DOCSLIB.ORG

Anglo-American Songs and Ballads AFS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Recording Laboratory AFS L20 Anglo-American Songs and Ballads From the Archive of Folk Song Edited by DUNCAN EMRICH , ­ LIBRARY OF CoNGRESS WASHINGTON 1947 Library ofCongress Catalog Card Number R53-580 rev Avai/Qble from the Library ofCongress Music Division, Recorded Sound Section Washington, D.C. 20540 ANGLO-AMERICAN SONGS AND BALLADS AI-A3-CRIPPLE CREEK, GIT ALONG DOWN TO Her head looked like a coffee pot, TOWN, and KICKING MULE. Sung with five­ Her nose looked like the spout, string banjo by Henry King accompanied by the Her mouth looked like the fire place King family on guitar, mandolin, and bass, at With the ashes all raked out. Chorus. Visalia, Calif., 1941. Recorded by Charles Todd and Robert Sonkin. I wouldn't have a yaller gal, Now here's the reason why, Her neck's so long and scrangy The three songs on this record, played and sung She'd make them biscuits fly. Chorus. by the King family, belong to the broad group of native songs from the southern mountains. They are Boss he had an old gray mare, without any European antecedents and in subject He rode her down in town, matter are purely American. The mandolin and Before he got his trading done, guitar accompaniment, and the very tempo of the The buzzards had her down. Chorus. pieces, again are distinctive of the pure strain of American folk music. Originating in the South, they Boss he had an old gray mare, have spread widely throughout the United States. Her name was Brindly Brown, Every tooth in that mare's head CRIPPLE CREEK Had sixteen inches 'round. Chorus. "Folks, this number is 'Cripple Creek.''' Well, I hopped upon that old gray mare, I rode her through the town, Goin' down to Cripple Creek, goin' at a run, I sold that mare for fifteen cents Goin' down to Cripple Creek to have some fun. And I got my money down. Roll my britches to my knees, Wade old Cripple Creek when I please! Chorus: Goin' down to Cripple Creek, goin' at a run, Git aiong down to town, Goin' down'to Cripple Creek to have some fun. Git along down to town, Git along down to little Rock town, Goin' down to Cripple Creek, goin' in a whirl, Gonna push my 'bacco 'round. Goin' down to Cripple Creek to see my girl. Roll my britches to my knees, Boss he had a big white house Wade old Cripple Creek when I please! Sixteen stories high, Goin' down to Cripple Creek, goin' in a whirl, Well every story in that house Goin' down to Cripple Creek to see my girl. Was lined with chicken pie. Chorus: GIT ALONG DOWN TO TOWN Git along down to town, Git along down to town, "Folks, this is the King Family playing 'Git Along Down Git along down to little Rock town, to Town.''' Gonna push my 'bacco 'round. Boss he had a yaller gal, Whiskey by the gallon He brought her from the South, And sugar by the pound, She had her hair done up so tight A great big bowl to pour it in Couldn't hardly shut her mouth. And a pretty girl to carry it around. Chorus: Chorus: Git along down to town, Git along down to town, Git along down to town, Git along down to town, Git along down to little Rock town, Git along down to little Rock town, Gonna set my banjo down. Gonna set my banjo down. TIlE KICKING MULE When I seen Miss Dinah the other day, She was bent all over her tub, "Folks, this is the King Family playing The Kicking And the more I'd ask her to marry me, Mule' with a tenor banjo lead." Well, the harder she would rub. As I went down to the huckleberry picnic, Chorus: Dinner all over the ground, Well, whoa there, mule, I tell you, Skippers in the meat was nine foot deep Whoa there, mule, I say, And the green flies walking all around. Just keep your seat, Miss Liza Jane, The biscuit in the oven was a-baking, And hold on to that sleigh. Was a beefsteak frying in the pan, Pretty gal sitting in the parlor, Lord god a'mighty, what a hand I stand! You see that mule a-coming, He's got about a half a load, Chorus: When you see a roomy mule, Whoa there, mule, I tell you, Better give him all the road. Miss Uza, you keep cool, I ain't got time to kiss you now, Chorus: I'm busy with this mule. Whoa there, mule, I tell you, Miss Liza, you keep cool, My uncle had an old mule, I ain't got time to kiss you now, His name was Simon Slick, I'm busy with this mule. 