to wake up in a city that doesn't sleep
To find I'm A-number one
Top of the list
King of the hill
A-number one!

"I didn't write 'A-number one'," said Ebb. "I don't even like it. But I like Sinatra singing 'New York, New York', and I love having a song that everyone knows."

It got better. In his last years, Frank would blast the final word of that middle section, and then cripple up and clutch his side and howl "Ow!". Or he'd straighten up and go, "Every time I hit that note, I get a big pain right here."

Liza and her "Uncle Frank" were close pals, but eventually his version of the song consumed hers. On their tour together in the late Eighties with Sammy Davis Jr, the concluding 20-minute medley was strung around a joke about Sam trying to avoid letting Frank and Liza sing "New York, New York" - and then he'd forget himself, launch into "There's A Boat That's Leaving Soon For New York", and bang on the "York" the familiar vamp came blasting in. But it was Frank's version, with Liza in effect sitting in on his cover of her song. In a guest shot on "Arrested Development", Miss Minnelli hears Tobias Funke singing "New York, New York" and remarks dryly that when it comes to that particular song "everybody thinks of Frank Sinatra".

Indeed. The song was taken up as the anthem of the New York Yankees: When they won, they played Frank's version. When they lost, they played Liza's. That's one of the all-time greatest musical jokes. Miss Minnelli, alas, didn't care for it, and insisted that after winning games they played her record. So they said nuts to that, lady, we won't play your version at all. Liza subsequently and very wisely relented. But even that bizarre stand-off captures the swagger and attitude the song celebrates.

It's one for the ages now, and millions and millions of Americans and millions more around the world who are entirely unaware of Fred Ebb or John Kander nevertheless would instantly recognize that killer vamp. Years ago, filming a song with Liza Minnelli in Ebb's apartment for a BBC TV special, I noticed the sheet music propped up on Fred's grand piano - "Five Minutes More", a Jule Styne/Sammy Cahn pop hit for Sinatra in the Forties. "I wouldn't have thought that was your kind of song," I said to Ebb.

"Oh, I love that kind of song," he said. "And I love even more writing that kind of song. Too many guys writing for the theatre are writing for a little Broadway crowd that comes in the first few weeks of a show. I want to write songs for everybody, and I love it when everyone knows every word of them." To the best of my knowledge, he was never in Times Square at midnight on New Year's Eve when the ball drops and they play "Auld Lang Syne" and then Sinatr's "New York, New York" - but he would have liked the idea of that big, crazy crowd of tourists happy to be in the city that doesn't sleep and lustily bellowing along:

I want to be a part of it
New York, New York!

It's one for the ages now, thanks to Sinatra and a song that sounds as if it was built for him. It wasn't, any more than was that first "New York, New York" anthem - the Bernstein, Comden and Green opener from On The Town. But, between the first one on screen and its successor on stage, he has a hammerlock on both. In 1993, I interviewed the Broadway director, George Abbott, then aged 106, and asked him about working on On The Town half a century earlier, and in particular about the Bernstein "New York, New York". "I always thought that was the best New York song," said Mister Abbott. "But I must confess that new one is better. The one the little girl sings."

The "little girl", Liza Minnelli, had been given her big break by Mister Abbott on Flora The Red Menace in the early Sixties. It was Liza's first show, and Kander and Ebb's. But you can forgive Abbott, at 106, at still thinking of a star he'd directed when she was 17 and he was already in his 70s as a "little girl".

"Oh," I said, "you mean, 'start spreading the news'? You think that's better than your 'New York, New York'?"


"Did you ever tell Leonard Bernstein that?"


"Probably very wise."

As for Sinatra, the last words he ever sang in public were the final "New York" of "New York, New York" at his 80th birthday all-star celebration in 1995:

If I can make it there
I'll make it anywhere
It's up to you
New York, New York!

~Mark's conversation with longtime Sinatra conductor Vincent Falcone, discussing "New York, New York" and many other songs, can be heard here. Steyn's original 1998 obituary of Frank, "The Voice", can be found in the anthology Mark Steyn From Head To Toe, while you can read the stories behind many other Sinatra songs in Mark Steyn's American Songbook. Personally autographed copies of both books are exclusively available from the SteynOnline bookstore.

Breaking News Alert: Colorado Springs Mass Shooter Surrenders

Re-posted by Nicholas Stix

The shooter, described earlier as a white man, surrendered to police at 4:52 p.m., MDT (6:52 p.m., EDT) today. He was alive, and has not otherwise been identified.

Eleven people were wounded at the scene and transported to local hospital, including five policemen, though it was not clear if that number included only victims, or the perp, as well. So far, there have been no known fatalities. No information has been provided to the public as to the shooter’s identity, or possible motive.

Gunman Gives Up After Colorado Standoff That Leaves 11 Hurt
By Phil Helsel, Andrew Blankstein and Pete Williams
November 27, 2015
NBC News

Multiple Injuries in Shooting at Planned Parenthood Facility in Colorado

A gunman entered a Planned Parenthood clinic in Colorado Springs, Colorado, on Friday, firing from the building and injuring police officers during a five-hour standoff that ended with his surrender.

The gunman walked out of facility just before 5 p.m. local time, and officers took him into custody, officials told NBC News.

A total of 11 people, five of them police officers, were injured in the day of violence and taken to area hospitals, police said. Police said they had no information that anyone died.

"At this point I have as many questions as you do," Colorado Springs Police Chief Peter Carey told reporters before heading to the hospital to visit injured officers.

Emergency personnel transport an officer to an ambulance after reports of a shooting near the Planned Parenthood clinic Friday, Nov, 27, 2015, in Colorado Springs, Colo. Daniel Owen / AP

Police are still clearing the building, now a crime scene, to make sure several unidentified items that the gunman brought with him are not dangerous, police said.

The shooting and standoff unfolded during a regular working day at the facility, with patients waiting for appointments and staff members attending to them, Colorado Springs Police Department Lt. Catherine Buckley said.

Several escaped during the ordeal, thanks in part to police personnel who rammed the side of the building with a truck, officials told NBC News.

The gunshots were first reported near the Planned Parenthood facility on Centennial Boulevard at around 11:38 a.m., police said.

The gunman, who has not been identified, began in the parking lot of Planned Parenthood and then entered the building, a law enforcement official told NBC News.

Police officers who responded were fired upon, and the gunman fired at police at various times during the ensuing standoff, police said.

A police vehicle, carrying a suspect, is lead [sic] away after a shooting at a Planned Parenthood clinic Friday, Nov. 27, 2015, in Colorado Springs, Colo. A gunman opened fire at the clinic on Friday, authorities said, wounding multiple people. David Zalubowski / AP

At one point, the gunman, armed with an AK-47-style weapon, was surrounded in the lobby, according to a law enforcement source with direct knowledge of the situation.

Authorities tapped into the building's video surveillance system, and were able to monitor the gunman's movements, officials said.

Dozens of people at nearby businesses were ordered to lock the doors and shelter in place as police responded to the scene. After the standoff ended, authorities began releasing them, Buckley said.

Joan Motolinia said his sister was in the clinic when gunshots were heard. "She called me and she was screaming there was a shooting," he said. "She couldn't say too much because she was afraid."

