Ted Lewis may refer to:
Coordinates: 58°13′13″N 6°22′59″W / 58.220163°N 6.38301°W / 58.220163; -6.38301
Lewis (Scottish Gaelic: Leòdhas, pronounced [ʎɔː.əs̪], also Isle of Lewis) is the northern part of Lewis and Harris, the largest island of the Western Isles or Outer Hebrides (an archipelago) of Scotland. The total area of Lewis is 683 square miles (1,770 km2).
Lewis is, in general, the lower lying part of Lewis and Harris, with the other part, Harris, being more mountainous. The flatter, more fertile land means Lewis contains the largest settlement, Stornoway, and three-quarters of the population of the Western Isles. Beyond human habitation, the island's diverse habitats are home to an assortment of flora and fauna, such as the golden eagle, red deer and seals and are recognised in a number of conservation areas.
Lewis is of Presbyterian tradition with a rich history, having once been part of the Norse Kingdom of Mann and the Isles. Today, life is very different from elsewhere in Scotland with Sabbath observance, the Gaelic language and peat cutting retaining more importance than elsewhere. Lewis has a rich cultural heritage as can be seen from its myths and legends as well as the local literary and musical traditions.
Fats Waller (May 21, 1904 – December 15, 1943), born Thomas Wright Waller, was a jazz pianist, organist, composer, singer, and comedic entertainer.
Thomas Wright Waller was the youngest of four children born to Adaline Locket Waller and the Reverend Edward Martin Waller. He started playing the piano when he was six and graduated to the organ of his father's church four years later. At the age of fourteen he was playing the organ at Harlem's Lincoln Theater and within twelve months he had composed his first rag. Waller's first piano solos ("Muscle Shoals Blues" and "Birmingham Blues") were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson. Fats Waller was the son of a preacher and learned to play the organ in church with his mother. Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson's "Carolina Shout", a song he learned from watching a player piano play it.
Sophie Tucker (January 13, 1886 – February 9, 1966) was a Russian/Ukrainian-born American singer and actress. Known for her stentorian delivery of comical and risqué songs, she was one of the most popular entertainers in America during the first half of the 20th century. She was widely known by the nickname "The Last of the Red Hot Mamas."
Tucker was born Sonya Kalish (Russian Соня Калиш) to a Jewish family in Tulchyn, Ukraine. Her family emigrated to the United States when she was an infant, and settled in Hartford, Connecticut. The family changed its name to Abuza, and her parents opened a restaurant.
She started singing for tips in her family's restaurant. In 1903, at the age of 17, she was briefly married to Louis Tuck, from which she decided to change her name to Tucker. She bore a son with Tuck, named Bert. (She would marry twice more in her life, but neither marriage lasted more than five years.)
She continued performing in the U.S. and the United Kingdom until shortly before her death from lung cancer in 1966, at the age of 80. She was interred at Emanuel Cemetery in Wethersfield, Connecticut.
Weldon Leo "Jack" Teagarden (August 20, 1905 – January 15, 1964), known as "Big T" and "The Swingin' Gate", was an influential jazz trombonist, bandleader, composer, and vocalist, regarded as the "Father of Jazz Trombone".
Born in Vernon, Texas, his brothers Charlie and Clois "Cub" and his sister Norma also became noted professional musicians. Teagarden's father was an amateur brass band trumpeter and started young Jack on baritone horn; by age seven he had switched to trombone. He first heard jazz music played by the Louisiana Five and decided to play in the new style.
Teagarden's trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era, and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a "blue feeling" into virtually any piece of music.
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Lazee
Mohombi
Ooh-wee-ooh
Ooh-wee-ooh
(Here we go)
I'm on the dancefloor
I do it for family and friends
And my fans on tour
Do it from the heart
When it hits the store
And to hits your ear
Something you give more
Make you wanna some more
And I give it some more
And I can never give 'em enough
It seems I give it up
All the words will stuck
Whole later
The boys are amazing
As I was, I got the dancefloor shakin'
From the top floor, down to the basement (aha)
And the black eyed were spending living
Better believe, I've got this feeling, Black Eyed Peas
Make you booty-trap on for you playing
When they ask where I do it for
I'll say
I do it for the once who got my back (ooh-ooh-wee)
I do it from my heart, on every track (ooh-ooh-wee)
I do it for my city, we party every day
I do it for the crowd, just tonight we're going down, down
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Ask me when I'm so fown, fown
You know we're going down, down
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Ask me when I'm so fown, fown
You know we're going down, down
Ah, Viva La Vida on the play, on the Coldplay
When I feel flay, table and press play
Figured by back in the day
Get mama in the crib when I'm working on my work play
Keep dreaming, that's what sun say
My mama did not rease the fool compending
Way back when I use the wrap off lunchdays
I knew I'll make it to the top, one day
Now days, a flaw-pa
How the core in this spaceship, saffa
Give me take into the world, ba-pa
With my pokerface, so Gaga
No mission is impossible
The jam black, Tom Cruise
I mean, no, that cool
So when you ask me what I do
'Til what I do
Where I do it for
I'll say
I do it for the once who got my back (ooh-ooh-wee)
I do it from my heart, on every track (ooh-ooh-wee)
I do it for my city, we party every day
I do it for the crowd, just tonight we're going down, down
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Ask me when I'm so fown, fown
You know we're going down, down
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Ask me when I'm so fown, fown
You know we're going down, down
Music on, start it
I've never heard it never before
Music on, start it
This is Lazee and Mo
Music on, start it
To my party control
Music on, start it
Oh, start it, oh, start it
I do it for the once who got my back (ooh-ooh-wee)
I do it from my heart, on every track (ooh-ooh-wee)
I do it for my city, we party every day
I do it for the crowd, just tonight we're going down, down
I do it for the once who got my back (ooh-ooh-wee)
I do it from my heart, on every track (ooh-ooh-wee)
I do it for my city, we party every day
I do it for the crowd, just tonight we're going down, down
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Ask me when I'm so fown, fown
You know we're going down, down
Ooh-wee-ooh
Ooh-wee-ooh
I'm on the dancefloor
Ask me when I'm so fown, fown
Death bells are ringing, Lord
Ringing in my ears
Death bells keep ringing ringing
Baby can't you hear
No one to crawl one thousand hours
No one at all to grow my graveyard flower
And this useless drift is a drag
No medicine and no remedies
And it may be my blood is cursed
But I'm breathing under my brother's dirt
Angels are singing, Lord
Singing in my ears
Angels keep singing singing