How's Things in Nineva? USA Same as it was in 1919: Ripsnorter, or Sockdoligizer?

Gospel of LUKE    " Just as Jonah became a sign to the Ninevites,
so will the Son of Man be to this generation." Chapter 11, verse 30

Ripsnorter - Ripsnorter is a slang term for an active, wild or exciting person or thing. An example of a ripsnorter is an extreme sports enthusiast who loves to make a lot of noise when celebrating his team's victory. YourDictionary  

One of the morning gospels this week warned us.  We get warned all of the time and ignore it - put on weight and expect diabetes to hit the guy next door.

I listen to people.  I don't always heed what they are saying, but I sure as Hell hear them.  Some people cry, " It is the end of days!"  It is, especially for the people in the line-up of next week's obituary columns.

History teaches us that,  while everything is change and changing, the same stuff happens over and over again.

America is having problems.  We had problems and will continue to do so.

America is not unlike the USA of 1919.

We had problems with illegal immigration and our neighbors to the south.  Pancho Villa had the good grace to wait until America returned from the Great War to return the compliments of Black Jack Pershing's Punitive Expedition of 1916. How about that wall?

• June 15 – Pancho Villa attacks Ciudad Juárez. When the bullets begin to fly to the U.S. side of the border, 2 units of the U.S. 7th Cavalry Regiment cross the border and repulse Villa's forces. Hey, Where's the Caravan?
• Eugene Debs, like Chelsea Manning went to jail, but retained his Adam's tackle.
• Disasters like the 2019 California wildfire were man-made - The Great Boston Molasses Flood killed 21 people and injured 150 persons
• Women got the Vote (Women get to sue everyone within elbow distance and Bribe College Admissions yokes)
• Booze got outlawed ( Dope Got Legal 2020)
• Socialist made a huge splash at their convention in Chicago and splintered into three factions - even then they ate their own
• Race riots in Chicago, Kansas City and Omaha in 1919 and Jussie Smollett remains in the news, but two black women will carve each other up in Chicago until one gets enough votes to be Mayor of this dying city with no shoulders to speak of
• President Wilson had a stoke and President Trump is one
• Attorney General Palmer fought Communism by harassing Italians and today Communists run most of the American Media
• Boston Red Sox sell Babe Ruth to the NY Yankees for $150,000 and $150,000 gets short shrift from the College Office of Admissions in 2020
• The Algonquin Round Table meets for the first time and in 2020 Rex Hupke and Heidi Stevens pass for journalists

Things are always bad.  Have fun with what you have.  I read an article from 2013 by some science editor who boasted, 

I learned a new word the other day: it's “ripsnorter”, and according to the Merriam‐Webster dictionary it means “something extraordinary”. The stimulus for its use – as communicated in an Email bulletin from F1000 under the heading ‘ENCODE: “A ripsnorter of a controversy”’ – certainly lives up to the definition: it's the paper recently published in Genome Biology and Evolution by Dan Graur et al. 1, which essentially takes the ENCODE consortium to task over the meaning and application of a single word, “function”, and its derivative “functional”.  Andrew Moore - editor BioEssays

Jesus Christ Crucified!  Imagine spending time in a stuck elevator at Daley Center with the author above posted?  With NPR piped in?

Yet, you learned the word "ripsnorter?"  Uh, no, Andy. You did not learn the word.  Pancho Villa and Black Jack Pershing were ripsnorters.

A ripsnorter is a noun used as an adjective.  A person was called a ripsnorter, because he exerted a willful delight in putting his whole body into the scrum, the ring, the pile of wood, or the pile to be driven and exuded the joy of combat.

Something extraordinary in our flabby and flatulent epoch is embodied New England Patriot QB Tom Brady and everybody with a maw, lungs, a set of teeth and some limited mental capacity hates Tom Brady with a cordial enmity rivaled only by Trumpo-phobia.  Now, Brady is a ripsnorter.

I love ripsnorters, Hoss.  Not one myself, but love one when I see one!  Trump is a ripsnorter.  Bernie Sanders is a ripsnorter,  Sarah Huckabee is a ripsnorter.   Chicago Mayoral Candidate Laurie Lightfoot is a ripsnorter.

The opposite of a ripsnorter is a sockdoliger. A sockdoliger brings about a sharp conclusion via  "a combination of sock, meaning to give somebody a blow, with doxology, the little hymn of praise sung towards the end of a church service."  A pretentious, scheming officious windbag.

Elizabeth Warren is a sockdoliger.  Felicity Huffman (Mrs. Shameless) is a sockdoliger.  The State of Illinois (elected persons) is a sockdoliger.  Jussie Smollett is a sockdoliger.

A ripsnorter is too busy to sockdolize.

The biblical people of Nineva were sockdoligers.  Jonah was a ripsnorter.  He went into the belly of the big fish, because he happily did what God asked of him.  Dick Durbin is a United States Senator and no ripsnorter and no where near smart enough to be a sockdoliger.

