- published: 13 Apr 2007
- views: 550377
- author: dancehallreggae
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| RADIO STATION | GENRE | LOCATION |
|---|---|---|
| France Culture | Varied | France |
| Goom Radio: Culture 90, The Party | 90s | France |
| GCN Culture Shocks (Barry Lynn) | Talk | USA |
| Radio Liban Culture | World Middle East | Lebanon |
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RELEASE
ALBUMS
- Two Sevens Clash / Prophesy Reveal (feat. Bo Jangles)
- I'm Not Ashamed (feat. I-Roy)
- See Them a Come / Natty Pass Him GCE (feat. Shorty the President)
- Natty Dread Taking Over (feat. I-Roy)
- Baldhead Bridge (feat. Ranking Joy)
- Jah Love / Selassie I Cup (feat. Bo Jangles)
- Zion Gate / Forty Leg Dread (feat. Prince Mohammed)
- Disco Train (feat. Nicodemus)
- Send Some Rain (feat. Clint Eastwood)
- Burning All Illusion / The Same Knife (feat. Prince Far I)
- Innocent Blood / Rock It Up (feat. U Brown)
- Hand 'A' Bowl
- Good Things
- Love Music (extended version)
- Psalm of Bob Marley
- Cousin Rude Boy
- Youthman Love (extended version)
- Righteous Loving
- Chanting On
- Rude Boy Dub
- Chant a Dub
- A Dub of Bob Marley
- Good Good Dub
- I'm Alone in the Wilderness
- Pirate Days
- Two Sevens Clash
- Calling Rastafari
- I'm Not Ashamed
- Get Ready to Ride the Lion to Zion
- Black Starliner Must Come
- Jah Pretty Face
- See Them a Come
- Natty Dread Taking Over
- See Dem a Come (12" mix feat. Prince Weedy)
- See Dem Dub
- Natty Dread Taking Over (12" mix feat. I Roy)
- I'm Not Ashamed (12" mix feat. I Roy)
- Not Ashamed Dub
- Slice of Mount Zion
- Chant Down Babylon
- Outcast
- Old Tattoo
- Payday
- Capture Rasta
- Praise Him
- One Stone
- Hand a Bowl
- Share the Riches
- This Way
- Legislation
- Writing on the Wall
- Chanting On
- Addis Ababa
- Psalm of Bob Marley
- Satan Company
- Election
- The International Herb
- Jah Rastafari
- It a Guh Round
- Rally Around Jahoviah's Throne
- The Land We Belong
- Ethiopians Waan Guh Home
- Chiney Man
- I Tried
- The Shepherd
- Too Long in Slavery
- They Never Love in This Time
- Innocent Blood
- Cumbolo
- Poor Jah People
- Natty Never Get Weary
- Natty Dread Naw Run
- Down in Jamaica
- This Train
- Payday
- Mind Who You Beg for Help
- Behold
- Iron Sharpon Iron
- Stop the Fussing & Fighting
- Holy Mt. Zion
- Love Shine Bright
- Tell Me Where You Get It
- Vacancy
- Work on Natty
- Free Again
- Play Skillfully
- Payday
- Legalization
- Share the Riches
- Hav E Hav E
- Do Something for Yourself
- Election
- Where the Tree Falls
- Good Times
- War in Sierra Leone
- Cape Coast to Ja
- Chicken Titty
- The Boss
- Born of You
- Apologies
- Not As Mine
- Another Path
- Unconditional Love
- Twenty Four
- Silence Surrounds
- Deflect / One And Only
- Still Crossed
- Trust Me
- Riverside
- Outcast
- Writing On The Wall
- No Night
- Walk With Jah
- Chant Down Babylon
- Dirty Tricks
- Black Starliner
- Jah Pretty Face
- Reasoning
- Babylon A Weep
- Jah Pretty Face (Niahbingi mix)
- Dubbing in the Capitol
- The Eye of the Needle
- Stoned Again
- We Need Answers
- And the River Ran Red
- Determined
- Lazybones
- Firm Up Yourself
- Mark of the Beast
- Can't Get We Out
- It's About Time
- One Track Mind
- Addis Ababa
- A Slice of Mount Zion
- One Stone
- Tribal War
- Blood a Go Run
- I Tried
- Mr. Sluggard
- Get Them Soft
- Satan Company
- Down in Babylon
- Rastaman a Come
- Girls Girls Girls
- Peace and Love
- Capture Rasta
- Old Tatto
- This Way
- Step Along
- Five To One Strip Me
- Praise Him
- Mr. Music
- Soon Come
- Pure War
- Trod On
- Weeping Eyes
- Black Rose
- Blood in a Babylon
- Fussing and Fighting (take Two)
- No Sin
- Jah Alone a Christian
- Ticklish Ghetto
- Children of Israel
- Still Rest on My Heart
- No Sin (feat. Count Ossie & The Mystic Revelation of Rastafari)
- Weeping Eyes (feat. Count Ossie & The Mystic Revelation of Rastafari)
- Elijah
- Lion Rock
- We Deh Yah Still
- Forward to Africa
- Hand and Bowl
- Good Things
- Love Music
- Chanting On
- Cousin Rude Boy
- Youthman Move
- Righteous Living
- The Rastaman
- Babylon Big Dog
- Jah Alone a Christian
- Armagiddion War
- Disobedient Children
- Psalms of Bob Marley
- Marcus
- Why Worry About Them
- Marriage in Canaan
- Wings of a Dove
- Freedom Time
- Rub-A-Dub Style
- Pass On
- Campyard
- Too Much Pressure
- English Fireplace
- Be Honest
- Babylon Can't Study
- Life
- Sufferer
- Armageddon
- Still Rest My Heart
- This Time
- Selector
- No War
- Mr. Music
- Behold
- Poor Jah People
- Stop the Fussing and Fighting
- Cumbolo
- Work on Natty
- Tell Me Where You Get It
- Iron Sharpening Iron
- The International Herb
- Too Long in Slavery
- The Shepherd
- Holy Mount Zion
- Natty Never Get Weary
- Citizen as a Peaceful Dub
- Peace, Love & Harmony
- Revolution Time
- Crack In New York
- Don't Cry, Sufferer
- Jah Rastafari
- How Did I Stray
- Frying Pan
- Bang Belly Baby
- Want Go See
- Never Gonna Get Away
- Money Girl
- Crisis
- I'm Worried
- One Grandson
- Love Yu Neighbour
- One A We
- Thief Thief
- Fight For Yu Right
- Christian
- Dance Hall Style
- The Rastaman
- Babylon's Big Dog
- Jah Alone a Christian
- Armagiddion War
- Disobedient Children
- A Double Tribute to the O. M.
