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Toys R Us

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Alfred — 33,000 people lost their jobs this year when hedge funds and billionaire Wall Street investors ran Toys R Us into the ground and forced it to close. Now these same billionaires are trying to get out of paying nearly $75 million in severance to the workers who were laid off. Tell these Wall Street executives to do the right thing and pay the Toys R Us workers! Sign and share the petition today. Pay Back 33,000 Toys R Us Employees Before Opening Geoffrey's Toy Box Petition by Rise Up Retail   89,284  Supporters Sign now with a click America’s favorite toy store is gone – and it wasn’t bad sales that killed Toys R Us, it was Wall Street greed. The same Wall Street hedge funds that forced Toys R Us into liquidation and robbed 33,000 people of their jobs are planning a revival of the company called Geoffrey’s Toy Box. That’s right – the same billionaires that bought up Toys R Us debt and shut down stores everywhere to line their pockets with millions of dollars are trying to do it again. They said Geoffrey the Giraffe is “back from vacation.” A shock to the families of the 33,000 employees who lost their jobs in June and who have been struggling to pay the bills these last few months. These Wall Street hedge fund vultures – including Solus and Angelo Gordon – filed an application for trademark for Geoffrey’s Toy Box on June 20, 2018, ten days before closing hundreds of Toys R Us stores and laying off tens of thousands of employees without the $75 million in hard earned severance pay they were promised. Now they’re trying to make a quick buck off of our love for Geoffrey the Giraffe. And we’re not buying it. These hedge funds – Solus, Angelo Gordon, and others – have refused to contribute to the Toys R Us Family Fund, created by the company’s former owners, that will relieve some of the economic pain of families who relied on jobs at Toys R Us. Sign the petition to stand with former Toys R Us employees and their families. Tell these billionaires instead to contribute to the Toys R Us Family Fund to help hard-working people get back on their feet. Sign now with a click Visit petition page Want to change something? Start a petition The person (or organization) who started this petition is not affiliated with Change.org. Change.org did not create this petition and is not responsible for the petition content. Unsubscribe from emails like this  Unsubscribe from all Change.org emails  Manage your email preferences  ·  Privacy policy This email was sent by Change.org to alfredjohnson34@comcast.net, because you registered as a Change.org user on 3/12/2013. We’d love to hear from you! Send us feedback or contact us through our help center. Change.org  ·  548 Market St #29993, San Francisco, CA 94104-5401, USA

Press Communiqué of the First International Conference Against US/NATO Military Bases

