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Songs for jaded ears
The traditional idea of an afterlife is that the human body dies and the human soul reincarnates.
Buddhism teaches that many incarnations happen over and over again.
Western religions typically believe that after physical life, souls go to an afterlife and stay there.
Cyberpunk has long had the idea that the physical body could die and the consciousness could be transferred to a computer.
Note: contains images of death by electrocution
#
Zoetrope song:
#
Sick and Twisted:
Lyrics:
Somebody’s missing you
I can see
She’s like the morning dew
right under your feet
She was your momma’s favorite
but she doesn’t look at me
That girl’s in the palm of your hand
right next to your old man’s money
————
I’m okay,
Don’t ask me how I am.
Why did you act like
you gave a damn?
It kills me to think
that this all was a game.
Sick and twisted,
but I’ll be okay.
——–
I wonder now if I
really meant something to you
I gave you my body and soul
and I’ve never felt so used
I could honestly say
I wish I never met you
I thought my first love would be
something beautiful and true
(Repeat chorus x2)
#
#
#
#
Posted in Mania
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“Iron Head” re “Black Betty”
Feb 9, 2010
“Black Betty” (Roud 11668) is a 20th century African-American work song often credited to Huddie “Lead Belly” Ledbetter as the author, though the earliest recordings are not by him. Some sources claim it is one of Lead Belly’s many adaptations of earlier folk material;[1] in this case an 18th century marching cadence about a flint-lock musket.
The song was first recorded in the field by U.S. musicologists John and Alan Lomax in 1933, performed a cappella by the convict James Baker (also known as Iron Head) and a group at Central State Farm, Sugar Land, Texas.
The Lomaxes were recording for the Library of Congress and later field recordings in 1934, 1936 and 1939 also include versions of “Black Betty”. It was recorded commercially in New York in 1939 for the Musicraft label by blues artist Lead Belly, as part of a medley with two other work songs: “Looky Looky Yonder” and “Yellow Woman’s Doorbells”.Lead Belly had a long association with the Lomaxes, and had himself served time in State prison farms.
The origin and meaning of the lyrics are subject to debate. Some sources claim the song is derived from an 18th century marching cadence about a flint-lock musket with a black painted stock; the “bam-ba-lam” lyric referring to the sound of the gunfire. Soldiers in the field were said to be “hugging Black Betty”. In this interpretation, the musket was superseded by its “child”, a musket with an unpainted walnut stock known as a “Brown Bess”.
In “Caldwells’s Illustrated Combination Centennial Atlas of Washington Co. Pennsylvania of 1876”, there is a short section describing wedding ceremonies and marriage customs on page 12. Caldwell describes a wedding tradition where two young men from the bridegroom procession were challenged to run for a bottle of whiskey. This challenge was usually given when the bridegroom party was about a mile from the destination home where the ceremony was to be had. Upon securing prize, referred to as “Black Betty” the winner of the race would bring the bottle back to the bridegroom and his party. The whiskey was offered to the bridegroom first and then successively to each of the grooms friends.
The earliest meaning of “Black Betty” in the United States (from at least 1827) was a liquor bottle.In January 1736, Benjamin Franklin published The Drinker’s Dictionary in the Pennsylvania Gazette offering 228 round-about phrases for being drunk. One of those phrases is “He’s kiss’d black Betty.”
David Hackett Fischer, in his book Albion’s Seed: Four British Folkways in America (Oxford University Press, 1989), states that “Black Betty” was a common term for a bottle of whisky in the borderlands of northern England/southern Scotland, and later in the backcountry areas of the eastern United States.
In an interview conducted by Alan Lomax with a former prisoner of the Texas penal farm named Doc Reese (aka “Big Head”), Reese stated that the term “Black Betty” was used by prisoners to refer to the “Black Maria” — the penitentiary transfer wagon.
Posted in Music and Auditory Art
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Limit class sizes to five students
This post is an experiment. The original post was a lengthy quotation from a more serious work.
The quote was:
In 1939, one scholar wrote:
Now the plain people have noticed that education is getting longer and longer. Fifty years ago people learned to read out of a spelling-book at six years old, went to high school at twelve, and taught school (for money) on a third-class certificate at sixteen. After that, two years in a saw-mill and two at a medical school made them doctors, or one year in a saw-mill and one in divinity fitted them for the church. For law they needed no college at all, just three summers on a farm and three winters in an office.
All our great men in North America got this education. Pragmatically, it worked. They began their real life still young. With the money they didn’t spend they bought a wife. By the age of thirty they had got somewhere, or nowhere. It is true that for five years of married life, they carried, instead of a higher degree, bills for groceries, coal, doctors and babies’ medicine. Then they broke out of the woods, into the sunlight, established men—at an age when their successors are still demonstrating, interning, or writing an advanced thesis on social impetus.
Now it is all changed. Children in school at six years old cut up paper dolls and make patterns. They are still in high school till eighteen, learning civics and social statistics—studies for old men. They enter college at about nineteen or twenty, take prerequisites and post-requisites in various faculties for nearly ten years, then become demonstrators, invigilators, researchers, or cling to a graduate scholarship like a man on a raft.
The serious work is at:
http://www.gutenberg.ca/ebooks/leacock-toomuchcollege/leacock-toomuchcollege-00-h.html
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