We live in an age that hates ripsnorters and sends sockdoligizing old man traps into public office for life.

That was fun.

The Spleen of the Senseless: Why AOC Matters

Alexandria Ocasio-Cortez has taken Washington, D.C by storm.She successfully ran an insurgent, grass-roots Congressional campaign. She is exceptionally bright. She is incredibly media savvy. She is hugely charismatic, because she is telegenic and photogenic, but also because she consistently seems to be a sincere, authentic, and truly nice and caring human being. In an age of bullshit, she is “real.” And she has the courage of her convictions. She has thus quickly been embraced by the left, reviled by the right, and treated with enormous skepticism by the center. Jeffrey C. Isaac

 The left often agonizes over the choice between pragmatism versus utopianism. The “reformists” will argue that what’s important is making “real” change in the present, rejecting any larger vision as “pie-in-the-sky” irresponsibility, while the “revolutionaries” may reject all present compromise in favor of theorizing about a better future, for which the correct historical conditions are always, somehow, yet to arrive. It’s a dumb standoff; reformers need militants to scare the powerful into concessions, as the recent experience of the Fair Labor Association and USAS at Kuk Dong shows. Dissent

 "My fear is that the whole island will become so overly populated that it will tip over and capsize." Rep. Hank Johnson D-GA upon hearing about adding military personnel on Guam

The Congress is chock-full of goofs, ninnies and grifters. Rep. Hank Johnson thought a troop build-up would capsize the island of Guam.  Congress always has been a home for cretins feebs and dummies. However, there was a time when the dim-bulbs were kept under a cone-of-silence and generally kept out of public view.

Today, Alexandra Occasio-Cortez has become a national acronym - AOC.

Like LSMFT, AOC reflects a spiritus mundi, a zeitgeist, and a political weltanschauung that makes the likes of Bernie Sanders, Hilary Clinton and Elizabeth Warren seem like Daniel Patrick Moynihan, Muriel Siebert and Mercy Otis Warren.

I began my morning with an article by a practiced ninnie and dim-bulb, Indiana University professor Jeffery C. Issacs that further boost AOC as our best hope to become the SPQR of the looming post revolutionary empire:

It is worth taking a moment to think hard about this.

To liberal friends who are pretty skeptical of if not hostile to AOC: what do you make of the fact that it is she who is being singled out for her fine performance? Many more “moderate” and more senior Democrats also had their five minutes yesterday, and yet this 29-year old “radical” would appear to have most intelligently used her time to advance the cause of the rule of law, a liberal value if every there was one, in this matter.

To left, DSA-member friends who love AOC (as I do) but disparage all of those liberals, like me, who continue to place so much emphasis on Trump’s real threats to the rule of law, constitutional due process, and liberal democracy: what do you make of the fact that AOC did not use her five minutes to talk about the Green New Deal (which she rightly talks about all the time!) or to comment on how the hearings are a waste of time and the real policy issues are being ignored (it was the lunatic Republicans who said this). She used her five minutes to ask painstakingly direct and factual questions of the witness, and thus to seriously address the issue at hand in the hearings: the issue of Trump’s unhinged and unaccountable Presidency, and the need to defend constitutional democracy by using constitutionally-prescribed Congressional authority to hold Trump to account.

AOC is much more serious, and politically responsible, and “mature,” and thus important, than most commentators, those who love her and those who don’t, appreciate. While too many, left, right, and center, are using her as a symbol to beat each other up, she is doing her job and being a role model of what Democratic politics can be.

Seriously?  Much thought there, Doc? AOC is much, much more serious?

How about these AOC nuggets? BTW -one quote is from a dead white man -guess which one and win a chance to chill backstage with AOC.

•  Capitalism has not always existed in the world and will not always exist in the world.
•  Congress is too old. They don't have a stake in the game.
•  Women like me aren't supposed to run for office.
•  I wake up every day, and I'm a Puerto Rican girl from the Bronx. Every single day.
• To educate a man in mind and not in morals is to educate a menace to society.
•  I was born in a place where your ZIP code determines your destiny.

AOC is no TR.

One of the above earned the Medal of Honor, broke horses, worked in Law Enforcement in Wyoming and New Yok City, authored many books and served as Governor, the other Tweets, is a Socialist and managed to beat someone dumber, but without Democratic Socialists of America backing for Congress and will serve but one term before going on CNN, or MSNBC.

AOC will do some legislative damage to the Republic in mean time.

We have given the stage of public debate to be people who could not tell you whick White Sox player in its history was a an all-time favorite, evene though that elected offical and pensioned President of the United States wore a Chicago White Sox hat at every public dress-down affair. 

I taught English for 43 years and voted in every election since 1972.   I ran and lost for Kankakee City Clerk as a Democrat.  PFH is no AOC. 

However, I was never scripted, nor promoted by a professor of Revolution from Indiana University. 