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Press Communiqué of the First International Conference  Against US/NATO Foreign Military Bases The first International Conference against US/NATO Military Bases was held on November 16-18, at the Liberty Hall in Dublin, Ireland. The conference was attended by close to 300 participants from over thirty-five countries from around the world. Speakers representing countries from all continents, including Cuba, Argentina, Brazil, Colombia, United States, Italy, Germany, Portugal, Greece, Cyprus, Turkey, Poland, United Kingdom, Ireland, Czech Republic, Israel, Palestine, Kenya, D. R. Congo, Japan and Australia, made presentations at the conference. This conference was the first organized effort by the newly formed Global campaign against US/NATO Military Bases, created by over 35 peace, justice and environmental organizations and endorsed by over 700 other organizations and activists from around the world. What brought all of us together in this International Conference was our agreement with the principles outlined in the Global Campaign’s Unity Statement, which was endorsed by the Conference participants. The participants in the Conference heard from and shared with representatives of organizations and movements struggling for the abolition of foreign military bases from around the world about the aggressions, interventions, death, destruction, and the health and environmental damages that the military bases have been causing for the whole humanity along with the threats and violation to the sovereignty of the “host” countries. The participants and organizers of the conference agreed as a matter of principle that while they oppose all foreign military bases, they consider the close to 1,000 US/NATO military bases established throughout the world, which constitute the main pillars of global imperialist domination by US, NATO and EU states, as the main threat to peace and humanity, and must all be closed. The NATO states’ military bases are the military expression of imperialist intervention in the lives of sovereign countries on behalf of the dominant, financial, political, and military interests, for the control of energy resources, transport roads, markets and spheres of influence, in clear violation of international law and the United Nations Charter. The participants in the Conference call upon the organizations and movements who agree on the above to work closely with each other in a coordinated manner as a part of the Global Campaign to organize and mobilize the public around the world against US/NATO military bases. While we call for the closure of all US/NATO military bases, we consider the closure of bases and military installations in certain countries and areas as needing special attention by the international movement. These, for example, include the Guantanamo US base in Cuba, the US bases in Okinawa and South Korea, the US Base in Rammstein/Germany, Serbia, the old and new US/NATO bases in Greece and Cyprus, the establishment of the new US African Command (AFRICOM) with its affiliated military bases in Africa, the numerous NATO bases in Italy and Scandinavia, the Shannon airport in Ireland, which is being used as a military base by US and NATO, and the newly established bases by the United States, France and their allies on and around the Syrian soil. In order to continue our joint Global Campaign in solidarity with the just causes of the peoples in their struggle against foreign military aggression, occupation and interference in their internal affairs, and the devastating environmental and health impacts of these bases the participants agreed to recommend and to support coordinated actions and initiatives in the coming year (2019) which shall strengthen the global movement to expand the actions and cooperation while moving forward. As a step toward this goal, the conference supports the global mass mobilizations against NATO’s 70th anniversary Summit in Washington DC, on April 4, 2919 and respective protests in the NATO member states and worldwide. We declare our solidarity with the Cuban people’s decades-long efforts to take back their Guantanamo territory, illegally occupied by the United States, and declare our support for the Sixth International Seminar for Peace and the Abolition of Foreign Military Bases, organized by MOVPAZ for May 4-6, 2019, in Guantanamo, Cuba. The participants express their most sincere thanks and gratitude to the Peace and Neutrality Alliance (PANA) Ireland, for their generous hospitality and support in hosting this historic Conference. Adopted by the participants at the  First International Conference Against US/NA TO Military Bases  November 18, 2018  Dublin, Ireland Sent via ActionNetwork.org. To update your email address, change your name or address, or to stop receiving emails from Global Campaign Against US/NATO Military Bases, please click here.

The Answer My Friend Id Blowing (No Clipped “G”) In The Wind-The Influence Of Bob Dylan’s “The Times They Are A-Changin’” On The “Generation of’68”-The Best Part Of That Cohort

The Answer My Friend Id Blowing (No Clipped “G”) In The Wind-The Influence Of Bob Dylan’s “The Times They Are A-Changin’” On The “Generation of’68”-The Best Part Of That Cohort

Link to NPR Morning Edition 'The Times They Are A-Changin" Still Speaks To Our Changing Times  https://www.npr.org/2018/09/24/650548856/american-anthem-the-times-they-are-a-changin

By Seth Garth

No question this publication both in its former hard copy editions and now more so in the on-line editions as the, ouch, 50^th anniversary of many signature events for the “Generation of ‘68” have come and gone that the whole period of the 1950s and 1960s had gotten a full airing. Has been dissected, deflected, inspected, reflected and even rejected beyond compare. That is not to say that this trend won’t continue if for no other reason that the demographics and actual readership response indicate that people still have a desire to not forget their pasts, their youth.

(Under the new site manager Greg Green, despite what I consider all good sense having worked under taskmaster Allan Jackson, we are encouraged to give this blessed readership some inside dope, no, no that kind, about how things are run these days in an on-line publication. With that okay in mind there was a huge controversy that put the last sentence in the above paragraph in some perspective recently when Greg for whatever ill-begotten reason thought that he would try to draw in younger audiences by catering to their predilections-for comic book character movies, video games, graphic novels and trendy music and got nothing but serious blow-back from those who have supported this publication financially and otherwise both in hard copy times and now on-line. What that means as the target demographic fades is another question and maybe one for a future generation who might take over the operation. Or perhaps like many operations this one will not outlast its creators- and their purposes.)    

Today’s 1960s question, a question that I have asked over the years and so I drew the assignment to address the issue-who was the voice of the 1960s. Who or what. Was it the lunchroom sit-inners and Freedom Riders, what it the hippies, was it SDS, the various Weather configurations, acid, rock, folk rock, folk, Tom Hayden, Jane Fonda, Abbie Hoffman, Grace Slick, hell the Three Js-Joplin, Jimi, Jim as in Morrison and the like. Or maybe it was a mood, a mood of disenchantment about a world that seemed out of our control, which seemed to be running without any input from us, without us even being asked. My candidate, and not my only candidate but a recent NPR Morning Edition segment brought the question to mind (see above link), is a song, a song created by Bob Dylan in the early 1960s which was really a clarion call to action on our part, or the best part of our generation-The Times They Are A-Changin’.    

