Asked By: Lewis Thomas Date: created: Aug 31 2023

Who wrote Who the hell is Edgar

Answered By: Brian Mitchell Date: created: Sep 03 2023

Following the Eurovision Song Contest semi-finals many have been left wondering who Austria’s entry were singing about. Teya and Salena took to the stage to belt out their track titled Who the Hell is Edgar? during the second round. The lyrics caught the attention of many as the contestants sang about being possessed by the ghost of 19th-century American writer Edgar Allan Poe.

The song begins: “Oh my God, you’re such a good writer. Oh, it’s not me, it’s Edgar. Who the hell is Edgar?” Referencing Poe, the song continues: “There’s a ghost in my body and he is a lyricist. It is Edgar Allan Poe, and I think he can’t resist. Yeah, his brain is in my hand, and it’s moving really fast.

Don’t know how he possessed me, but I’m happy that he did. ‘Cause this song is feeling special, and is gonna make me rich.” Read more: Eurovision 2023: The full lyrics for UK entry Mae Muller’s track I Wrote a Song According to the official Eurovision website, Teya and Salena wrote the satirical Who The Hell Is Edgar? by drawing on their experiences as female songwriters in an industry that all too often doesn’t give women enough credit for their hard work and expertise.

Asked By: Fred Howard Date: created: Jul 06 2023

Why did Austria write a song about Edgar Allan Poe

Answered By: Jose Taylor Date: created: Jul 09 2023

Salena said that Edgar’s involvement in the song ‘just kind of happened’and wasn’t a result of being a fan of his work. Teya said: ‘His name fitted better than Shakespeare. But also, it made sense, because Edgar was the first American writer ever to live off his work. He had a very financially difficult life.

What is the song in Eurovision Austria 2023?

Internal selection – Artists were nominated by ORF’s Eurovision team, which collaborated with producer Lukas Hillebrand and music expert Eberhard Forcher who worked on the selection of the Austrian entries since, to submit songs to the broadcaster. In November 2022, it was reported by Austrian media that 15 artists, including singers Julian le Play and Slomo, were involved in the selection and that the Austrian entry would be selected by a panel of ORF entertainment editors together with the broadcaster’s programme director Stefanie Groiss-Horowitz and entertainment director Alexander Hofer, after several entries had been shortlisted by a previous panel of 25 local and international music industry and Eurovision experts as well as Eurovision fans following a live casting round which took place on 30 October 2022.

  • On 31 January 2023, ORF announced during the radio show Ö3-Wecker, aired on, that they had internally selected (Teya) and (Salena) to represent Austria in Liverpool.
  • Teya had previously attempted to represent Serbia at the Eurovision Song Contest in, placing tenth in the national final Beovizija 2020 with the song ” Sudnji dan “, while Salena had previously been a participant in the seventh season of in 2017, where she reached the third round as a member of ‘s team.

Both singers also previously attempted to represent Austria at the Eurovision Song Contest; Teya in with an English version of ” Sudnji dan ” entitled “Judgement Day” and Salena in with the song “Behind the Waterfall”. The song “”, written by Teya and Salena together with Ronald Janeček and Pele Loriano at a songwriting camp in the Czech Republic, was presented as the Austrian entry for the contest on 8 March 2023 during Ö3-Wecker,

  • This song is a snapshot of the fun we had on the day we wrote it.
  • It started with wanting to convey what it feels like when a good song is made.
  • Sometimes creativity rushes through you as if you‘re getting possessed by a ghost.
  • But we also wanted to put our personal experiences as female songwriters into the song.

It often feels like you have to prove yourself over and over again to be taken seriously. By presenting as the actual writer of the song, we want to draw attention to this frustrating part of the music business. It’s satire.” —  Teya and Salena about “Who the Hell Is Edgar?”

Who the hell is edgar rym?

Artist Teya & Salena Austria in the Eurovision Song Contest
RYM Rating 3.27 / 5.0 from 218 ratings
Ranked #270 for 2023
Genres Dance-Pop, Electropop Electro-Disco, Satire
Descriptors satirical, conscious, humorous, female vocalist, rhythmic, paranormal, melodic, energetic

Who adopted Edgar?

Early Life – Edgar Allan Poe was born in Boston in 1809. Both of his parents were actors. His mother, the much admired Elizabeth Arnold Poe was a talented actress. His father, David Poe was considered less talented. The Poes performed at theaters throughout the Eastern seaboard, from Boston to Virginia.

  1. In 1811, Elizabeth Poe died of tuberculosis in Richmond, Virginia, leaving orphaned Edgar, his infant sister Rosalie, and his older brother Henry.
  2. David Poe, apparently had abandoned his wife and children earlier and was not present when she died.
  3. The three children were separated and raised by different families.

Edgar was taken in by the successful Richmond merchant John Allan, and his frail wife Frances. The Allans had no children of their own. They raised Edgar as part of the family and gave him their middle name, but never legally adopted him. In 1815, Edgar traveled with the Allans to England and Scotland, where John Allan planned to expand his tobacco business.

