It’s Circus day in Dixie!

“Circus day in Dixie”

Composer: Albert Gumble

Performers: The American Quartet


Come to town, oh honey, come to town

Have you forgotten that it’s Circus day in Dixie?

Let’s go down, we’d better hurry down

Where the crowd is cheerin’, that parade is nearin’

Hear the music sweet

That’s for the dancers who don’t move their feet

Gee! there’s goin’ to be lots of things I’m just dying to see

Circus Day in Dixie

Circus Day in Dixie

Always is a holiday

(Come along! Ccome along!)

You better hurry, honey, the parade is comin’

Led by the leader man, don’t he look mighty grand

See the funny lion, seems as if he’s tryin’

To keep time with the ragtime band

(See the bear over there!)

Here come the clowns who wear the funniest clothes

There’s one who looks just like my old Uncle Mose

And see the cunnin’ little monkeys ridin’ on the donkeys

At the Circus down in Dixieland

First let’s see the big menagerie

Follow the crowd this way to see the main attraction

Step right in, they’re ready to begin

Gee! I’m all excited, glad I’ve been invited

Oh! before we go, we’ve got to see that Turkish dancin’ show

Ev’rybody’s here

Circus Day only comes once a year

Circus Day in Dixie

Circus Day in Dixie

Always is a holiday

(Come along! Come along!)

You better hurry, honey, the parade is comin’

Led by the leader man, don’t he look mighty grand

See the funny lion, seems as if he’s tryin’

To keep time with the ragtime band

(See the bear over there)

Here come the clowns who wear the funniest clothes

There’s one who looks just like my old Uncle Mose

And see the cunnin’ little monkeys ridin’ on the donkeys

At the Circus down in Dixieland

The American Quartet is perhaps one of the most famous singing ensembles of the 20th century. Although the name was adopted by several singing groups throughout the centuries, the original American Quartet consisted of four of the most widely respected tenors in America. John Bieling, Billy Murray, Steve Porter, and William F. Hooley paved the way for future singer/songwriters gaining high esteem for their ability to appeal to all ages.

Bieling, Murray, Porter, and Hooley each performed with other singing groups respectively prior to recording their first cylinder as an ensemble. As mentioned, several other singing ensembles attempted to claim the title of ‘American Quartet’, a patriotic tribute to one of America’s most admired past-times: music, but no one was admired in the same way as the Bieling, Murray, Porter, Hooley combination. They were able to capture the ears and hearts of millions with their soothe harmonies and passion for lyrical creativity. However, it was a long journey before the quartet received acceptance for their lasting title. When the four singers originally recorded together for Edison, they were named the Premier Quartet. They also worked with The Victor Talking Machine Company to produce their music in disc form. The tenors eventually became known as the Premier American Quartet, but by their 1901 debut of ‘Denver Town’, they were labeled as the Murray-Bieling-Porter-Hooley quartet. It was not until the men began to produce some of the most famous compositions of the early 1900’s, creating records, flat discs, along with the standard cylinder did they acquire their most distinguished title, the American Quartet.

“Goodbye Broadway, Hello France”, “Blue Jeans”, “My Mammy”, and “Circus day in Dixie” are among some of the most famous songs recorded by the American Quartet. “Circus day in Dixie” is about a special day that occurs once a year in the humble town of ‘Dixie’. A quaint community of families -young and old who tend to their business without much change. This circus day is the one time that it is okay to let loose from the hectic reality of life. A time to “Hear the music sweet”, see “the clowns who wear the funniest clothes”, “see that Turkish dancin’ show”, and see the “cunnin’ little monkeys ridin’ on the donkeys”. The lyrics allow us to recognize the excitement filling the homes of Dixie, even if you have had a rough week – the circus is here – remember to “Enjoy yourself!” “Let me see you smile!”

Albert Gumble, the Songwriter for several popular songs of the 1900’s, including “Rebecca of Sunnybrook Farm“, Give Me the Moonlight, Give Me the Girl”, and “Southern Gals” was a composer and pianist, educated at the Auditorium School of Music with Herman Froehlich. Gumble would go on to create “Circus day in Dixie” one of his most successful compositions. The laughable lyrics he created would travel many paths through the years, eventually recorded by the American Quartet, The Versatile Four, Blossom Seeley, James Reese Europe, The Citations, Ernie Carson & Castle Jazz Band, as well as the University of Wisconsin-Eau Claire Symphony Band.

“Circus day in Dixie” is a lively song representative of a generation eager to find independence. Gumble found much of his inspiration from his own experiences as a young man growing up during a century with major political, economical, societal, and cultural shifts with an underlying sensation for freedom.


There just might me hope for us!

Artful Thinkers

Recently, I was invited to speak to a group of high school students and their teachers at the ASU Polytechnic campus.  What I gained from the experience is far greater than what I was able to share through my decades of entrepreneurial successes and failures.

I was inspired.  I was motivated.  I was reassured.  Partly, it was the kids who like science, technology, engineering and mathematics.  Partly, it was spending time at a progressive technology campus that fosters growth and innovation. Partly, it was through the introduction of Arizona State University innovators who shared their pitches about their latest ventures.

Were we this exciting, inventive and determined when we were in school?  Did we have this much wide-eye optimism that we could and would change the world?  They believe they can solve all problems.  They are not discouraged, they are encouraged.  I know our future is very bright, if we do not…

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After reading this, I thought we each might find something we could relate to!

Classic Confusion

According to Wikipedia (I only use the best resources for my blog), we are Generation Y. This roughly includes people born in the ’80s and early ’90s, if my loyal online encyclopedia is being truthful.

I realize I’m not a revolutionary by pointing out that sometimes people my age are ridiculous, but hey, it’s 2012 and all the original ideas have been used.