- Elijah
- Lion Rock
- We Deh Yah Still
- Forward to Africa
- Innocent Blood
- Iniquity Worker
- Iron Sharpenth Iron
- Weaping and Wailing
- Callie Weed Song
- More Vacancy
- Play Skillfully
- White Belly Rats
- They Never Love In This Time
- Innocent Blood
- Natty Dread Naw Run
- Poor Jah People
- Down In Jamaica
- Pay Day
- Cumbolo
- Mind Who You Beg For Help
- This Train
- Natty Never Get Weary
- Love Shines Brighter
- This Train
- Dog Ago Nyam Dog
- Tell Me Where You Get It
- More Vacancy
- Iron Sharpen Iron
- Garvey Rock
- Innocent Blood
- Behold The Land
- Behold I Come
- Zion Gate
- So Long Babylon A Fool 1 (And 1)
- Them A Payaka
- Baldhead Bridge
- Love Shines Brighter
- Jah Love
- How Can I Leave Jah
- She Want Money
- Wah Gwan
- Introduction
- Love Shines Bright
- Slice of Mt. Zion
- Tribal War
- See Dem a Come
- Jah Rastafari
- Christopher Columbus
- Zion Gate
- Natty Takin' Over
- Land Where We Belong
- One Stone
- Down in Jamaica
- International Herb
- I'm Not Ashamed
- Two Sevens Clash
- Never Get Weary
- So Long (Rastafari Calling)
- Conquering Lion of Judah
- Dog Eat Dub
- Dub Shine Bright
- Knotty Dub
- Skillful Dub
- Mosiah Rockers
- Iron Sharp
- Careful Dub
- Mindful Dub
- Dub Weeping
- Apply Within
- Freedom Jam
- Dub Pyaka
- Jah Peace
- Ticklish Dub
- Hola Mt Zion
- Sweet Freedom
- Time Is Getting Harder
- World Peace
- Coming Down
- Long Day Bud A Bowl
- Gun Put Down
- Never Get Weary
- Dog A Go Nyam Dog
- No Segregation
- Walk In Jah Light
- Selection Train
- Babylon Falling
- Holy Mount Zion
- One Stone
- Youth Man Move
- Addis Ababa
- Good Things
- Lazy Bones
- Chanting On
- Mark of the Beast
- I Tried
- Psalm of Bob Marley
- Stoned Again
- Slice of Mount Zion
- Righteous Dub
- Why Am I a Rastaman?
- Revolution
- Going Home
- Rolling Stone
- Humble African
- Where Is the Love
- Poverty
- Too Much Ginals
- Never Give Up
- Weeping
- It's Hard to Live
- Fishes to Fry
- Home Grown
- Poor People Hungry
- Nah Stay Inna Babylon
Send this Playlist by SMS
culture-addis ababa
- Order: Reorder
- Duration: 3:26
- Updated: 17 Aug 2013
no comment.
http://wn.com/culture-addis_ababa
Culture - International Herb (Live at Reggae On The River)
- Order: Reorder
- Duration: 5:04
- Updated: 16 Aug 2013
Culture / International Herb Live at Reggae On The River 2004.
http://wn.com/Culture_International_Herb_Live_at_Reggae_On_The_River
Culture / International Herb Live at Reggae On The River 2004.
- published: 20 Jan 2010
- views: 338894
- author: dubmomonga
Joseph Hill ( culture) - Mr Music
- Order: Reorder
- Duration: 5:20
- Updated: 10 Aug 2013
Nice irie reggae song from Joseph Hill joseph hill culture.
http://wn.com/Joseph_Hill_culture_Mr_Music
Nice irie reggae song from Joseph Hill joseph hill culture.
- published: 22 Aug 2008
- views: 258461
- author: Robbert Kamps
Culture - why am i a rastaman?
- Order: Reorder
- Duration: 4:25
- Updated: 18 Aug 2013
www.facebook.com/RossAndReggae11 www.myspace.com/rossandreggae11 la mejor cancion del grupo culture. mis hermanos no tengo la traduccion completa pero estoy ...
http://wn.com/Culture_why_am_i_a_rastaman?
www.facebook.com/RossAndReggae11 www.myspace.com/rossandreggae11 la mejor cancion del grupo culture. mis hermanos no tengo la traduccion completa pero estoy ...
- published: 23 Mar 2009
- views: 1371023
- author: rossandreggae11
2012 REGGAE ROOTS CULTURE + LOVERS ROCK MIX CD
- Order: Reorder
- Duration: 67:44
- Updated: 18 Aug 2013
DJ SIMON VINYL JUNKIE VOL 434 (WAVE): http://soundcloud.com/simonvinyl/simon-vinyl-junkie-vol-434 http://www.reverbnation.com/djsimonvinyljunkie.
http://wn.com/2012_REGGAE_ROOTS_CULTURE_+_LOVERS_ROCK_MIX_CD
DJ SIMON VINYL JUNKIE VOL 434 (WAVE): http://soundcloud.com/simonvinyl/simon-vinyl-junkie-vol-434 http://www.reverbnation.com/djsimonvinyljunkie.
- published: 19 Jan 2012
- views: 1935950
- author: Dj Simon
Culture in Decline | Episode #4 "War On Nature" by Peter Joseph
- Order: Reorder
- Duration: 29:24
- Updated: 19 Aug 2013
Please help support this Free Media Project: http://www.cultureindecline.com/support.html Culture in Decline | Episode #4 "War On Nature" by Peter Joseph - M...
http://wn.com/Culture_in_Decline_|_Episode_4_War_On_Nature_by_Peter_Joseph
Please help support this Free Media Project: http://www.cultureindecline.com/support.html Culture in Decline | Episode #4 "War On Nature" by Peter Joseph - M...
- published: 02 Mar 2013
- views: 711400
- author: Culture In Decline
Culture - Payday
- Order: Reorder
- Duration: 5:01
- Updated: 18 Aug 2013
Album: Culture - Payday Record date: 2000 Style: Roots Reggae Producer: Clive Hunt & Joseph Hill.
http://wn.com/Culture_Payday
Album: Culture - Payday Record date: 2000 Style: Roots Reggae Producer: Clive Hunt & Joseph Hill.
- published: 03 Feb 2010
- views: 108744
- author: StrictlyRasProphecy
Culture - Two Seven Clash - Two Sevens Clash
- Order: Reorder
- Duration: 3:30
- Updated: 16 Aug 2013
Culture - Two Seven Clash - Two Sevens Clash.
http://wn.com/Culture_Two_Seven_Clash_Two_Sevens_Clash
Culture - Two Seven Clash - Two Sevens Clash.
- published: 23 Jul 2008
- views: 149712
- author: bloodklaat75
CULTURE - International Herb
- Order: Reorder
- Duration: 5:15
- Updated: 16 Aug 2013
in memory of Joseph Hill I-RIE! live @ Reggae on the River 2005.
http://wn.com/CULTURE_International_Herb
in memory of Joseph Hill I-RIE! live @ Reggae on the River 2005.
- published: 18 Nov 2006
- views: 683091
- author: Tu Mag
Culture - Lion Rock - Lion Rock
- Order: Reorder
- Duration: 4:23
- Updated: 16 Aug 2013
Culture - Lion Rock - Lion Rock.
http://wn.com/Culture_Lion_Rock_Lion_Rock
Pure Bathing Culture - Pendulum
- Order: Reorder
- Duration: 3:58
- Updated: 14 Aug 2013
From the album, Moon Tides, available August 19 (UK)/August 20 (US). www.purebathingculture.com www.facebook.com/purebathingculture www.twitter.com/PureBathi...
http://wn.com/Pure_Bathing_Culture_Pendulum
From the album, Moon Tides, available August 19 (UK)/August 20 (US). www.purebathingculture.com www.facebook.com/purebathingculture www.twitter.com/PureBathi...
- published: 20 May 2013
- views: 19866
- author: PureBathingCult
What is Culture?
- Order: Reorder
- Duration: 1:17
- Updated: 16 Aug 2013
http://exchanges.state.gov/non-us/connect and http://exchanges.state.gov/us/connect This video illustrates a conversation that took place on the U.S. State D...
http://wn.com/What_is_Culture?
http://exchanges.state.gov/non-us/connect and http://exchanges.state.gov/us/connect This video illustrates a conversation that took place on the U.S. State D...
- published: 13 Feb 2011
- views: 127952
- author: exchangesvideo
CULTURE - JAH Rastafari
- Order: Reorder
- Duration: 4:05
- Updated: 08 Aug 2013
CULTURE - JAH Rastafari.
http://wn.com/CULTURE_JAH_Rastafari
Point Culture sur l'Astronomie
- Order: Reorder
- Duration: 21:22
- Updated: 16 Aug 2013
Avoir la tête dans les étoiles en gardant les pieds sur Terre, c'est possible ^^ Venez découvrir tous les secrets des planètes, des satellites, tous les SECR...
http://wn.com/Point_Culture_sur_l'Astronomie
Avoir la tête dans les étoiles en gardant les pieds sur Terre, c'est possible ^^ Venez découvrir tous les secrets des planètes, des satellites, tous les SECR...