Asked By: Richard Sanders Date: created: Oct 16 2023

Was Edgar Allan Poe a horror

Answered By: Jose Moore Date: created: Oct 18 2023

Title, Symbolism, and Descriptive Language – In “The Fall of the House of Usher,” Poe uses the title’s double meaning (the destruction of the Usher family, along with the literal fall of their house) to its fullest extent. He also uses near-allegorical symbolism to elevate the meaning of the story by describing the house as having “vacant eye-like windows” and other facial features.

In this and many other horror stories, Poe uses descriptive language and chilling visuals to give the stories a graphic and realistic sense of terror. Today, Edgar Allan Poe’s tales still stand as some of the finest examples of the horror genre. From “The Pit and the Pendulum” to “The Black Cat,” Poe’s tales continue to hold us in the master’s ghastly grip.

: Edgar Allan Poe and His Tales of Horror (U.S. National Park Service)

Why are Edgar Allan Poe’s poems so famous?

Edgar Allan Poe’s stature as a major figure in world literature is primarily based on his ingenious and profound short stories, poems, and critical theories, which established a highly influential rationale for the short form in both poetry and fiction.

Regarded in literary histories and handbooks as the architect of the modern short story, Poe was also the principal forerunner of the “art for art’s sake” movement in 19th-century European literature. Whereas earlier critics predominantly concerned themselves with moral or ideological generalities, Poe focused his criticism on the specifics of style and construction that contributed to a work’s effectiveness or failure.

In his own work, he demonstrated a brilliant command of language and technique as well as an inspired and original imagination. Poe’s poetry and short stories greatly influenced the French Symbolists of the late 19th century, who in turn altered the direction of modern literature.

Poe’s father and mother were professional actors. At the time of his birth in 1809, they were members of a repertory company in Boston. Before Poe was three years old both of his parents died, and he was raised in the home of John Allan, a prosperous exporter from Richmond, Virginia, who never legally adopted his foster son.

As a boy, Poe attended the best schools available, and was admitted to the University of Virginia at Charlottesville in 1825. While there he distinguished himself academically but was forced to leave after less than a year because of bad debts and inadequate financial support from Allan.

  • Poe’s relationship with Allan disintegrated upon his return to Richmond in 1827, and soon after Poe left for Boston, where he enlisted in the army and also published his first poetry collection, Tamerlane, and Other Poems.
  • The volume went unnoticed by readers and reviewers, and a second collection, Al Aaraaf, Tamerlane, and Minor Poems, received only slightly more attention when it appeared in 1829.

That same year Poe was honorably discharged from the army, having attained the rank of regimental sergeant major, and was then admitted to the United States Military Academy at West Point. However, because Allan would neither provide his foster son with sufficient funds to maintain himself as a cadet nor give the consent necessary to resign from the Academy, Poe gained a dismissal by ignoring his duties and violating regulations.

  • He subsequently went to New York City, where Poems, his third collection of verse, was published in 1831, and then to Baltimore, where he lived at the home of his aunt, Mrs.
  • Maria Clemm.
  • Over the next few years Poe’s first short stories appeared in the Philadelphia Saturday Courier and his “MS.
  • Found in a Bottle” won a cash prize for best story in the Baltimore Saturday Visitor.

Nevertheless, Poe was still not earning enough to live independently, nor did Allan’s death in 1834 provide him with an inheritance. The following year, however, his financial problems were temporarily alleviated when he accepted an editorship at The Southern Literary Messenger in Richmond, bringing with him his aunt and his 12-year-old cousin Virginia, whom he married in 1836.

The Southern Literary Messenger was the first of several journals Poe would direct over the next 10 years and through which he rose to prominence as a leading man of letters in America. Poe made himself known not only as a superlative author of poetry and fiction, but also as a literary critic whose level of imagination and insight had hitherto been unapproached in American literature.

While Poe’s writings gained attention in the late 1830s and early 1840s, the profits from his work remained meager, and he supported himself by editing Burton’s Gentleman’s Magazine and Graham’s Magazine in Philadelphia and the Broadway Journal in New York City.

After his wife’s death from tuberculosis in 1847, Poe became involved in a number of romantic affairs. It was while he prepared for his second marriage that Poe, for reasons unknown, arrived in Baltimore in late September of 1849. On October 3, he was discovered in a state of semi-consciousness; he died four days later without regaining the necessary lucidity to explain what had happened during the last days of his life.

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Poe’s most conspicuous contribution to world literature derives from the analytical method he practiced both as a creative author and as a critic of the works of his contemporaries. His self-declared intention was to formulate strictly artistic ideals in a milieu that he thought overly concerned with the utilitarian value of literature, a tendency he termed the “heresy of the Didactic.” While Poe’s position includes the chief requisites of pure aestheticism, his emphasis on literary formalism was directly linked to his philosophical ideals: through the calculated use of language one may express, though always imperfectly, a vision of truth and the essential condition of human existence.