I am not sure if Bob Dylan started out with some oversized desire to be the “voice” of his generation. He certainly blew the whole thing off later after his motorcycle accident and still later when he became a recluse even if he did 200 shows a year, maybe sullen introvert is better, actually maybe his own press agent giving out dribbles is even better but that song, that “anthem” sticks in memory as a decisive summing up of what I was feeling at the time. (And apparently has found resonance with a new generation of activists via the March for Our Lives movement and other youth-driven movements.) As a kid I was antsy to do something, especially once I saw graphic footage on commercial television of young black kids being water-hosed, beaten and bitten by dogs down in the South simply for looking for some rough justice in this wicked old world. Those images, and those of the brave lunch-room sitters and Freedom bus riders were stark and compelling. They and my disquiet over nuclear bombs which were a lot scarier then when there were serious confrontations which put them in play and concern that what bothered me about having no say, about things not being addressed galvanized me.

The song “spoke to me” as it might not have earlier or later. It had the hopeful ring of a promise of a newer world. That didn’t happen or happen in ways that would have helped the mass of humanity but for that moment I flipped out every time I heard it played on the radio or on my old vinyl records record-player. Other songs, events, moods, later would overtake this song’s sentiment but I was there at the creation. Remember that, please.   

Happy Birthday Townes -In The Time Of My Country Music Moment- The Work Of Singer/Songwriter Townes Van Zant- A Potpourri

Happy Birthday Townes -In The Time Of My Country Music Moment-  The Work Of Singer/Songwriter Townes Van Zant- A Potpourri

CD Review

The main points of this review have been used to review other Townes Van Zandt CDs.

Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?

Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals(think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.

All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.

A Townes Potpourri

Rear View Mirror, Townes Van Zandt, Sugar Hill Records, 1993

Townes Van Zandt was, dues to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of “outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes’ pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson’s cover of “Pancho and Lefty”. However, Townes, who I had seen a number of times in person in the late 1970’s, was no mean performer of his own darkly compelling songs.

This compilation, “Rear View Mirror”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core works in one place. Start with the above mentioned “Pancho and Lefty”, work through the longing felt in “If I Needed You”, and the pathos of “For The Sake Of The Song” that could serve as a personal Townes anthem. Then on to the sadness of “No Place To Fall” and “Waiting Round To Die”. Finally, round things out with the slight hopefulness of “Colorado Girl” and the epic tragedy of Tecumseh Valley”. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.


"For The Sake of The Song"

Why does she sing
Her sad songs for me,
Im not the one
To tenderly bring
Her soft sympathy
Ive just begun
To see my way
clear
And its plain,
If I stop I will fall
I can lay down a tear
For her pain,
Just a tear and thats all.

What does she want me to do?
She says that she knows
That moments are rare
I suppose that its true
Then on she goes
To say I dont care,
And she knows
That I do

Maybe she just has to sing, for the sake of the song
And who do I think that I am to decide that shes wrong.

Shed like to think that Im cruel,
But she knows thats a lie
For I would be
No more than a tool
If I allowed her to cry
All over me.

Oh my sorrow is real
Even though
I cant change my plan
If she could see how I feel
Then I know
That shed understand

Oh does she actually think Im to blame?
Does she really believe
That some word of mine
Can relieve
All her pain?
Cant she see that she grieves
Just because shes been blindly deceived
By her shame?

Nothins what it seems,
Maybe shell start someday
To realize
If she abandons her dreams,
Then all the words she can say
Are only lies
When will she see
That to gain
Is only to lose?
All that she offers me
Are her chains,
I got to refuse

Oh but its only to herself that shes lied
She likes to pretend
Its something that she must defend,
With her pride
And I dont intend
To stand her and be the friend
From whom she must hide

COLORADO GIRL
Townes Van Zandt
Copyright � 1969 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#

-----------------------------------------------------
Version 1 submitted by unknown
-----------------------------------------------------

D G D
I'm goin' out to Denver, see if I can't find
G D
I'm goin' out to Denver, see if I can't find
A7 G D
That lovin' Colorado girl of mine

Well the promise in her smile shames the mountains tall
Well the promise in her smile shames the mountains tall
She can bring the sun to shinin', tell the rain to fall