- published: 16 Sep 2012
- views: 1065883
- author: LinksTheSun
Pure Bathing Culture: Dream the Dare
- Order: Reorder
- Duration: 4:16
- Updated: 23 Jul 2013
From the album, Moon Tides, available August 19 (UK)/August 20 (US).
www.purebathingculture.com
www.facebook.com/purebathingculture
www.twitter.com/PureBathingCult
www.purebathingculture.tumblr.com
http://wn.com/Pure_Bathing_Culture_Dream_the_Dare
From the album, Moon Tides, available August 19 (UK)/August 20 (US).
www.purebathingculture.com
www.facebook.com/purebathingculture
www.twitter.com/PureBathingCult
www.purebathingculture.tumblr.com
- published: 23 Jul 2013
- views: 1678
HSBC Funny Culture ads ( Subway, Bart, Golf )
- Order: Reorder
- Duration: 3:06
- Updated: 26 Jul 2013
hsbc culture funny ads.
http://wn.com/HSBC_Funny_Culture_ads_Subway,_Bart,_Golf_
![What is Wrong With Our Culture [Alan Watts]](http://web.archive.org./web/20131019050026im_/http://i1.ytimg.com/vi/YMDu3JdQ8Ow/default.jpg "What is Wrong With Our Culture [Alan Watts]")
What is Wrong With Our Culture [Alan Watts]
- Order: Reorder
- Duration: 5:07
- Updated: 29 Aug 2013
Speech: Alan Watts - What is Wrong With Our Culture (AKA: Sex The Pleasurable Punishment)
www.alanwatts.org
Music: Ash Ra Tempel - Reunion (Friendship)
http://www.ashra.com
Footage:
-Baraka (1992)
-Samsara (2011)
http://barakasamsara.com/
-Ozora Festival
https://www.youtube.com/watch?v=OalZGcJs4Q0
-How TV Ruined Your Life
All of the above are very much recommended to all of you who enjoyed the video.
***************************
Omega Point Facebook page:
http://www.facebook.com/pages/Omega-Point/425751410807756
***************************
I have spent a great deal of time making these videos for this channel, and I wish to continue what I'm doing, as I'm getting better at it.
If you think what I'm doing is worth it, please support me, either by sharing the videos and joining the OmegaPoint Facebook page and/or by donating if you can (There is a PayPal donation button on my channel).
Thank you,
Omid
http://wn.com/What_is_Wrong_With_Our_Culture_Alan_Watts_
Speech: Alan Watts - What is Wrong With Our Culture (AKA: Sex The Pleasurable Punishment)
www.alanwatts.org
Music: Ash Ra Tempel - Reunion (Friendship)
http://www.ashra.com
Footage:
-Baraka (1992)
-Samsara (2011)
http://barakasamsara.com/
-Ozora Festival
https://www.youtube.com/watch?v=OalZGcJs4Q0
-How TV Ruined Your Life
All of the above are very much recommended to all of you who enjoyed the video.
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Omid
- published: 29 Aug 2013
- views: 21271
Point Culture sur les Dinosaures
- Order: Reorder
- Duration: 23:15
- Updated: 18 Aug 2013
Un Point Culture sur un sujet passionnant mais sans cesse en expansion : les dinosaures. Nous sommes dans une période où les découvertes sur les dinosaures s...
http://wn.com/Point_Culture_sur_les_Dinosaures
Un Point Culture sur un sujet passionnant mais sans cesse en expansion : les dinosaures. Nous sommes dans une période où les découvertes sur les dinosaures s...
- published: 22 Feb 2013
- views: 820476
- author: LinksTheSun
Point Culture sur la Peur
- Order: Reorder
- Duration: 21:45
- Updated: 16 Aug 2013
Jack l'Eventreur, films d'horreur, fantômes... et si on faisait un petit point sur la peur ? Si cette vidéo vous a plu et que vous souhaitez suivre mes créat...
http://wn.com/Point_Culture_sur_la_Peur
Jack l'Eventreur, films d'horreur, fantômes... et si on faisait un petit point sur la peur ? Si cette vidéo vous a plu et que vous souhaitez suivre mes créat...
- published: 22 Jun 2013
- views: 711157
- author: LinksTheSun
Madeon - Pop Culture (live mashup)
- Order: Reorder
- Duration: 3:26
- Updated: 20 Aug 2013
This is a little idea i've been playing around with to implement in my set, hope you like it. Tracklist Alphabeat - Boyfriend Alphabeat - Fascination Bag Rai...
http://wn.com/Madeon_Pop_Culture_live_mashup
This is a little idea i've been playing around with to implement in my set, hope you like it. Tracklist Alphabeat - Boyfriend Alphabeat - Fascination Bag Rai...
- published: 11 Jul 2011
- views: 20123014
- author: itsmadeon
Culture Shock Dub ft Lomaticc WDYK
- Order: Reorder
- Duration: 2:43
- Updated: 19 Aug 2013
747 Records presents the new DUB! DOWNLOAD exclusively at http://www.desidrop.com/ Culture Shock ft Lomaticc - When Did You Know Dont' forget to click the te...
http://wn.com/Culture_Shock_Dub_ft_Lomaticc_WDYK
747 Records presents the new DUB! DOWNLOAD exclusively at http://www.desidrop.com/ Culture Shock ft Lomaticc - When Did You Know Dont' forget to click the te...
- published: 13 Aug 2013
- views: 12438
- author: CULTURESHOCKOFFICIAL
Point Culture sur les Fantômes
- Order: Reorder
- Duration: 24:30
- Updated: 15 Aug 2013
BOUH ! T'as eu peur hein ? Non ? C'est normal, par écrit, ça marche pas... mais par oral, j'arriverai à t'expliquer ce qui fait peur chez les fantômes. Si ce...
http://wn.com/Point_Culture_sur_les_Fantômes
BOUH ! T'as eu peur hein ? Non ? C'est normal, par écrit, ça marche pas... mais par oral, j'arriverai à t'expliquer ce qui fait peur chez les fantômes. Si ce...
- published: 30 Jan 2013
- views: 1051798
- author: LinksTheSun
Plant Tissue Culture: Micropropagation
- Order: Reorder
- Duration: 7:49
- Updated: 15 Aug 2013
A Cell Tissue Culture assignment done by me and my group. Please comment and give us a thumb-up rating for restless days and sleepless nights.
http://wn.com/Plant_Tissue_Culture_Micropropagation
A Cell Tissue Culture assignment done by me and my group. Please comment and give us a thumb-up rating for restless days and sleepless nights.
