![Bob Hope & Shirley Ross - Thanks for the Memory (1938) [Restored] @VideoFunForAll](https://i.ytimg.com/vi/KmE7gVkK14I/maxresdefault.jpg)
Uploaded March 2018 | Updated September 2026, 2 weeks ago
"Thanks for the Memory" (1938) is a popular song, with music composed by Ralph Rainger and lyrics by Leo Robin. It was introduced in the 1938 film The Big Broadcast of 1938 by Bob Hope and Shirley Ross, and recorded by Shep Fields and His Orchestra featuring John Serry Sr. on accordion and vocals by Bob Goday.
"Thanks for the Memory" (1938) is a popular song, with music composed by Ralph Rainger and lyrics by Leo Robin. It was introduced in the 1938 film The Big Broadcast of 1938 by Bob Hope and Shirley Ross, and recorded by Shep Fields and His Orchestra featuring John Serry Sr. on accordion and vocals by Bob Goday.
![Bob Hope & Shirley Ross - Thanks for the Memory (1938) [Restored]](https://i.ytimg.com/vi/KmE7gVkK14I/mqdefault.jpg "Bob Hope & Shirley Ross - Thanks for the Memory (1938) [Restored]
Thanks for the Memory (1938) is a popular song, with music composed by Ralph Rainger and lyrics by Leo Robin. It was introduced in the 1938 film The Big Broadcast of 1938 by Bob Hope and Shirley Ross, and recorded by Shep Fields and His Orchestra featuring John Serry Sr. on accordion and vocals by Bob Goday.")
![Carmen McRae - Round Midnight (1962) [Restored]](https://i.ytimg.com/vi/L6b2NeKjCjc/mqdefault.jpg "Carmen McRae - Round Midnight (1962) [Restored]
Carmen McRae: Vocal
Norman Simmons: Piano
Victor Sproles: Bass
Walter Perkins: Drums
Round Midnight is a 1944 composition by pianist Thelonious Monk with lyrics by Jon Hendricks that quickly became a jazz standard and has been recorded by a wide variety of artists. A version recorded by Monks quintet was added to the Grammy Hall of Fame in 1993. It is the most recorded jazz standard composed by a jazz musician.")
![Rob de Nijs - Zet een kaars voor je raam (1976) [Restored]](https://i.ytimg.com/vi/LB39RFQisLc/mqdefault.jpg "Rob de Nijs - Zet een kaars voor je raam (1976) [Restored]
Rob de Nijs (born 26 December 1942) is a Dutch singer and actor, active since the 1960s.
Zet een Kaars voor Je Raam is a Dutch translation by Lennaert Nijgh of David McWilliamss Can I Get There by Candlelight?")
![Fats Domino - Blueberry Hill [Restored]](https://i.ytimg.com/vi/LDjIAHk_xRY/mqdefault.jpg "Fats Domino - Blueberry Hill [Restored]
Fats Domino - Blueberry Hill [Restored]")
![Santa Esmeralda - Dont Let Me Be Misunderstood (1977) [Restored]](https://i.ytimg.com/vi/LJAEk1PsNhs/mqdefault.jpg "Santa Esmeralda - Dont Let Me Be Misunderstood (1977) [Restored]
Dont Let Me Be Misunderstood is a song written by Bennie Benjamin, Horace Ott and Sol Marcus for the singer and pianist Nina Simone, who first recorded it in 1964. Dont Let Me Be Misunderstood has been covered by many artists, most notably by The Animals, whose blues rock version of the song became a transatlantic hit in 1965. A 1977 four-on-the-floor disco rearrangement by disco group Santa Esmeralda was also a hit.")
![Glenn Gould - J.S. Bach - The Art of Fugue (Contrapunctus XIV) - The Last Fugue [Restored]](https://i.ytimg.com/vi/LWNGwVrdJPo/mqdefault.jpg "Glenn Gould - J.S. Bach - The Art of Fugue (Contrapunctus XIV) - The Last Fugue [Restored]
Glenn Gould - J.S. Bach - The Art of the Fugue - Last Fugue
Bachs last and not completed fugue.
The Unfinished Fugue
A handwritten manuscript of the piece known as the Unfinished Fugue is among the three bundled with the autograph manuscript P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben. (At the point where the composer introduces the name BACH [for which the English notation would be B♭–A–C–B♮] in the countersubject to this fugue, the composer died.) This account is disputed by modern scholars, as the manuscript is clearly written in Bachs own hand, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749.
Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bachs obituary actually makes mention of a draft for a fugue that was to contain four themes in four voices. The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called fragment X, on which the composer attempted to work out the counterpoint between the four subjects. The 2016 completion by pianist Kimiko Douglass-Ishizaka rejects the fourth subject theory, opting instead to develop the extant materials in the fugue to completion.
A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV, notably Boëly, music theoretician Hugo Riemann, musicologists Donald Tovey and Zoltán Göncz, organists Helmut Walcha, David Goode and Lionel Rogg, and Davitt Moroney. Ferruccio Busonis Fantasia contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. In 2001 Luciano Berio arranged the contrapunctus for orchestra; while Berio did not complete the fugue in the usual sense, he produced a performing version that allows the composition to fade away gracefully.
In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus XIV, proposing that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion.
Douglas Hofstadters book Gödel, Escher, Bach discusses the unfinished fugue and Bachs supposed death during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödels first incompleteness theorem. According to Gödel, the very power of a sufficiently powerful formal mathematical system can be exploited to undermine the system, by leading to statements that assert such things as I cannot be proven in this system. In Hofstadters discussion, Bachs great compositional talent is used as a metaphor for a sufficiently powerful formal system; however, Bachs insertion of his own name in code into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bachs failure to finish his self-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system.
Sylvestre and Costa reported a mathematical architecture of The Art of Fugue, based on bar counts, which shows that the whole work was conceived on the basis of the Fibonacci series and the golden ratio. The significance of the mathematical architecture can probably be explained by considering the role of the work as a membership contribution to the Correspondierende Societät der musicalischen Wissenschaften (de), and to the scientific meaning that Bach attributed to counterpoint.
Source: Wikipedia.")
![Blondie - Sunday Girl [Restored]](https://i.ytimg.com/vi/LrVix8tsAos/mqdefault.jpg "Blondie - Sunday Girl [Restored]
Blondie - Sunday Girl")
![The Jackson 5 - I Want You Back [Restored]](https://i.ytimg.com/vi/Lrb3bnlZPyk/mqdefault.jpg "The Jackson 5 - I Want You Back [Restored]
I Want You Back is a 1969 song by the Jackson 5 which became a number-one hit for the band and the Motown label in early 1970. The song, along with a B-side cover of Whos Lovin You by Smokey Robinson & the Miracles, was the only single used in the Jackson 5s first album, Diana Ross Presents the Jackson 5. It went to number one on the Soul singles chart for four weeks and held the number-one position on the Billboard Hot 100 singles chart for the week ending January 31, 1970. I Want You Back was ranked 121st on Rolling Stones list of The 500 Greatest Songs of All Time.")
![Neil Diamond - Song Sung Blue (1972) [Restored]](https://i.ytimg.com/vi/MB1CsydL3mU/mqdefault.jpg "Neil Diamond - Song Sung Blue (1972) [Restored]
Song Sung Blue is a 1972 hit song written and recorded by Neil Diamond, inspired by the second movement of Mozarts Piano Concerto #21. The song was released on Diamonds album, Moods and later appeared on many of Diamonds live and compilation albums.
It was his second No. 1 hit on the Billboard Hot 100 chart in the United States, after 1970s Cracklin Rosie, and to date his last solo #1 song (he had #1 duet with Barbra Streisand in 1978: You Dont Bring Me Flowers). The song spent twelve weeks in the Top 40. In addition, Song Sung Blue spent seven weeks at No. 1 on the adult contemporary chart It also made the pop chart in the United Kingdom, reaching No. 14 on the UK Singles Chart. The song has become one of Diamonds standards, and he often performs it during concerts.
Song Sung Blue was nominated for two Grammy Awards in 1973, Record of the Year and Song of the Year. Both awards that year were won by Roberta Flacks rendition of Ewan MacColls song, The First Time Ever I Saw Your Face.
Diamond described Song Sung Blue in the liner notes to his 1996 compilation album, In My Lifetime, as a very basic message, unadorned. I didnt even write a bridge to it. I never expected anyone to react to Song Sung Blue the way they did. I just like it, the message and the way a few words said so many things.")