Here in Illinois we have many, many, many AOCs 

• Jan Schakowsky
• Danny Davis
• Mike Quigley
• Heather Steans
• Kelly Cassidy
• Blago
• Toni Preckwinkle
• Pat Quinn
• Forrest Claypool
• Deb Mell
• Deb Shore
• Amy Madigan

All of these People who would starve to death outside of Progressive Democratic Party politics.

Giving the microphone, or the floor, or a public office to the senseless is dangerous, no matter how much delicious spleen they vent, Tweet or . . . God help us . . .legislate. 

Cardinal Cupich Enables Illinois Infanticide with His Loud Silence

Cardinal Cupich has an opinion on what Trump eats for breakfast.  His first chat with the supine press in Chicago enabled the surprise Archbishop of Chicago to take a swipe at the dying Cardinal George's continued rooming in the Archdiocesan Mansion on State Parkway.

So far

• Cardinal Cupich has embraced Pflegerism and marched with Blond Jesus
• Refused to Venture down Rabbit Holes
• Chastised Trump
• Comforted Laquan McDonald's family a year after his death
• Condemned Global Warming
• Condemned Gun Violence , but Only With National Reportage
• Praised Sister Jean
• Praised Illegal Immigration
• Condemned opponents of illegal immigration
• Said no Bad Thing about Any Gender
• Spoke out of both sides of mouth on Sexual Predator Priests
• Praised and honored America's # 1 Predator Cardinal Theodore McCarrick ( Cupich's Chinaman)
• Falsely Accused a devout pastor of being in three homosexual relationships, removed the traditional pastor from his faculties as a priest, ordered a tribunal to investigate and refused to apologize when the tribunal acquit ed the priest

What Blase Cardinal has never done is condemned Illinois's March to Infanticide, much less Illinois's twin US Senators for pushing Infanticide on the national level.  Durbin created Duckworth from one his many fibs . . .not ribs. Together they stand for Infanticide and no Illinois Cardinal has objected.  That is you, Blase the Closer.  You does your silence in this horror betoken your episcopal consent?
Will he speak out?  

Cupich will not.  Blase Cupich is a political reptile of a prelate. He thinks more of what Chuck Goudie and Carol Marin say about him than what the 2.3 million Chicago Catholics wait from a Catholic prelate. 

Cardinal Blase meets the press.   The press don't care about eternal truths, or doctrines.  The press wants compelling narratives that fit nicely with funding and sales. Fred Eychaner, the Gay Marriage architect and bankroller, controls a huge slice of the media. The Media plays nice with Fred and the current Archbishop of Chicago plays nice with both. 

Will Cardinal Cupich chastise so-called Catholics who back Illinois House Bills that run counter to Catholic teaching? Especiall, the ones promoting Infanticide

Will Cardinal Cupich behave like a priest and not a politician?

Nah. 

The Innocent set for slaughter and Chicago Catholics are on their own.

Blase Cardinal Cupich has the Chicago Media. 

We have the sainted Francis Cardinal George at home with Christ - pray to both for help. 

A Bunch of Things You Might Or Might Not Have Known About Fred Chopin and George Sand, BUT Got Compiled Anyway So You How Smart I am

I hate lists.


I really hate lists.
Commies compile lists - for future exile or execution.



People who admire Commies imitate them and make them mainstream


Americans are too tolerant of Commies and the people who admire the Reds - they'll be sorry some day. Me? I'll be dead and long judged by God. God don't make lists.  He takes you individually.
The only guy who should make lists is Santa.




One Christmas I received the Book of Lists from three different people, who thought like millions of others that I would want to know about

• Famous Freemasons with flatulence 
• Whigs murdered on Christmas Day 1853
• Cumquat eaters of Connecticut
• Democrats who sneezed
• Popes who break-danced for Lorenzo Magnifico
• VD Victims of Cole Porter
• Hemingway's Beat-Downs by Better Writers

Likewise, I detest TOP TEN ( or any number)  Lists of anything.


Psychologists used to warn us about people who never recovered from potty-training - the anal retentive like the passive aggressive rules our world.


I go to restaurants and if the food is good and prices, as well as the service is good, I return for another meal.   Then, if asked by anyone, 'have a good meal anywhere?' I might mention the place.


People no longer tend to communicate with other people. They refer to pre-caste lists, or worse, go to an APP.


Why is it import to compile things like

• 866 things we know about Donald Trump's inner ear infections
• 5 Things We Do Not Know, But Will Guess about Race Relations in Cairo, IL
• 7 Explanations for Michael
• 9 Steps to Good Grooming That Do Not Involve Soap, Water and Alcohol

Santa is the only one who should continue to compile lists of any type.


Oh, by the way - Chopin dated George Sand for nine years and then died.


