Brewer’s Alley was located on what is currently South Court Street. Beer Production ceased in 1901 when a large fire consumed the brewery of John Kuhn, who was the last in a long line of brewers to occupy space along the banks of Carroll Creek. For over 153 years, from the very beginning of Frederick County, Brewer’s Alley was a fixture in the social and economic landscape of Frederick. Ninety-five years after leaving Frederick, Brewer’s Alley is back!
Brewer’s Alley’s location at 124 North Market Street is steeped in Frederick history. The first residents of Frederick held a lottery to raise money to build a town hall and market house on this location in 1765, which was completed in 1769. This structure served its purpose for over 100 years and was witness to the birth of Frederick as a city. The Market House spanned the Civil War, including the ransoming of the city by Confederate General Jubal Early.
Brewer's Alley Restaurant & Brewery
124 North Market Street Frederick, MD 21701 Telephone: 301-631-0089 Fax: 301-631-1874 http://www.brewers-alley.com/
(take the elevator on the right to the 2nd floor)
and MUSIC Monday November 18, 2013 at
Brewer’s Alley Songwriters’ Showcase
Ray Jozwiak - Gonzo Piano opens the show @ 7:30PM
". . .But let me first be complimentary. Mr. Tendulkar, whom everyone calls
Sachin, is the most revered cricketer in India; in fact, it would be
entirely accurate to describe him as the most revered contemporary
Indian, or even, with only a pinch of hyperbole, the most revered Indian
since Mahatma Gandhi held the nation in thrall. Suspend your disbelief
and think of him as a cross between Babe Ruth and Martin Luther King.
Sachin currently dominates India’s imagination even more than usual:
Today, in his native Mumbai, he will begin playing his 200th test match
(as the five-day version of cricket is called), when India takes on the
West Indies, a once-mighty team now fallen on hard times. It will also
be his last test match, for he will retire from competitive cricket
after the game. As the moment of his departure looms, the country is in
the fevered throes of one last, mammoth celebration, but also on the
un-self-conscious brink of mourning. . . "
Why don't you grow up
just as fast as you can
All of your innocence
Is a flash in the pan
It's overrated you say
Tryin' to be a nice guy
It's so much easier this way
So why even try
Too many cowboys
Everyone's watching
So you think all the time
Maintain the image
But it's all in your mind
What's so damned special about
Being hard as a nail
Banishing subtlety
Sets yourself up to fail
Too many cowboys
Just too many cowboys
Not quite enough men
Who will listen
Rather learn than
Only just pretend
You wear a big hat
It's a Stetson of course
Chew some tobacco
Take a ride on your horse
You've got some buddies I see
Just a little hard-boiled
They've got some dirt on their hands
They all dabble in oil
Too many cowboys
Can't say you're sorry
Can't say you're wrong
God is on your side
He's been there all along
It doesn't matter to you
If they're hurt or they're dead
You've been above it so long
I'll stick by what I said
too many cowboys
Just too many cowboys
Not quite enough men
Who will listen
Rather learn than
Only just pretend
Get in your big truck
And just drive away
You have no interest
in the things that I say
Nor did you ever
Listen that much at all
You set yourself up
For some big kind of fall
Too many cowboys
And just like a cowboy
Just the kind that you are
Virile and macho
But without a guitar
Into the sunset you rode
And the credits did roll
Not a regret did you feel
But you've taken your toll
Too Many Cowboys
Just too many cowboys
Not quite enough men
Who will listen
Rather learn than
Only just pretend
(from Cecil Adams' The Straight Dope)
". . . Myths about the undead have been around for millennia, and the
relatively harmless automata of Haitian folklore have been getting the
Hollywood treatment for the past century. But the current popular
concept of zombies as shuffling reanimated corpses with a hunger for
humans was inarguably forged by George Romero in his 1968 film Night of the Living Dead.
For decades after, zombies were merely part of the fright-movie
pantheon, which also included slashers, aliens, and so on. Their ascent
to the top of the horror heap is quite recent. Newspaper articles in 2006 noted an upswing in zombies’ cultural
presence, but in retrospect the ball had just gotten rolling. Browsing
through Google search-term trends from 2004 to the present, we find
“zombie” and “zombies” showing sudden increases towards the end of 2008,
as does “zombie apocalypse,” with a pronounced increase in early 2011.
Meanwhile, searches for “ghost,” “witch,” “werewolf,” “demon,”
“vampire,” and variants thereof stayed relatively flat.
What accounts for the heightened fascination? Theories abound:
Decaying corpses are horrifying. Get out, all monsters are horrifying. That’s why we call them monsters.
