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The Carnival of the Animals # Orphée aux Enfers by Hughes Songe

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Orpheus in the Underworld

Jacques Offenbach

Orphée aux enfers (Orpheus in the Underworld) is an opéra bouffon (a form of operetta), or opéra féerie in its revised version, by Jacques Offenbach. The French text was written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux.

The work, first performed in 1858, is said to be the first classical full-length operetta. Offenbach's earlier operettas were small-scale one-act works, since the law in France did not allow certain genres of full-length works. Orpheus was not only longer, but more musically adventurous than Offenbach's earlier pieces.

This also marked the first time that Offenbach used Greek mythology as a backdrop for one of his buffooneries. The operetta is an irreverent parody and scathing satire on Gluck and his Orfeo ed Euridice and culminates in the risqué Galop infernal ("Infernal Galop") that shocked some in the audience at the premiere. Other targets of satire, as would become typical in Offenbach's burlesques, are the stilted performances of classical drama at the Comédie-Française and the scandals in society and politics of the Second French Empire.

The "Infernal Galop" from Act II, Scene 2, is famous outside classical circles as the music for the "can-can" (to the extent that the tune is widely, but erroneously, called "can-can") . Saint-Saëns borrowed the Galop, slowed it to a crawl, and arranged it for the strings to represent the tortoise in The Carnival of the Animals.

Playbill from an 1874 revival

The first performance of the two-act, opéra bouffe version took place at the Théâtre des Bouffes-Parisiens in Paris on 21 October 1858 and ran for an initial 228 performances. It then returned to the stage a few weeks later, after the cast had had a rest. For the Vienna production of 1860, Carl Binder provided an overture that became famous, beginning with its bristling fanfare, followed by a tender love song, a dramatic passage, a complex waltz, and, finally, the renowned can-can music.

In America the work played in German at the Stadt Theatre, on Broadway, from March 1861.[4] It had its Czech premiere in 1864, under Adolf Čech.[5] It had a run of 76 performances at Her Majesty's Theatre, in London, beginning on 26 December 1865, in an adaptation by J. R. Planché.

A four-act version, designated as an opéra féerie, was first performed at the Théâtre de la Gaîté on 7 February 1874.[7] (This has proved less popular over time than the original two act version.)

Sadler's Wells opera presented an English version by Geoffrey Dunn beginning on 16 May 1960.[8] In the 1980s, English National Opera staged the opera freely translated into English by Snoo Wilson with David Pountney. The production was notable for its satirical portrayal of the then Prime Minister Margaret Thatcher as the character Public Opinion. The first performance was at the Coliseum Theatre in London on 5 September 1985.The D'Oyly Carte Opera Company performed the work in the 1990s.

Critical appreciation

In the eyes of Clément and Larousse the piece is une parodie grotesque et grossière (a coarse and grotesque parody), full of vulgar and indecent scenes that give off une odeur malsaine (an unhealthy odor). In the opinion of Piat, however, Offenbach's Orphée is, like most of his major operettas, a bijou (jewel) that only snobs will fail to appreciate. The piece was not immediately a hit, but critics' condemnation of it, particularly that of Jules Janin, who called it a "profanation of holy and glorious antiquity," only provided vital publicity, serving to heighten the public's curiosity to see the piece.

Description de l’œuvre

Orphée aux enfers est un opéra bouffe, une féerie à grand spectacle, brillante et pétillante.

Parodiant les anciennes versions lyriques du mythe d'Orphée, Offenbach se moque de l’hypocrisie et de la recherche du plaisir à tout prix de son époque, avec une impertinence et une causticité, qui choquèrent profondément, en leurs temps, une partie du public, bourgeois et populaire.

Ce fut le premier grand succès de Jacques Offenbach, et l’on trouve déjà ce qui explosera dans La Belle Hélène, La Vie parisienne ou encore La Périchole, ce mariage parfait du théâtre et de la musique, du sérieux et de la trivialité. Tout brille dans cet opéra, où tout est prétexte à chanson, la verve satirique de son livret autant que la qualité de sa partition musicale proprement jubilatoire.