'Bove anything I ever did see Was how that mule could kick. Went to feed that mule one morning And he met me at the door with a smile, A4-A RAILROADER FOR ME. Sung with guitar He backed one ear and he winked one eye by Russ Pike at Visalia, Calif., 1941. Recorded And he kicked me a half a mile. by Charles Todd and Robert Sonkin. Chorus: "Here's an old-timer that I learned from my grand­ Well, whoa there, mule, I tell you, mammy way down in southern Missouri, and this old song I Miss Uza, you keep cool, think was written right after the Civil War when they first I ain't got time to kiss you now, invented the first steam engines." I'm busy with my mule. That mule he am a kicker, A railroader, a railroader, He's got a iron jaw, A railroader for me; He's the Ivery thing to have about If ever I marry in this wide world, To tame your mother-in-law. A railroader's bride I'll be. This muie he am a kicker, He's got a iron back, Now I would not marry a blacksmith, He headed off a Texas railroad train He's always in the black, And kicked it clear 0' the track. I'd rather marry an engineer That throws the throttle back. Chorus: Whoa there, mule, I tell you A railroader, a railroader, Well, whoa there, mule, I say, A railroader for me; Just keep your seat, Miss Liza Jane, If ever I marry in this wide world, And hold on to that sleigh. A railroader's bride I'll be. He kicked a feather from a goose, I would not marry a farmer, He pulverized a hog, He's always in the dirt, He kicked up three dead chinymans I'd rather marry an engineer And swatted him a yellow dog. That wears a striped shirt. Chorus: Well, whoa there, mule, I tell you, A railroader, a railroader, Miss Liza, you keep cool, A railroader for me; I ain't,got time to kiss you now, Ifever I marry in this wide world, I'm busy with that mule. A railroader's bride I'll be. 2 AS-UTILE OLD SOD SHANTY. Sung with guitar A6-GOOD OLD REBEL. Sung with guitar by by Jimmy Denoon at Bradleyville, Mo., 1942. Booth Campbell at Cane Hill, Ark., 1942. Recorded by Vance Randolph. Recorded by Vance Randolph. This song is an adaptation of W. S. Hays' "Little This song has had considerable folk treatment and Old Log Cabin in the Lane" which appeared in 1871 is a hand-me-down corruption of the original poem and was widely popular, lending itself to numerous by Innes Randolph, southern poet and friend of parodies, the most famous of which is "The Little Sidney Lanier. Booth Campbell, the singer, hesi­ Old Sod Shanty on the Claim." The text is not an tated in 1942 to record the song for Vance Ran­ unfair account of the hardships and way of life of dolph, saying, "It don't seem hardly right for a the early settler on the western plains of Nebraska fellow to go around singing songs agin the Govern­ and bordering States during the period of first ment what with the war and all.". Campbell would settlement. have been reassured had he hell;rd, as I did, Massa­ chusetts and Virginia officers at General Eisen­ I'm looking mighty seedy while holding down my claim, hower's headquarters in France singing it at the My victuals are not always of the best, Officers' Club in Versailles, initially to horror-struck And the mice play shyly round me.as I nestle down to rest looks from British allies and fmally to their amused In that little old sod shanty on the claim. understanding of the "Yanks"-which we all were there. Chorus: The hinges are of leather and the windows have no glass, Oh, I'm glad I'm a good old rebel, I don't care if I am; The board roof lets the howling blizzard in, I won't be reconstructed, if I am may I be damned! And I hear the hun~y coyote as he slinks up through the grass Oh, I followed old Marse Robert for four years near about, Round that little old sod shanty on my claim. Got wounded in three places and I starved at Camp Look­ out. When I left my Eastern home, a bachelor oh so gay, Oh, I'm glad I'm a good old rebel-hat, boot, coats and all, To wend my way up in this' (world to) wealth arid fame, I won't be reconstructed, no sir, not at all! Whoever thought I'd be so low as to burning twisted hay In that little old sod shanty on my claim.
Recommended publications
  • Berkeley Madonna User's Guide

