The Great Gatsby
There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city, between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants including an extra gardener toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York—every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour, if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden.
Gypsy was a general—and somewhat inaccurate—term designed for Eastern European immigrants who were amount of ethnic groups like the Roma and the Ludar, nomadic peoples not associated with a single country of origin. Tens of thousands of alleged gypsies immigrated to big U. The image of the gypsy developed by this time, but it developed a bite separately from the real people it represented. The gypsy fortuneteller was introduced into U. When Willie Dixon after that Muddy Waters came to Chicago as of the Mississippi Delta region, they would have encountered both the real Roma people and the widespread stereotype of gypsies as a mystical, magical arrange of traveling fortunetellers. Willie Dixon's songs, like many Delta blues pieces, were sprinkled with references to African-American hoodoo, a form of Southern spiritual beliefs inspired by the cultures of West Africa.
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