- published: 31 Mar 2013
- views: 2514
- author: Candistic
photo: AP / Pablo Martinez Monsivais
17 Oct 2013
WASHINGTON. The US Congress on Wednesday approved an 11th-hour deal to end a partial government shutdown and pull the world's biggest economy back from the brink of a historic debt default that could have threatened financial calamity ... The White House budget office told hundreds of thousands of federal workers, the bulk of whom had been idle for the past 16 days, to be ready to return to work on Thursday ... POLITICAL DYSFUNCTION ... ....(size: 7.0Kb)
photo: White House / Pete Souza
18 Oct 2013
WASHINGTON (AP) — Regrouping after a feud with Congress stalled his agenda, President Barack Obama is laying down a three-item to-do list for Congress that seems meager when compared with the bold, progressive agenda he envisioned at the start of his second term ... "Those are three specific things that would make a huge difference in our economy right now," Obama said ... "There are a lot of hard feelings." ... "We hope it is," Carney said ... ___....(size: 5.7Kb)
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Oct. 24: Black masculinity, gender, popular culture to be explored in free lecture (Washington State University)
noodls19 Oct 2013
- Race, popular culture and masculinity are the topics of a free, public presentation at 5 p.m ... It explores the cultural meaning and significance of Jay-Z, Luther Vandross, Barack Obama and R Kelley ... The talk will help attendees better "interpret images and identities and engage popular culture critically," Leonard said. Neal is a professor of black popular culture at Duke University, where he won the 2010 Robert B....(size: 2.3Kb)
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The Times of India
19 Oct 2013
There was no doubt in my mind that I wanted to be a bookseller. That, too, in Lucknow. I had returned to India in the summer of 1947, just before Partition ... Kind people helped me ... Lucknow had always been a refined, cultured city in the past ... But the cultured past has given the city a broadmindedness as far as writings and books in English are concerned ... It has played a role in keeping some of Lucknow's fabled culture and tradition alive ... ....(size: 2.7Kb)
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Segura Arts Studio at Notre Dame Center for Arts and Culture produces first print (University of Notre Dame)
noodls19 Oct 2013
Bernardi was the first artist to visit the Segura Arts Studio since the University purchased the studio and moved it from Arizona, where Joe Segura started it 30 years ago, to the Notre Dame Center for Arts and Culture on South Bend's West Side ... "The studio is focused on producing works of art that are creatively significant - works that are both culturally important, and have value to collectors," said Joe Segura....(size: 5.4Kb)
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The Times of India
19 Oct 2013
Lucknow is an incredible city, no doubt, but now it has a queer odd arrangement of buildings wherein the new and tall ones are pushing hard to squeeze into spaces sheltering old heritage buildings and monuments ... Though considered to be laidback, Lucknow still had the merits of providing needful affordable accommodation and modern amenities to its citizens in an atmosphere of culture (tehzeeb), peace and tranquility ... ....(size: 6.1Kb)
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LA Weekly
19 Oct 2013
Photo by Colin Young-Wolff. This week Los Angelenos are in a sharing mood -- everyone from writers to reverends to the mayor Eric Garcetti has a story to tell. The city is featuring a wide array of media launches and discussions to sharpen the mind and feed the soul (or stomach), all at a reasonable price ... Or for a more hedonistic shot of culture, celebrate German tradition with Link N Hop's twist on Oktoberfest ... Or add some bite ... --R.K....(size: 7.0Kb)
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The Irish Times
19 Oct 2013
Over the centuries there have been important and original Irish contributions to the staging of Shakespeare, from Edmund Malone’s foundation of serious Shakespeare scholarship to Charles Macklin’s revolutionary interpretation of Shylock ... “Version”, indeed, is the wrong word, for this is a boldly daring act of invention, the creation of a wholly new piece of Shakespearean theatre. The poem has a somewhat odd history ... It worked, too ... ... ... ....(size: 2.8Kb)
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Xinhua
19 Oct 2013
Yu Qiuyu, a well-known Chinese writer and cultural scholar, voiced the point of view while delivering a lecture entitled " Chinese Cultural Heritage in Global Setting" at the UN headquarters in New York Friday ... as to better communicate with people of other cultures in the world....(size: 1.4Kb)
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The Wichita Eagle
19 Oct 2013
NEW YORK — Talk about an unlikely recipe for success — a cable network dedicated to... food?. It may not seem even a little preposterous today, but when Food Network launched 20 years ago America was sitting at a very different dinner table. After all, this was before we'd learned to fetishize cupcakes, before Instagram made our every mouthful a shared experience, before vegetables had cult followings ... The gamble paid off ... ....(size: 5.6Kb)
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Canada Newswire
19 Oct 2013
"The Grand Theatre is a dynamic player in our community's cultural life," said Ms ... "Our Government is proud to invest in vital and vibrant cultural spaces," said Minister Glover. "Investments like this one in cultural infrastructure benefit the economy and enhance the cultural profile of our communities." ... "The Canada Cultural Spaces Fund is integral to the fund raising initiatives of not-for-profit arts organizations....(size: 2.8Kb)
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Pittsburgh Post-Gazette
19 Oct 2013
Sunday, the Pittsburgh Cultural Trust said on Friday ... The artist always intended for it to be a temporary installation, and the limited engagement means interest in the bird will not fade, said Paul Organisak, vice president of programming for the Pittsburgh Cultural Trust ... The Cultural Trust has sold 30,000 pieces of merchandise....(size: 4.2Kb)
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Huffington Post
19 Oct 2013
Our Hispanic heritage is a cultural pyramid of sorts, encompassing a unique blend of Spanish/European and native beliefs, mores, and customs ... For many first-generation Hispanics in the U.S., the culture, cuisine, and customs of their homeland continue to dominate ... To the father, he might not live up to the macho Hispanic male ideal, and might be seen as a setback in a culture that values male offspring....(size: 5.5Kb)
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The Telegraph India
19 Oct 2013
An initiative of Tribal Cultural Society, Tata Steel, and Jharkhand Tribal Foundation, a social group comprising staff of XLRI, project Akansha offers free education to children belonging to primitive tribal groups ... While Tribal Cultural Society selects the beneficiaries, Jharkhand Tribal Foundation pitches in with funds ... part in cultural programmes....(size: 2.6Kb)
This article is about Culture as used in the social sciences and humanities. For uses in the natural sciences, see Cell culture and Tissue culture. For other uses, see Culture (disambiguation).
When Culture (Latin: cultura, lit. "cultivation")[1] first began to take its current usage by Europeans in eighteenth- and nineteenth-century (having had earlier antecedents elsewhere), it connoted a process of cultivation or improvement, as in agriculture or horticulture. In the nineteenth century, it came to refer first to the betterment or refinement of the individual, especially through education, and then to the fulfillment of national aspirations or ideals. In the mid-nineteenth century, some scientists used the term "culture" to refer to a universal human capacity. For the German nonpositivist sociologist Georg Simmel, culture referred to "the cultivation of individuals through the agency of external forms which have been objectified in the course of history".[2]
In the twentieth century, "culture" emerged as a concept central to anthropology, encompassing all human phenomena that are not purely results of human genetics. Specifically, the term "culture" in American anthropology had two meanings: (1) the evolved human capacity to classify and represent experiences with symbols, and to act imaginatively and creatively; and (2) the distinct ways that people living in different parts of the world classified and represented their experiences, and acted creatively.
A distinction is current between the physical artifacts created by a society, its so-called material culture and everything else[3], the intangibles such as language, customs, etc. that are the main referent of the term "culture".
Contents
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Etymology[link]
The etymology of the modern term "culture" has a classical origin. In English, the word "culture" is based on a term used by Cicero in his Tusculan Disputations, where he wrote of a cultivation of the soul or "cultura animi", thereby using an agricultural metaphor to describe the development of a philosophical soul, which was understood teleologically as the one natural highest possible ideal for human development. Samuel Pufendorf took over this metaphor in a modern context, meaning something similar, but no longer assuming that philosophy is man's natural perfection. His use, and that of many writers after him "refers to all the ways in which human beings overcome their original barbarism, and through artifice, become fully human".[4]
As described by Velkley[4]:
The term "culture," which originally meant the cultivation of the soul or mind, acquires most of its later modern meanings in the writings of the eighteenth-century German thinkers, who on various levels developing Rousseau's criticism of modern liberalism and Enlightenment. Thus a contrast between "culture" and "civilization" is usually implied in these authors, even when not expressed as such. Two primary meanings of culture emerge from this period: culture as the folk-spirit having a unique identity, and culture as cultivation of inwardness or free individuality. The first meaning is predominant in our current use of the term "culture," although the second still plays a large role in what we think culture should achieve, namely the full "expression" of the unique of "authentic" self.