"She was telling me she was hiding under a table," Motolinia said. He said he heard more shots over the phone, and his sister hung up.

[“Hiding” under a table, while screaming her head off. Makes perfect sense to me.]

Caren Kesterson was working at a nearby Supercuts hair salon when two police cars sped past.

"We got up and we looked outside, and it was like almost immediately we heard gunshots — easily over 20," Kesterson told MSNBC by telephone.

The FBI and federal Bureau of Alcohol, Tobacco Firearms and Explosives were among several law enforcement agencies who responded.

A White House official said President Barack Obama has been notified about the situation.

Vicki Cowart, president and CEO of Planned Parenthood Rocky Mountains, said Friday that "we don't yet know if Planned Parenthood was in fact the target of this attack."

But she vowed in a statement: "We will never back away from providing care in a safe, supportive environment that millions of people rely on and trust."

Hate Crime in St. Paul? Black Man, 55, Previously Convicted of Attempted Murder and Aggravated Kidnapping (and Arrested for Murdering an Additional Victim), Arrested for Kidnapping and Repeatedly Raping a Man, 19


Cook County Jail mug shots of Wilbert Glover, presumably from 1985. All mugshots are in the public domain. Slapping a copyright symbol on a mug shot cannot change that.

By Nicholas Stix

Note that Wilbert Glover benefited from massive criminal justice affirmative action. He should have gotten life without parole for the murder charge alone. He got 40 years. He should have gotten life for the kidnapping charge alone. He got six years. And he should have gotten 20-to-life for attempted murder alone. He got six years.

But he appears to have murdered someone he kidnapped, which is a federal death penalty offense (kidnapping is federal), aside from his additional attempted murder.

So, instead of getting the needle, he did a lousy 21 years in medium security, “Dixon State University.”

“Illinois Department of Corrections records show Glover was convicted in the 1980s of kidnapping and attempted murder.”

I guess he got a freebie for the murder.

If you kidnap someone, and he somehow dies during or immediately after the crime (e.g., from a heart attack, immediately after being released), that’s capital murder, regardless of who pulled the trigger. It’s just like being the getaway driver on a bank heist, where your partners murder someone inside the bank. In for a dime, in for a dollar. However, over the past 50 years or so, jurors who are fans of black cut-throats have increasingly engaged in various degrees of jury nullification.
For instance, during the early 1970s, black supremacist cut-throat Robert “Sonny” Carson led his gang in a kidnapping of two men, murdering one and shooting and leaving for dead the second vic. In a travesty of justice, the Brooklyn jury convicted Carson of kidnapping, but not of murder, and sentenced him to virtually no time.

Now, the $64 question is, What race is the 19-year-old vic? Was this possibly a hate crime by a man who may have committed the same hate crime countless times inside? Ultra-violent black homosexuals are obsessed with raping whites--men and women alike.

It makes you also wonder what race Glover's vics were 30 years ago.

Wilbert Glover was booked in Cook County, IL.
The following Official Record of Wilbert Glover is being redistributed by and is protected by constitutional, publishing, and other legal rights. This Official Record was collected from a Law Enforcement agency on 3/01/2011. Last updated on 10/11/2013. ID: 240343
DOC Number: N73280
Inmate Status: PAROLE
Birth date: 4/13/1960
Weight: 164 lb (74 kg)
Hair Color: Black
Gender: Male
Height: 5′ 10″ (1.78 m)
Race: Black
Eye Color: Brown
Admission Date: 9/04/1987
Parole Date: 9/26/2008
Projected Discharge Date: 9/28/2011
Scars / Marks / Tattoos: N/A
Sentence Information:
Field Name Field Value

CUSTODY DATE 12/28/1985
SENTENCE 40 Years 0 Months 0 Days

CUSTODY DATE 12/28/1985
SENTENCE 6 Years 0 Months 0 Days

CUSTODY DATE 12/28/1985
SENTENCE 6 Years 0 Months 0 Days

Police say man abducted, assaulted teen; kept him shackled
By Associated Press
November 26, 2015, 7:48 PM

ST. PAUL, Minn. — Authorities say a 55-year-old man kidnapped a 19-year-old man from a Minneapolis street, took him to his St. Paul home, and kept him chained up while repeatedly sexually assaulting him over four days.

The victim escaped Tuesday and went to a neighbor’s for help. And on Wednesday, authorities charged Wilbert Glover with kidnapping and criminal sexual conduct.

Glover is being held on $1 million bail and is scheduled to make his first court appearance Monday. Online court records don’t list an attorney for him. The criminal complaint says Glover injured himself in a holding cell after banging his head on a door frame.

Illinois Department of Corrections records show Glover was convicted in the 1980s of kidnapping and attempted murder. He was released from prison in 2008.

The Myth that Syrian “Refugees” Can be Vetted is Part of the Myth that Any Third-World “Refugees” Can be Vetted (Ann Coulter)


It's a pack of lies, but it's official White House lies

[Read my review of Ann Coulter’s Adios, America! here.]

Excerpted by Nicholas Stix

As I have previously written about the Central Americans and Mexicans “Obama” has sought to illegally and unconstitutionally amnesty, we don’t even know who these people are. They routinely use fake names, and often have whole libraries of aliases.


Ann Coulter: Importing Terrorism and Other American Values
November 25, 2015

Americans keep being hectored to take “refugees” from terrorist-producing countries because to do otherwise would be “a betrayal of our values,” as President Obama said on Monday.

The rise of Donald Trump reminds us of the popularity of another, long-forgotten American value: protecting Americans.

Contrary to Obama’s laughable reference to “the universal values” that “all of humanity” share, most of the world does not share our values, at all. They barely seem to share our DNA. As indignantly explained by the lawyer representing two Iraqis accused of child rape in Nebraska, America’s views about women and children “put us in the minority position in the world.”

Pederasty, child brides, honor killings, clitorectomies, stonings, wife beatings—when will America grow up and join the 21st century? (A lot sooner, if Marco Rubio has his way!)

[Read the whole thing at VDARE.]

Vetting Presidents, Vetting Refugees (Poster)

“Liberalism,” Islam, and Slavery Today (Poster)

Thursday, November 26, 2015

Frank Sinatra, Cy Coleman, Count Basie and Quincy Jones: The Best is Yet to Come (Live!)

Re-posted by Nicholas Stix

Album Title: Frank Sinatra: The Reprise Collection, Disc 2
Prime Artist: Frank Sinatra
Arranger: Quincy Jones
Lyrics by: Carolyn Leigh
Music by: Cy Coleman
Orchestra: Count Basie (William)


Out of the tree of life I just picked me a plum,
You came along and everything's startin' to hum,
Still, it's a real good bet, the best is yet to come.

The best is yet to come and
Babe, won't that be fine?
You think you've seen the sun,
But you ain't seen it shine.

Wait till the warm-up's underway,
Wait till our lips have met,
And wait till you see that sunshine day,
You ain't seen nothin' yet.

The best is yet to come,
And babe, won't it be fine?
The best is yet to come,
Come the day you're mine.

Come the day you're mine,
I'm gonna teach you to fly,
We've only tasted the wine,
We're gonna drain the cup dry.

Wait till your charms are right,
For these arms to surround,
You think you've flown before,
But baby, you ain't left the ground.