Résumé

C’est une folie que cette histoire de couples en crise, d’Olympe en révolte, d’Enfers orgiaques où chacun ne pense qu’à son propre plaisir et tout le monde ne rêve que de fête, de séduction, d’amour et s’en donne à cœur joie.

Acte 1

Comme on le dit familièrement, « Il y a de l’eau dans le gaz » dans le couple d’Orphée (ténor), le violoniste et d’Eurydice (soprano). Le premier charme les autres nymphes tandis que la seconde flirte avec le berger Aristée (ténor), qui n’est autre que Pluton, le dieu des Enfers. Fort heureusement pour Orphée, Eurydice meurt. Mais c’est sans compter avec l’opinion publique (mezzo-soprano) qui enjoint Orphée de partir la rechercher au séjour des morts.

Acte 2

Sur l’Olympe, Une rébellion de dieux remet en cause l’autorité de Jupiter (baryton). Junon (mezzo-soprano), son épouse, lui fait une scène de ménage quand arrive Pluton, à qui Jupiter reproche son inconduite. Orphée et l’Opinion Publique viennent réclamer Eurydice. C’est alors que Jupiter, accompagné des dieux, décide, par curiosité, de descendre aux Enfers.

Acte 3

Aux enfers Eurydice s’ennuie malgré les distractions du bouffon Styx (baryton). La vigilance de ce dernier est trompée par Jupiter, transformé en mouche, qui parvient à approcher Eurydice et à la séduire.

Acte 4

Pendant ce temps là, Pluton organise une bacchanale et empêche Jupiter d’emmener Eurydice. Quand à Orphée, guidée par l’Opinion publique, il doit ramener Eurydice sur terre, mais Jupiter, jaloux et trompeur, élimine les deux prétendants et abandonne la nymphe à Bacchus.

- See more at: www.opera-online.com/items/works/orphee-aux-enfers-halevy...

Wien, 1. Bezirk, Wiener Staatsoper, Ópera Estatal de Viena, L'opéra d’État de Vienne, Vienna State Opera, Opera Wiedeńska (Opernring/Operngasse/Kärntnerstraße) by Josef Lex (El buen soldado Švejk)

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TOPICS

The Vienna Opera Ball

Viennese Opera Ball

Just as already the operetta and the waltz had been imported from Paris to Vienna, comes also the model for the Vienna Opera Ball from the Seine metropolis. By a corresponding approval of Duke Philip of Orleans, on 2 January 1716 a "public ball" can be held for the first time, to which everyone has access who can pay the admission fee of five livres. First, the balls take place at the Comédie française, but already in 1717 was given the Académie de Musique, the Paris Opera House, the special right of the organization. Nevertheless, in the Comédie furthermore take place balls, with the audience far more popular than the 'opera balls'.

In 1861 the construction of an opera house begins at the Ringstrasse, on the explicit desire of Emperor Franz Joseph not solely intended for performances of operas and ballets, but also for the staging of the Opera Ball. With this, have been created both the spatial and the official conditions for a genuine Viennese Opera Ball according to Parisian model. It should, however, take another eight years before a dance event in the opera could be held for the first time after the completion of the house in 1869.

Initially, due to the increasing violence at the Paris balls but only Court Opera soirees take place. This includes elegant evening soirees with musical entertainment, but without dancing. On 11 December 1877 opened the court musical director Wilhelm Gericke the first Court Opera Soirée with the "Wedding March" by Felix Mendelssohn. After several concert pieces the baton is handed over to the Strauss family. First, Johann Strauss son conducts the Vienna Philharmonic with a waltz, followed by his brother Edward with a specially for this day composed "Opera Soirée Polka". After that, the dance-crazed Viennese are no longer stoppable: all chairs were put to the side, and the evening, which was thought without dance pleasure, ends like a ball. This is the hour of birth of the opera ball, even though for the time being still far away from being called so.

Already the second event on 15 January 1878 is announced officially as "Second Hofopernsoirée (Ball)". The third, for 12 February 1878 scheduled Soirée, is canceled for reasons of piety, since Pope Pius IX. a few days earlier had died. After the uncomplicated election of Leo XIII. to new head of the Church the ball is on 23 February rescheduled.

