Finely embroidered cope, Saint Bavo Cathedral, Ghent, 15th century. Note the shield-shaped "hood".

The cope (known in Latin as pluviale 'rain coat' or cappa 'cape') is a liturgical vestment, more precisely a long mantle or cloak, open in front and fastened at the breast with a band or clasp. It may be of any liturgical colour.

A cope may be worn by any rank of the clergy, and also by lay ministers in certain circumstances. If worn by a bishop, it is generally accompanied by a mitre. The clasp, which is often highly ornamented, is called a morse.

History[link]

There has been little change in the character of the vestment from the earliest ages. Then as now it was made of a piece of silk or other cloth of semicircular shape, which distinguished it from the earlier form of chasuble, as a chasuble had straight edges sewn together in front. Both are similar in form and origin to the Orthodox phelonion.

The only noticeable modification which the cope has undergone lies in the disappearance of the hood. Some early examples feature a triangular hood, which was intended to be of practical utility in covering the head in processions, etc., but over time the hood became merely ornamental, and is commonly represented by a sort of shield of embroidery, sometimes adorned with a fringe or tassel. The fact that in many early chasubles, as depicted in the drawings of the eighth and ninth centuries, we see clear traces of a primitive hood, strongly confirms the view that in their origin cope and chasuble were identical, the chasuble being only a cope with its edges sewn together.

The earliest mention of a cappa is by St. Gregory of Tours, and in the Miracula of St. Furseus where it seems to mean a cloak with a hood. So from a letter written in 787 by Theodemar, Benedictine Abbot of Monte Cassino, in answer to a question of Charlemagne about the dress of the monk^[1] we learn that what in Gaul was styled cuculla (cowl) was known to the Cassinese monks as cappa. Moreover the word occurs more than once in Alcuin's correspondence, apparently as denoting a garment for everyday wear. When Alcuin twice observes about a casula which was sent him, that he meant to wear it always at Mass, we may probably infer that such garments at this date were not distinctively liturgical owing to anything in their material or construction, but that they were set aside for the use of the altar at the choice of the owner, who might equally well have used them as part of his ordinary attire. In the case of the chasuble the process of liturgical specialization, was completed at a comparatively early date, and before the end of the ninth century the maker of a casula probably knew quite well in most cases whether he intended his handiwork for a Mass vestment or for an everyday outer garment. But in the case of a cappa or cope, this period of specialization seems to have been delayed until much later. The two hundred cappae or copes which appear in a Saint-Riquier inventory in the year 801, a number increased to 377 by the year 831, were thought to be mere cloaks, for the most part of rude material and destined for common wear. It may be that their use in choir was believed to add to the decorum and solemnity of the Divine Office, especially in the winter season. In 831 one of the Saint-Riquier copes is specially mentioned as being of chestnut colour and embroidered with gold. This, no doubt, implies use by a dignitary, but it does not prove that it was as yet regarded as a sacred vestment. In fact, according to the conclusions of Mr. Edmund Bishop, who was the first to sift the evidence thoroughly, it was not until the twelfth century that the cope, made of rich material, was in general use in the ceremonies of the Church, at which time it had come to be regarded as the special vestment of cantors.^[2] Still, an ornamental cope was even then considered a vestment that might be used by any member of the clergy from the highest to the lowest, in fact even by one who was only about to be tonsured.

Amongst monks it was the practice to vest the whole community, except the celebrant and the sacred ministers who assisted the celebrant, in copes at High Mass on the greatest festivals, whereas on feasts of somewhat lower grade, the community were usually vested in albs. In this movement the Netherlands, France, and Germany had taken the lead, as we learn from extant inventories. For example, already in 870, in the Abbey of Saint Trond we find "thirty-three precious copes of silk" as against only twelve chasubles, and it was clearly the Cluny practice in the latter part of the tenth century to vest all the monks in copes during high Mass on the great feasts, though in England the regulations of Saint Dunstan and Saint Aethelwold show no signs of any such observance. The custom spread to the secular canons of such cathedrals as Rouen, and cantors nearly everywhere used copes of silk as their own peculiar adornment in the exercise of their functions.

