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Paul Bunyan is a giant lumberjack and folk hero in American [2] and Canadian folklore. [3] His tall tales revolve around his superhuman labors, [4] [5] and he is customarily accompanied by Babe the Blue Ox, his pet and working animal.
"The Frozen Logger" is an American folk song, written by James Stevens. [1] It is a tall tale song which makes reference to a logger being identifiable by the habit of stirring coffee with his thumb.
The most famous depiction of a lumberjack in folklore is Paul Bunyan. Several towns claim to have been Paul Bunyan's home and have constructed statues of Bunyan and his blue ox "Babe". [43] Known for their many exploits, many real life loggers have become renowned for their extraordinary strength, intuition, and knowledge of the woods.
Paul Bunyan, The Frozen Logger, James Stevens (1892 – December 31, 1971) was an American writer and composer . Born in Albia, Iowa , [ 1 ] he lived in Idaho from a young age, and based much of his later novel Big Jim Turner (1948) on his childhood spent in Pacific Northwest logging camps.
Paul Bunyan's sidekick, Babe the blue ox, sculpted as a ten-meter tall roadside tourist-attraction Subjects of some American tall tales include legendary figures: Paul Bunyan – huge lumberjack who eats 50 pancakes in one minute, dug the Grand Canyon with his axe, made Minnesota 's ten thousand lakes with his footprints, and also has a blue ox ...
Ol' Paul, the Mighty Logger is an anthology of ten original Paul Bunyan tall tales: it was written and illustrated by Glen Rounds, and published by Holiday House in 1936. [1] Upon its publication, Kirkus Reviews praised it, saying that "there's a harmony about this book -- the telling of familiar episodes from the Paul Bunyan legend, the ...
Ol' Paul, the Mighty Logger; P. ... Paul Bunyan and Babe the Blue Ox; Paul Bunyan in popular culture; S. Simpsons Tall Tales; Statue of Paul Bunyan (Portland, Oregon) ...
Paul Bunyan, Op 17, is an operetta in two acts and a prologue composed by Benjamin Britten to a libretto by W. H. Auden, designed for performance by semi-professional groups. It premiered at Columbia University on 5 May 1941, to largely negative reviews, and was withdrawn by the composer.