After these three opera soirees from March of the same year take place redoutes in the Court Opera, continuing the tradition of masked balls and linked with strict dress code: "in the hall, with the exception of the lodges, the ladies the stay is only permitted in an elegant mask, short costumes are not allowed. The gentlemen of civil appear in evening dress with white cravat, cylinder or Claquehut (opera hat - chapeau claque). "During the next twenty years during the carnival time each year should be organized two, in some seasons even three redoutes. However, at these festivals the Viennese society is not as boundless as once united in the common ball pleasure, because in the meantime the guests are spread across three different levels, not only differing in space but also in the appearance of guests from each other. Are the boxes the aristocratic guests in elaborate ball gowns reserved, so gather in the stalls the bourgeois guests, for which there is no mask constraint. In addition, there are the galleries that are accessible to every viewer without special admission ticket.

1899 the popular balls for the time being come to an abrupt end, as is discovered that the opera for such festivals does not comply with the safety regulations. Since an appropriate conversion proves to be too costly, the redoutes are discontinued for an unforeseen period of time. A certain compensation for those festivals offers in the following years the in the new town hall held "Ball der Stadt Wien".

Only in 1921, the tradition of the redoutes in the Court Opera has been resumed, but without being able to follow on the success of previous years. After several breaks followed in 1924, 1928 and 1929 again opera redoutes, neither musically nor stylistically corresponding with the level of the defunct imperial monarchy-time and they are not characterized by the former wit, charm and temperament. The twenties are not only politically, but also culturally a very different time in which with the progressive emancipation of women the meaning of a redoute became obsolete.

And so 1935 is launched the first as such referred to Opera Ball. In a time of political uncertainty, it complied in addition to social also with diplomatic and official representative purposes. Therefore, it takes no wonder that the guest list has many personalities from politics. The last opera ball before the outbreak of the Second World War should be organized in 1939, when Austria was already 'connected' by Adolf Hitler to the German Reich. Therefore respectively stiff and artificial resulted according to that this night on which no happiness will raise, previously the rule.

Image

Reopening of the Vienna State Opera, 1955

Shortly before the end of World War II, the Vienna Opera House on 12 March 1945 almost completely was destroyed by a bomb. It should take ten years until the house was rebuilt and with Ludwig van Beethoven's opera "Fidelio" at the 5th November 1955 ceremoniously could be opened. In the following carnival season with this also the first opera ball of the post-war period can be celebrated, but which has changed its face much: "Actually, the Opera Ball is not a Viennese event anymore, but already a pan-European one. A ball night for which the world envies us".

This new image has remained to this day, with the only difference that the Opera Ball is now no longer considered only as a pan-European, but as an international event. A highlight of the evening is the annual opening of the ball by about 180 debutantes who on the arm of the to them for this evening assigned Cavaliers in a Polonaise move in. After the Vienna Philharmonic for many years had taken over the musical interpretation of the evening, there is since 1982 a Vienna Opera Ball Orchestra grounded specifically for this purpose. In addition, since 1984, there is also a Viennese Opera Ball Ladies Ensemble, made up of 15 musicians and beyond the ball unfolding a very busy concert schedule.

Today on the Opera Ball there is not exclusively danced just waltz anymore. Up to ten orchestras or soloists play at the same time in different places of the house, and as a concession to modern times there is since some years even a nightclub. And yet, the waltz enjoys as the king of dances to this day unbroken popularity, without which for many no Viennese Opera Ball is thinkable. Another innovation is also the since 1981 in the Schwind Foyer installed Viennese Opera Ball Casino, which is a special attraction especially for the younger guests. Collectors will also appreciate the annually by the casino issued special Opera Ball chips.

How to become a debutante?