Some things I just don’t understand:

1. Wearing sweatpants or *gasp* pajamas outside. To go see people. Or go out to eat. Yes, I own sweatpants and even pajamas, but they for the house, to get the mail, or to walk the dog.

I wore sweatpants to school ONE DAY in grade 5. I remember it vividly. They were light heather grey with a light blue stripe running up the side. I was feeling uncomfortable all morning, and then our very well-dressed French VP came in to visit the class…

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Remix Reflection

Jimi Hendrix once said, “If it was up to me, there wouldn’t be no such thing as the establishment.” Believed to be one of the greatest guitarists in history, a renowned musician driven by his passion for music, Hendrix helped break the boundaries between jazz, rock, and R&B. Inspired by those who

told him he would amount to nothing, Jimi Hendrix endured his difficult journey ultimately transforming the music world as we know it today. Hendrix, a confident, strong, and outspokenindividual believed in many freedoms. The quote which I mentioned above, rightfully addresses the kind of independence we should fight for. The Establishment, which I interpret as the power in which we are not only controlled by but are subject to adhere to. The term, establishment –could mean a lot. Perhaps our government is what Hendrix was referring to, or even the recording companies who initially refused to allow a young Jimi to explore a more favorable route, or maybe it is a term that we are allowed to define based on our own knowledge, our own background, my establishment may be significantly different that yours (based on the way we were raised or schooled etc…). Determining what Hendrix meant is not what is important here, my point is that even an originator, a creator of a new genre of music, an inventor – Jimi Hendrix still felt pressure from an external environment. And I raise a simple question before I begin my analysis of Remix: Making Art and Commerce Thrive in the Hybrid Economy – what would Jimi Hendrix have been if this pressure, this strain, or limitation did not exist? Unfortunately, we will never no.

As I mentioned, I have no right to decide what Jimi Hendrix implied by using the term the establishment. Joe Harris clearly explains the art of interpretation when he stated, “Texts don’t simply reveal their meanings to us; we need to make sense of them. …each of us comes at what we read through our own experiences and concerns, and so each of us makes a slightly different sense of the texts we encounter.” Harris is pleading with us, to take the time and decide things for yourself.

In Writing 205: Critical Research and Writing, we determined as a class some of the most popular topics Lawrence Lessig mentions in Remix: Making Art and Commerce Thrive in the Hybrid Economy. I spent a lot of time focusing on generational gaps, originality/creativity and copyright laws. In the preface, Lessig says, “ We wage war on drugs, on poverty, on terrorism, on racism… and then think about the fact that this war has had essentially no effect…you need to step back from the war to ask, how much is it really costing? Is the result really worth the price” (page XIV).

Inspired by the copyright wars, “waged by pirates” Profressor Lawrence Lessig a Professor and Director of the Edmond J. Safra Foundation Center for Ethics at Harvard University, Lessig was the first to propose the concept of Free Culture to the public. Remix is broken down into three parts, cultures, economies and enabling the future. He explores the effects of copyright laws and brings attention to the seriousness of what I suggested in my previous blog as the critical generational gap.

As many of the class blogs mentioned, copyright laws are undoubtedly criminalizing our youth, deeming them immoral. Whether he mentions the idea of remixes, mashups, etc… Lessig ultimately focuses on the intellectual suppression the law has placed on young, imaginative minds.

In my last post, I brought up the idea of cerebral enrichment. These copyright laws,which were implemented to “help” maintain intellectual property, are actually harming our future. The Internet today feeds our “need” to have the most recent, up-to-date resources; we simply thrive on the freedom it provides. Unfortunately, this has placed the youth in a complex situation. How do they (do we…) decide when to obey the laws, and when it is okay to ignore the rules of copyright. However, I would like to elaborate more by saying how necessary these laws are. I do agree that they must be altered to fit the digital lifestyle of this and future generations, but I think as a model society we must have law to govern us.

One component of the copyright law Lessig provokes, is decriminalizing file sharing. “Either by authorizing at least noncommercial file sharing with taxes to cover a reasonable royalty to the artists…or by authoring a simple blanket licensing procedure” (page 271).  Lessig elaborates that person-to-person file sharing has NOT stopped illegal sharing or efficiently compensated artists. What I took away from this is that Lessig is comfortable enough to admit aloud that copyright, is good, it is necessary, BUT we must create a plan to make it more efficient. Lessig in a way is preparing us, he is trying to explain that future generations will not permit what we are governed by today.

Here is an abstract summary of a book where Neil Netaneal is mentioned once again for his take on decriminalizing file sharing. While Lessig briefly mentions Netaneal in Remix, some examples of P2P sharing like electronic devices, frequency downloads, and computer hardware could be better regulated with the idea of “fair return” makes things a little easier to understand.

In his Lessig’s final chapter “Reforming Us”, he brings up what I consider his most valid point of the irrational copyright war, the idea that government control does indeed have limits. For Lessig, that establishment Jimi Hendrix mentioned would be the creators

of the copyright laws. Children growing up today live in an extreme digital age. They are hearing these laws and unfortunately can make no sense of them. Remix discusses the Hybrid economy and Lessig provides examples of ways in which we can work with the law to make an efficient online environment. Copyright law carries a significant weight on future generations. It is up to us to take a stand and form an online culture appropriate to our needs.

For those of you who don’t believe in the SATs

Hey guys!

I came across an article, Beyond SATs, Finding Success in Numbers on the New York Times website and thought some of you might like to read it. I know I personally do not believe the SATs are a clear indication of whether a student deserves to be admitted to a University.

“The SAT is an inadequate predictor of college success, but that it can be malignant. Many colleges acknowledge its limitations.”