Early modern discourses[link]
German Romanticism[link]
The German philosopher Immanuel Kant (1724–1804) formulated an individualist definition of "enlightenment" similar to the concept of bildung: "Enlightenment is man's emergence from his self-incurred immaturity."[5] He argued that this immaturity comes not from a lack of understanding, but from a lack of courage to think independently. Against this intellectual cowardice, Kant urged: Sapere aude, "Dare to be wise!" In reaction to Kant, German scholars such as Johann Gottfried Herder (1744–1803) argued that human creativity, which necessarily takes unpredictable and highly diverse forms, is as important as human rationality. Moreover, Herder proposed a collective form of bildung: "For Herder, Bildung was the totality of experiences that provide a coherent identity, and sense of common destiny, to a people."[6]
In 1795, the great linguist and philosopher Wilhelm von Humboldt (1767–1835) called for an anthropology that would synthesize Kant's and Herder's interests. During the Romantic era, scholars in Germany, especially those concerned with nationalist movements—such as the nationalist struggle to create a "Germany" out of diverse principalities, and the nationalist struggles by ethnic minorities against the Austro-Hungarian Empire—developed a more inclusive notion of culture as "worldview." According to this school of thought, each ethnic group has a distinct worldview that is incommensurable with the worldviews of other groups. Although more inclusive than earlier views, this approach to culture still allowed for distinctions between "civilized" and "primitive" or "tribal" cultures.
In 1860, Adolf Bastian (1826–1905) argued for "the psychic unity of mankind". He proposed that a scientific comparison of all human societies would reveal that distinct worldviews consisted of the same basic elements. According to Bastian, all human societies share a set of "elementary ideas" (Elementargedanken); different cultures, or different "folk ideas" (Völkergedanken), are local modifications of the elementary ideas.[7] This view paved the way for the modern understanding of culture. Franz Boas (1858–1942) was trained in this tradition, and he brought it with him when he left Germany for the United States.
English Romanticism[link]
In the nineteenth century, humanists such as English poet and essayist Matthew Arnold (1822–1888) used the word "culture" to refer to an ideal of individual human refinement, of "the best that has been thought and said in the world."[8] This concept of culture is comparable to the German concept of bildung: "...culture being a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world."[8]
In practice, culture referred to an élite ideal and was associated with such activities as art, classical music, and haute cuisine.[9] As these forms were associated with urban life, "culture" was identified with "civilization" (from lat. civitas, city). Another facet of the Romantic movement was an interest in folklore, which led to identifying a "culture" among non-elites. This distinction is often characterized as that between "high culture", namely that of the ruling social group, and "low culture." In other words, the idea of "culture" that developed in Europe during the 18th and early 19th centuries reflected inequalities within European societies.[10]
Matthew Arnold contrasted "culture" with "anarchy;" other Europeans, following philosophers Thomas Hobbes and Jean-Jacques Rousseau, contrasted "culture" with "the state of nature". According to Hobbes and Rousseau, the Native Americans who were being conquered by Europeans from the 16th centuries on were living in a state of nature; this opposition was expressed through the contrast between "civilized" and "uncivilized." According to this way of thinking, one could classify some countries and nations as more civilized than others and some people as more cultured than others. This contrast led to Herbert Spencer's theory of Social Darwinism and Lewis Henry Morgan's theory of cultural evolution. Just as some critics have argued that the distinction between high and low cultures is really an expression of the conflict between European elites and non-elites, some critics have argued that the distinction between civilized and uncivilized people is really an expression of the conflict between European colonial powers and their colonial subjects.
Other 19th century critics, following Rousseau, have accepted this differentiation between higher and lower culture, but have seen the refinement and sophistication of high culture as corrupting and unnatural developments that obscure and distort people's essential nature. These critics considered folk music (as produced by "the folk", i.e., rural, illiterate, peasants) to honestly express a natural way of life, while classical music seemed superficial and decadent. Equally, this view often portrayed indigenous peoples as "noble savages" living authentic and unblemished lives, uncomplicated and uncorrupted by the highly stratified capitalist systems of the West.
In 1870 Edward Tylor (1832–1917) applied these ideas of higher versus lower culture to propose a theory of the evolution of religion. According to this theory, religion evolves from more polytheistic to more monotheistic forms.[11] In the process, he redefined culture as a diverse set of activities characteristic of all human societies. This view paved the way for the modern understanding of culture.
20th century discourses[link]
Anthropology[link]
American anthropology[link]
Although anthropologists worldwide refer to Tylor's definition of culture, in the 20th century "culture" emerged as the central and unifying concept of American anthropology, where it most commonly refers to the universal human capacity to classify and encode their experiences symbolically, and communicate symbolically encoded experiences socially.[citation needed] American anthropology is organized into four fields, each of which plays an important role in research on culture: biological anthropology, linguistics, cultural anthropology and archaeology. Research in these fields have influenced anthropologists working in other countries to different degrees.
Biological anthropology: the evolution of culture[link]
Discussion concerning culture among biological anthropologists centers around two debates. First, is culture uniquely human or shared by other species (most notably, other primates)? This is an important question, as the theory of evolution holds that humans are descended from (now extinct) non-human primates. Second, how did culture evolve among human beings?
Gerald Weiss noted that although Tylor's classic definition of culture was restricted to humans, many anthropologists take this for granted and thus elide that important qualification from later definitions, merely equating culture with any learned behavior. This slippage is a problem because during the formative years of modern primatology, some primatologists were trained in anthropology (and understood that culture refers to learned behavior among humans), and others were not. Notable non-anthropologists, like Robert Yerkes and Jane Goodall thus argued that since chimpanzees have learned behaviors, they have culture.[12][13] Today, anthropological primatologists are divided, several arguing that non-human primates have culture, others arguing that they do not.[14][15][16][17]
This scientific debate is complicated by ethical concerns. The subjects of primatology are non-human primates, and whatever culture these primates have is threatened by human activity. After reviewing the research on primate culture, W.C. McGrew concluded, "[a] discipline requires subjects, and most species of nonhuman primates are endangered by their human cousins. Ultimately, whatever its merit, cultural primatology must be committed to cultural survival [i.e. to the survival of primate cultures]."[18]
McGrew suggests a definition of culture that he finds scientifically useful for studying primate culture. He points out that scientists do not have access to the subjective thoughts or knowledge of non-human primates. Thus, if culture is defined in terms of knowledge, then scientists are severely limited in their attempts to study primate culture. Instead of defining culture as a kind of knowledge, McGrew suggests that we view culture as a process. He lists six steps in the process:
- A new pattern of behavior is invented, or an existing one is modified.
- The innovator transmits this pattern to another.
- The form of the pattern is consistent within and across performers, perhaps even in terms of recognizable stylistic features.
- The one who acquires the pattern retains the ability to perform it long after having acquired it.
- The pattern spreads across social units in a population. These social units may be families, clans, troops, or bands.
- The pattern endures across generations.[18]
McGrew admits that all six criteria may be strict, given the difficulties in observing primate behavior in the wild. But he also insists on the need to be as inclusive as possible, on the need for a definition of culture that "casts the net widely":
Culture is considered to be group-specific behavior that is acquired, at least in part, from social influences. Here, group is considered to be the species-typical unit, whether it be a troop, lineage, subgroup, or so on. Prima facie evidence of culture comes from within-species but across-group variation in behavior, as when a pattern is persistent in one community of chimpanzees but is absent from another, or when different communities perform different versions of the same pattern. The suggestion of culture in action is stronger when the difference across the groups cannot be explained solely by ecological factors ....[19]
As Charles Frederick Voegelin pointed out, if "culture" is reduced to "learned behavior," then all animals have culture.[20] Certainly all specialists agree that all primate species evidence common cognitive skills: knowledge of object-permanence, cognitive mapping, the ability to categorize objects, and creative problem solving.[21] Moreover, all primate species show evidence of shared social skills: they recognize members of their social group; they form direct relationships based on degrees of kinship and rank; they recognize third-party social relationships; they predict future behavior; and they cooperate in problem-solving.[21]
Nevertheless, the term "culture" applies to non-human animals only if we define culture as any or all learned behavior. Within mainstream physical anthropology, scholars tend to think that a more restrictive definition is necessary. These researchers are concerned with how human beings evolved to be different from other species. A more precise definition of culture, which excludes non-human social behavior, would allow physical anthropologists to study how humans evolved their unique capacity for "culture".