Proposals are now mostly send in by the dance schools of the country. The first condition is the perfect mastery of the links waltz, which is checked at a Vortanztermin (dance audition date - don't worry, the Lipizzans are doing the same!). Has the potential debutante overcome this hurdle with flying colors, it is about to find a suitable partner for the big night. The criteria for this choice are less situated in personal relationships than in pure dance qualities. After finally the couples have found each other, for five days under the expert guidance of several ballet master not only the links waltz, but also the choreography of the marching in is practiced until everything is perfectly rehearsed. The question of clothes is strictly regulated for the couples: the ladies in white dresses with a little crown on the head and the gentlemen in evening dress. To underline the internationality of the ball, every year also Debütantinnen and Debütanten from around the world are invited.

Guests

Artists from the world of the theater and the music, film and television can be found on the Vienna Opera Ball as well as well-known athletes and fashion designers. Diplomats and politicians from home and abroad appreciate the special atmosphere, and every now and then you meet also members of the European nobility. The Opera Ball today is no longer just a lavish celebration in which together a whole evening and a full night is celebrated, but increasingly also a social forum that connects professional and political contacts in a pleasant way with a social event.

Scandals

In recent decades, the Vienna Opera Ball, however, has not only found unanimous support, but has been increasingly criticized. In the 80s made fights between angry citizens that characterized the event as a "festival of the political and monetary bigwigs" and the police the headlines. Unforgettable is also the demonstration against the reprocessing plant Wackersdorf when in 1987 the Bavarian Prime Minister Franz-Josef Strauss participated in the Opera Ball. In addition, now almost every year during the opera ball take place demonstrations against these seemingly senseless waste of funds in the face of hardship and misery, hunger and wars, social and health problems in the world.

Nevertheless, the Opera Ball has lost none of its fascination and all over the world - from Bangkok via Kuala Lumpur and Korea to Tokyo, Singapore, Seoul and Dubai, Ankara, Istanbul, Kiev, Prague and Budapest to Rome, New York, Los Angeles and Washington - it found imitation, without being able to ever really come close to the Viennese model. Even if the question of the contemporaneity of the Vienna Opera Ball ever and again was controversially discussed, at the latest in 2005 has been shown that even this traditional event cannot stop short before general social changes: for the first time a smoking ban for the Opera Ball was pronounced.

www.wissen.de/thema/der-wiener-opernball?chunk=wiener-ope...

Life is my creation, is my best friend. Imagination is my defense and I'll keep walking when skies are gray. Whatever happens was meant that way. by ) J@son (

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Still working my way to the end of my 52 weeks, should have been done last weekend, oh well. Only 3 more to go!

For Musically Challenged. This weeks list chosen by Ninnianne.

The Creationist by Kerli

(49 of 52)

Tomorrow is HBCCT, hope to see you all come and play :-)

Challenge Accepted! by ) J@son (

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I know, you're all thinking..WTF dude?!?!

So let me explain. A few months ago it was Housework Is Evils turn to pick the songs for the Musically Challenged group. She added a bonus song and basically dared anyone to do a photo for it. Thats when I came up with the idea for the Tub Photo. Well when she commented on the image she said: However, I believe I now have you pegged. You are sooo one of those people who cannot help but to take any dare, aren't you?

I could so have fun with that fact...*rubs hands together while grinning evilly*

Then a month later my Flickr friend insomniac was selling some Detroit T-Shirts he designed and asking if you buy one to please take a picture and post it. Thats where you got THIS & THIS image from.

Well I guess that T-Shirt idea got Housework Is Evils head spinning and she FM'd me and said she had a shirt she dared me to wear and post a photo of.

Now I am not someone that just does any stupid thing someone dares them to do. I weigh the risk vs. reward and decide if it's worth it. Not just for silly little photo dares but for everything in life. Thats just the way I am.

So I told her sure, WTH, how bad can it be....well, it's this bad. But really, I think it's pretty damn funny, and if you can't laugh at yourself, then you shouldn't laugh at all :-) And ya know what, for a 41 year old, those are some sweet abs....HA!!

So if you are rocking some sweet abs and you really want to show them off please contact Housework Is Evil and I am sure she will hook you up ;-)

Happy Low Key Lame Ass Thursday!