Wait till you're locked in my embrace,
Wait till I draw you near,
Wait till you see that sunshine place,
Ain't nothin' like it here.

The best is yet to come,
And babe, won't it be fine?
The best is yet to come,
Come the day you're mine.

Come the day you're mine,
And you're gonna be mine.

Transcribed by Ron Hontz 


Posted on May 20, 2013 by The Sinatrafans.

Frank Sinatra Sings Oscar-Winning “Three Coins in the Fountain” (with Lyrics)

Re-posted by Nicholas Stix

Three Coins in the Fountain
Music by Jule Styne
Words by Sammy Cahn



Posted by Sinatra Fan on November 25, 2011.

If New York City and Chicago were All-White, Violent Crime Would Virtually Disappear from Them



By Nicholas Stix

Read the whole thing at VDARE.

Happy Thanksgiving to All of My Readers!



Nicholas Stix

Oblahblah, Syrian Refugees, and Sanctuary Cities

Forwarded by Reader-Researcher RC

A great comment below in response to Oblahblah Administration who says States will be breaking the law if they do not accept Syrian refugees. In fact, the Oblahblah administration is already breaking the law by allowing Sanctuary cities to harbor illegal aliens - as noted in the federal law on the books below.

Commenter 1 hour ago

"The letter says states that do not comply with the requirement would be breaking the law" ~ And this is different from sanctuary cities HOW?? i.e.

1907. Title 8, U.S.C. 1324(a) Offenses ~ “Harboring -- Subsection 1324(a)(1)(A)(iii) makes it an offense for any person who -- knowing or in reckless disregard of the fact that an alien has come to, entered, or remains in the United States in violation of law, conceals, harbors, or shields from detection, or attempts to conceal, harbor, or shield from detection, such alien in any place, including any building or any means of transportation.”

Wednesday, November 25, 2015

Mark Steyn on “It Had to be You” (Steyn on Sinatra)


Billy Crystal on New Year's Eve: He wandered around and finally found the somebody who...

Re-posted by Nicholas Stix

It Had to be You
Sinatra Song of the Century #5
By Isham Jones and Gus Kahn
Steyn's Song of the Week Extra
January 23, 2015
Steyn Online

A decade after Frank Sinatra recorded "It Had To Be You", it turned up in the blockbuster romantic comedy When Harry Met Sally. There's a lot of songs in the film - Ella and Louis, Allman Brothers, Ray Charles... It was 1989, and we were in the early stages of what I think of as the age of jukebox scoring, in which directors fill up the movie with bits of their favorite pop songs. But Rob Reiner uses the whole Sinatra track - everything from intro to final fade:

Billy May's orchestral opening finds Harry (Billy Crystal) walking along the street, alone on New Year's Eve. As the vocal starts, Harry stops at a shop window. The verse is a series of questions ("Why must I do just as you say?") that Harry, contemplating his reflection in the glass, is asking of himself. By the time Frank is singing about "that something lovers call fate" telling him "I had to wait", Harry is walking on, discarding his ice-cream cone in a trash can, and turning his head on the first line of the chorus:

It Had To Be You

It Had To Be You...

And we're in flashback: Harry and Sally meeting all those years earlier at college, sitting on a plane, strolling Central Park, faking orgasm in the diner - the whole plot replayed to Sinatra's vocal. By the instrumental, they're dancing cheek to cheek. It's a wisecracky kind of a film, but not here: between Billy May's intro and outro, Harry has to understand that he really does love Sally and has to be with her. So the song bears a major dramatic burden - which is why Reiner went with Sinatra and "It Had To Be You".

The ballad belongs to a select group of über-standards - "The Way You Look Tonight", "I'll Be Seeing You", the handful of songs that will still be sung when everything else has fallen away. Johnny Mercer regarded "It Had To Be You" as the greatest popular song ever written, and I've heard several other songwriters say the same thing over the years. So, if it's that good, how come it sat around for 55 years before Sinatra sang it? He first recorded "I'll Be Seeing You" in 1940 and "The Way You Look Tonight" in 1943, but he was late getting to "It Had To Be You". Doris Day beat him to it, and Andy Williams, Barbra Streisand, Harry Nilsson, Petula Clark, Diane Keaton in the film Annie Hall... In the normal course of events, when John Travolta records a 50-year-old standard, he does it in the shadow of a landmark Sinatra recording. But in this case Travolta got there two years before Frank.

Who wrote "It Had To Be You"? Cole Porter? The Gershwins? No, it was Isham Jones and Gus Kahn. Who? Don't laugh: By some rankings, Gus Kahn is second only to Irving Berlin in the number of hit songs he wrote, including our very first two Songs of the Week, "San Francisco" (Number One) and "Dream A Little Dream Of Me" (Number Two). Frank sang a lot of Gus Kahn lyrics. Kahn has two tracks on the defining Sinatra LP of the Fifties, Songs For Swingin' Lovers - "Makin' Whoopee" and "Swingin' Down The Lane", which is the nearest thing to a title song.

He had a remarkable facility for being romantic and true and affecting in simple monosyllables. Maybe he'd have been more polysyllabic if he'd been a natural-born American. But Gustav Kahn was born in Koblenz, Germany, in 1886, and didn't sail for the United States until he was four years old. "My father," Donald Kahn told me, "brought with him a drum, which he drove my grandfather crazy with during the rather lengthy voyage across the Atlantic Ocean. When they got to Ellis Island, my grandfather apparently had had enough of the drum and threw it right in the water. I have had the quaint theory that my father's love of the drum and the love of the beat is part of what made him turn to music and to lyric-writing and writing songs."

Kahn wrote with many composers, from George Gershwin (on "Liza") to Walter Donaldson (on "My Baby Just Cares For Me"). But for a little over twelve months he had an extraordinarily productive partnership with Isham Jones. A Chicago bandleader with a residency at the Hotel Sherman's College Inn ballroom, Jones signed to Brunswick Records in 1920 and was offered a choice between a fixed salary, which many musicians and singers were on in those days, or royalties. He opted for the latter, and by 1923 had made 800 grand. In 1922, in his home town of Saginaw, Michigan, the company cut him in as co-owner of "the Isham Jones Brunswick Shop", selling only Brunswick products.

He'd always composed, on and off. In 1917 he wrote one of the first jazz songs, "That's Jaz!", back before anyone had agreed on the spelling of the word. But nothing really clicked until he hooked up with Gus Kahn. Their first hit, in 1922, was "On The Alamo", a lovely tune built on an opening phrase that's reprised with ever shifting harmony and is utterly beguiling. But the team really hit their stride a year or so later with a quartet of songs that seemingly came out nowhere - "Swingin' Down The Lane", "I'll See You In My Dreams", "The One I Love (Belongs To Somebody Else)" and "It Had To Be You". As Kahn's son Donald told me:

I think when you get in a streak - and my dad and Isham were in a streak, where things are going well and the songs are making it - you just want to ride it out. It's kind of like a lucky streak in Vegas. My dad and Isham had just finished 'The One I Love (Belongs To Somebody Else)', and the band was playing it and my mother and father were dancing to that song. While they were dancing to that song, my father was working on the lyric of another song – 'Swingin' Down The Lane'. At any rate, as they were dancing and the band was playing the one song, my father was saying to my mother, 'What do you think of this lyric for Isham's new tune?' I would say that this is an incredible kind of concentration. It's almost impossible to do: try it some time when you're dancing with your best girl.