Poe’s theory of literary creation is noted for two central points: first, a work must create a unity of effect on the reader to be considered successful; second, the production of this single effect should not be left to the hazards of accident or inspiration, but should to the minutest detail of style and subject be the result of rational deliberation on the part of the author.

In poetry, this single effect must arouse the reader’s sense of beauty, an ideal that Poe closely associated with sadness, strangeness, and loss; in prose, the effect should be one revelatory of some truth, as in “tales of ratiocination” or works evoking “terror, or passion, or horror.” Aside from a common theoretical basis, there is a psychological intensity that is characteristic of Poe’s writings, especially the tales of horror that comprise his best and best-known works.

  1. These stories—which include “The Black Cat,” “The Cask of Amontillado,” and “The Tell-Tale Heart”—are often told by a first-person narrator, and through this voice Poe probes the workings of a character’s psyche.
  2. This technique foreshadows the psychological explorations of Fyodor Dostoyevsky and the school of psychological realism.

In his Gothic tales, Poe also employed an essentially symbolic, almost allegorical method which gives such works as “The Fall of the House of Usher,” “The Masque of the Red Death,” and “Ligeia” an enigmatic quality that accounts for their enduring interest and links them with the symbolical works of Nathaniel Hawthorne and Herman Melville,

  1. The influence of Poe’s tales may be seen in the work of later writers, including Ambrose Bierce and H.P.
  2. Lovecraft, who belong to a distinct tradition of horror literature initiated by Poe.
  3. In addition to his achievement as creator of the modern horror tale, Poe is also credited with parenting two other popular genres: science fiction and the detective story.

In such works as “The Unparalleled Adventure of Hans Pfaall” and “Von Kempelen and His Discovery,” Poe took advantage of the fascination for science and technology that emerged in the early 19th century to produce speculative and fantastic narratives which anticipate a type of literature that did not become widely practiced until the 20th century.

Similarly, Poe’s three tales of ratiocination—”The Murders in the Rue Morgue,” “The Purloined Letter,” and “The Mystery of Marie Roget”—are recognized as the models which established the major characters and literary conventions of detective fiction, specifically the amateur sleuth who solves a crime that has confounded the authorities and whose feats of deductive reasoning are documented by an admiring associate.

Just as Poe influenced many succeeding authors and is regarded as an ancestor of such major literary movements as Symbolism and Surrealism, he was also influenced by earlier literary figures and movements. In his use of the demonic and the grotesque, Poe evidenced the impact of the stories of E.T.A.

Hoffman and the Gothic novels of Ann Radcliffe, while the despair and melancholy in much of his writing reflects an affinity with the Romantic movement of the early 19th century. It was Poe’s particular genius that in his work he gave consummate artistic form both to his personal obsessions and those of previous literary generations, at the same time creating new forms which provided a means of expression for future artists.

While Poe is most often remembered for his short fiction, his first love as a writer was poetry, which he began writing during his adolescence. His early verse reflects the influence of such English romantics as Lord Byron, John Keats, and Percy Bysshe Shelley, yet foreshadows his later poetry which demonstrates a subjective outlook and surreal, mystic vision.

Tamerlane” and “Al Aaraaf” exemplify Poe’s evolution from the portrayal of Byronic heroes to the depiction of journeys within his own imagination and subconscious. The former piece, reminiscent of Byron’s “Childe Harold’s Pilgrimage,” recounts the life and adventures of a 14th-century Mongol conqueror; the latter poem portrays a dreamworld where neither good nor evil permanently reside and where absolute beauty can be directly discerned.

In other poems—” To Helen,” “Lenore,” and ” The Raven ” in particular—Poe investigates the loss of ideal beauty and the difficulty in regaining it. These pieces are usually narrated by a young man who laments the untimely death of his beloved. ” To Helen” is a three stanza lyric that has been called one of the most beautiful love poems in the English language.

  • The subject of the work is a woman who becomes, in the eyes of the narrator, a personification of the classical beauty of ancient Greece and Rome.
  • Lenore” presents ways in which the dead are best remembered, either by mourning or celebrating life beyond earthly boundaries.
  • In “The Raven,” Poe successfully unites his philosophical and aesthetic ideals.

In this psychological piece, a young scholar is emotionally tormented by a raven’s ominous repetition of “Nevermore” in answer to his question about the probability of an afterlife with his deceased lover. Charles Baudelaire noted in his introduction to the French edition of “The Raven” : “It is indeed the poem of the sleeplessness of despair; it lacks nothing: neither the fever of ideas, nor the violence of colors, nor sickly reasoning, nor drivelling terror, nor even the bizarre gaiety of suffering which makes it more terrible.” Poe also wrote poems that were intended to be read aloud.

  • Experimenting with combinations of sound and rhythm, he employed such technical devices as repetition, parallelism, internal rhyme, alliteration, and assonance to produce works that are unique in American poetry for their haunting, musical quality.
  • In “The Bells,” for example, the repetition of the word “bells” in various structures accentuates the unique tonality of the different types of bells described in the poem.