Hot and Big Boobs snow Musically Tik Tok 2019 Videos Vigo Videos by FUNKARO India

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Making the best of it!! 64/365 by Tiffany Brewley

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So my flights were cancelled due to a strike. So i wont be going on vacation this summer. This will make 2 years since i've seen my dad and asia hasn't seen him at all. I had so many plans for this trip and they all went down the toilet. So right now i'm just tryin to make the best of the fact that i am still getting up and going to work, because many people weren't even afforded that privilege this morning.

Also i'm sick of seeing my face so i will go a week without any face shots!

I hear a sound above

A sound above my head

The distant sound of thunder

Booming out on the moor

Blackbirds they flew ahead

Into the cooling towers

I packed my bags fast

Thinking of one of those hours

With you

Waiting for you

My god

It takes an ocean of trust

In the Kingdom of Rust

Doves-Kingdom of trust

#shedoesntmind #musically by wanda.w

#musically by fouziaafreen25

Daytripperbear4_001 by Kani Kottontail-Pegasi

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As bunnybear... still musically inclined. Just have to find the right-sized instruments!

Day 175/365 - You're Leaving Me For an Ugly Girl by Zee Anna!

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Explored

ha ha ha the jokes on me

I feel jealous and I feel mean

is she so nice that it makes up for her face there's no way

do you have to keep your eyes closed

do you have to keep the lights down low

oh I bet you wish you had a blindfold can't you see

you're leaving me for an ugly girl

Ugly Girl - Fleming & John

this might be a little shallow of me. but I told donnie that if he had to leave me or cheat on me, PLEASE let it be a prettier girl than me. then I wouldnt feel so bad.

I think all girls think this way. I think most guys do the same? feel free to discuss.

anyways. I am totally digging this rotating thing. thanks Anna thanks Ashley!

project 365: day 175

musically challenged

decluttr

Sexy North Indain Girl Dance II Vigo and Tik Tok Video by FUNKARO India

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Fightin' Texas Aggie Band's Colonel Joe T. Haney Gravesite by Jazz Guy

I was in the BCS area in early June from the Jersey Shore looking for a place to buy as I was moving back to the area after 35 years. I stoped by the College Station Cemetery to visit the gravesite of my academic advisor during my undergrad and grad years in the College of Engineering. I came across Colonel Joe T. Haneyâs gravestone which is nearby and noticed that someone had left their âCorps Brassâ upon it.

An alumnus of the FTAB observed the FB post of the picture of Colonel Haneyâs headstone with the Corps Brass and texted me that heâd get me an FTAB Lyre to leave at the site the next time I was in the cemetery. I knew that it probably wasnât going to happen. And surpriseâ¦

I was planning on visiting a couple of other College Station cemeteries today for photography and historical purposes. While I didnât have any FTAB brass to leave with Colonel Haney, I did have the band lyre trumpet music holder Iâve had since I was in fourth grade. I also had my sole copy of the âEmergency Laminated Aggie War Hymnâ first chair trumpet part.

Upon arriving at the cemetery, I did the best I could with the rag and brush I keep in my trunk to clean off the headstone and I left behind âThe Aggie War Hymnâ and the band lyre music holder.

Colonel Haney was always so very nice to me during my 7 years at A&M. He was an incredible gentleman. His marker is in a really good place and is shaded by some trees. The location is, âLR/017/002â which, if you drive in the front gate is at the rear of the cemetery near the back gate. Have some paper towels and a bottle of water to clean it.

I found this âobitâ online written by his family:

Director Emeritus of the Fighting Texas Aggie Band, Colonel Joe T. Haney, passed from this earth into life eternal on March 9, 2016. He was born to Clyde Theodore and Vista Mae Mahan Haney in Colorado City, Texas on August 19, 1927, and was destined to become a musician. His paternal grandfather organized and played in community bands in Clyde and Baird, Texas; his father and aunt sang duets on the radio; and his mother was a piano teacher. When Joe was two, his father died a tragic death in a pipeline explosion. Needing a more lucrative job to raise her adored only child Vista Mae moved from West Texas to Marlin where she became a bookkeeper, taught Sunday school, and also wrote children's plays for the Presbyterian nursery school. She gave him piano lessons, but the call of the neighborhood boys to play football and tennis was his preference. His love for sports was developed in high school where he won the district and regional championships in tennis and was punter and kicker on the football team. His love for sports existed his entire life and as an adult golf, hunting and fishing became his avocation.