A third of a century after Gus Kahn breathed that lyric into his wife Grace's ear on the dance floor of the Hotel Sherman, Sinatra recorded "Swingin' Down The Lane" in a killer Nelson Riddle arrangement:

Ev'rybody's hand in hand

Swingin' Down The Lane

Ev'rybody's feeling grand

Swingin' Down The Lane

That's the time I miss the bliss

That we might have known

Nights like this

When I'm all alone...

It's melodically charming, and the absence of any fill or pick-up notes in that space between "might have known" and "nights like this" is very surefooted on Jones and Kahn's part. Still, it was an old-fashioned song by 1956 that sounds as if it belongs to a pre-automobile Lovers' Lane. Yet Sinatra's reading is utterly sincere, and Riddle scored it in what he called "the tempo of the heartbeat", and with such attention to detail, from the stellar trumpets to the celesta:

When the moon is on the rise

Baby, I'm so blue

Watching lovers making eyes

Like we used to do

When the moon is on the wane

Still I'm waiting all in vain

Should be Swingin' Down The Lane

With you...

I'm not even sure "swingin' down the lane" is a thing, or ever was. But by the time it's over Sinatra and Riddle have made it a song for all time.

I said above that that quartet of terrific songs seemingly came out of nowhere. In fact, three-quarters of them came out of a 30th birthday present. On January 31st 1924 Isham Jones hit the big three-oh, and his missus Marguerita decided to give him a baby grand. He was a saxophonist and bassist, and from a long line of fiddlers, but the piano delighted him. He sat down and (according to who's telling the story) either within an hour or the evening he had composed four melodies - "Spain", "I'll See You In My Dreams", "The One I Love (Belongs To Somebody Else)" and "It Had To Be You". The tale sounds plausible to me, but we shouldn't get hung up on whether it took an hour or all night: That group of compositions would be impressive if all were copyrighted within the same year, which they were. Sinatra eschewed "Spain", but he sang the remaining three - "I'll See You In My Dreams" on the radio with Tommy Dorsey in 1940, "The One I Love" every which way for almost half-a-century, and finally in 1979, saving the best till last:

It Had To Be You

It Had To Be You

I wandered around

And finally found

The somebody who...

The musicologist Philip Furia calls that "who" - which has to wait for the song's next section to get its verb and its rhyme ("could make me be true") - the first example in the American Songbook of what he calls "elasticated syntax", where the lyricist stretches the syntax across the boundaries of the composer's eight-bar compartments. If so, it was made for Sinatra's Dorsey-trombone trick of holding a note and connecting it up to the next phrase in order to tell the story better. If you've ever heard a singer take a big deep breath after "somebody who" and leave a gap you could drive a truck through before "could make me be true", you'll know they're not listening to what they're singing.

"It Had To Be You" was part of Sinatra's three-album Trilogy set. Part One was The Past - old songs scored by Billy May in big-band style; Part Two was The Present - contemporary-ish songs scored by Don Costa in middle-of-the-road/soft rock style; and Part Three was Reflections On The Future In Three Tenses, a sort of post-nuclear conceptual suite composed by Gordon Jenkins. The Future LP got panned, the Present got so-so notices, but everyone loved the Past. Sinatra recorded "It Had to Be You" and the other Billy May arrangements in July, but a couple of months later he called May and said his voice was in better shape and he'd like to do the tracks again. May told me he made a lot of changes: raising the key here, eliminating a verse there, re-orchestrating much of the material. But "It Had To Be You" was one of only two tracks retained from the July sessions. Sometimes I wish they'd overhauled that, too. Sinatra sings the verse, which I always feel is musically very ordinary and lyrically superfluous:

Why do I do just as you say?

Why must I just give you your way?

Why do I sigh?

Why don't I try

To forget?

It must have been that something lovers call fate

Kept me saying I had to wait

I saw them all

Just couldn't fall

Till we met...

It Had To Be You...

Still, at least Sinatra sings the verse, as opposed to shouting it, as Tony Bennett does on his somewhat perplexing reading. Nevertheless, "It Had To Be You" is all about the chorus. The words are commonplace - all about "the somebody who...

Could make me be true

Could make me be blue

And even be glad

Just to be sad

Thinking of you...

But they're deepened and warmed by the notes they sit on, which seem in some strange way to be written as a tune you already know. The music for the title phrase is unusual for a Twenties song; it's like an internal thought, a monologue. And there are all kinds of other unobtrusive, distinctive features, like the octave drop that gets you from the third section to the final stretch:

Some others I've seen

Might never be mean

Might never be cross

Or, try to be boss

But, they wouldn't

For nobody else gave me a thrill...

Billy May was principally Sinatra's partner-in-swing - "Come Fly With Me", "Come Dance With Me" - but he was a sensitive arranger of ballads, too, as you can tell from Frank's "Moonlight In Vermont". His ballads on Trilogy are lush, and on "It Had To Be You" I'm not sure I wouldn't prefer something more intimate, like Dinah Shore's recording with André Previn. But then you hear that ethereal orchestral introduction of Billy's, and you realize he's very cleverly writing it to convey the sense of memory, as if Sinatra has a history with this song he's never sung before.

After composing "Swingin' Down The Lane", "I'll See You In My Dreams", "The One I Love (Belongs To Somebody Else)" and "It Had To Be You" in nothing flat, Isham Jones lived another 32 years without writing a single other song of note - although Alec Wilder puts in a good word for "The Wooden Soldier And The China Doll" (all together now!). But that 1924 streak is more than enough. There is a line in the final eight bars that sums up the difference men like Isham Jones and Gus Kahn made:

For nobody else gave me a thrill

With all your faults I love you still...

We don't recognize the allusion now, but in 1924 many people did. In 1888, Monroe H Rosenfeld wrote the words and music for a lugubrious ballad called "With All Her Faults I Love Her Still":

Though other hearts have won her love

I bear for her no dreams of ill

Her face to me still dear shall be

With all her faults, I love, I love her still!

It's not just the stodgy prosody and inverted word order. In this case the guy means it about "all her faults", and he's condescending to them. Jones and Kahn don't borrow the words so much as transform them, so that they're an expression of that helpless surrender to love. That's why they're right for Billy Crystal at the end of a film in which he's spent much of the time niggling about Meg Ryan taking an hour to order a salad and then insisting the waiter bring the dressing on the side. I have no idea why a hoary old 19th century parlor ballad written two years before Gustav Kahn's family left Koblenz should suddenly pop into the head of a German immigrant 38 years later, but in the gulf between that line's two deployments is the invention of the eternal, enduring American popular song. Sinatra cut it mighty fine, but I'm glad he got to it:

It Had To Be You

Wonderful you

It Had To Be You.

~Mark's original 1998 obituary of Sinatra, "The Voice", appears in the anthology Mark Steyn From Head To Toe. You can read about composer Jule Styne and the creation of some classic Sinatra songs in Mark Steyn's American Songbook. Personally autographed copies of both books are exclusively available from the Steyn store.

