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Yodels. Yodels are frosted, cream-filled cakes made by the Drake's company, which was bought by McKee Foods after former owner Old HB went bankrupt. Yodels are distributed on the East Coast of the United States. [citation needed] They are similar to Hostess Brands' Ho Hos and Little Debbie's Swiss Cake Rolls.
Ho Hos are small, cylindrical, frosted, cream-filled chocolate snack cakes [1] with a pinwheel design based on the Swiss roll. Made by Hostess Brands, [2] [3] [4] they are similar to Yodels by Drake's and Swiss Cake Rolls by Little Debbie. Sold two or three per package, they contain about 120 calories per roll. [5]
Compared to the Alpine models, the blue yodels were simpler in structure and could be imitated without much effort. Assumptions that this could be due to Rodgers' inability to play more elaborate yodels turned out to be wrong: Rodgers preferred the simpler yodels, based on the melody and content of the pieces, to their counterparts, which were ...
The series of songs, later known as "Blue Yodels", often featured the story of a man who exaggerated his qualities as a lover, faced the threat of other men taking his woman, and then used violence against them when they did.
Produced by many commercial bakeries, common brands include Ho Hos and Yodels, which are smaller-sized rolls for individual consumption. When the filling is ice cream, it is commonly referred to as an "ice cream cake roll", and although they can vary, these often consist of chocolate cake with vanilla ice cream.
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Dead Man's Chest" (also known as "Fifteen Men on the Dead Man's Chest" or "Yo, Ho, Ho (And a Bottle of Rum)") is a fictional [i] sea song, [ii] originally from Robert Louis Stevenson's novel Treasure Island (1883). It was expanded in a poem, titled "Derelict" by Young E. Allison, published in the Louisville Courier-Journal in 1891. It has since ...
The yodels presented a main character who often exaggerated his qualities as a lover, threatening other men who try to take his woman or declaring that he can easily find another one, and vocalizing verses that deal with promiscuity and violence, often using double entendres. [34]