Here is a Lis. . . .catalog of Chopin's greatest works. That cat could tickle them 88s! Compiled by the good people of Wikipedia - I have no time for such nonsense . . .far too busy,

• Op. 10, 12 Études:

1. Étude in C major, Waterfall (1830)
2. Étude in A minor, Chromatic (1830)
3. Étude in E major, Tristesse, or L'adieu (1832)
4. Étude in C♯ minor, Torrent (1832)
5. Étude in G♭ major, Black Keys (1830)
6. Étude in E♭ minor, Lament (1830)
7. Étude in C major, Toccata (1832)
8. Étude in F major, Sunshine (1829)
9. Étude in F minor (1829)
10. Étude in A♭ major (1829)
11. Étude in E♭ major, Arpeggio (1829)
12. Étude in C minor, Revolutionary (1831)

• Op. 25, 12 Études:

1. Étude in A♭ major, Aeolian Harp, or Shepherd Boy (1836)
2. Étude in F minor, The Bees (1836)
3. Étude in F major, The Horseman (1836)
4. Étude in A minor (1832–1834)
5. Étude in E minor, Wrong Note (1832–1834)
6. Étude in G♯ minor, Thirds (1832–1834)
7. Étude in C♯ minor, Cello (1836)
8. Étude in D♭ major, Sixths (1832–1834)
9. Étude in G♭ major, Butterfly (1832–1834)
10. Étude in B minor, Octave (1832–1834)
11. Étude in A minor, Winter Wind (1834)
12. Étude in C minor, Ocean (1836)

• Trois nouvelles études (1839):

1. Étude in F minor
2. Étude in A♭ major
3. Étude in D♭ major

Impromptus[edit]

• Op. 29: Impromptu No. 1 in A♭ major (1837)
• Op. 36: Impromptu No. 2 in F♯ major (1839)
• Op. 51: Impromptu No. 3 in G♭ major (1843)

• Op. 66 (posth.): Fantaisie-Impromptu in C♯ minor (1834)

Mazurkas[edit]

Main article: Mazurkas (Chopin)

• Op. 6, Four Mazurkas (1830–32)

1. Mazurka in F♯ minor
2. Mazurka in C♯ minor
3. Mazurka in E major
4. Mazurka in E♭ minor

• Op. 7, Five Mazurkas (1830–32)

1. Mazurka in B♭ major
2. Mazurka in A minor (1829, revised 1830)
3. Mazurka in F minor
4. Mazurka in A♭ major (1824, revised 1830)
5. Mazurka in C major

• Op. 17, Four Mazurkas (1833)

1. Mazurka in B♭ major
2. Mazurka in E minor
3. Mazurka in A♭ major
4. Mazurka in A minor

• Op. 24, Four Mazurkas (1835)

1. Mazurka in G minor
2. Mazurka in C major
3. Mazurka in A♭ major
4. Mazurka in B♭ minor

• Op. 30, Four Mazurkas (1837)

1. Mazurka in C minor
2. Mazurka in B minor
3. Mazurka in D♭ major
4. Mazurka in C♯ minor

• Op. 33, Four Mazurkas (1838)

1. Mazurka in G♯ minor
2. Mazurka in D major
3. Mazurka in C major
4. Mazurka in B minor

• Op. 41, Four Mazurkas (1839–40)

1. Mazurka in C♯ minor
2. Mazurka in E minor
3. Mazurka in B major
4. Mazurka in A♭ major

• Mazurka in A minor (No. 50; "Notre Temps"; 1840; pub. 1841 in Six morceaux de salon, without Op. number; B. 134; KK IIb/4; S 2/4)

• Mazurka in A minor (No. 51; "Émile Gaillard"; 1840; pub. 1841 in Album de pianistes polonais, without Op. number; B. 140; KK IIb/5; S 2/5)

• Op. 50, Three Mazurkas (1842)

1. Mazurka in G major
2. Mazurka in A♭ major
3. Mazurka in C♯ minor

• Op. 56, Three Mazurkas (1844)

1. Mazurka in B major
2. Mazurka in C major
3. Mazurka in C minor

• Op. 59, Three Mazurkas (1845–46)

1. Mazurka in A minor
2. Mazurka in A♭ major
3. Mazurka in F♯ minor

• Op. 63, Three Mazurkas (1846-7)

1. Mazurka in B major
2. Mazurka in F minor
3. Mazurka in C♯ minor

Published in Poland during early years[edit]

• Two Mazurkas (unnumbered; 1826; pub. 1826, without an Op. number; B. 16, KK IIa/2-3, S 1, No. 2):
  • a. Mazurka in G major
  • b. Mazurka in B♭ major

With opus numbers[edit]

• Op. posth. 67, Four Mazurkas (Nos. 42-45; pub. 1855):

1. Mazurka in G major (1833)
2. Mazurka in G minor (1849)
3. Mazurka in C major (1835)
4. Mazurka in A minor (1846)

• Op. posth. 68, Four Mazurkas (Nos. 46-49; pub. 1855):