After ‘Race Matters’ Crime Coverage, Washington Post Goes Back to ‘Race Doesn’t Matter’ Coverage



By Nicholas Stix


Frank Sinatra, and that Basie Beat: “Pennies from Heaven”

Re-posted by Nicholas Stix

The Youtube publication did not identify the band, but if that isn’t the Count Basie organization, my name is Gordon Jenkins!

Pennies from Heaven (1936)
Music by Arthur Johnston
Words by Johnny Burke

Every time it rains, it rains,
Pennies from heaven,
Don't you know each cloud contains,
Pennies from heaven.

You'll find your fortune fallin,’
All over town,
Be sure that your umbrella
Is upside down.

Trade them for a package of
Sunshine and flowers,
If you want the things you love,
You must have showers.

So when you hear it thunder,
Don't run under a tree,
There'll be pennies from heaven,
For you and me.

Trade them for a package of
Sunshine and flowers,
If you want the things you love,
You must have showers.

So when you hear it thunder,
Don't run under a tree,
There'll be pennies from heaven,
For you and me.


Posted on October 12, 2011 by Global Newsflash.

Photo of John Wayne and Gregory Peck from Hollywood’s Golden Age Poses a Mystery

By Nicholas Stix

Gregory Peck Lights One for John Wayne

Vic Davey, of Golden Age Hollywood @ClassicalCinema asks, “Can't trace the film...any ideas??”

N.S.: This is not a shot from a movie; they made no movies together, excepting How the West was Won, about 12 years later, in which they appeared in different sections. This pic is circa 1950, around when Wayne made Rio Grande—note his hairline. My hunch? Either they were sharing dressing facilities while shooting two different pictures, or they were dressed up as movie characters for some sort of Hollywood charity event.

Prize-Winning, Moroccan-American, Moslem Writer Writes Candidate for Most Specious Analogy of the Week, on Behalf of Islamic Terrorists

Tuesday, November 24, 2015

Frank Sinatra and Duke Ellington: Jule Styne and Stephen Sondheim’s “All I Need is the Girl” (Gypsy)

Re-posted by Nicholas Stix


Posted on July 24, 2012 by Bryan Galvez.

Black Nazi News: The MSM, Regarding a Certain Kind of “Crime”—Race Matters, Matters, Matters!



If police refuse to enforce the law against criminals, even when the criminals attack them, how can they then legitimately enforce the law against civilians who take it upon themselves to do the cops’ job? The rule of law is dead on America, but the police, instead of using crushing force against out-of-control, colored criminals, use crushing force against law-abiding whites and Asians, and against any whites or Asians who do the job the police refuse to do, where colored criminals are concerned. This condition was dubbed by the late Sam Francis as “anarcho-tyranny”: The state give complete license to criminals, while exercising complete tyranny against the law-abiding. However, as American state and society continue to degenerate, we will increasingly have a situation characterized by utter confusion.

Minneapolis police have refused to enforce law against #BlackLivesMatter (someone has more accurately dubbed them, “Black Lies Matter”) Nazis, even when they were rioting against a police station. The cops have permitted BLM to illegally take over the street here, in front of the station house.

The whites who shot five BLM terrorists should be given a medal. Note that if the police had done their job in the first place, there wouldn’t have been a BLM encampment for any whites to try and clean up.

Note that earlier reports claimed that the BLM terrorists were trying to “herd” out of the area whites who were demonstrating against them. BLM had no legal right to infringe upon anyone’s First Amendment rights, and “herd” is newspeak for assault. Thus, if the BLM Nazis were assaulting the white protesters, the latter had every legal, not to mention moral right to shoot them dead. But don’t expect local prosecutors, cops, or the media to respect the white protestors’ rights.

Can someone please tell me why whites are paying taxes to support police who are their enemy?


The Lester Holt Report

By Anonymous

Lester Holt at it again. World War III breaking out, but he leads with the white cop in Chicago arrested for shooting a drug-taking black. Next, a white and Hispanic arrested for shooting five “Black Lives Matter” protesters. He made sure he put the ethnicity of all involved front and center. Negro Nightly News never fails to inflame. The reporter, Stephanie Gosk, said “It’s feared there will be violence tonight-but we don t know where or when.”

Let’s all count how many stories of blacks killing whites that are highlighted on here get reported on the Negro Nightly News. My guess—none.

Monday, November 23, 2015

Hear a Rare Recording of Frank Sinatra Singing Harold Arlen & Johnny Mercer’s “My Shining Hour” on the Radio!

Re-posted by Nicholas Stix

Listen to the December, 1979 recording of the same song, which Sinatra performed for the 1980 album, Trilogy, at WEJB/NSU!]

My Shining Hour (1943)
Music by Harold Arlen
Lyrics by Johnny Mercer

This moment, this minute,
And each second in it,
Will leave a glow
Upon the sky,
And as time goes by,
It will never die.

This will be my shining hour,
Calm, and happy, and bright,
And in my dreams, your face will flower,
Through the darkness of the night.

Like the lights of home before me,
Or an angel, who’s watching o’er me,
This will be my shining hour,
‘Til I’m with you … again.


Choir: Like the lights of home before me,
Or an angel, watching o’er me,
Sinatra: This will be my shining hour,
‘Til I’m with you … again.

Too Much Islam: Moral Super Power Sweden Momentarily Comes Back to Earth, Re-Institutes Border Controls

Excerpted by Nicholas Stix

Sweden Asserts Border Controls to Curb Alien Chaos
By Brenda Walker
November 13, 2015

In 2013, Sweden extended asylum to all Syrian refugees, who at that time numbered around two million. That was a generous offer from a country with a population of fewer than 10 million, but then it regards itself as a moral superpower and may have felt an urge to display its liberal virtue.

Now however, Sweden’s good intentions have been defeated by the burden of Muslim diversity. Too much violence, too much rape and too much disorder have proved daunting….

[Read the whole thing at VDARE.]

Racist, Black Suckerpunch Artists and Media Evil (Colin Flaherty)

Re-posted by Nicholas Stix

Black Mob Violence: New Denials... and New Violence
By Colin Flaherty
November 26, 2013
The American Thinker

NBC News and the Associated Press want you to know there is no such thing as black mob violence. Especially in the hundreds of cases of Knockout Game now receiving so much attention in local and national media across the country.

Ditto the Washington Post, ABC News and the Philadelphia Inquirer. And this weekend, the New York Times.

The rules of the Knockout Game are simple: Gather a group of black people. Find a white person. An Asian will do. Punch them in the face until they are knocked out. Or dead. Or your arms get tired.

If you relied on local and national news accounts, you would not know the violence has a racial component. But the video solves that problem.

Many episodes of black mob violence and mayhem -- including the Knockout Game -- are recorded on video and posted on YouTube. Or Facebook. Or even bragged about on Twitter

Many are documented in White Girl Bleed a Lot: The Return of Racial Violence to America and How the Media Ignore it.

But that does not matter much to NBC and AP. Heck, the New York Times says the Knockout Game is probably just an "urban legend."

With one difference: This time we have Big Foot on Video. Thousands of them.