While his works were not conspicuously acclaimed during his lifetime, Poe did earn due respect as a gifted fiction writer, poet, and man of letters, and occasionally he achieved a measure of popular success, especially following the appearance of ” The Raven,” After his death, however, the history of his critical reception becomes one of dramatically uneven judgments and interpretations.

This state of affairs was initiated by Poe’s one-time friend and literary executor R.W. Griswold, who, in a libelous obituary notice in the New York Tribune bearing the byline “Ludwig,” attributed the depravity and psychological aberrations of many of the characters in Poe’s fiction to Poe himself. In retrospect, Griswold’s vilifications seem ultimately to have elicited as much sympathy as censure with respect to Poe and his work, leading subsequent biographers of the late 19th century to defend, sometimes too devotedly, Poe’s name.

It was not until the 1941 biography by A.H. Quinn that a balanced view was provided of Poe, his work, and the relationship between the author’s life and his imagination. Nevertheless, the identification of Poe with the murderers and madmen of his works survived and flourished in the 20th century, most prominently in the form of psychoanalytical studies such as those of Marie Bonaparte and Joseph Wood Krutch.

  • Added to the controversy over the sanity, or at best the maturity of Poe (Paul Elmer More called him “the poet of unripe boys and unsound men”), was the question of the value of Poe’s works as serious literature.
  • At the forefront of Poe’s detractors were such eminent figures as Henry James, Aldous Huxley, and T.S.

Eliot, who dismissed Poe’s works as juvenile, vulgar, and artistically debased; in contrast, these same works have been judged to be of the highest literary merit by such writers as Bernard Shaw and William Carlos Williams, Complementing Poe’s erratic reputation among English and American critics is the more stable, and generally more elevated opinion of critics elsewhere in the world, particularly in France.

Following the extensive translations and commentaries of Charles Baudelaire in the 1850s, Poe’s works were received with a peculiar esteem by French writers, most profoundly those associated with the late 19th-century movement of Symbolism, who admired Poe’s transcendent aspirations as a poet; the 20th-century movement of Surrealism, which valued Poe’s bizarre and apparently unruled imagination; and such figures as Paul Valéry, who found in Poe’s theories and thought an ideal of supreme rationalism.

In other countries, Poe’s works have enjoyed a similar regard, and numerous studies have been written tracing the influence of the American author on the international literary scene, especially in Russia, Japan, Scandinavia, and Latin America. Today, Poe is recognized as one of the foremost progenitors of modern literature, both in its popular forms, such as horror and detective fiction, and in its more complex and self-conscious forms, which represent the essential artistic manner of the 20th century.

In contrast to earlier critics who viewed the man and his works as one, criticism of the past 25 years has developed a view of Poe as a detached artist who was more concerned with displaying his virtuosity than with expressing his soul, and who maintained an ironic rather than an autobiographical relationship to his writings.

While at one time critics such as Yvor Winters wished to remove Poe from literary history, his works remain integral to any conception of modernism in world literature. Herbert Marshall McLuhan wrote in an essay entitled “Edgar Poe’s Tradition”: “While the New England dons primly turned the pages of Plato and Buddha beside a tea-cozy, and while Browning and Tennyson were creating a parochial fog for the English mind to relax in, Poe never lost contact with the terrible pathos of his time.

Did Oscar Wilde know Edgar Allan Poe?

Distortions of Perspective: The Literary Influence of Edgar Allan Poe on Oscar Wilde Transatlanticism, or the study of the relationship of England and the United States through shared textual themes, is a developing literary movement on both sides of the Atlantic Ocean.

  • Most researchers emphasize the influence of British authors on the development of the American literary canon.
  • With this paradigm in mind, my proposed research centered on viewing Victorian authors and texts as historical harbingers of contemporary United States society.
  • My findings, however, suggested the presence of a reverse relationship, and my focus shifted as I delved into the works of Oscar Wilde, my selected British Victorian author.

As indicated in my research proposal, I began my project last summer by re-reading the complete works of Oscar Wilde in order to extrapolate the themes and ideas that I would research while studying in London. While reading his short story “Lord Arthur Saville’s Crime,” I was struck by the similarity of the content and general tone to the writings of one of my favorite American authors: Edgar Allan Poe.

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I also came across one of Wilde’s epic poems – “The Sphinx” – that both bears the same name as one of Wilde’s short stories and deals with the same question of distortions of perspective. After consulting with Dr. Siegfried, my project changed to focus on examining Poe’s literary influence on Wilde. As this idea runs against the grain of most transatlantic theory it became obvious that I would need strong support for my theory, and so the research that I was going to conduct in England became even more critical.

To help me get used to the manner in which archival research was conducted, Dr. Siegfried had me help her with her research on sixteenth-century Irish piracy. In addition to teaching me the steps involved in forming good primary and secondary source bibliographies, she also helped me get access to the vast array of resources available in the British Library.