    Berkeley Madonna User's Guide

    Berkeley Madonna User’s Guide Version 8.0 March 23, 2000 Robert Macey George Oster Tim Zahnley University of California Department of Molecular and Cellular Biology Berkeley, CA 94720 http://www.berkeleymadonna.com Table of Contents INTRODUCTION .............................................................................................................5 SYSTEM REQUIREMENTS ...............................................................................................5 BERKELEY MADONNA WINDOWS ...............................................................................5 THE EQUATION WINDOW ...............................................................................................5 THE FLOWCHART WINDOW ............................................................................................7 THE PARAMETER WINDOW.............................................................................................8 THE GRAPH WINDOW ....................................................................................................9 Creating Multiple Graph Windows ........................................................................9 Specifying Which Variables to View......................................................................9 Changing Axis Settings.......................................................................................10 Creating Multiple Pages [Windows only].............................................................11 Using Graph Buttons...........................................................................................11
  • AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green

    AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green

    AC/DC You Shook Me All Night Long Adele Rolling in the Deep Al Green Let's Stay Together Alabama Dixieland Delight Alan Jackson It's Five O'Clock Somewhere Alex Claire Too Close Alice in Chains No Excuses America Lonely People Sister Golden Hair American Authors The Best Day of My Life Avicii Hey Brother Bad Company Feel Like Making Love Can't Get Enough of Your Love Bastille Pompeii Ben Harper Steal My Kisses Bill Withers Ain't No Sunshine Lean on Me Billy Joel You May Be Right Don't Ask Me Why Just the Way You Are Only the Good Die Young Still Rock and Roll to Me Captain Jack Blake Shelton Boys 'Round Here God Gave Me You Bob Dylan Tangled Up in Blue The Man in Me To Make You Feel My Love You Belong to Me Knocking on Heaven's Door Don't Think Twice Bob Marley and the Wailers One Love Three Little Birds Bob Seger Old Time Rock & Roll Night Moves Turn the Page Bobby Darin Beyond the Sea Bon Jovi Dead or Alive Living on a Prayer You Give Love a Bad Name Brad Paisley She's Everything Bruce Springsteen Glory Days Bruno Mars Locked Out of Heaven Marry You Treasure Bryan Adams Summer of '69 Cat Stevens Wild World If You Want to Sing Out CCR Bad Moon Rising Down on the Corner Have You Ever Seen the Rain Looking Out My Backdoor Midnight Special Cee Lo Green Forget You Charlie Pride Kiss an Angel Good Morning Cheap Trick I Want You to Want Me Christina Perri A Thousand Years Counting Crows Mr.
  • The Red-Headed League (The Adventures of Sherlock Holmes) by Sir Arthur Conan Doyle

    The Red-Headed League (The Adventures of Sherlock Holmes) by Sir Arthur Conan Doyle