But that does not matter to the deniers. As part of the flurry of news stories surrounding the Knockout Game this week, media outlets trotted out a psychologist who says ignore the video. Ignore the overwhelming evidence of black mob violence. There's no pattern in the predators. Or in the white and Asian victims:
"It's hard to excuse this behavior, there's no purpose to this," Jeffrey Butts, a psychologist specializing in juvenile delinquency, told the AP. "When someone runs into a store and demands money, you can sort of understand why they're doing it, desperation, whatever.
But just hitting someone for the sheer thrill of seeing if you can knock someone out is just childish."
This model of denial of the racial component of black mob violence is popularized in dozens of seminars around the country every year at local and national chapters of the National Association of Professional Journalists.

Their advice for covering racial violence? Don't.

It also echoes what Jesse Washington, AP's race reporter, told your humble correspondent about racial violence after the acquittal of George Zimmerman for the killing of Trayvon Martin. No such thing, quoth he. At least not black on white.

More and more national and local news outlets are picking up the beat: Despite the avalanche of news stories on the Knockout Game, most still ignore the central organizing feature of the violence: The attackers are black -- and the victims are not.

Stop the Presses: This week, a white person was involved in a Knockout Game in Philadelphia. And an Arab played Knockout with a Jew in Brooklyn. So "all" is no longer correct. The new number is this: 99.98 percent of the attackers are black.

NBC affiliates around the country got into the act last week as well. After ignoring dozens of recent examples of black mob violence over the last two years, NBC weighed in with yet another shrink:
People with Type T personalities, which characterizes risk-takers and thrill-seekers, are motivated to commit violent acts, like smacking strangers in public, according to Professor of Educational Pyschology [sic] Frank Farley.

"Many of the perpetrators may be these T types and one of their things is pushing the envelope," Farley told NBC Philadelphia. "It's risky to go up and slap someone in public."
NBC and its witch doctor may be unclear about the level and intensity of racial violence across the country. But the readers at the Washington Post are not. After a recent story about the Knockout Game in Washington, they unleashed a storm of critical fire at the paper for refusing to tell the truth about black mob violence.

Here's just one of many comments:
"It is amazing how the Washington Post can report about this phenomenon without the issue of racial violence coming up one into the discussion. It is a shame that honesty took a back seat to what is really going on here."
Philadelphia is center of denial as well as violence. The City of Brotherly Love has been the scene of more than 100 episodes of black mob violence over the last three years. Some resulting in permanent injury and death, many on video. It got so bad that two years ago, Mayor Michael Nutter went to a black church to plead with black people to stop the black mob violence.

More recently, local media has reported more than five recent cases of the Knockout Game in Philly. Black mob violence is also such a regular event at Overbrook High School in Philadelphia that a school staffer recently appeared on the local CBS affiliate to plead with parents and police for help with the violence and anarchy that are an everyday part of life at this black high school:
"It's mayhem. Students are in the halls, they're smoking in the bathroom; cigarettes, marijuana," said a worker at the school, who asked not to be identified. "We can't contain them and it's really hazardous for us working and these kids are not being educated at all."

"It's a zoo in here. Parents really need to come up here and see what's going on in this school because it's ridiculous," said the worker.
The staffers remarks echo earlier comments from 2010, when a federal judge found that black students at South Philadelphia High School had assaulted and harassed Asian students daily -- for years.

The principal said she did not call police because she did not want to "criminalize" the black students.

Even so, the Philadelphia Inquirer dutifully ignores the epidemic of black mob violence in schools, downtown, and the gentrified South Philadelphia neighborhood.

"But it's unclear if the trend even exists," said the paper this week.

The Inquirer received a Pulitzer last year for its reporting on violence in Philadelphia schools. But if you want to learn anything from the series about racial violence, bring your magnifying glass to read about it -- because most of the time the topic is discussed only to to minimize it. Or say how much better it is today than before -- when the Inquirer ignored it even more completely.

The upward trend of racial harmony was not clear to Steve Huber earlier this year when he wrote an article for Philadelphia Magazine titled "Being White in Philly." Huber talked about the unrelenting racial violence and the fear it creates among white people.

Mayor Nutter said the article was "disgusting" and called for an investigation by the City's Human Rights Commission.

The Philadelphia Inquirer, again, took a back seat on racial crime and violence: The article was seen as "dwelling on negative experiences that whites had with blacks that often fit into racial stereotypes."

Racial Journalism 101: Crime statistics are stereotypes. But leave them out and the story is "anecdotal." Best not to do anything.
Class dismissed.

Marlin Newburn has seen and experienced black mob violence and black on white crime from many different angles: As a Detroit college student. A court appointed psychologist. A prison psychologist. He recently retired from 30 years in the criminal justice system, up close and personal with racial violence like the Knockout Game.
"The media's claim of racial non-discrimination borders on a comic-tragedy," Newburn said. "The simple response to their efforts to protect the Black Grievance Industry's false message is to note the race of the victims. From working with black felons over the years, one learns they share two common traits: Perpetuate the fantasy of black victimhood by the hands of whites, and to always be race loyal. Victims are chosen by race and ease of assault."
Thus the pattern where there is "no pattern."

The Left Keeps Calling Donald Trump and His Followers Violent Nazis, but It is the Left that Violently Disrupts His Speeches with Convicted Terrorists, and Which Calls for Assassinating Him!


VDARE Chief Advancement Officer Lydia Brimelow photographs Donald Trump from back in the crowd.

GOP Should “Thank Heaven Fasting” for Trump, but Instead Plans to Shoot Self in Testicles
By Peter Brimelow
November 23, 2015, 12:58 a.m.

Former New York Mayor Rudy Giuliani, a notorious immigration enthusiast and one-time neocon-backed GOP presidential candidate, surprised a lot of people in the summer when he said of Donald Trump: “We might have a little bit of a Ronald Reagan here.” But he’s not backed down [ Giuliani: Trump Has Been "Underestimated" Like Ronald Reagan ,, October 13, 2015]. senior management drove up to Worcester MA last week to inspect this phenomenon. Our conclusion: It’s a phenomenon.

In fact, Trump’s November 18 Worcester appearance may have been a watershed. The next day, the Washington Post ’s Chris Cilliza specifically referred to it in making a powerful argument (presaged by moi!) that Yes, Donald Trump could absolutely be the Republican nominee in 2016 (November 19, 2015)…

[Read the whole thing at VDARE.]

Sunday, November 22, 2015

The President Has been Shot: The Communist Assassination of John F. Kennedy

By Nicholas Stix

The Death of a President: Fifty-One Years After the Communist Assassination of John F. Kennedy
Reprinted from 2013.

The Death of a President: November 22, 1963, a Date Which Shall Live in Infamy
On This Day, 50 Years Ago, President John F. Kennedy was Assassinated by a Communist Traitor, Not by a "Right-Wing" Cabal



And so, my fellow Americans: ask not what your country can do for you; ask what you can do for your country.

Inaugural Address
January 20th, 1961

Vice President Johnson, Mr. Speaker, Mr. Chief Justice, President Eisenhower, Vice President Nixon, President Truman, reverend clergy, fellow citizens, we observe today not a victory of party, but a celebration of freedom - symbolizing an end, as well as a beginning - signifying renewal, as well as change. For I have sworn before you and Almighty God the same solemn oath our forebears prescribed nearly a century and three quarters ago.