Doing this research for her was good practice for me. Unlike the Harold B. Lee Library, the British Library does not have a large selection of stacks to meander. Rather, I had to request every book that I wanted two hours before I needed it and wait for it to be brought up by the librarians. This was sometimes a frustrating task as the book would often appear to be much more useful from the title than it was, so I learned the importance of ordering multiple sources from different sections of the library to maximize my effectiveness.

Dr. Siegfried had me focus on trade relations between Elizabethan England and the Ottoman Empire. One of the more interesting texts that I found during this process was an original 1663 printing of a renewal of a trade agreement originally made by Queen Elizabeth and the Sultan of the British Empire.

  • After I had become accustomed to archival research, it was time for me to begin researching Wilde’s relationship with Poe.
  • As Poe had died five years before Wilde was even born, it was pretty obvious that there would be no record of correspondence between them.
  • My search focused on finding statements by Wilde in lectures, letters, or memoirs as well as secondary criticism comparing the two authors.

In addition to the British Library, my search also led me to the National Records Office in Greenwich, the Royal Shakespearean Library in Stratford-upon-Avon, and a secondhand bookstore in York where I found a dust-covered collection of several of Oscar Wilde’s letters, nine of which contained references to Poe.

  1. Among my other findings was a particularly useful source that I found in the Rare Books collection of the British Library: a 1906 printing of a lecture that Wilde gave in Wandsworth shortly after his return from his first visit to the United States.
  2. The research that I found, together with textual analysis of Poe’s “The Telltale Heart” and Wilde’s “Lord Arthur Saville’s Crime” in addition to the two Sphinx pieces, yielded three main areas of overlapping emphasis to focus on in my writing.

The first was a preoccupation with the effects of industrialization. While nineteenth-century Britain was still trying to reconcile her old agrarian lifestyle to this new age of innovation, Wilde noted that “there is no country in the world where machinery is so lovely as America.” This manifestation of the harmony between beauty and efficiency resonated greatly in his concept of aesthetics.

  1. Wilde admired Poe as “that marvelous lord of rhythmic expression”, and his own characters reflected the same emotional “tintintabulation” from living in this age of jangling machinery as did those of the Baltimore author.
  2. Secondly, both Poe and Wilde wrote in the tradition of the macabre.
  3. From the mystical House of Usher to Dorian Gray’s ominously aging portrait, both authors cultivated a sense of the eerie and mysterious in their works.

Both of these themes culminate in the key similarity between their writings, which is an emphasis on distortions of perspective as a form of social or historic critique. Wilde was interested in the dubious morality of Britain’s occupation of Egypt to maintain the control over the Suez Canal that Gladstone felt the Sultan was unable to exercise.

This distrust of Anglo superiority over past Egyptian intellectual milestones shares ideals from Poe’s fictional conversation with the revitalized mummy Allamistakeo in “Some Words with a Mummy.” In addition to this mutual historical interest, both writers manipulate experimentation with the grotesque.

Wilde draws upon Poe’s concept of a distorted Sphinx – which, in his story, is an insect 1/16 of an inch long that appears gigantic when next to the narrator’s eye – by attributing all of the godlike powers and epic history of the Egyptian Sphinx to an ordinary housecat.

  • Despite their best efforts, the narrators of both accounts are unable to rid themselves of the phantasm of the enlarged Sphinx.
  • The distortion of perspective is thus two-fold: the intentional dramatization of Egyptian achievement is juxtaposed with the pompous self-superiority of Western assertion of authority.

This also is a theme that has continued to be relevant since World War II as the United States and Britain have struggled with their roles as superpowers in the Falklands, Vietnam, and the Middle East. In September, Dr. Siegfried helped me prepare my early ideas into an abstract to submit to the Transatlanticism in America conference at Oxford sponsored by the Edgar Allan Poe, Ralph Waldo Emerson, and Nathaniel Hawthorne societies.

  • My paper has been accepted, so I will be returning to England in July to present it there.
  • I will continue to refine my ideas and expand my research in Provo for this paper.
  • I am planning on beginning my master’s program in the fall, and would like to use this material as the starting point for the development of a thesis.

: Distortions of Perspective: The Literary Influence of Edgar Allan Poe on Oscar Wilde

What are 3 poems Edgar Allan Poe is famous for?

Edgar Allan Poe’s best-known works include the poems ‘To Helen’ (1831), ‘The Raven’ (1845), and ‘Annabel Lee’ (1849 ); the short stories of wickedness and crime ‘The Tell-Tale Heart’ (1843) and ‘The Cask of Amontillado’ (1846); and the supernatural horror story ‘The Fall of the House of Usher’ (1839).

What country is most likely to win Eurovision 2023?

Bookmakers have predicted Sweden

winning chance
1 Sweden 50%
2 Finland 24%
3 Israel 6%

Will Russia sing in Eurovision 2023?

Why are Russia, Montenegro, Bulgaria and North Macedonia not appearing at Eurovision 2023? Russia was banned from competing in 2022’s competition following its invasion of Ukraine. This decision upheld by the European Broadcasting Union for 2023.