Chimpanzees (Pan troglodytes and Pan paniscus) are humans' (Homo sapiens) closest living relative; both are descended from a common ancestor which lived around five or six million years ago. This is the same amount of time it took for horses and zebras, lions and tigers to diverge from their respective common ancestors.[22] The evolution of modern humans is rapid: Australopithicenes evolved four million years ago and modern humans in past several hundred thousand years.[23] During this time humanity evolved three distinctive features:
- (a) the creation and use of conventional symbols, including linguistic symbols and their derivatives, such as written language and mathematical symbols and notations; (b) the creation and use of complex tools and other instrumental technologies; and (c) the creation and participation in complex social organization and institutions.[24]
According to developmental psychologist Michael Tomasello, "where these complex and species-unique behavioral practices, and the cognitive skills that underlie them, came from" is a fundamental anthropological question. Given that contemporary humans and chimpanzees are far more different than horses and zebras, or rats and mice, and that the evolution of this great difference occurred in such a short period of time, "our search must be for some small difference that made a big difference – some adaptation, or small set of adaptations, that changed the process of primate cognitive evolution in fundamental ways." According to Tomasello, the answer to this question must form the basis of a scientific definition of "human culture."[24]
In a recent review of the major research on human and primate tool-use, communication, and learning strategies, Tomasello argues that the key human advances over primates (language, complex technologies, and complex social organization) are all the results of humans pooling cognitive resources. This is called "the ratchet effect:" innovations spread and are shared by a group, and mastered "by youngsters, which enables them to remain in their new and improved form within the group until something better comes along." The key point is that children are born good at a particular kind of social learning; this creates a favored environment for social innovations, making them more likely to be maintained and transmitted to new generations than individual innovations.[25] For Tomasello, human social learning—the kind of learning that distinguishes humans from other primates and that played a decisive role in human evolution—is based on two elements: first, what he calls "imitative learning," (as opposed to "emulative learning" characteristic of other primates) and second, the fact that humans represent their experiences symbolically (rather than iconically, as is characteristic of other primates). Together, these elements enable humans to be both inventive, and to preserve useful inventions. It is this combination that produces the ratchet effect.
File:BonoboFishing05.jpeg
Chimpanzee extracting insects
The kind of learning found among other primates is "emulation learning," which "focuses on the environmental events involved – results or changes of state in the environment that the other produced – rather than on the actions that produced those results."[26][27][28] Tomasello emphasizes that emulation learning is a highly adaptive strategy for apes because it focuses on the effects of an act. In laboratory experiments, chimpanzees were shown two different ways for using a rake-like tool to obtain an out-of-reach-object. Both methods were effective, but one was more efficient than the other. Chimpanzees consistently emulated the more efficient method.[29]
Examples of emulation learning are well documented among primates. Notable examples include Japanese macaque potato washing, Chimpanzee tool use, and Chimpanzee gestural communication. In 1953, an 18-month-old female macaque monkey was observed taking sandy pieces of sweet potato (given to the monkeys by observers) to a stream (and later, to the ocean) to wash off the sand. After three months, the same behavior was observed in her mother and two playmates, and then the playmates' mothers. Over the next two years seven other young macaques were observed washing their potatoes, and by the end of the third year 40% of the troop had adopted the practice.[30][31] Although this story is popularly represented as a straightforward example of human-like learning, evidence suggests that it is not. Many monkeys naturally brush sand off of food; this behavior had been observed in the macaque troop prior to the first observed washing. Moreover, potato washing was observed in four other separate macaque troops, suggesting that at least four other individual monkeys had learned to wash off sand on their own.[31] Other monkey species in captivity quickly learn to wash off their food.[32] Finally, the spread of learning among the Japanese macaques was fairly slow, and the rate at which new members of the troop learned did not keep pace with the growth of the troop. If the form of learning were imitation, the rate of learning should have been exponential. It is more likely that the monkeys' washing behavior is based on the common behavior of cleaning off food, and that monkeys that spent time by the water independently learned to wash, rather than wipe their food. This explains both why those monkeys that kept company with the original washer, and who thus spent a good deal of time by the water, also figured out how to wash their potatoes. It also explains why the rate at which this behavior spread was slow.[33]
Chimpanzees exhibit a variety of population-specific tool use: termite-fishing, ant-fishing, ant-dipping, nut-cracking, and leaf-sponging. Gombe Chimpanzees fish for termites using small, thin sticks, but chimpanzees in Western Africa use large sticks to break holes in mounds and use their hands to scoop up termites. Some of this variation may be the result of "environmental shaping" (there is more rainfall in western Africa, softening termite mounds and making them easier to break apart, than in the Gombe reserve in eastern Africa. Nevertheless it is clear that chimpanzees are good at emulation learning. Chimpanzee children independently know how to roll over logs, and know how to eat insects. When children see their mothers rolling over logs to eat the insects beneath, they quickly learn to do the same. In other words, this form of learning builds on activities the children already know.[27][34]
The kind of learning characteristic of human children is "Imitative learning," which "means reproducing an instrumental act understood intentionally."[35] Human infants begin to display some evidence of this form of learning between the ages of nine and twelve months, when infants fix their attention not only on an object, but on the gaze of an adult which enables them to use adults as points of reference and thus "act on objects in the way adults are acting on them."[36] This dynamic is well documented and has also been termed "joint engagement" or "joint attention."[37][38] Essential to this dynamic is the infant's growing capacity to recognize others as "intentional agents:" people "with the power to control their spontaneous behavior" and who "have goals and make active choices among behavioral means for attaining those goals."[39]
The development of skills in joint attention by the end of a human child's first year of life provides the basis for the development of imitative learning in the second year. In one study 14-month old children imitated an adult's over-complex method of turning on a light, even when they could have used an easier and more natural motion to the same effect.[40] In another study, 16-month old children interacted with adults who alternated between a complex series of motions that appeared intentional and a comparable set of motions that appeared accidental; they imitated only those motions that appeared intentional.[41] Another study of 18-month old children revealed that children imitate actions that adults intend, yet in some way fail, to perform.[42]
Tomasello emphasizes that this kind of imitative learning "relies fundamentally on infants' tendency to identify with adults, and on their ability to distinguish in the actions of others the underlying goal and the different means that might be used to achieve it."[43] He calls this kind of imitative learning "cultural learning because the child is not just learning about things from other persons, she is also learning things through them — in the sense that she must know something of the adult's perspective on a situation to learn the active use of this same intentional act."[44][45] He concludes that the key feature of cultural learning is that it occurs only when an individual "understands others as intentional agents, like the self, who have a perspective on the world that can be followed into, directed and shared."[46]
Emulation learning and imitative learning are two different adaptations that can only be assessed in their larger environmental and evolutionary contexts. In one experiment, chimpanzees and two-year-old children were separately presented with a rake-like-tool and an out-of-reach object. Adult humans then demonstrated two different ways to use the tool, one more efficient, one less efficient. Chimpanzees used the same efficient method following both demonstrations. Most of the human children, however, imitated whichever method the adult was demonstrating. Were chimps and humans to be compared on the basis of these results, one might think that Chimpanzees are more intelligent. From an evolutionary perspective they are equally intelligent, but with different kinds of intelligence adapted to different environments.[29] Chimpanzee learning strategies are well-suited to a stable physical environment that requires little social cooperation (compared to humans). Human learning strategies are well-suited to a complex social environment in which understanding the intentions of others may be more important than success at a specific task. Tomasello argues that this strategy has made possible the "ratchet effect" that enabled humans to evolve complex social systems that have enabled humans to adapt to virtually every physical environment on the surface of the earth.[47]