Meanwhile the old cappa nigra (black cape), or cappa choralis, a choir cape of black material, open or partly open in front, and commonly provided with a functioning hood, still continued in use. While the cope was a liturgical vestment, made of rich, colorful fabric and often highly decorated, the cappa nigra was a practical garment, made of heavy plain black wool and designed to provide warmth in cold weather. Whereas the cope's hood had long since become a non-functional decorative item, the hood of the cappa nigra remained functional. The cappa nigra (black cape) was worn at the Divine Office by the clergy of cathedral and collegiate churches and also by many religious, as, for example, it is retained by the Dominicans during the winter months down to the present day. No doubt the "copes" of the friars, to which so many references in the Wycliffite literature and in the writings of Chaucer and Langland are found, designate their open mantles, which were, we may say, part of their full dress, though not always black in colour. On the other hand it is worth a note that the cappa clausa, or close cope, was simply a cope or cape sewn up in front for common outdoor use. "The wearing of this", says Mr. Bishop,^[3] "instead of the cappa scissa, the same cope not sewn up, is again and again enjoined on the clergy by synods and statutes during the late Middle Ages."

Roman Catholic Church[link]

A modern cope, worn with a mitre by the Most Rev. Rogier Joseph Vangheluwe, former Bishop of Bruges.

Under all these different forms the cope has not substantially changed its character or shape. The cope is a vestment for processions worn by all ranks of the clergy when assisting at a liturgical function, but it is never worn by the priest and his sacred ministers in celebrating the Mass. At a Pontifical High Mass the cope was worn by the "assistant priest," a priest who assists the bishop who is the actual celebrant. In the Sarum Rite, the Cope was also prescribed for members of the choir at various times.

It is now the vestment assigned to the celebrant, whether priest or bishop, for almost all functions except the Mass when the chasuble is worn by the celebrant instead. The cope is used, for example, in processions, in the greater blessings and consecrations, at the solemnly celebrated Liturgy of the Hours, in giving Benediction of the Blessed Sacrament, and the celebration of other sacraments outside of Mass. For most of these the celebrant may instead wear simply cassock and surplice or alb, both with the stole, for simpler celebrations. The chasuble, which is properly only worn for Mass, may also be worn during processions and other ceremonies that occur directly before or after Mass, such as the absolutions and burial of the dead, at the Asperges before Mass, and at the blessing and imposition of the ashes on Ash Wednesday, to avoid the need for the celebrant to change vestments.

The Cæremoniale Episcoporum envisages its use by a bishop if presiding at but not celebrating Mass, for the Liturgy of the Hours, for processions, at the special ceremonies on the Feast of the Presentation of the Lord, Lenten gatherings modelled on the "stations" in Rome, Palm Sunday and Corpus Christi. The bishop may use a cope when celebrating outside of Mass the sacraments of baptism, confirmation, matrimony, penance in solemn form, ordination (if not concelebrating), and anointing of the sick. The list in the index of the Cæremoniale Episcoporum continues with several more cases.

As regards liturgical colours, the cope usually follows the color assigned to that day in the liturgical calendar, although white may always be worn for celebrations of a joyful character or before the Blessed Sacrament, and violet may always be worn for celebrations of a penitential character. It may be made of any rich or becoming material, including cloth of gold (which may be used in place of any colour except violet or black). Owing to its ample dimensions and unvarying shape, ancient copes are preserved to us in proportionately greater numbers than other vestments and provide the finest specimens of medieval embroidery we possess. Among these the "Syon Cope" in the Victoria and Albert Museum, London, and the "Ascoli Cope" in the Pinacoteca Civica, Ascoli Piceno, are remarkable as representing the highest excellence of that specially English thirteenth-century embroidery known as the opus anglicanum ('English work'). We are also indebted to the use of copes for some magnificent specimens of the jeweller's craft. The brooch or clasp, meant to fasten the cope in front, and variously called morse, pectoral, bottone, etc., was an object often in the highest degree precious and costly. The work which was the foundation of all the fortunes of Benvenuto Cellini was the magnificent morse which he made for Pope Clement VII. Some admirable examples of these morses still survive.

Papal mantum[link]

The mantum or papal mantle differs little from an ordinary cope except that it is somewhat longer, and is fastened in the front by an elaborate morse. In earlier centuries it was red in colour; red, at the time being the papal colour rather than white. In the eleventh and twelfth centuries the immantatio, or bestowal of the mantum on the newly elected pope, was regarded as specially symbolical of investiture with papal authority: Investio te de papatu romano ut praesis urbi et orbi, "I invest you with the Roman papacy, that you may rule over the city and the world" were the words used in conferring it at the Papal Coronation. In the decade after Vatican II, the use of the mantum nearly fell out of use, but has since been brought back into common use by Pope Benedict XVI.