Asked By: Ronald Jackson Date: created: Mar 03 2023

When was the Edgar song made

Answered By: Devin Ross Date: created: Mar 03 2023

Behind The Song: “Edgar” by Paul Stookey He’s best known as one-third of Peter, Paul & Mary, the legendary folk trio who merged the songs of Pete Seeger and Woody Guthrie with the new songs of Bob Dylan, Laura Nyro, John Denver and others, and had Top 40 hits with them. Paul Stookey with Mary Travers and Peter Yarrow Peter Yarrow was the most forthright, molded in the Pete Seeger school of singer, songwriter, musician, scholar of folk and protest music and activist. But also a gifted songwriter who wrote “Puff The Magic Dragon” (with Lenny Lipton), “The Great Mandella” and other great songs.

  1. But Paul wasn’t even truly Paul.
  2. Paul is his middle name, used because it sounded better with Peter and Mary.
  3. But he was always known by his real first name, Noel.
  4. He started out in comedy before music, and was a gifted, somewhat wacky comedian, and great at imitating the sounds of odd things On Peter, Paul & Mary’s 1964 album In Concert is “Paultalk,” a wonderfully inspired comedy routine.

His songwriting was singular as well, and though rooted in the folk-rock genre that they helped define with their success, they were more rock then folk in both sound and content. That became evident in funny timely anthems, such as “I Dig Rock & Roll Music,” his first foray in that direction, both funny and inspired.

“Apologize,” from their 1968 album Late Again, was another unexpected tuneful treasure reflecting this spirit of expansion. Then in 1971, Peter, Paul & Mary each made solo albums, which emerged all at once. Peter’s was called Peter, Mary’s was Mary, and Paul’s album was Paul and. Of the three, only his has a funny title, which seemed right.

Paul and was one of the great unexpected delights of that time, an absolute masterpiece of songwriting. It’s his Abbey Rpad. Brilliant, funny, singular songs, all beautifully melodic. It shared that brave, joyful and boundlessly tuneful spirit of The Beatles, and also Nilsson and Donovan, and was endlessly delightful to hear, especially from this iconic folksinger.

  • When I had the great privilege of interviewing Peter, Paul & Mary all at once in 1992, I asked each about songs they wrote themselves.
  • With Paul, we spoke first of his most famous solo song, “Wedding Song,” and also the beautiful “Sebastian.” I’d always been delighted by his song “Edgar,” an exultantly enigmatic Zappaesque gem from his 1973 live album, One Night Stand,

I loved the bizarre, funny lyric – about California – though I never had a clue what it was about, or who this Edgar might be. But when I named that one, his eyes lit up in surprise. “Goodness gracious,” he said, “you do know our songs! No one has ever asked about that song.”

He then answered about the secret heart of the song. “Edgar was Edgar Cayce,” he said, “who predicted that the West Coast would fall into the ocean sometime before the year 2000.”

“Edgar” By Noel Paul Stookey & Michael Epstein Oh, the fishermen are sailing in NevadaAnd Howard Hughes had done it once againThe volcanoes in Alaska were depressing in L.A.And what was left of San Francisco slid into the bayI left them rolling up their sails in San DiegoAnd smoking all the fish that they could findThey are moving to Las VegasAnd they would come further eastExcept the Great Lake waters have just been releasedAnd it’s flooding all the homes in IndianaAnd the only ground for sale is down below|You can start your life all over in New Zealand or JapanOr stay exactly where you areAnd do the best you canEdgar Did you ever Really feel the California slide? © Songbirds Of Paradise Music : Behind The Song: “Edgar” by Paul Stookey

Asked By: Jonathan Sanders Date: created: Nov 09 2023

What kind of music is Tatiana

Answered By: Alejandro Miller Date: created: Nov 09 2023

Tatiana (singer)

Tatiana
Citizenship Mexico United States
Occupations Actress singer television presenter
Musical career
Genres Pop, rock, children’s music
Asked By: Cyrus Bennett Date: created: Aug 16 2023

What kind of music is Edgar Winter

Answered By: Peter Miller Date: created: Aug 19 2023

Career – The Edgar Winter Group, Oct.1, 1975- L to R: Chuck Ruff, Rick Derringer, Dan Hartman, Edgar Winter. Winter composed and performed songs of numerous genres, including rock, jazz, blues, and pop. His critically acclaimed 1970 debut release, Entrance, was first to demonstrate his unique style of genre-blending musicianship.

  • His early recording of ” Tobacco Road ” propelled him into the national spotlight.
  • Edgar followed Entrance with two hit albums backed by his group White Trash, a group originally composed of musicians from Texas and Louisiana.
  • White Trash, with Winter and Jerry Lacroix both on lead vocals and sax, released the studio album Edgar Winter’s White Trash, in 1971.
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It reached #111 on the charts, and 1972’s follow-up album (partially recorded at New York’s Apollo Theater) Roadwork achieved gold status. In late 1972, Winter brought together Dan Hartman, Ronnie Montrose and Chuck Ruff to form The Edgar Winter Group, who created such hits as the number one ” Frankenstein ” and ” Free Ride ” (with lead vocals by its writer Hartman).