Tomasello further argues that cultural learning is essential for language-acquisition. Most children in any society, and all children in some, do not learn all words through the direct efforts of adults. "In general, for the vast majority of words in their language, children must find a way to learn in the ongoing flow of social interaction, sometimes from speech not even addressed to them."[48] This finding has been confirmed by a variety of experiments in which children learned words even when the referent was not present, multiple referents were possible, and the adult was not directly trying to teach the word to the child.[49][50][51] Tomasello concludes that "a linguistic symbol is nothing other than a marker for an intersubjectively shared understanding of a situation."[52]
Tomasello's 1999 review of the research contrasting human and non-human primate learning strategies confirms biological anthropologist Ralph Holloway's 1969 argument that a specific kind of sociality linked to symbolic cognition were the keys to human evolution, and constitute the nature of culture. According to Holloway, the key issue in the evolution of H. sapiens, and the key to understanding "culture," "is how man organizes his experience." Culture is "the imposition of arbitrary form upon the environment."[53] This fact, Holloway argued, is primary to and explains what is distinctive about human learning strategies, tool-use, and language. Human tool-making and language express "similar, if not identical, cognitive processes" and provide important evidence for how humankind evolved.[54]
In other words, whereas McGrew argues that anthropologists must focus on behaviors like communication and tool-use because they have no access to the mind, Holloway argues that human language and tool-use, including the earliest stone tools in the fossil record, are highly suggestive of cognitive differences between humans and non-humans, and that such cognitive differences in turn explain human evolution. For Holloway, the question is not whether other primates communicate, learn or make tools, but the way they do these things. "Washing potatoes in the ocean … stripping branches of leaves to get termites," and other examples of primate tool-use and learning "are iconic, and there is no feedback from the environment to the animal."[55] Human tools, however, express an independence from natural form that manifests symbolic thinking. "In the preparation of the stick for termite-eating, the relation between product and raw material is iconic. In the making of a stone tool, in contrast, there is no necessary relation between the form of the final product and the original material."[56]
In Holloway's view, our non-human ancestors, like those of modern chimpanzees and other primates, shared motor and sensory skills, curiosity, memory, and intelligence, with perhaps differences in degree. "It is when these are integrated with the unique attributes of arbitrary production (symbolization) and imposition that man qua cultural man appears."[57]
- I have suggested above that whatever culture may be, it includes "the imposition of arbitrary forms upon the environment." This phrase has two components. One is a recognition that the relationship between the coding process and the phenomenon (be it a tool, social network, or abstract principle) is non-iconic. The other is an idea of man as a creature who can make delusional systems work—who imposes his fantasies, his non-iconic constructs (and constructions) , upon the environment. The altered environment shapes his perceptions, and these are again forced back on the environment, are incorporated into the environment, and press for further adaptation.[58]
This is comparable to the "ratcheting" aspect suggested by Tomasello and others that enabled human evolution to accelerate. Holloway concludes that the first instance of symbolic thought among humans provided a "kick-start" for brain development, tool complexity, social structure, and language to evolve through a constant dynamic of positive feedback. "This interaction between the propensity to structure the environment arbitrarily and the feedback from the environment to the organism is an emergent process, a process different in kind from anything that preceded it."[59]
Linguists Charles Hockett and R. Ascher have identified thirteen design-features of language, some shared by other forms of animal communication. One feature that distinguishes human language is its tremendous productivity; in other words, competent speakers of a language are capable of producing an exponential number of original utterances. This productivity seems to be made possible by a few critical features unique to human language. One is "duality of patterning," meaning that human language consists of the articulation of several distinct processes, each with its own set of rules: combining phonemes to produce morphemes, combining morphemes to produce words, and combining words to produce sentences. This means that a person can master a relatively limited number of signals and sets of rules, to create infinite combinations. Another crucial element is that human language is symbolic: the sound of words (or their shape, when written) typically bear no relation to what they represent.[60] In other words, their meaning is arbitrary. That words have meaning is a matter of convention. Since the meaning of words are arbitrary, any word may have several meanings, and any object may be referred to using a variety of words; the actual word used to describe a particular object depends on the context, the intention of the speaker, and the ability of the listener to judge these appropriately. As Tomasello notes,
- An individual language user looks at a tree and, before drawing the attention of her interlocutor to that tree, must decide, based on her assessment of the listener's current knowledge and expectations, whether to say "that tree over there," "it," "the oak," "that hundred-year-oak," "the tree," "the bagswing tree," "that thing in the front yard," "the ornament," "the embarrassment," or any of a number of other expressions. … And these decisions are not made on the basis of the speaker's direct goal with respect to the object or activity involved, but rather that they are made on the basis of her goal with respect to the listener's interest and attention to that object or activity.
This is why symbolic cognition and communication and imitative learning go hand-in-hand.[61]
Holloway argues that the stone-tools associated with genus Homo have the same features of human language:
- Returning to matter of syntax, rules, and concatenated activity mentioned above, almost any model which describes a language process can also be used to describe tool-making. This is hardly surprising. Both activities are concatenated, both have rigid rules about the serialization of unit activities (the grammar, syntax), both are hierarchical systems of activity (as is any motor activity), and both produce arbitrary configurations which thence become part of the environment, either temporarily or permanently.[62]
- Productivity can be seen in the facts that basic types were probably used for multiple purposes, that tool industries tend to expand with time, and that a slight variation on a basic pattern may be made to meet some new functional requisite. Elements of a basic "vocabulary" of motor operations—flakes, detachment, rotation, preparation of striking platform, etc.—are used in different combinations to produce dissimilar tools, with different forms, and supposedly, different uses. . . . Taking each motor event alone, no one action is complete; each action depends on the prior one and requires a further one, and each is dependent on another ax on the original plan. In other words, at each point of the action except the last, the piece is not "satisfactory" in structure. Each unit action is meaningless by itself in the sense of the use of the tool; it is meaningful only in the context of the whole completed set of actions culminating in the final product. This exactly parallels language.[63]
As Tomasello has demonstrated, symbolic thought can operate only in a particular social environment:
- Arbitrary symbols enforce consensus of perceptions, which not only allows members to communicate about the same objects in terms of space and time (as in hunting) but it also makes it possible for social relationships to be standardized and manipulated through symbols. It means that idiosyncrasies are smoothed out and perceived within classes of behavior. By enforcing perceptual invariance, symbols also enforce social behavioral constancy, and enforcing social behavioral constancy is a prerequisite to differential task-role sectors in a differentiated social group adapting not only to the outside environment but to its own membership.[64]
Biological anthropologist Terrence Deacon, in a synthesis of over twenty years of research on human evolution, human neurology, and primatology, describes this "ratcheting effect" as a form of "Baldwinian Evolution." Named after psychologist James Baldwin, this describes a situation in which an animal's behavior has evolutionary consequences when it changes the natural environment and thus the selective forces acting on the animal.[65]
- Once some useful behavior spreads within a population and becomes more important for subsistence, it will generate selection pressures on genetic traits that support its propagation ... Stone and symbolic tools, which were initially acquired with the aid of flexible ape-learning abilities, ultimately turned the tables on their users and forced them to adapt to a new niche opened by these technologies. Rather than being just useful tricks, these behavioral prostheses for obtaining food and organizing social behaviors became indispensable elements in a new adaptive complex. The origin of "humanness" can be defined as that point in our evolution where these tools became the principle [sic?] source of selection on our bodies and brains. It is the diagnostic of Homo symbolicus.[66]
According to Deacon, this occurred between 2 and 2.5 million years ago, when we have the first fossil evidence of stone tool use and the beginning of a trend in an increase in brain size. But it is the evolution of symbolic language which is the cause—and not the effect—of these trends.[67] More specifically, Deacon is suggesting that Australopithecines, like contemporary apes, used tools; it is possible that over the millions of years of Australopithecine history, many troops developed symbolic communication systems. All that was necessary was that one of these groups so altered their environment that "it introduced selection for very different learning abilities than affected prior species."[68] This troop or population kick-started the Baldwinian process (the "ratchet effect") that led to their evolution to genus Homo.