1. Mazurka in C major (1829)
2. Mazurka in A minor (1827)
3. Mazurka in F major (1829)
4. Mazurka in F minor (1849; Last composition)

Without opus numbers[edit]

• Mazurka in C major (1833; pub. 1870; B. 82; KK IVB/3; P 2/3)
• Mazurka in D major (1829; pub. 1875; B 31/71; KK IVa/7; P 1/7)
• Mazurka in B♭ major (1832; pub. 1909; B. 73; KK IVb/1; P 2/1)
• Mazurka in D major "Mazurek" (doubtful, 1820?; pub. 1910; B. 4; KK Anh Ia/1; A 1/1)
• Mazurka in A♭ major (1834; pub. 1930; B. 85; KK IVb/4; P 2/4)
• Mazurka in D major (1832; pub. ?; P 2/2)

Nocturnes[edit]

Main article: Nocturnes (Chopin)

• Op. 9, Three Nocturnes (1830–32):

1. Nocturne in B♭ minor
2. Nocturne in E♭ major
3. Nocturne in B major

• Op. 15, Three Nocturnes (1830–33):

1. Nocturne in F major
2. Nocturne in F♯ major
3. Nocturne in G minor

• Op. 27, Two Nocturnes (1835-6):

1. Nocturne in C♯ minor
2. Nocturne in D♭ major

• Op. 32, Two Nocturnes (1836–37):

1. Nocturne in B major
2. Nocturne in A♭ major

• Op. 37, Two Nocturnes (1838–40):

1. Nocturne in G minor
2. Nocturne in G major

• Op. 48, Two Nocturnes (1840–41):

1. Nocturne in C minor
2. Nocturne in F♯ minor

• Op. 55, Two Nocturnes (1843–44):

1. Nocturne in F minor
2. Nocturne in E♭ major

• Op. 62, Two Nocturnes (1846):

1. Nocturne in B major
2. Nocturne in E major

Posthumously published[edit]

With opus number[edit]

• Op. posth. 72 (No.2 and No.3 are works other than Nocturnes):

1. Nocturne in E minor (1827–29)

Without opus numbers[edit]

• P. 1/16: Nocturne in C♯ minor, Lento con gran espressione (1830)
• P. 2/8: Nocturne in C minor (1837)
• A. 1/6: Nocturne in C♯ minor (Nocturne oubliée) (spurious)

Polonaises[edit]

Main article: Polonaises (Chopin)

• Op. 26, Two Polonaises (1833–36)

1. Polonaise in C♯ minor
2. Polonaise in E♭ minor

• Op. 40, Two Polonaises (1838–40)

1. Polonaise in A major, Military
2. Polonaise in C minor, Funeral

• Op. 44: Polonaise in F♯ minor, Tragic (1840–41)
• Op. 53: Polonaise in A♭ major, Heroic or Drum (1842–43)
• Op. 61: Polonaise-Fantaisie in A♭ major (1846)

Published in Poland during early years[edit]

• KK IIa No. 1: Polonaise in G minor (1817; First composition)

Posthumously published[edit]

With opus numbers[edit]

• Op. posth. 71, Three Polonaises:

1. Polonaise in D minor (1825)
2. Polonaise in B♭ major (1828)
3. Polonaise in F minor (1828)

Without opus numbers[edit]

• KK IVa, Five Polonaises:

1. Polonaise in B♭ major (1817)
2. Polonaise in A♭ major (1821)
3. Polonaise in G♯ minor (1822)
4. Polonaise in B♭ minor, Adieu à Guillaume Kolberg (1826)
5. Polonaise in G♭ major (1829)

Preludes[edit]

Main article: Preludes (Chopin)

• Op. 28, 24 Preludes:

1. Prelude in C major (composed 1839)
2. Prelude in A minor (1838)
3. Prelude in G major (1838–1839)
4. Prelude in E minor (1838)
5. Prelude in D major (1838–1839)
6. Prelude in B minor (1838–1839)
7. Prelude in A major (1836)
8. Prelude in F♯ minor (1838–1839)
9. Prelude in E major (1838–1839)
10. Prelude in C♯ minor (1838–1839)
11. Prelude in B major (1838–1839)
12. Prelude in G♯ minor (1838–1839)
13. Prelude in F♯ major (1838–1839)
14. Prelude in E♭ minor (1838–1839)
15. Prelude in D♭ major, Raindrop (1838–1839)
16. Prelude in B♭ minor (1838–1839)
17. Prelude in A♭ major (1836)
18. Prelude in F minor (1838–1839)
19. Prelude in E♭ major (1838–1839)
20. Prelude in C minor, Chord or Funeral March (1838–1839)
21. Prelude in B♭ major (1838–1839)
22. Prelude in G minor (1838–1839)
23. Prelude in F major (1838–1839)
24. Prelude in D minor (1838–1839)

• Op. 45: Prelude in C♯ minor (1841)

Posthumously published[edit]