  1. Released in November 1972, They Only Come Out at Night, peaked at the number 3 position on the Billboard Hot 200 and stayed on the charts for 80 weeks.
  2. It was certified gold in April 1973 by the RIAA, and double platinum in November 1986.
  3. Winter invented the keyboard body strap early in his career, an innovation that allows him the freedom to move around on stage during his multi-instrument high-energy performances.

After They Only Come Out at Night, Winter released Shock Treatment, featuring guitarist Rick Derringer in place of Ronnie Montrose, That album contained Winter’s third and final Top 40 single “River’s Risin ‘ “, again sung by Hartman. Later albums included Jasmine Nightdreams, The Edgar Winter Group with Rick Derringer, Together: Edgar Winter and Johnny Winter Live, Recycled, a reunion with White Trash, Standing on Rock, Mission Earth, Live in Japan, Not a Kid Anymore, The Real Deal, Winter Blues and Rebel Road,

Winter also kept busy doing session work, playing saxophone on Meat Loaf ‘s “All Revved Up with No Place to Go”, Dan Hartman’s solo hit ” Instant Replay “, Tina Turner ‘s ” Simply the Best ” and David Lee Roth ‘s remake of ” Just a Gigolo “, as well as appearing on material by Rick Derringer, Johnny Winter, Ronnie Montrose, Todd Rundgren, Michael McDonald and many others.

Major national television and radio campaigns have used Winter’s music to advertise their products. Winter has also made frequent television appearances, both to promote his music and to give his opinions, on shows such as Politically Incorrect, Winter also starred with George Hamilton in a commercial for Miller Lite beer. Edgar Winter with Ringo Starr in 2011 Winter’s music has been used in many film and television projects, including Netherworld, Air America, Dazed and Confused, My Cousin Vinny, Encino Man, Son in Law, What’s Love Got to Do with It, Wayne’s World 2, Starkid, Wag the Dog, Knockabout Guys, Duets, Radio, The Simpsons, Queer as Folk, and Tupac: Resurrection,

Tupac: Resurrection, a biography of rapper Tupac Shakur, produced and co-written by Eminem, sampled Winter’s song “Dying to Live” as ” Runnin’ (Dying to Live),” incorporting vocals by the Notorious B.I.G., Tupac, and Winter himself. “Runnin ‘ ” peaked at number 5 on the Hot R&B/Hip Hop Singles Sales chart and the soundtrack was #1 for 8 consecutive weeks.

Blues performer Jonny Lang also covered “Dying to Live” around this time. Winter performed the song solo at the piano on Jimmy Kimmel Live! Winter’s 2003 CD and DVD titled Live at the Galaxy was recorded live at the Galaxy Theatre for Classic Pictures.

It features the songs, “Keep Playing That Rock and Roll”, ” Turn on Your Love Light “, ” Free Ride “, “Texas”, “Show Your Love”, “New Orleans”, ” Frankenstein ” and ” Tobacco Road “. In addition, the DVD includes a 30-minute documentary, Edgar Winter: The Man and His Music, Winter also played with Ringo Starr in the ninth (2006), tenth (2008), eleventh (2010-2011) and fifteenth (2022-) iterations of his All-Starr Band,

The band’s 2010–11 tour featured the reunion of Winter and Rick Derringer, From August to early-September 2017, The Edgar Winter Band toured as the opening act for both Deep Purple and Alice Cooper as they performed several North American tour dates as part of The Long Goodbye Tour,

Why did Edgar choose a Raven?

Theme 1: Grief – Grief is the overwhelming emotion in “The Raven, ” and the narrator is absolutely consumed by his grief for his lost love, Lenore. At the beginning of the poem, he tries to distract himself from his sadness by reading a “volume of forgotten lore”, but when the raven arrives, he immediately begins peppering it with questions about Lenore and becomes further lost in his grief at the raven’s response of “nevermore.” By the end of the poem, the narrator is seemingly broken, stating that his soul will never again be “lifted” due to his sadness.

  1. Poe stated that the raven itself was a symbol of grief, specifically, that it represented “mournful and never-ending remembrance.” He purposely chose a raven over a parrot (a bird species better known for its ability to speak) because he thought a raven suited the dark tone of the poem better.
  2. Edgar Allan Poe had experienced a great deal of grief by the time he wrote “The Raven,” and he had seen people close to him leave, fall gravely ill, or die.

He would have been well aware of the consuming power that grief can have and how it has the ability to blot everything else out.

Did Edgar marry his cousin?