Cappa magna[link]

The cappa magna (literally, "great cape"), a form of mantle, is a voluminous ecclesiastical vestment with a long train, proper to cardinals, bishops, and certain other honorary prelates. It is however a jurisdictional garment.

The cappa magna is not strictly a liturgical vestment, but only a glorified cappa choralis, or choir cope. That is to say, it is not used when vested as a celebrant at a liturgical service. It is worn in processions or "in choir" (i.e., attending but not celebrating services). Its colour for cardinals is ordinarily red and for bishops violet. Cardinals and papal nuncios are entitled to wear a cappa magna of watered silk.

Franc Cardinal Rode wearing a winter cappa magna with ermine.

The cappa magna is ample in volume and provided with a long train and a disproportionately large hood, the lining of the hood is ermine in winter and silk in summer, and was made in such a way as to completely cover not only the back, but also the breast and shoulders. The hood is functional and in earlier times was often placed on the head and covered with the galero. This used to be the custom when the pope created a new cardinal at a consistory. Nowadays, the hood is normally worn over the head only during penitential rites. Previously, cardinals who were members of specific religious orders would wear a cappa magna in the color of their order. Nowadays, all cardinals wear red.

With the motu proprio Valde solliciti^[4] of 30 November 1952 ordered that the train of the cappa magna should be shortened by about half (from 15 metres to 7).^[5] The 1969 Instruction on the Dress, Titles and Coats-of-arms of Cardinals, Bishops and Lesser Prelates^[6] laid down that:

The cappa magna, always without ermine, is no longer obligatory; it can be used only outside of Rome, in circumstances of very special solemnity. (§ 12)

Since then, the cappa magna is hardly ever used except in celebrations according to the pre-1969 liturgical books, as it was used for the ordination of deacons of the Institute of Christ the King Sovereign Priest in 2009.^[7]

The Latin Patriarch of Jerusalem still uses the ermine-lined winter cappa, because he is bound by the complex and unalterable rules of the status quo, an 1852 Ottoman firman which regulates the delicate relations between the various religious groups that care for the religious sites in the Holy Land. This anomaly is most evident at the Midnight Mass on Christmas Eve in Bethlehem.

Use in the Church of England and Anglican Communion[link]

An Anglican priest wearing a cope over cassock, surplice and stole.

The earliest post-Reformation prayer books of the Church of England contemplated the continued use of the cope, whereas the alb and chasuble were eschewed. In the contemporary Church of England and the Anglican Communion as a whole, the cope is worn by Anglo-Catholics and High Church Anglicans as a non-Eucharistic vestment, in the same manner as that of the Roman Catholic Church. It is also an Anglican tradition for the higher clergy - deans, archdeacons and canons to wear copes on diocesan occasions.

In the Broad Church (rarely in the Low Church), the cope is sometimes worn in lieu of the chasuble at the Eucharist (over either a surplice or an alb) especially by bishops and other prelates. In the Church of England itself, the cope is worn by the Archbishop of Canterbury during the coronation of the Sovereign. Prior to her coronation in 1953, Queen Elizabeth II presented a set of ornate copes to the Canons of Westminster Abbey as a gift.

Use in Lutheran churches[link]

Danish Lutheran bishops wearing a cope over cassock, surplice, ruff and pectoral cross.

The cope is usually worn only for processions and services of the Divine Office (morning and evening prayers) in most Lutheran denominations. In the Evangelical Lutheran Church in America, which is similar to the churches of the Anglican Communion, the cope is usually worn by the bishop when not serving as the presiding minister at Holy Communion. In the Church of Norway and the Danish National Church the cope is reserved for use by bishops. It is infrequently worn by clerics in the Lutheran Church - Missouri Synod or other Lutheran denominations, although its use has increased in recent decades.

Use in universities[link]

As part of academic dress, the University of Cambridge uses a cope known as a cappa clausa which is made of scarlet superfine cloth with the cowl lined and the cape opening edged with white fur and is closed with clasps. This was once the Congregation dress of DDs but has now come to be the Vice-Chancellor's (or their deputies') official congregation dress when conferring degrees. Praelectors presenting candidates for higher doctoral degrees also wear the cope.