• P. 2/7: Prelude in A♭ major (1834, published 1918; ded. Pierre Wolff)
• A. 1/2: Prelude in F major
• Prelude in E♭ minor, Devil's Trill (recently found)

Rondos[edit]

• Op. 1: Rondo in C minor (1825; arr. piano 4-hands 1834)
• Op. 5: Rondo à la mazur in F major (1826)
• Op. 16: Rondo in E♭ major (1832)

Posthumously published[edit]

• Op. posth. 73: Rondo in C major for two pianos (1828; arr. piano solo 1840)

Scherzos[edit]

• Op. 20: Scherzo No. 1 in B minor (1831–35)
• Op. 31: Scherzo No. 2 in B♭ minor (1836–37)
• Op. 39: Scherzo No. 3 in C♯ minor (1839–40)
• Op. 54: Scherzo No. 4 in E major (1842–43)

Sonatas[edit]

Main article: Piano sonatas (Chopin)

• Op. 4 (posth.): Piano Sonata No. 1 in C minor (1828; pub. 1851)
• Op. 35: Piano Sonata No. 2 in B♭ minor, Funeral March (1839–40, Funeral March composed 1837)
• Op. 58: Piano Sonata No. 3 in B minor (1844–45)

Variations[edit]

Main article: Miscellaneous compositions (Chopin)

• Op. 12: Variations brillantes in B♭ major on "Je vends des scapulaires" from Hérold's Ludovic (1833)
• B. 113: Variation in E for Hexameron (1837; pub. 1839)

Posthumously published[edit]

• B.9: Variations in E for flute and piano on "Non più mesta" from Rossini's La Cenerentola, KK. Anh. Ia/5, (? 1824; pub. 1955) ^[1]
• KK. IVa/6: Introduction, Theme and Variations in D on a Venetian air, piano 4-hands (1826; pub 1965)
• B. 12a: Variations in D major or B minor on an Irish National Air (from Thomas Moore) for 2 pianos, P. 1/6 (1826)
• B. 14: Variations in E major on the air "Der Schweizerbub: Steh'auf, steh'auf o du Schweitzer Bub", a.k.a. Introduction et Variations sur un Lied allemand (1826; pub. 1851)
• B. 37: Variations in A, Souvenir de Paganini (1829; pub. 1881)

Lost[edit]

• KK. Ve/9: Variations, (January 1818)
• KK. Vb/2: Variations in F, piano 4-hands or 2 pianos (1826)
• KK. VIIa/3: Variations on a Ukrainian Dumka for violin and piano, by Antoni Radziwill, completed by Chopin (by June 1830)

Waltzes[edit]

Main article: Waltzes (Chopin)

• Op. 18: Grande valse brillante in E♭ major (1833)
• Op. 34, Trois grandes valses brillantes:

1. Waltz in A♭ major (1835)
2. Waltz in A minor (1831)
3. Waltz in F major (1838)

• Op. 42: Waltz in A♭ major (1840)
• Op. 64, Three Waltzes:

1. Waltz in D♭ major, Minute Waltz (1847)
2. Waltz in C♯ minor (1847)
3. Waltz in A♭ major (1840, some sources say 1847)

Posthumously published[edit]

With opus numbers[edit]

• 1852: Two Waltzes, Op. posth. 69:

1. Waltz in A♭ major, L'Adieu (1835)
2. Waltz in B minor (1829)

• 1855: Three Waltzes, Op. posth. 70:

1. Waltz in G♭ major (1832)
2. Waltz in F minor (1841)
3. Waltz in D♭ major (1829)

Without opus numbers[edit]

• 1868: Waltz in E minor (1830), B. 56, KK IVa/15, P. 1/15
• 1871–72: Waltz in E major, B. 44, KK IVa/12, P. 1/12
• 1902: Waltz in A♭ major, B. 21, KK IVa/13, P. 1/13
• 1902: Waltz in E♭ major, B. 46, KK IVa/14, P. 1/14
• 1955: Waltz in A minor (1843–1848), B. 150, KK IVb/11, P. 2/11
• 1955: Waltz in E♭ major (Sostenuto), B. 133, KK IVb/10 (not always classified as a waltz)
• 1932: Waltz in F♯ minor, Valse mélancolique, KK Ib/7, A. 1/7. Reattributed to Charles Mayer as Le Régret op. 332^[2]

Miscellaneous pieces for solo piano[edit]

Main article: Miscellaneous compositions (Chopin)

• Op. 19: Boléro in A minor (1833)
• Op. 22: Andante spianato in G major (1831–4)
• Op. 43: Tarantelle in A♭ major (1841)
• Op. 46: Allegro de Concert in A major (1832–41)
• Op. 49: Fantaisie in F minor (1841)
• Op. 57: Berceuse in D♭ major (1844)
• Op. 60: Barcarolle in F♯ major (1845–46)

Posthumously published[edit]

With opus numbers[edit]

• Op. posth. 72:

1. Nocturne in E minor (1827)
2. Marche funèbre in C minor (1827; B.20)
3. Three Écossaises (1826; B.12)
   1. Écossaise in D major
   2. Écossaise in G major
   3. Écossaise in D♭ major

Without opus numbers[edit]

• B. 17: Contredanse in G♭ major (doubtful) (1827)
• B. 84: Cantabile in B♭ major (1834)
• B. 109: Largo in E♭ major (1837)
• B. 117: Andantino in G minor (arr. of the piano part of the song Wiosna; 5 different MS exist) (1837)
• B. 129a: Canon in F minor (unfinished (1839))
• B. 133: Klavierstück in E♭ "Sostenuto" (1840; sometimes classified as a waltz)
• B. 144: Fugue in A minor (1841)
• B. 151: Album Leaf (Moderato) in E major (1843)
• B. 160b: 2 Bourrées (1846)
• P. 2/13: Galopp in A♭ (Galop Marquis) (1846)
• KK. Vb/1: Andante dolente in B♭ minor (lost)
• KK. Ve/3: Écossaise (? date; lost)
• KK. Vb/9: Écossaise in B♭ major (1827; lost)
• KK. VIIa/2: 3 Fugues (A minor, F major, D minor; arr. from Cherubini's Cours de contrepoint et de fugue)

Piano and orchestra[edit]

Concertos[edit]

• Op. 11: Piano Concerto No. 1 in E minor (composed 1830)
• Op. 21: Piano Concerto No. 2 in F minor (1829–1830)

Miscellaneous[edit]

• Op. 2: Variations on "Là ci darem la mano" from Mozart's Don Giovanni, in B♭ major (1827)
• Op. 13: Fantasy on Polish Airs, in A major (1828)
• Op. 14: Rondo à la Krakowiak, in F major (1828)
• Op. 22: Andante spianato et grande polonaise brillante, in E♭ major (1830–1831)^[3]

Cello and piano[edit]

• Op. 3: Introduction and Polonaise brillante in C major (1829–1830)
• B. 70: Grand Duo concertant in E major (1832; written jointly with Auguste Franchomme)
• Op. 65: Cello Sonata in G minor (1845–46)

Violin, cello and piano[edit]

• Op. 8: Trio for Violin, Cello and Piano in G minor (1830)

Voice and piano[edit]

Main article: Polish songs (Chopin)

Posthumously published[edit]

With opus numbers[edit]

• Op. posth. 74, 17 Songs (1829–1847; Polish)

1. "The Wish" ("Życzenie") (1829)
2. "Spring" ("Wiosna") (1838)
3. "The Sad River" ("Smutna Rzeka") (1831)
4. "Merrymaking" ("Hulanka") (1830)
5. "What She Likes" ("Gdzie lubi") (1829)
6. "Out of My Sight" ("Precz z moich oczu") (1830)
7. "The Messenger" ("Poseł") (1830)
8. "Handsome Lad" ("Śliczny chłopiec") (1841)
9. "From the Mountains, Where They Carried Heavy Crosses [Melody]" ("Z gór, gdzie dźwigali strasznych krzyżów brzemię [Melodia]") (1847)
10. "The Warrior" ("Wojak") (1830)
11. "The Double-End" ("Dwojaki koniec") (1845)
12. "My Darling" ("Moja pieszczotka") (1837)
13. "I Want What I Have Not" ("Nie ma czego trzeba") (1845)
14. "The Ring" ("Pierścień") (1836)
15. "The Bridegroom" ("Narzeczony") (1831)
16. "Lithuanian Song" ("Piosnka litewska") (1831)
17. "Leaves are Falling, Hymn from the Tomb" ("Śpiew z mogiłki") (1836)

Without opus numbers[edit]

• "Enchantment" ("Czary") (1830)
• "Reverie" ("Dumka") (1840)

Lost works[edit]

• Polonaise for piano, composed 1818. Presented by Chopin to the Empress Maria Teodorowna, mother of the Tsar, on the occasion of her visit to Warsaw on 26 September 1818.
• Variations for piano, composed 1818. Mentioned in the "Pamietnik Warzawski" of 1818
• Polonaise 'Barber of Seville' for piano, composed 1825/11. In 1825/11 Chopin wrote to Bialoblocki: "I have done a new Polonaise on the "Barber" which is fairly well liked. I think of sending it to be lithographed tomorrow."
• Variations for 2 pianos in F major, composed 1826. Listed by Louise Chopin
• Variations on an Irish National Air (from Thomas Moore) for 2 pianos, composed 1826. Stated to be "in D Major or B minor."
• Waltz for piano in C major, composed 1826.
• Andante dolente for piano in B♭ minor, composed 1827. Mentioned in the list of Louise Chopin
• Ecossaise for piano in B♭ major, composed 1827. Mentioned in the list of Louise Chopin.
• Waltz for piano in D minor, composed 1828. Given in Louise's list, with the date, and entitled (? by Louise) 'La partenza' ('The departure')
• Waltz for piano (supposedly) in A♭ major, composed 1830/12 (?).