The world is very different now. For man holds in his mortal hands the power to abolish all forms of human poverty and all forms of human life. And yet the same revolutionary beliefs for which our forebears fought are still at issue around the globe - the belief that the rights of man come not from the generosity of the state, but from the hand of God.

We dare not forget today that we are the heirs of that first revolution. Let the word go forth from this time and place, to friend and foe alike, that the torch has been passed to a new generation of Americans - born in this century, tempered by war, disciplined by a hard and bitter peace, proud of our ancient heritage - and unwilling to witness or permit the slow undoing of those human rights to which this Nation has always been committed, and to which we are committed today at home and around the world.

Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe, in order to assure the survival and the success of liberty.

This much we pledge - and more.

To those old allies whose cultural and spiritual origins we share, we pledge the loyalty of faithful friends. United, there is little we cannot do in a host of cooperative ventures. Divided, there is little we can do - for we dare not meet a powerful challenge at odds and split asunder.

To those new States whom we welcome to the ranks of the free, we pledge our word that one form of colonial control shall not have passed away merely to be replaced by a far more iron tyranny. We shall not always expect to find them supporting our view. But we shall always hope to find them strongly supporting their own freedom - and to remember that, in the past, those who foolishly sought power by riding the back of the tiger ended up inside.

To those peoples in the huts and villages across the globe struggling to break the bonds of mass misery, we pledge our best efforts to help them help themselves, for whatever period is required - not because the Communists may be doing it, not because we seek their votes, but because it is right. If a free society cannot help the many who are poor, it cannot save the few who are rich.

To our sister republics south of our border, we offer a special pledge - to convert our good words into good deeds - in a new alliance for progress - to assist free men and free governments in casting off the chains of poverty. But this peaceful revolution of hope cannot become the prey of hostile powers. Let all our neighbors know that we shall join with them to oppose aggression or subversion anywhere in the Americas. And let every other power know that this Hemisphere intends to remain the master of its own house.

To that world assembly of sovereign states, the United Nations, our last best hope in an age where the instruments of war have far outpaced the instruments of peace, we renew our pledge of support - to prevent it from becoming merely a forum for invective - to strengthen its shield of the new and the weak - and to enlarge the area in which its writ may run.

Finally, to those nations who would make themselves our adversary, we offer not a pledge but a request: that both sides begin anew the quest for peace, before the dark powers of destruction unleashed by science engulf all humanity in planned or accidental self-destruction.

We dare not tempt them with weakness. For only when our arms are sufficient beyond doubt can we be certain beyond doubt that they will never be employed. But neither can two great and powerful groups of nations take comfort from our present course - both sides overburdened by the cost of modern weapons, both rightly alarmed by the steady spread of the deadly atom, yet both racing to alter that uncertain balance of terror that stays the hand of mankind's final war.

So let us begin anew - remembering on both sides that civility is not a sign of weakness, and sincerity is always subject to proof. Let us never negotiate out of fear. But let us never fear to negotiate.

Let both sides explore what problems unite us instead of belabouring those problems which divide us.

Let both sides, for the first time, formulate serious and precise proposals for the inspection and control of arms - and bring the absolute power to destroy other nations under the absolute control of all nations.

Let both sides seek to invoke the wonders of science instead of its terrors. Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths, and encourage the arts and commerce.

Let both sides unite to heed in all corners of the earth the command of Isaiah - to "undo the heavy burdens -. and to let the oppressed go free."

And if a beachhead of cooperation may push back the jungle of suspicion, let both sides join in creating a new endeavour, not a new balance of power, but a new world of law, where the strong are just and the weak secure and the peace preserved.

All this will not be finished in the first 100 days. Nor will it be finished in the first 1,000 days, nor in the life of this Administration, nor even perhaps in our lifetime on this planet. But let us begin.

In your hands, my fellow citizens, more than in mine, will rest the final success or failure of our course. Since this country was founded, each generation of Americans has been summoned to give testimony to its national loyalty. The graves of young Americans who answered the call to service surround the globe.

Now the trumpet summons us again - not as a call to bear arms, though arms we need; not as a call to battle, though embattled we are - but a call to bear the burden of a long twilight struggle, year in and year out, "rejoicing in hope, patient in tribulation" - a struggle against the common enemies of man: tyranny, poverty, disease, and war itself.

Can we forge against these enemies a grand and global alliance, North and South, East and West, that can assure a more fruitful life for all mankind? Will you join in that historic effort?

In the long history of the world, only a few generations have been granted the role of defending freedom in its hour of maximum danger. I do not shank from this responsibility - I welcome it. I do not believe that any of us would exchange places with any other people or any other generation. The energy, the faith, the devotion which we bring to this endeavour will light our country and all who serve it -- and the glow from that fire can truly light the world.

And so, my fellow Americans: ask not what your country can do for you - ask what you can do for your country.

My fellow citizens of the world: ask not what America will do for you, but what together we can do for the freedom of man.

Finally, whether you are citizens of America or citizens of the world, ask of us the same high standards of strength and sacrifice which we ask of you. With a good conscience our only sure reward, with history the final judge of our deeds, let us go forth to lead the land we love, asking His blessing and His help, but knowing that here on earth God's work must truly be our own.



A first lady with beauty, style, and grace of which pretenders can only enviously dream

Camelot Finale


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The Death of a President
By Nicholas Stix

(Reprint, partly from 2009, the rest from 2006.)

In Dallas 47 years ago today, Communist and dishonorably discharged ex-Marine Lee Harvey Oswald assassinated 46-year-old President John F. Kennedy, shooting him from a window in the Texas School Book Depository building, as the President's motorcade passed through Dealey Plaza.

John Fitzgerald Kennedy, b. May 29, 1917, d. November 22, 1963.


Commemorative Essay from 2006

Forty-three years ago yesterday, John Fitzgerald Kennedy, the 35th president of the United States of America, was felled in Dallas by Lee Harvey Oswald, a communist, dishonorably discharged, ex-marine. For most of my life, November 22 was commemorated as one of the darkest days in American history. In recent years, such commemoration seems to have been fading.

President Kennedy was riding that day in a motorcade with his wife, Jackie, Texas Gov. John Connally and the latter's wife, Idanell (1919-2006), and Texan Vice President Lyndon Baines Johnson. Kennedy had come to Texas to shore up a rift among Texas Democrats.

As soon as she saw her husband had been hit with gunfire, Mrs. Kennedy showed herself willing to sacrifice her own life, to save her husband's. She threw herself across her husband, to shield his body from further gunfire with her own, as if she were a secret service agent, rather than America's First Lady. Alas, it was too late.

Gov. Connally also was wounded, and his wife, Idanell Brill "Nellie" Connally (1919-2006), helped save his life by "pull[ing] the Governor onto her lap, and the resulting posture helped close his front chest wound (which was causing air to be sucked directly into his chest around his collapsed right lung)."

Later that day, aboard Air Force One, Vice President Johnson was sworn in as America's 36th President.

On April 11, Oswald had attempted to assassinate rightwing Army Gen. Edwin Walker; one hour after assassinating the President, he murdered Dallas Patrolman J.W. Tippit, before being arrested in a Dallas movie theater. Two days later, Oswald was himself murdered by Jack Ruby, as lawmen sought to transfer Oswald from police headquarters to the Dallas City Jail.