Decaying reanimated corpses are really horrifying.
This gets closer. The scariest moment of my postcollegiate moviegoing
experience was watching the Terminator come back to life, or whatever it
is homicidal robots come back to after they’ve been to all appearances
annihilated and you’re getting ready to head for the toilets.
“Zombie narrative presents us with a postcolonial consideration of
identity and power, which allows us to challenge social and cultural
hierarchies and power structures.” Please, professor, save it for the faculty lounge.
Let me throw in my own theory: If not zombies, then what? Vampires?
Vampires have been the alpha pop-culture monster for at least 46 years.
(See Barnabas Collins, Dark Shadows, 1967.) But let’s face it,
the vampire = decadent sex metaphor, notwithstanding its ongoing
box-office success, is surely running on fumes. We need zombies because
they are relatively fresh.
Another hypothesis is that zombie films are more common when the U.S.
faces war or societal upheaval. My assistant Una has charted 492 zombie
films by year of release from 1910 to the present; she finds modest
annual production until a spike of 15 zombie flicks in 1973, followed by
fluctuating but fairly high output till 2003, when zombie filmmaking
went through the roof. The 1973 jump coincides with Watergate, and I
suppose 2003 might be a delayed reaction to 9/11, but more precisely
it’s the year we invaded Iraq. Not to harp on this, but was there ever a
time when we were more desperately in need of brains?
Paging through the scholarly journals, we find claims that zombies are a
Marxist metaphor for the human face of capitalist monstrosity, or tap
into a latent desire for racial violence, or somehow are connected with
Hurricane Katrina. . ."
Maybe I'm dating myself, but remember the old cartoons (and even the Mitch Miller television show) that would display the lyrics to an old (not necessarily old at the time) pop song, and an animated ball would bounce over the lyrics as a recording would play allowing you to vocalize along with the recording?
Well, I'm not savvy enough to make a ball bounce over these lyrics, but they are shown below to accompany the video, allowing you to vocalize along with OHO, should you choose. . .
I'll be your Blood Brother
By your side through thick and thin
I'll be your Blood Brother
Just as long as I don't have to bloody
My hands hands
Bar rooms sure have a funny way
Of bringing loyalty out in a man
Buy a drink and tell a joke
And buddy you've got you a friend
But keep a good eye upon that friend
Because he really doesn't give two hoots
And don't say anything about his Mom
His girlfriend or his army boots
I'll be your Blood Brother
By your side through thick and thin
I'll be your Blood Brother
Just as long as I don't have to bloody
My hands hands
Walked into an auto-mo-showroom
I need some wheels but got no money to spend
When a guy with an ugly tie
Walks out and acts like he's my long-lost friend
I said hey Buddy I've a purpose here
And if you please I will accomplish my goal
So don't you slap me on the back again
Cause if you do I might just lose my control
I'll be your Blood Brother
By your side through thick and thin
I'll be your Blood Brother
Just as long as I don't have to bloody
My hands hands
So please be careful when you meet someone
Who'll make a promise at the drop of a hat
And don't provide them with encouragement
You will regret the day you offered him that
Cause everybody needs some empathy
But just how willing
And how far will they go
To really help you when the chips are down
Can they be trusted half as far as you throw them
I'll be your Blood Brother
By your side through thick and thin
I'll be your Blood Brother
Just as long as I don't have to bloody
My hands hands
(from The Hidden History of 9-11, Edited by Paul Zarembka)
". . . On of the gravest omissions from the Commission Report concerns the sworn testimony of Department of Transportation Secretary Norman Mineta on May 23, 2003. Mineta's testimony throws crucial elements of the Commission's narrative into doubt.
Here are the key passages from Mineta's testimony regarding his memories of the actions of Vice President Dick Cheney in the Presidential Emergency Operations Center (PEOC) bunker on the morning of September 11, 2001:
Mineta: during the time that the airplane coming into the Pentagon. There was a young man who had come in and said to the vice president, "The plane is 10 mils out," the young man also said to the vice president, "Do the orders still stand?" And the vice president turned and whipped his neck around and said, "Of course the order still stand. Have you heard anything to the contrary?"
. . . Though Mineta makes clear that he did not hear a shoot-down order given that morning, and therefore could not confirm that the conversation between Cheney and the young aide regarded such an order, Commissioner Hamilton nevertheless assumes that the "order" discussed by Cheney and the young aide was in fact shoot-down order. . .
. . . Further evidence of an orchestrated cover-up of this information comes from the fact that videotape of Mineta's testimony has been excised from the Commission's video archive. . . "