The only other place that still use the cope is the University of the South in America where it is also the official dress of the vice-chancellor. The only difference with the Cambridge cope is that the cape hem is also edged in fur.

Historically and artistically significant examples[link]

A cope from the Vestments of the Order of the Golden Fleece in the Secular Treasury of the Hofburg Palace in Vienna.^[8][9]

The Jubilee Cope commissioned for the Bishop of London by St. Paul’s Cathedral in honor of the Silver Jubilee of Queen Elizabeth II.^[10][11]

The Syon Cope.^[12][13]

A medieval English cope in the Vatican collections.^[14]

Cardinal Morton's cope at the Art Institute of Chicago^[15]

Butler-Bowden Cope at the Victoria and Albert Museum.^[16]

The cope from the set of vestments commissioned from Guasparri Di Bartolomeo Papini (1535–1607) for Pope Clement VIII.^[17]

See also[link]

• Ferraiolo
• Mantle (vesture)

Sources and references[link]

• Thurston, Herbert (1908), "Cope", The Catholic Encyclopedia, IV, New York: Robert Appleton Company, http://www.newadvent.org/cathen/04351a.htm, retrieved 2007-07-026 

External links[link]

• The Cappa Magna (the first 3 photos show the Latin Patriarch of Jerusalem in ermine-lined cappa magna)
• Pinacoteca Ascoli Piceno - wikipedia.it Italy Ascoli Cope

 This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). Catholic Encyclopedia. Robert Appleton Company. 

Citizen Cope
Background information
Origin	Memphis, Tennessee, U.S.[1]
Genres	Alternative rock
Occupations	Musician, disc jockey
Instruments	Turntables, guitar, keyboard, drum machine
Years active	1993–present
Labels	DreamWorks Records Arista Records RCA Records
Associated acts	Basehead, Goodie Mob, Dido, Easy Star All-Stars
Website	www.citizencope.com

Clarence Greenwood (stage name Citizen Cope) is an American songwriter and producer. His eclectic mix of blues, laid-back rock, soul, and folk has a large and profoundly dedicated following^{[citation needed]}, built over the past decade of touring due to solid word of mouth.

Citizen Cope’s compositions have been recorded by artists as varied as Carlos Santana, Dido, Pharoahe Monch and Richie Havens. He currently records and produces for his own record label, Rainwater Recordings, which he founded in 2010 after electing to no longer work with major labels. He previously had been signed to Capitol, Arista, DreamWorks and RCA.

Biography[link]

This section of a biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2009)

This article is in a list format that may be better presented using prose. You can help by converting this article to prose, if appropriate. Editing help is available. (November 2009)

Early life[link]

Born in Memphis, Clarence Greenwood spent parts of his childhood in Texas and Mississippi, ultimately ending up in Washington, DC where he was primarily raised.

Recording career[link]

Clarence Greenwood was initially the DJ for Washington DC based hip hop group Basehead. He was signed to Capitol Records in 1997. In 2000, Citizen Cope signed with DreamWorks and released a self-titled album in 2002. Rolling Stone wrote, "...Cope melds hip-hop with folk, soul and blues...and 'feels' this combination deeply....Cope's uncommon chords and harmonies combine delicate dissonance with unexpected flashes of beauty..." And the Washington Post called him the “City’s most soulful export since Marvin Gaye.” The album’s song, “Let The Drummer Kick,” is certified gold. Shortly afterward, Arista Records pursued the songwriter, prompting Cope to buy his way out of his DreamWorks contract. In 2004 he released The Clarence Greenwood Recordings, which he also produced. Upon hearing it, Vibe magazine called it “flawless throughout,” noting that Cope “makes music that feeds your soul…this is one of those CDs you hear at a friend’s house and rush out to buy.” Every Waking Moment followed in 2006 (also self-produced), and debuted at #69 on the Billboard 200 top-selling albums chart. In 2010, Cope decided to found and run his own record label, Rainwater Recordings. The move allowed him to exert full creative control over his music and career, free from the marketing entreaties of the major record labels he previously had been signed to. He released The Rainwater LP that year, producing the entire album. The Rainwater LP was critically acclaimed and newfound fan Ellen DeGeneres invited him to perform “Healing Hands” in April 2010. “Let the Drummer Kick” off his 2002 album Citizen Cope has recently gone RIAA gold. Citizen Cope is currently working on a new album, "One Lovely Day" due out July 17.^[2]