Virginia Poe
Virginia Poe, as painted after her death
Born Virginia Eliza Clemm August 15, 1822 Baltimore, Maryland, U.S.
Died January 30, 1847 (aged 24) Bronx County, New York, U.S.
Cause of death Tuberculosis
Resting place Westminster Hall and Burying Ground, Baltimore, Maryland, U.S.
Spouse Edgar Allan Poe ​ ( m.1836) ​

Virginia Eliza Poe ( née Clemm ; August 15, 1822 – January 30, 1847) was the wife of American writer Edgar Allan Poe, The couple were first cousins and publicly married when Virginia Clemm was 13 and Poe was 27. Biographers disagree as to the nature of the couple’s relationship.

  1. Though their marriage was loving, some biographers suggest they viewed one another more like a brother and sister.
  2. In January 1842, she contracted tuberculosis, growing worse for five years until she died of the disease at the age of 24 in the family’s cottage, at that time outside New York City,
  3. Along with other family members, Virginia Clemm and Edgar Allan Poe lived together off and on for several years before their marriage.

The couple often moved to accommodate Poe’s employment, living intermittently in Baltimore, Philadelphia, and New York, A few years after their wedding, Poe was involved in a substantial scandal involving Frances Sargent Osgood and Elizabeth F. Ellet,

Rumors about amorous improprieties on her husband’s part affected Virginia Poe so much that on her deathbed she claimed that Ellet had murdered her. After her death, her body was eventually placed under the same memorial marker as her husband’s in Westminster Hall and Burying Ground in Baltimore, Maryland,

Only one image of Virginia Eliza Clemm Poe has been authenticated: a watercolor portrait painted several hours after her death. The disease and eventual death of his wife had a substantial effect on Edgar Allan Poe, who became despondent and turned to alcohol to cope.

Asked By: Reginald Evans Date: created: May 17 2024

Why did Edgar join the army

Answered By: Landon Anderson Date: created: May 18 2024
Edgar Allan Poe

After accumulating massive gambling debts at the University of Virginia and leaving without a degree, Edgar Allan Poe moved to Boston where, at age 18, he published his first book of verse, Tamerlane and Other Poems, in 1827. It was a slim affair, drew little attention, and made no money at all for its nearly destitute author.

Orphaned at an early age, Poe had deeply alienated his wealthy guardian, John Allan, and needed to earn a living. On a whim he enlisted (using an alias, “Edgar A. Perry”) in the Army as a private for a five-year term in the First Regiment of Artillery. Through the fall of 1827 he remained in Boston at Fort Independence but in November relocated to Fort Moultrie, South Carolina.

There he prepared shells for artillery and seemed to flourish. Thirteen months later he transferred again, this time to Fortress Monroe at the entrance to Chesapeake Bay. After just two years of military service, Poe attained the rank of Sergeant Major for Artillery, the highest enlisted rank open to him.

  1. Then, abruptly, he found a substitute and quit the Army to pursue an appointment to the U.S.
  2. Military Academy at West Point.
  3. Allan intervened on Poe’s behalf one last time and used his considerable influence to secure the appointment.
  4. The 21-year-old poet entered the academy in March 1830.
  5. Well-schooled and quick-witted, he excelled at classwork, particularly French.

But—despite his experience in the Army—he buckled under the harsh discipline, long marches, and miserable food. “The study requisite is incessant,” he grumbled to Allan, “and the discipline exceedingly rigid.” His keen wit sustained him for a time and, according to his classmate, Thomas Gibson, “poems and squibs of local interest were daily issued and went the round of the Classes.” One surviving stanza ridiculed the instructor of tactics and inspector of the barracks, Joe Locke, who was tasked also with reporting all cadet violations: John Locke was a very great name: Joe Locke was a greater in short; The former was well known to Fame, The latter well known to Report.

In January Poe quit his classes with predicable results. He was court-martialed and formally dismissed from the academy on March 6, 1831. As a parting shot, he secured a cadet subscription of $170 to underwrite the publication of his third book of poetry. It was mostly a rehash of his earlier work and was received, as one former roommate remembered, “with a general expression of disgust.” Another wrote in his copy, “This book is a damn cheat,” and that presumably because it contained not one of the humorous squibs and satires that had fed his reputation for genius at the academy.

A fair number of cadets flung their copies into the Hudson River. Poe went on, of course, to become one of America’s most celebrated authors, known particularly for his treatment of mystery, science fiction—and perhaps most famously—the macabre.

U.S. Military Academy cadets in the 1860s View of West Point from Phillipstown by W.J. Bennett, 1831

All photos courtesy of Library of Congress​ *** October 2020

Is Poe hard to read?

Yes. Poe’s diction these days seems a bit old-fashioned and full of a bit of archaism and Romantic excess, but I would not call the vocabulary extraordinary for an early 19th century text.

Asked By: Cody Robinson Date: created: Mar 18 2024

What is the scariest story of Poe

Answered By: Joseph Hayes Date: created: Mar 19 2024

3. “The Pit and the Pendulum” – In “The Pit and the Pendulum,” an unnamed prisoner recounts his experiences as the victim of the Spanish Inquisition’s torture methods.

Was Edgar Allan Poe Religion?

In his own eyes, Poe was obviously some form of a Christian, having grown up religious, but he was not a conventional one by any measure of the word.