The Decline and Fall of the American Republic - Actors and Political Power

The first actor activist to appear in a starring role in American history was John Wilkes Booth.  He was the Resistance after Little Mac lost 1864 election to the Donald Trump of 19th Century divided America.  The man was an activist and shot Lincoln, stabbed Major Henry Rathbone when he attempted to stop the assassination, leaped to the stage of the Ford Theatre and shouted " Sic Semper Tyrannis!"  Michael Moore could not have staged it better.


Actors were considered social pariahs generally in the mid-19th Century: drunks, sexual predators, lay-abouts and spongers.  With exceptions of the few matinee idols, like Edwin and his brother Jogn Wilkes Booth.  Actors were treated much like Mark Twain's rascals the King and the Duke in Huckleberry Finn ridden out of town on a rail after a judicious tar and feathering.


John Wilkes Booth adapted the Byronic attitude toward the southern states succession as an act of heroic Republicanism and labeled Lincoln as an ape man intent on destroying the white race. John Wilkes Booth was not alone in his contempt for Abraham Lincoln.


Lincoln got the Trump treatment from both sides of the Mason Dixon line and from Boys in Blue as well as Rebs in butternut grey. The Irish Democrats voted against Lincoln, because they wanted a swift end to the draft and hated the Emancipation Proclamation which put them in hard competition with American blacks.

The majority of the northern Irish-American community were loyal Democrats, supporting the party that had accepted them in the face of widespread discrimination during the 1850s. Short shrift was given to any former community leader, such as Thomas Francis Meagher, who advocated Lincoln’s re-election. Issues such as emancipation and the enforcement of the draft remained emotive for many in November of 1864, particularly in New York. Election day finally arrived on 8th November, with Abraham Lincoln sweeping to a second term in office. The majority of Irish-Americans in the north had voted for what proved to be the losing side, a fact not easily forgotten by many of their fellow citizens in the years that followed Lincoln’s assassination and the successful conclusion of the war.

All that subsequent Rum Romanism and Rebellion that still tweaks Democrats of Irish origin stayed with Paddy and Bridey for generations.  George M. Cohan notwithstanding.



The first Hollywood star to become a political power in American government was dancer/actor George Murphy and Irish American - who ran as a Republican.  Murphy became a United States Congressman and was fierce anti-Communist from California.  Another actor followed his lead into the Party of Lincoln, Ronald "Dutch" Reagan.  Jimmy Cagney and other left leaning Democrats crowded around FDR and Harry Truman.


Hollywood loved mixing it up with political power.  Frank Sinatra reached out to Sam "Mo-Mo" Giancanna for help in getting Jack Kennedy in the White House.


Our Republic, like the Roman Republic of Shakespeare's cycle-dramas which the Booth Brothers starred throughout the late 1850's to the Civil War, was a proud tradition of manly individualists, until it was beset by a string of patrician demogogues ( The Gracchi, Marius, Sulla, Cataline and Caesar) all intent on one man rule to maintain the oligarchy. They succeeded - the jury is still out on the American - and the Empire took over with actors playing their parts.

Performers were among the infamis, and couldn’t call themselves citizens of Rome or get any of the associated benefits, like the limited form of political representation others enjoyed. This meant that most comedians who acted were former slaves or people who didn’t have any citizenship to lose.

For the rare comedian who worked their way out of acting into writing, there was no promise of keeping that higher social status. In 46 B.C.E., Julius Caesar demanded that one of the great mime writers of the time, Decimus Laberius, perform in a sort of stand-up battle of mimes. Laberius would face off against a Syrian ex-slave called Pubilius. Laberius wasn’t overly eager to forfeit his rank, but how could he say no to Caesar? So Laberius appeared, dressed in the outfit of a Syrian slave to mock his competitor, and said “Citizens, we are losing our freedom,” as well as, “He who many fear must fear many.” While Laberius lost the competition, he was actually rewarded by Caesar so that he could buy back his citizenship.

Early 21st Century Americans have witnessed the power of celebrity and rise of the actor, clown, mime and player as political arbitrator and moral censor.  B-List thespians like Martin Sheen lectured the nation on the dangers of the Elector College after the 2016 Presidential Election hurt the feelings of Hollywood. President Obama gave the Presidential Medal of Freedom to friendly Hollywood Stars : Sidney Poitier, Robert DiNero, Robert Redford, Meryl Streep, Ciciley Tyson, Tom Hanks and Director Steven Spielberg. Roman Emperors made Senators of actors when the real rot took hold.


Today,  Mega-stars threaten Americans who support Trump even tepidly in the wake of  The Caravan, Kavanaugh and Comic Opera bomb deliveries of the 'taint' of Trump.




Rome went its way, because everyone sold out.  Actors helped make that purchase.