#wilbert harrison

MAYA:

13.0.13.5.1

jun[1] IMIX|IMOX [crocodile] - b'olonlajun[19] MUWAN

galactic tone: unity

sun sign: crocodile/red/east

open to new beginnings

NAHUA:

ce[1] - CIPACTLI

[first day of TONAHUALLI-260 day calendar]

Xiuhtecuhtli | Tonacatecuhtli

xiuhhuitzilin [hummingbird]

lord of the night: Xiuhtecuhtli

trecena [1 (ce) - CIPACTLI]: Tonacatecuhtli - east

x: mahtlactli-onei [13] - toxcatl

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"Crazy Drinking. Alice in Wonderland", Oleksandr Aksinin, 1976

"End of Crazy Love 狂恋の果て", Takato Yamamoto , 2005

"I Love New York, Crazy City", Isa Genzken, 1996

"Crazy Diamond is Unbreakable クレイジー・Dダイヤモンドは砕けない", Hirohiko Araki, 1996

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IMIX| IMOX

Yucatec Maya - Imix - "crocodile" or "water lily"

Quiche Maya - Imox - "crocodile" or "water lily"

Mnemonics:

"one becomes possessed or crazy"

Potential Negative Traits to Avoid:

Dominating personality, insecure, jealous, indecisive, chaotic, violent, doubting, and slow. Dominated by the power of the Mam. Insanity, weakness, undirectedness. Fascinated with books about witchcraft, but only made crazy by reading them.

Here are songs that mention a term I don't agree with, CRAZY:

Prince & the Revolution: Let's Go Crazy

Dolly Parton: We'd Have to Be Crazy

Slick Rick: Let's Get Crazy

Paul Davis: I Go Crazy

Patsy Cline: Crazy

Run DMC: Papa Crazy

Heart: Crazy On You

Jah Stitch: Crazy Joe

Natalie Cole: Miss You Like Crazy

Brenda Lee: Crazy Talk

Paramore: (One of Those) Crazy Girls

Britney Spears: (You Drive Me) Crazy

Ke$ha: Crazy Kids & BOY CRAZY

Seal: Crazy

Gracie Abrams: Crazy Girl

Jessie Reyez: CRAZY

Selena Gomez: Kinda Crazy

Tems: Crazy Tings

Atmosphere: Smart Went Crazy

Janelle Monae: Crazy, Classic, Life

Panic! at the Disco: Crazy = Genius

Sam Smith: Baby, You Drive Me Crazy

Future Animals: Crazy Love

Orville Peck: Drive Me, Crazy

Fine Young Cannibals: She Drives Me Crazy

BANKS: And I Drove You Crazy

Best Coast: Crazy for You

The Judds: Mama, He's Crazy

Crazy Horse: Down By the River

Toad the Wet Sprocket: Crazy Life

Megan thee Stallion: Crazy

Adele: Crazy for You

Pearl Jam: Crazy Mary

Aerosmith: Crazy

Elvis Presley: The Fool & Crazy Arms

Van Morrison: Crazy Love

Bob Marley: Crazy Baldheads

Queen: Crazy Little Thing Called Love & Stone Cold Crazy

Paul Simon: Still Crazy After All These Years

The Clash: Let's Go Crazy

Ozzy Osbourne: Crazy Train

Wilbert Harrison: Kansas City

Pink Floyd: Shine On You Crazy Diamond

Nat King Cole: Those Lazy Hazy Crazy Days of Summer & Crazy Rhythm & It's Crazy & Crazy She Calls Me

Lana Del Rey: Cruel World & Love

Hank Williams: Crazy Heart

Guns N Roses: You're Crazy

Waylon Jennings: I've Always Been Crazy

Madonna: Crazy for You & Crazy

More information about this blog here

Welcome to the year of pining for love and killing people.

I'm kidding. This is the first year-end chart after the implementation of the Hot 100, resulting in a larger pool of music to pull from. It's interesting how the presence of rock and roll doesn't feel as strong as it's been in previous years. Dick Clark, a radio and television personality at the time (who will definitely come up in future entries) advised Bobby Darin not to release Mack the Knife because he worried a traditional pop/jazz track wouldn't work in a post-rock and roll musical landscape. Mack the Knife ended up winning Record of the Year at the second ever Grammy Awards and the first to be televised.

I bring this up, not to spend too much time focusing on a single song, but to show the various ways the music scene has changed in the mainstream. With both the Hot 100 and the Grammy Awards, we're seeing a shift in how music is being talked about and consumed. However, looking at the origins of the Grammy Awards makes the absence of rock and roll on the charts feel rather eerie, especially after the numerous blatant examples of racial bias centering the awards. Even with all of the marketable white faces, rock and roll is still a Black genre. To many people in the industry, rock and roll wasn't a fad -- it was a threat. I found one quote claiming that in 1957 [the National Academy of Recording Arts and Sciences] "didn't want to slave to the enthusiasm of teenage girls". I was not able to confirm the source of the quote, but its sentiment can still be felt to this day. Rock and roll was considered juvenile, loud, sexual, dangerous, and Black. It was everything white America was afraid of and something the National Academy had in mind when creating the thesis behind the Grammy Awards.

Did this effort to shield the musical landscapes from the shifting tides pay off? Will the "enthusiasm of teenage girls" never touch the charts again?

Well I might take a train, I might take a plane, but if I have to walk, I’m going just the same.