Songwriting and Producing[link]

A critically acclaimed songwriter, Citizen Cope’s work has been recorded by a number of vastly different musical artists, a testament to the indefinable genre he has created. In 2002, Carlos Santana requested Cope’s song, “Sideways,” for his Shaman album. Cope sang on the track and produced it as well. Shaman has sold over 5 million copies worldwide. Sheryl Crow asked to record the song with Citizen Cope in 2010 for her 100 Miles From Memphis album, and invited him to join her in concert on several occasions to perform it, including in front of 27,000 fans at the Crossroads Guitar Festival in Chicago (June 26, 2010). At the same festival, Eric Clapton brought Cope onstage to perform “Hands of the Saints” together. Corey Taylor, frontman for alt-metal band Slipknot, has also recorded a version of the song. In 2008 he wrote and recorded “Burnin’ Love” with Dido for her Safe Trip Home album. That same year, folk legend Richie Havens released his version of Cope’s “Hurricane Waters” and Chicago-based hip-hop artist Rhymefest recorded “Bullet,” featuring Cope. Citizen Cope’s songs have been licensed to appear in numerous films, soundtracks and commercials. His work appears in a number of soundtracks to films including 2006’s Trust the Man (Julianne Moore, Maggie Gyllenhaal, Billy Crudup) and 2008’s Ghost Town (Ricky Gervais), 2006’s Accepted (Jonah Hill, Blake Lively), The Lincoln Lawyer (Matthew McConaughey), and Fracture (Anthony Hopkins). His “Bullet and a Target” appears in 2006’s The Sentinel (Michael Douglas, Kiefer Sutherland), Alpha Dog (Emile Hirsch) as well as in the show Cold Case. Cope’s songs have also been included in television shows Scrubs, multiple episodes of One Tree Hill, multiple episodes of Entourage, So You Think You Can Dance and on the soundtrack to the critically acclaimed television show Smallville. A new song, “One Lovely Day,” appeared in the film Battleship (Liam Neeson, Alexander Skarsgard), released in May 2012.

Touring[link]

Citizen Cope has toured incessantly throughout his career, building a dedicated following that returns to his concerts time and time again. He now headlines tours year-round in not just major markets in the US, but taking note to regularly perform in secondary markets where a great deal of his fan base resides. Cope performs an average of 100 concerts annually at clubs and major festivals alike. In 2002, he opened for Carlos Santana all across Europe. In 2010, he was invited to be a part of Eric Clapton’s U.S. Crossroads Festivals.

Use in other media[link]

	Santana ft. Citizen Cope "Sideways" (2002) noicon 28 second sample from Clarence Greenwood's "Sideways" (Santana ft. Citizen Cope from Shaman).
Problems listening to this file? See media help.

• "Sideways"
  • Featured in the film "The Fountain" with Hugh Jackman and Rachel Weisz
  • Featured in the episode "My Jiggly Ball" of the television series Scrubs
  • Featured in 2006's Trust the Man
  • Featured in 2008's Ghost Town
  • In the television series, One Tree Hill
  • Featured in 2009's "So You Think You Can Dance"

• "Holdin' On"
  • Played during a scene in the 2005 film Prime.

• "D'Artagnan's Theme"
  • Featured in 2010 Italian Film "Baciami Ancora" directed by Gabriele Muccino.

• "Deep"
  • Featured in episode of "One Tree Hill".

• "If There's Love"
  • Featured in 2002 episode of TV series "Smallville".

• "Left for Dead"
  • Featured in 2007 TV episode of "Criminal Minds".

• "Brother Lee"
  • Featured in a commercial for ClickNET, a Romanian ISP.
  • Plays in trailer for the 2008 film What Just Happened?

• "Nite Becomes Day"
  • Featured in the movie Fracture.
  • Featured in festival film 5 Up 5 Down.
  • Featured in TV series "Starved."

• "Pablo Picasso"
  • Featured in 2006 TV series "Six Degrees."
  • Featured in TV series "Starved."
  • Featured in TV series "Related".

• "Penitentiary"
  • Played in the Series Premiere in 2005 of the CBS TV Series Criminal Minds

• "Son's Gonna Rise"
  • Featured in Pontiac commercial.
  • Featured in AXN Portugal commercial.
  • In the television series, One Tree Hill on May 10, 2005.
  • In a trailer for television series Sons of Anarchy in July 2009.
  • In an HBO/Cinemax commercial.