At the age of ten, Joe began private trombone lessons from the school band director, Carl Cochran. From the moment he picked up the trombone, his mother never again had to goad him to practice. After one year of private lessons be was selected for the Marlin High School Band. Fortunately in his school days he was not forced to choose between football and band. His band director recognized his talent for music and realized Joe might have made a wrong choice had he been given one.

In 1944, as a sixteen year old graduate of Marlin High School, Joe entered Texas A&M and the Texas Aggie Band, knowing that the minute he became eighteen he would be drafted, as was the fate of every physically and mentally fit young man during World War II. After basic training he was sent to radio operators school in Fort Monmuth , New Jersey. From there he was shipped to Inchon, Korea. On a weekend pass to Seoul he went to the Red Cross building where he had been told he could get a hot shower and hear the Army Band. At intermission he went back stage to find the officer in charge and luckily was given an audition on the spot. The music to his ears that night was that the trombonist was being transferred and that a jeep would be waiting for him with transfer orders on Monday morning at 6:00 A.M. For the next fourteen months he played in the 282nd AGF Band and received instructions in theory and composition from its director. This was where he received his call to use his God given talent to pursue music as a profession. Since Texas A&M did not have a music school, when he was discharged, he applied to SMU and in 1950 graduated with a B.A. degree in Music and received his Master's in Music in1954 from Sam Houston.

When he graduated from SMU he knew that he was well educated as a performer, but did not want to travel with a band. The situation he was looking for was in Hemphill, the only small town in Texas that had never had a school band and wanted to begin one. When he was offered the job he took it. His organizational skills were honed in this school which had no band hall, no instruments, no music, no uniforms and only a few students who were interested in being in a band. His recruiting tactics included suiting up and working out with the football team and riding his horse down many country lanes to visit with parents of interested students. In the spring of 1951 the Hemphill High School Band composed of fifty-five students, played its first concert and every student was fully equipped including uniforms and a band hall.

In the fall of 1951, Joe moved to Calvert, Texas, where he was well rewarded by a band of conscientious students who earned first division ratings in both concert and sight-reading his second year there. This was the year that a friend from Calvert, who lived in Ft. Worth, introduced him to a TCU coed from Lufkin, Mary Logan. They were married in the summer of '53 and lived in Calvert until 1955 when he was hired as junior high school band director in the Wharton School System.

As fate would have it, The Mexia High School band job became available, and having competed in the same UIL district during his Marlin High School years, he knew that this had been a very good "band town" though the band had slipped from its former glory. When Superintendent Alton Bowen offered the position to Joe he accepted, and once again he inherited a building job. The Black Cat Band earned two first divisions at the UIL contest in the spring of '57 and won its first Sweepstakes the following year. Joe and Mary had many opportunities to move to larger cities but the band had once again become the "pride and joy" of the school and community and they loved the living there.

A new and exciting adventure began in 1972, when Lt. Col. E. V. Adams invited Joe to become the Associate Director of the Texas Aggie Band. With the assurance that he would become the director the following year when Col. Adams retired, they moved to Aggieland. This move offered the challenge not with building a band program, but with maintaining the deep-seated traditions and still integrate new music and new marching innovations. Several years later an administrator at Texas A&M who had once been in the Aggie Band wrote: "We were fearful that a suitable replacement could not be found when Col. Adams retired. To the delight of the A&M Student body, parents of students, alumni, and football fans in general, the Aggie Band has not only prospered under Col. Haney's leadership, but has indeed enhanced its public image almost beyond belief."

Sensing the need of the many musically talented Aggies who did not wish to be in the Corps of Cadets, Col. Haney organized the Texas A & M University Symphonic Band in 1973 and reorganized the Aggieland Orchestra, which he had played in as a "fish".

During the sixteen years under Col. Haney's direction the Aggie Band performed at all home football games and most out of town games, eight bowl games, all home basketball games, marched in the inaugural parade of President George H.W. Bush, and performed at the inaugural ceremonies of several Texas Governors.