Been a long time Mama, since I heard you call my name
Been a long time, long time, since I heard you call my name
Got to see my Colorado girl again

I'll be there tomorrow, Mama, now don't you cry
(I'll) be there tomorrow, Mama, don't you cry
Gonna tell these lonesome Texas blues goodbye

DOLLAR BILL BLUES
Townes Van Zandt
Copyright � 1977 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#

-------------------------------------------------------
Submitted by F. Schwarz 10/15/2006
-------------------------------------------------------

#--------------------------------------------------------------#
>>>Here is how Townes plays it on Flyin' Shoes<<<

Cm Fm
if I had a dollar bill
Cm
Yes, I believe I surely will
Gm
Go to town and drink my fill
Cm
Early in the morning

Cm Fm
Little darling, she's a redhaired thing
Cm
Man, she makes my legs to sing
Gm
Gonna buy her a diamond ring
Cm
Early in the morning

Cm Fm
Mother was a golden girl
Cm
I slit her throat just to get her pearls
Gm
Cast myself into a whirl
Cm
Before a bunch of swine

Cm Fm
It's a long way down the Harlan road
Cm
Busted back and a heavy load
Gm
Won't get through to save my soul
Cm
Early in the morning

Cm Fm
I've always been a gambling man
Cm
I've roled them bones with either hand
Gm
Seven is the promised land
Cm
Early in the morning

Cm Fm
Whiskey'd be my dying bed
Cm
Tell me where to lay my head
Gm
Not with me is all she said
Cm
Early in the morning

Cm Fm
If I had a dollar bill
Cm
Yes, I believe I surely will
Gm
Go to town and drink my fill
Cm
Early in the morning


>>>On A Far Cry From Dead and on Rain On A Conga Drum he plays<<<

Hm Em
If I had a dollar bill
Hm
Yes, I believe I surely will
F#m
Go to town and drink my fill
Hm
Early in the morning

Hm Em
Little darling, she's a redhaired thing
Hm
Man, she makes my legs to sing
F#m
Gonna buy her a diamond ring
Hm
Early in the morning

Hm Em
Mother was a golden girl
Hm
I slit her throat just to get her pearls
F#m
Cast myself into a whirl
Hm
Before a bunch of swine

Hm Em
It's a long way down the Harlan road
Hm
Busted back and a heavy load
F#m
Won't get through to save my soul
Hm
Early in the morning

Hm Em
I've always been a gambling man
Hm
I've roled them bones with either hand
F#m
Seven is the promised land
Hm
Early in the morning

Hm Em
Whiskey'd be my dying bed
Hm
Tell me where to lay my head
F#m
Not with me is all she said
Hm
Early in the morning

Hm Em
If I had a dollar bill
Hm
Yes, I believe I surely will
F#m
Go to town and drink my fill
Hm
Early in the morning

#--------------------------------------------------------------#


#--------------------------------------------------------------#
IF I NEEDED YOU
Townes Van Zandt
Copyright � 1972 Columbine and UA Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#

----------------------------------------------------------
Submitted by David Byboth via about-townes@physitron.com
----------------------------------------------------------

On Jun 2, 1:14pm, Rolland Heiss wrote:
> I would be interested in tab to "If I Needed You". I figured out a way
> to pick it that sounds ok but not quite right I'm afraid. I noticed that
> Townes often used that southern method of picking like on "Waiting Around
> to Die" where the thumb plays out a steady beat while the rest of the
> fingers do something different. I haven't mastered this yet but figured
> out a pretty fair way to play "Waiting Around to Die" that sounds good.
> I've only been trying to pick seriously for about a year. Before that I
> strummed chords mostly. I began playing guitar in the early 1980's and
> love it. I can barely get through a day without picking up the guitar at
> least once. Every evening I try to write a song; sometimes they come and
> sometimes not.


Man.... I should be careful what I volunteer to do!... I got hammered with
requests for this.....when are all you pickers going to come to Dallas and play
some Townes songs with me?

The pick is very much as Rolland describes.... it's a little hard to keep the
thumb cranking out the bass rhythem while the fingers are doing their work but
with some practice it all comes together....