• "My Way Home"
  • Featured in 2005 TV series "Summerland".
  • A scene in the 2006 film Trust the Man.
  • Featured in festival film 5 Up 5 Down.

• "Bullet and a Target":
  • An episode of HBO's hit series Entourage ( Season 2, "Blue Balls Lagoon")
  • Featured in 2005 Film "The Hit List".
  • An episode of Showtime's series Sleeper Cell (Season 1, "Target")
  • The end credits of the 2006 film The Sentinel.
  • In a 2006 episode of the CBS TV Series Cold Case.
  • A scene in the 2006 film Trust the Man.
  • Featured in 2006 TV series "Starved.
  • A scene in the 2007 film Alpha Dog.
  • Featured in 2007 promo commercial for 24/Degree".
  • In the end credits of the 2006 film 16 Blocks.
  • In the soundtrack of Seasons, a mountain biking film by The Collective, during a section by rider Andrew Shandro.
  • In the soundtrack of The Tangerine Dream, a 16 mm ski film by Teton Gravity Research.
  • In the soundtrack of The Hit List, a ski film by Matchstick Productions.
  • Featured on rapper Rhymefest's album Blue Collar
  • Covered by rap Australian group Bliss N Eso on the Album Flying Colours
  • Featured in the 2008 snowboarding movie Church!
  • In the movie "Frothing", when Joel Parkinson surf
  • Featured in 2009 HBO special Pacquaio/Cotto 24/7".

• "Let the Drummer Kick"

• • in the final scene of "Entrance Wound", an episode from the CBS TV series CSI: Miami
  • In the films Accepted and Coach Carter.
  • Featured in 2003 Episode of "CSI: Miami".
  • In a 2005 episode of the CBS TV Series Cold Case.
  • On the hit Fox show So You Think You Can Dance in a contemporary dance routine by Neil Haskell and Lauren Gottlieb in season three. The next day, the track reached #50 on the iTunes Top 100 Singles Chart. It was also used for a solo routine by Jeanine Mason in season five.
  • The HBO series Entourage during the fourth season finale "The Cannes Kids."
  • Featured on the album Radiodread by Easy Star All-Stars with his cover of Radiohead's "Karma Police".
  • Featured in a 2008 Acura TSX commercial.
  • Featured in an episode of NBC's drama series "Kingpin"
  • In the soundtrack of Such is Life, a skiing film by Rage Films.

• "Awe"
  • Featured in a 2007 episode of HBO's Entourage during the second part of the third season's (3B) episode "The Prince's Bride".

• "Left For Dead"
  • Featured in Season 2 episode 22 (legacy) of Criminal Minds.

• "Hurricane Waters"
  • Featured in the documentary Trouble the Water.
  • Featured in 2005 festival film Midsummer Dream.

• "Back Together"
  • Featured in 2006 episode of "One Tree Hill.

• "Healing Hands"
  • Feature in 2010 episode of "3 op Reis (Dutch Travel Program)."

• • 107 Degrees*
  • Feature in 2011 The Lincoln Lawyer.

Discography[link]

• Cope Citizen (1992) (500 copies)
• Citizen Cope (2002)
• The Clarence Greenwood Recordings (2004)
• Every Waking Moment (2006) #69 U.S.
• The Rainwater LP (2010) #111 U.S., #10 U.S. Independent Albums
• One Lovely Day (Due for release July 17, 2012)

Other contributions[link]

• Live at the World Café: Vol. 15 - Handcrafted (2002, World Café) - "If There's Love"
• Vocals on "Karma Police" from the Easy Star All Stars album "Radiodread" a complete reggae/dub cover of Radiohead's "OK Computer".
• "Way Down In A Hole" - Tom Waits cover
• Guest vocals on "The Grand Illusion (Circa 1973)" - Pharoahe Monch
• Turntablism in "Let The Drummer Kick" by DJ JVC

References[link]

External links[link]

Template:Comvhgjvjmons category

• Official website
• Citizen Cope on Myspace
• AOL Music: Citizen Cope performs Bullet with rapper Rhymefest
• Citizen Cope chyujrrrsgjgffstsdfjhvollection at the Internet Archive's live music archive
• Citizen Cope Artist Station: Citizen Cope on Slacker.com

Categoryhghjlooo jbj:American singer-songwriters you know!