    The Red-Headed League (The Adventures of Sherlock Holmes) by Sir Arthur Conan Doyle I had called upon my friend, Mr. Sherlock Holmes, one day in the autumn of last year and found him in deep conversation with a very stout, florid-faced, elderly gentleman with fiery red hair. With an apology for my intrusion, I was about to withdraw when Holmes pulled me abruptly into the room and closed the door behind me. "You could not possibly have come at a better time, my dear Watson," he said cordially. "I was afraid that you were engaged." "So I am. Very much so." "Then I can wait in the next room." "Not at all. This gentleman, Mr. Wilson, has been my partner and helper in many of my most successful cases, and I have no doubt that he will be of the utmost use to me in yours also." The stout gentleman half rose from his chair and gave a bob of greeting, with a quick little questioning glance from his small fat-encircled eyes. "Try the settee," said Holmes, relapsing into his armchair and putting his fingertips together, as was his custom when in judicial moods. "I know, my dear Watson, that you share my love of all that is bizarre and outside the conventions and humdrum routine of everyday life. You have shown your relish for it by the enthusiasm which has prompted you to chronicle, and, if you will excuse my saying so, somewhat to embellish so many of my own little adventures." "Your cases have indeed been of the greatest interest to me," I observed.
  • Only Believe Song Book from the SPOKEN WORD PUBLICATIONS, Write To

    Only Believe Song Book from the SPOKEN WORD PUBLICATIONS, Write To

    SONGS OF WORSHIP Sung by William Marrion Branham Only Believe SONGS SUNG BY WILLIAM MARRION BRANHAM Songs of Worship Most of the songs contained in this book were sung by Brother Branham as he taught us to worship the Lord Jesus in Spirit and Truth. This book is distributed free of charge by the SPOKEN WORD PUBLICATIONS, with the prayer that it will help us to worship and praise the Lord Jesus Christ. To order the Only Believe song book from the SPOKEN WORD PUBLICATIONS, write to: Spoken Word Publications P.O. Box 888 Jeffersonville, Indiana, U..S.A. 47130 Special Notice This electronic duplication of the Song Book has been put together by the Grand Rapids Tabernacle for the benefit of brothers and sisters around the world who want to replace a worn song book or simply desire to have extra copies. FOREWARD The first place, if you want Scripture, the people are supposed to come to the house of God for one purpose, that is, to worship, to sing songs, and to worship God. That’s the way God expects it. QUESTIONS AND ANSWERS, January 3, 1954, paragraph 111. There’s something about those old-fashioned songs, the old-time hymns. I’d rather have them than all these new worldly songs put in, that is in Christian churches. HEBREWS, CHAPTER SIX, September 8, 1957, paragraph 449. I tell you, I really like singing. DOOR TO THE HEART, November 25, 1959. Oh, my! Don’t you feel good? Think, friends, this is Pentecost, worship. This is Pentecost. Let’s clap our hands and sing it.
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence

    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
  • Songs by Artist

    Songs by Artist

    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
  • In the Summertime (PDF)

    In the Summertime (PDF)

    In The Summertime Ray Dorset 1970 (as recorded by Mungo Jerry) OR or INTRO: / 1 2 / 1 2 / INSTRUMENTAL VERSE: < HALF DO MELODY ON KAZOO, OTHER HALF DO CHICS > [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [D] Chic, chic-chic, uh [D] chic, chic-chic, uh [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [E] Chic, chic-chic, uh [D] chic, chic-chic, uh [A] Chic, chic-chic, uh [A] chic, chic-chic In the [A] summertime when the [A] weather is high You can [A] stretch right up and [A] touch the sky When the [D] weather’s fine You got [D] women you got women on your [A] mind [A] Have a [E] drink have a drive [D] go out and see what you can [A] find [A] If her [A] daddy's rich, take her [A] out for a meal If her [A] daddy's poor, just [A] do what you feel Speed a-[D]long the lane Do a [D] ton, or a ton and twenty-[A]five [A] When the [E] sun goes down You can [D] make it make it good in a lay-[A]by [A] We're not [A] grey people, we're not [A] dirty, we're not mean We love [A] everybody, but we [A] do as we please When the [D] weather’s fine We go [D] fishing or go swimming in the [A] sea [A] We're always [E] happy Life's for [D] living yeah that's our philoso-[A]phy [A] Sing a-[A]long with us, dee-dee [A] dee-dee-dee Da-da [A] da-da-da, yeah, we’re [A] hap-happy [D] Da da daa [D] dee da-da dee da-da da-da [A] daa [A] Da-da [E] da-da daa [D] da da daa da-da [A] daa [A] INSTRUMENTAL VERSE: < HALF DO MELODY ON KAZOO, OTHER HALF DO CHICS > [A] Chic, chic-chic, uh [A] chic, chic-chic, uh [A] Chic, chic-chic,
  • 2018 APOSTOLIC PRAISE CHORUSBOOK Richard W. Smith

