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"Land of Hope and Glory" featured in the final concerts for 1928, 1929, 1936 and 1939. By then, audience participation in the second half of the programme had become a ritual, and from 1947 a boisterous 'tradition' was created by the conductor Malcolm Sargent, making "Land of Hope and Glory" part of a standard programme for the event. The Last ...
Hatikvah (Hebrew: הַתִּקְוָה, romanized: hattiqvā, ; lit. ' The Hope ') is the national anthem of the State of Israel.Part of 19th-century Jewish poetry, the theme of the Romantic composition reflects the 2,000-year-old desire of the Jewish people to return to the Land of Israel in order to reclaim it as a free and sovereign nation-state.
"Words of Love" is a song by the Mamas & the Papas from their second studio album of the same name. The song was written by John Phillips, and featured Cass Elliot as the primary vocalist. It was released as a single in November 1966 (backed with a cover of Martha and the Vandellas's " Dancing in the Street ").
The poem was published posthumously as "Hope" in 1891 "'Hope' is the thing with feathers" is a lyric poem in ballad meter by American poet Emily Dickinson. The poem's manuscript appears in Fascicle 13, which Dickinson compiled around 1861. [1] It is one of 19 poems in the collection, in addition to the poem "There's a certain Slant of light". [1]
Words of Wisdom and Hope is an album produced in collaboration between Glasgow, Scotland's Teenage Fanclub and Half Japanese frontman Jad Fair. [ 5 ] [ 6 ] It was released on 4 March 2002 on Domino 's subsidiary label Geographic in Europe and on Alternative Tentacles in the US.
The words were written by Hughie Charles, and the most popular version was sung by Vera Lynn. 1950s comedy duo Flanders and Swann premiered "Song of Patriotic Prejudice" (with refrain "The English, the English, the English are best/I wouldn't give tuppence for all of the rest") in their At the Drop of Another Hat revue in London on 2 October 1963.
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[44] John Davis from Austin American-Statesman wrote, "The teaming of his crisp, autumnal baritone with the ethereal, spun-steel counterpoint of O'Connor's voice on Gabriel's paean of hope, "Don't Give Up", is little short of haunting. It is arguably the album's most arresting interlude, as well as Nelson's most accomplished pass ever at a ...