Jack Kennedy has become, like his ersthwile fling, Marilyn Monroe, a Rohrschach Test, onto which people (particularly leftists) project their preoccupations. Thus do conspiracy obsessives project the notion that the President's assassination had issued out of a conspiracy so immense, including at least two assassins, with the identity of the specific participants – the Cosa Nostra, the CIA, Fidel Castro – depending on the imaginings of the obsessive in question.

Likewise has Kennedy's presidency been fetishized by leftwing obsessives and family retainers, who have turned him into a socialist demigod, who supported massive economic redistribution and radical "civil rights."

The best way of summing up the real JFK versus the fantasy version propagated by the Left and Kennedy courtiers since his death, is by comparison and contrast to President Richard M. Nixon, Kennedy's opponent in the 1960 election.

Kennedy has been portrayed as a leftwing saint and Renaissance man, who gave us or supported (or would have, had he lived) the War on Poverty, civil rights for blacks, and utopia. Nixon, by contrast, was a rightwing Mephistopheles ("Tricky Dick"), and a crude, racist, fascist warmonger.

Politically, Kennedy and Nixon actually had much in common. Both were unapologetic anti-communists in matters domestic and foreign. Nixon successfully prosecuted for perjury the traitor and Soviet spy, Alger Hiss (which inspired the Left to work tirelessly thereafter for Nixon's destruction), while Kennedy ("Ich bin ein Berliner.") was an unequivocal supporter of West Berlin against Soviet imperialism, and risked nuclear war, when he faced down the Soviets during the 1962 Cuban Missile Crisis. (Due to the statute of limitations, Nixon could not prosecute Hiss for treason or espionage.) On the negative side of the ledger, Kennedy betrayed the Cuban insurgents who carried out the Bay of Pigs invasion, by withholding promised air support, thus turning the invasion into a fiasco.

Domestically, at least in fiscal matters, Kennedy was considerably to the right of Nixon. Early in Kennedy's administration, he signed off on what was then the biggest tax cut ever, and which set the economy on fire. In light of Kennedy's fiscal conservatism and belief in self-reliance ("Ask not what your country can do for you, ask what you can do for your country"), it is highly unlikely that he would have signed off on a program for massive government welfare programs. The War on Poverty was the idea of Lyndon Johnson, who exploited the nation's mourning for JFK to ram his programs through Congress.

By contrast, Nixon introduced price and wage controls, a move that was far to the left economically of the Democratic Party, even after Kennedy. And it was Nixon, the hated "racist," not Kennedy or even Johnson, who institutionalized affirmative action. Note that over 30 percent of blacks voted for Nixon for president, over three times as high a proportion than ever would vote for George W. Bush for president.

For over thirty years, leftist Democrats have sought to tar and feather Nixon as a "racist" for his "Southern Strategy" of appealing to Southern whites with promises of "law and order." The presuppositions of the leftist critics are: 1. If one is not a leftist, one may not campaign for the votes of groups that may potentially vote for one, but rather must hopelessly chase after the votes of people who will never vote for him, thereby guaranteeing his defeat; and 2. Because the explosion in crime was primarily the fault of blacks, no politician may ever campaign on behalf of "law and order" (in other words, see #1).

Since leftists have long controlled the media and academia, no successful counter-movement has ever been waged against the Democrat Northern Strategy that continues to this day inflaming and relying on racist blacks for their votes and their violence.

If anything, Nixon was a stronger supporter of "civil rights" than Kennedy. When Martin Luther King Jr. was arrested during the 1960 presidential campaign, Nixon wanted to call King's parents in support, but let his advisers talk him out of it. Conversely, Kennedy let his adviser, future senator Harris Wofford, talk him into calling "Daddy" King, which resulted in Kennedy winning the black vote.

In August 1963, the Poor People's March, in which Martin Luther King Jr. would give his famous "I Have a Dream" speech, was almost shut down by the Kennedy Administration without King even getting to speak.

The march had been organized by A. Philip Randolph, the legendary socialist founder of the Brotherhood of Sleeping Car Porters, the nation's first successful black labor union. Randolph was planning on giving a radical leftwing speech written by Stanley Levison, a communist advisor to both Randolph and King, but as historian David Garrow tells in his biography, Bearing the Cross: Martin Luther King, Jr., and the Southern Christian Leadership Conference, the President's brother, Attorney General Robert Kennedy, acting in his brother's name, threatened literally to pull the plug on the demonstration, were Randolph to deliver the planned speech. Randolph relented, and gave a considerably toned-down speech.

There is no record, to my knowledge, of Nixon ever censoring a political speech, much less one by a civil rights leader.

As for Southeast Asia, Kennedy got us involved in the War in Vietnam; Nixon got us out.

Kennedy repeatedly jeopardized national security, both as a naval intelligence officer during World War II, and while President, due to his obsessive womanizing. By contrast, even Nixon's sworn enemies have failed to find any evidence of his cheating on his beloved wife, Pat.

And as for the two men's intellectual status, Nixon was clearly superior. The notion that Kennedy was an intellectual the planned product of a PR campaign engineered and financed by the future president's father, Joseph P. Kennedy Sr.. The elder Kennedy got his son's undistinguished, pro-appeasement (echoing the elder Kennedy, who was a Nazi sympathizer) Harvard senior thesis, Why England Slept, published as a book, after having it rewritten by erstwhile family retainer, New York Times columnist Arthur Krock (whom JFK would later stab in the back, using future Washington Post editor Ben Bradlee as his tool of choice); later, the Pulitzer Prize-winning book, Profiles in Courage, was ghostwritten for JFK by another family retainer, Theodore Sorensen, in order to give the young senator the "gravitas" necessary for a run at the White House. Working on behalf of JFK and Joe Kennedy, Arthur Krock campaigned relentlessly on behalf of the fraudulent work, and succeeded in gaining it the 1957 Pulitzer Prize for biography, yet another fraudulent Pulitzer that has never been rescinded.

Nixon, on the other hand, really did write a series of important books on politics. But although Nixon was a true Renaissance man, he was a Republican, and so while the Kennedy hagiography of the press, Hollywood, and academia would slavishly promote the myth of Kennedy as Renaissance man, in the same parties' corresponding demonography of Nixon, the last thing they were going to do was to give Nixon due credit for his very real intellectual accomplishments.

So, where does that leave us? Must we choose between the fictional but pervasive image of JFK as Renaissance man, socialist, and compassionate civil rights supporter, or Garry Wills' revised version, in which Kennedy appears as a ruthless, pathologically lying sociopath?

If we jettison our illusions about the political leaders we support being compassionate, kindly, fatherly (or insert your romanticized cliché of choice) types, and admit that the ruthless, pathologically lying sociopath has been a frequent Oval Office type, that still does not free us from the obligation of weighing the virtues of this sociopath against that one.

While it is ludicrous to speak of a man who inhabited the office for only two years and ten months as a "great president," John F. Kennedy had his moments. He gave us a tax cut of historic dimensions, stood up to the Soviets, founded the Peace Corps, and started the race to the moon that culminated in 1969, with Neil Armstrong's world historical walk.

The assassin




Posthumous vindication for his boldest vision: July 20, 1969