To get you started (It may take me a while to get a real tab done with all the
fill in stuff) you have to play it in G. I play it with the Capo on the fourth
fret. While fingering a regular G Chord (you have to finger it with your
little finger on the high string to free up your pointer!) the fingers pick:

NOTE: I just tabbed this at work from memory with no guitar...it has just the
basic bass and lead line. I'll check it tonight but it should be close enough
to get everyone started, feel free to feed me back corrections. (backchannel)

Learn it without the hammers first then you can work in the timing to hammer on
the notes with a "h" on them.


and ease my pain?

If you needed me
I would come to you
I'd swim the seas
for to ease your pain

In the night forlorn
the morning's born
and the morning shines
with the lights of love
You will miss sunrise
if you close your eyes
that would break
my heart in two

The lady's with me now
since I showed her how
to lay her lily
hand in mine
Loop and Lil agree
she's a sight to see
and a treasure for
the poor to find

#--------------------------------------------------------------#
NO PLACE TO FALL
Townes Van Zandt
Copyright � 1973 EMI U CATALOG INC
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#

-----------------------------------------------------
Submitted by David Byboth
-----------------------------------------------------
Capo on Second fret

D DMaj7 D7
If I had no place to fall
G D
and I needed to
Em G
could I count on you
D
to lay me down?

D Dmaj7 D7
I'd never tell you no lies
G D
I don't believe it's wise
Em G
you got pretty eyes
D
won't you spin me 'round

Em A
I ain't much of a lover it's true
Em F#m
I'm here then I'm gone
D E
and I'm forever blue
A
but I'm sure wanting you


Skies full of silver and gold
try to hide the sun
but it can't be done
least not for long

And if we help each other grow
while the light of day
smiles down our way
then we can't go wrong

Time, she's a fast old train
she's here then she's gone
and she won't come again
won't you take my hand

If I had no place to fall
and I needed to
could I count on you
to lay me down?

(QUICKSILVER DAYDREAMS OF) MARIA
Townes Van Zandt
Copyright � 1968 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#

-----------------------------------------------------
Version 1 submitted by Neal
-----------------------------------------------------

C Am Em Am Dm
Well a diamond fades quickly when matched to the face of Maria
F Dm F Dm C
All the harps they sound empty when she lifts her lips to the sky
C Am Em Am Dm
The brown of her skin makes her hair seem a soft golden rainfall
F Dm F G C
That spills from the mountains to the bottomless depths of her eyes

Well, she stands all around me her hands slowly sifting the sunshine
All the laughter that lingered down deep 'neath her smilin' is free
Well, it spins and it twirls like a hummingbird lost in the mornin'
And caresses the south wind and silently sails to the sea

Ah, the sculptor stands stricken and the artist he throws away his brushes
When her image comes dancin' the sun she turns sullen with shame
And the birds they go silent the wind stops his sad mournful singin'
When the trees of the forest start gently to whisperin' her name

So as softly she wanders I'll desperately follow her footsteps
And I'll chase after shadows that offer a trace of her sigh
Ah, they promise eternally that she lies hidden within them
But I find they've deceived me and sadly I bid them goodbye

So the serpent slides slowly away with his moments of laughter
And the old washer woman has finished her cleanin' and gone
But the bamboo hangs heavy in the bondage of quicksilver daydreams
And a lonely child longingly looks for a place to belong

PANCHO AND LEFTY
Townes Van Zandt
Copyright � 1973 EMI U CATALOG INC,
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#

-----------------------------------------------------
Submitted by Neal
-----------------------------------------------------


C G7
Livin' on the road my friend is gonna keep you free and clean
F C G7
Now you wear your skin like iron, your breath's hard as kerosene
F C F
You weren't your momma's only boy, but her favorite one it seems
C Dm F Am
Began to cry when you said, "good-bye", sank into your dreams.



Poncho was a bandit boys, his horse was fast as polished steel
He wore his gun outside his pants for all the honest world to feel
Poncho met his match, ya know, on the desert down in Mexico
No one heard his dyin' words, but that's the way it goes.


F C F
All the Federales say, they could'a had him any day
C Dm F Am
They only let him go so long, out of kindness I suppose.


Lefty he can't sing the blues, anymore like he used to
The dust that Poncho bit down south, ended up in Lefty's mouth
The day they laid poor Poncho low, Lefty split for O-hio
Where he got the bread to go, ain't nobody knows.


Cho: (slip away)


The poets tell how Poncho fell, Lefty's livin' in a cheap hotel
The desert's quiet, Cleveland's cold and so the story ends, we're told
Poncho needs your prayers it's true, but save a few for Lefty too
He only did what he had to do but now he's growin' old.