His professional memberships include TBA, TMEA. Phi Beta Mu, and ASCAP.

He is listed in the 4th edition of ASCAP Biographical Dictionary. He has composed many musical publications including "Noble Men of Kyle." His arrangement of "The Spirit of Aggieland" has been performed by the Aggie Band at all football games since 1968. He was given the BMI Music in Sports award in 1986, a lifetime membership in The National Association of Military Marching Bands in 1988, was honored to be chosen as the recipient of the Former Students Distinguished Achievement Award in Staff Administration in 1989. After his retirement he was presented "The Sudler Trophy honoring the close relationship and outstanding contributions of Intercollegiate Marching Bands to the American way of life", by the John Philip Sousa Foundation, 2001. A ceremony unveiled a permanent plaque on the Aggie Band Drill Field, which officially named it the Joe T. Haney Drill Field. In November 2014, The 12th Man Kick Off Team named him and Dr. Koldus Legends at a scholarship banquet in their honor.

Joe was a lifelong Presbyterian serving as a deacon in Calvert, a deacon and elder in both Mexia and First Presbyterian Church in Bryan, where his Memorial service will be held on Monday, March 14, 2016 at 2:00 P.M. A private burial will precede the service in the College Station City Cemetery. Visitation will be at Hillier Funeral Home of Bryan on Sunday, March 13, 2016 from 6:00 to 8:00 P.M.

To be revered by students and colleagues is the greatest accomplishment of any teacher, and Joe was blessed to still have contact with many students dating from the early 1950s through 1989. From the first day he met his students, he let them know what he expected of them and only their best was good enough. He has been rewarded through the years with many letters from former students, both High School and TAMU, who have thanked him for the self-discipline, direction, and goal-setting principals he taught them and a life long love for music.

He was preceded in death by his parents.

He is survived by his wife of 62 years, Mary, two cousins, Sue Kirkpatrick and her husband Donovan of College Station, Dr. Edward Scheiblich of Columbia, S.C.; one niece, Laurie Logan Hudson, her husband Ken of Sachse, Tx. ; three great nieces, Jessica Hemann, Elizabeth Hemann, and Lisa Hemann; one nephew, Stephen Logan and wife Donna of Carrollton, Texas, and their son, Sean and wife Kyra Logan, and daughter Melissa and her husband Robert O'Neil; plus two great grandnephews & one great grandniece.

Three Hundred Twenty Five. by Ali S

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poor little girl had to grow up quick

she ain't a child no more

her heart's still soft, but her skin got thick

she ain't a child no more

- Sharon Jones & the Dap-Kings, She Ain't a Child No More

It's funny the way growth works. Usually you don't realize when it's happening. But sometimes when you stop to take stock of your life, you realize just how far you've come. I didn't choose this growth, but I'm happy for it.

Tomorrow I get to spend the day with one of my best friends and have some quality girl time. I can't wait. There's no substitute to hanging out with her. ♥

Musically Challenged: Sharon Jones & the Dap-Kings - She Ain't a Child No More

Three Olives, Shake It Up, I Like It Dirty by Susana Toledo

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Alright sir

Sure I'll have another one it's early

Three olives, shake it up, I like it dirty (dirty)

Tequila for my friend it makes her flirty (flirty)

Trust me

I'm the instigator of underwear

Showing up here and there uh oh (oh no)

I'm always on a mission from the get go

So what if it's only 1 o'clock in the afternoon

It's never too soon to send out all the invitations to the last night (of your life)

Lordy Lordy Lordy

I can't help it, I like to party, it's genetic
It's electrifying wind me up and watch me go
Where she stops nobody knows

A good excuse to be a bad influence on you and you

************

So, I had another idea for this song, but I'm cheating and using an oldie for this week's Musically Challenged list, but it's mostly b/c I'm just trying to promote y'all go over and give it a shot at playing. :)

HMAM, too!

Wien, 1. Bezirk, Wiener Staatsoper, Ópera Estatal de Viena, L'opéra d’État de Vienne, Vienna State Opera, Opera Wiedeńska (Opernring/Operngasse/Kärntnerstraße) by alfred lex