    2018 APOSTOLIC PRAISE CHORUSBOOK Richard W. Smith

    2018 APOSTOLIC PRAISE CHORUSBOOK The 2018 Apostolic Praise© Chorusbook combines a unique compilation of 130 choruses, written chiefly for those who have gone through the Apostolic Praise© series who wish to enlarge their repertoire of songs. It contains a wide variety of songs, from old standards such as “Wonderful Peace” to Gospel choruses such as “Saved” “Power” and “Breakthrough” to more contemporary songs such as “Jesus Messiah.” However, what makes this chorusbook different is the fact that the songs are not written with just the basic, easy, boring chords, as most lead sheets are. Instead, the songs have been totally re­written with advanced, full­sounding chords, giving the musician that plays them a very professional sound. When the musician plays “O I Want To See Him” the Apostolic Praise© way, it won’t be with just the simple I­IV­V chords. Instead, it is going to have a variety of complex, beautiful­sounding chords that will make the song sound more modern. Also included are some resources on how to transpose songs to different keys, as well as an explanation page for some of the unique symbols that this chorusbook uses. Richard W. Smith www.ApostolicPSOM.com Email: [email protected] 650­877­2473 © 2018 Richard W. Smith ­ Apostolic Prais e How To Transpose Songs To Different Keys Imagine that you are the main pianist for your church. One day an evangelist comes to your church and you have to play “Amazing Grace” for his wife, who is going to sing a solo that night. Unfortunately, she wants you to play it in the key of Ab and your church always sings it in F.
  • Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic

    Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic

    Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22).
  • ESO Highnotes December 2020

    ESO Highnotes December 2020

    Welcome to HighNotes, brought to you by the Evanston Symphony for the senior members of our community who must of necessity isolate more because of COVID-!9. The current pandemic has also affected all of us here at the ESO, and we understand full well the frustration of not being able to celebrate holidays with family or make music with friends or go holiday-shopping in a real store. We certainly miss performing for our loyal audiences, especially this month when we would have had our annual festive Holiday Concert Musical Notes and Activities for Seniors at ETHS with perennial favorites like “Sleigh Ride,” ballet selections from the Evanston Symphony Orchestra from The Nutcracker, the ESO Holiday Concert Gospel Choir led by the Reverend Ken Cherry - and maybe even tap-dancing reindeer! However, since we can’t invite you to an in-person concert this Holidays of Light! 2 year, we’ll present one to you in these pages and in links to videos and recordings that show off the orchestra and the music. An Evanston Symphony Holiday Concert 4 HighNotes always has articles on a specific musical theme plus a variety of puzzles and some really bad jokes and puns. For this Sleigh Ride; Music for Hanukkah; issue we want to “Light up the Holidays!” - which seems appropri- Christmas Choral Works; ate for winter in general and December in particular, when we try to brighten the long darkness with the wondrous lights of Diwali, The Nutcracker; Traditional Carols; Hanukkah, Christmas and Kwanzaa. So, pour a big mug or Christmas Pops; Gospel; Hallelujah or glass of your favorite beverage, put on your Chorus; and Christmas Sing-Along warmest (virtual) hat, mittens and scarf, and sit back and enjoy this wonderfully Meet The Reverend Ken Cherry! 8 bright and fes- tive tive music! A Christmas Far From Home 10 Bygones, Puzzles, Vol.
  • Hip-Hop's Diversity and Misperceptions

    Hip-Hop's Diversity and Misperceptions

    The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner.
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels

    Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels

    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.