Cho: (slip away)
Cho: (go so wrong)


-----------------------------------------------------
Submitted by Denny
-----------------------------------------------------

Here's one of my favorite ballads which was written by the inimitable Townes Van
Zandt. Emmylou Harris recorded it, as did Willie Nelson and Merle Haggard in a
duet (don't ask me why). I first heard it in a coffeehouse at RPI (remember
coffeehouses, where people went to hear good music, not get drunk) by Robin and
Linda Williams, of later Prairie Home Companion fame.

I play this with a D, C#, B bass run transition from the D chord to whatever
follows. I've indicated this with the following chord notation.

D x00232
D/C# x40232
D4/B(?) x20032

I also lead into the verse with
e+-----------2--
b+--2--3--5-----
g+-------------- then picking out of the D chord, etc.
d+-----------0--
a+--0--2--4-----
e+--------------
Livin' on the road, my friend.....

which is nice for many songs played in D.

Enjoy,
Denny Straussfogel



Pancho and Lefty by Townes Van Zandt

D
Livin' on the road, my friend
A
Was gonna keep us free and clean
G
But now you wear your skin like iron
D D/C# D4/B A
And you breath's as hard as kerosene
G
You weren't your mama's only boy
D D/C# D4/B
But her favorite one, it seems
D
She began to cry
D/C# D4/B A A7
When you said good bye
G Bm
And sank into you dreams

(same chords as first verse)
Pancho was a bandit, boys
Rode a horse fast as polished steel
Wore his guns outside his pants
For all the honest world to feel
Pancho met his match, ya know
On the deserts down in Mexico
No one heard his dyin' words
But that's the way it goes

Chorus (words change slightly, each time)
G
And all the federales say
D D/C# D4/B
They could of had him any day
D D/C# D4/B A A7
They only let him slip away
G Bm
Out of kindness, I suppose

Now Lefty he can't sing the blues
All night long like he used to
The dust that Pancho bit down South
It ended up in Lefty's mouth
The day they laid old Pancho low
Lefty split for Ohio
Where he got the bread to go
Well there ain't nobody 'knows

But all the federales say
They could of had him any day
They only let him slip away
Out of kindness, I suppose

Now poets sing how Pancho fell
Lefty's livin' in a cheap hotel
The desert's quiet and Cleveland's cold
And so the story ends, we're told
Pancho needs your prayers, it's true
But save a few for Lefty, too
He only did what he had to do
And now he's growin' old

And all the federales say
They could of had him any day
They only let him go so long
Out of kindness, I suppose

Yes a few old gray federales still say
They could of had him any day
They only let him go so wrong
Out of kindness, I suppose

President Trump Pardon Whistleblower And Veteran Reality Leigh Winner-We Will Not Leave Our Sister Behind

Courage to Resist<refuse@couragetoresist.org>

9/17/2018 3:41 PM

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Pardon Whistleblower Reality Winner Hi Alfred. On June 3, 2017, NSA contractor Reality Leigh Winner was arrested and charged under the Espionage Act for providing a media organization with a single five-page top-secret document that analyzed information about alleged Russian online intrusions into U.S. election systems. Reality, who has been jailed without bail since her arrest, has now been sentenced to five years in prison. This is by far the longest sentence ever given in federal court for leaking information to the media. Today, she is being transferred from a small Georgia jail to a yet-unknown federal prison. Several months before her arrest, the FBI’s then-Director James Comey told President Trump that he was (in the words of a subsequent Comey memo) “eager to find leakers and would like to nail one to the door as a message.” Meanwhile, politically connected and high-level government officials continue to leak without consequence, or selectively declassify material to advance their own interests. Join Courage to Resist and a dozen other organizations in calling on President Trump, who has acknowledged Winner’s treatment as “so unfair,” to pardon Reality Winner or to commute her sentence to time served. Sign the petition ~ Read more ~ StandWithReality.org D O N A T E towards a world without war Upcoming Events Feds holding last public hearing on draft registration Los Angeles, California Thursday, September 20 At California State University Los Angeles More info 50th anniversary events of the Presidio 27 mutiny San Francisco, California Panel discussion on Saturday, October 13 Commemoration on Sunday, October 14 At the former Presidio Army Base More info D O N A T E to support resistance

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