The question for Deacon is what behavioral-environmental changes could have made the development of symbolic thinking adaptive? Here he emphasizes the importance of distinguishing humans from all other species, not to privilege human intelligence but to problematize it. Given that the evolution of H. sapiens began with ancestors who did not yet have "culture," what led them to move away from cognitive, learning, communication, and tool-making strategies that were and continued to be adaptive for most other primates (and, some have suggested, most other species of animals)? Learning symbol systems is more time consuming than other forms of communication, so symbolic thought made possible a different communication strategy, but not a more efficient one than other primates. Nevertheless, it must have offered some selective advantage to H. sapiens to have evolved. Deacon starts by looking at two key determinants in evolutionary history: foraging behavior, and patterns of sexual relations. As he observes competition for sexual access limits the possibilities for social cooperation in many species; yet, Deacon observes, there are three consistent patterns in human reproduction that distinguish them from other species:
- Both males and females usually contribute effort towards the rearing of their offspring, though often to differing extents and in very different ways.
- In all societies, the great majority of adult males and females are bound by long-term, exclusive sexual access rights and prohibitions to particular individuals of the opposite sex.
- They maintain these exclusive sexual relations while living in modest to large-sized, multi-male, multi-female, cooperative social groups.[69]
Moreover, there is one feature common to all known human foraging societies (all humans prior to ten or fifteen thousand years ago), and markedly different from other primates: "the use of meat. . . . The appearance of the first stone tools nearly 2.5 million years ago almost certainly correlates with a radical shift in foraging behavior to gain access to meat."[70] Deacon does not believe that symbolic thought was necessary for hunting or tool-making (although tool-making may be a reliable index of symbolic thought); rather, it was necessary for the success of distinctive social relations.
The key is that while men and women are equally effective foragers, mothers carrying dependent children are not effective hunters. They must thus depend on male hunters. This favors a system in which males have exclusive sexual access to females, and females can predict that their sexual partner will provide food for them and their children. In most mammalian species the result is a system of rank or sexual competition that results in either polygyny, or life-long pair-bonding between two individuals who live relatively independent of other adults of their species; in both cases male aggression plays an important role in maintaining sexual access to mate(s). What is unique about humans?
- Human reliance on resources that are relatively unavailable to females with infants selects not only for cooperation between a child's father and mother but also for the cooperation of other relatives and friends, including elderly individuals and juveniles, who can be relied upon for assistance. The special demands of acquiring meat and caring for infants in our own evolution together contribute to the underlying impetus for the third characteristic feature of human reproductive patterns: cooperative group living.[71]
What is uniquely characteristic about human societies is what required symbolic cognition, which consequently leads to the evolution of culture: "cooperative, mixed-sex social groups, with significant male care and provisioning of offspring, and relatively stable patterns of reproductive exclusion." This combination is relatively rare in other species because it is "highly susceptible to disintegration." Language and culture provide the glue that holds it together.[72]
Chimpanzees also, on occasion, hunt meat; in most cases, however, males consume the meat immediately, and only on occasion share with females who happen to be nearby. Among chimpanzees, hunting for meat increases when other sources of food become scarce, but under these conditions sharing decreases. The first forms of symbolic thinking made stone-tools possible, which in turn made hunting for meat a more dependable source of food for our nonhuman ancestors while making possible forms of social communication that make sharing—between males and females, but also among males, decreasing sexual competition:
- So the socio-ecological problem posed by the transition to a meat-supplemented subsistence strategy is that it cannot be utilized without a social structure which guarantees unambiguous and exclusive mating and is sufficiently egalitarian to sustain cooperation via shared or parallel reproductive interests. This problem can be solved symbolically.[73]
Symbols and symbolic thinking thus make possible a central feature of social relations in every human population: reciprocity. Evolutionary scientists have developed a model to explain reciprocal altruism among closely related individuals. Symbolic thought makes possible reciprocity between distantly related individuals.[74]
Archeological approaches to culture: matter and meaning[link]
In the 19th century archeology was often a supplement to history, and the goal of archeologists was to identify artifacts according to their typology and stratigraphy, thus marking their location in time and space. Franz Boas established that archeology be one of American anthropology's four fields, and debates among archeologists have often paralleled debates among cultural anthropologists. In the 1920s and 1930s, Australian-British archeologist V. Gordon Childe and American archeologist W. C. McKern independently began moving from asking about the date of an artifact, to asking about the people who produced it — when archeologists work alongside historians, historical materials generally help answer these questions, but when historical materials are unavailable, archeologists had to develop new methods. Childe and McKern focused on analyzing the relationships among objects found together; their work established the foundation for a three-tiered model:
- An individual artifact, which has surface, shape, and technological attributes (e.g. an arrowhead)
- A sub-assemblage, consisting of artifacts that are found, and were likely used, together (e.g. an arrowhead, bow and knife)
- An assemblage of sub-assemblages that together constitute the archeological site (e.g. the arrowhead, bow and knife; a pot and the remains of a hearth; a shelter)
Childe argued that a "constantly recurring assemblage of artifacts" to be an "archaeological culture."[75][76] Childe and others viewed "each archeological culture ... the manifestation in material terms of a specific people."[77]
In 1948 Walter Taylor systematized the methods and concepts that archeologists had developed and proposed a general model for the archeological contribution to knowledge of cultures. He began with the mainstream understanding of culture as the product of human cognitive activity, and the Boasian emphasis on the subjective meanings of objects as dependent on their cultural context. He defined culture as "a mental phenomenon, consisting of the contents of minds, not of material objects or observable behavior."[78] He then devised a three-tiered model linking cultural anthropology to archeology, which he called conjunctive archeology:
- Culture, which is unobservable and nonmaterial
- Behaviors resulting from culture, which are observable and nonmaterial
- Objectifications, such as artifacts and architecture, which are the result of behavior and material
That is, material artifacts were the material residue of culture, but not culture itself.[79] Taylor's point was that the archeological record could contribute to anthropological knowledge, but only if archeologists reconceived their work not just as digging up artifacts and recording their location in time and space, but as inferring from material remains the behaviors through which they were produced and used, and inferring from these behaviors the mental activities of people. Although many archeologists agreed that their research was integral to anthropology, Taylor's program was never fully implemented. One reason was that his three-tier model of inferences required too much fieldwork and laboratory analysis to be practical.[80] Moreover, his view that material remains were not themselves cultural, and in fact twice-removed from culture, in fact left archeology marginal to cultural anthropology.[81]
In 1962 Leslie White's former student Lewis Binford proposed a new model for anthropological archeology, called "the New Archeology" or "Processual Archeology," based on White's definition of culture as "the extra-somatic means of adaptation for the human organism."[82] This definition allowed Binford to establish archeology as a crucial field for the pursuit of the methodology of Julian Steward's cultural ecology:
- The comparative study of cultural systems with variable technologies in a similar environmental range or similar technologies in differing environments is a major methodology of what Steward (1955: 36–42) has called "cultural ecology," and certainly is a valuable means of increasing our understanding of cultural processes. Such a methodology is also useful in elucidating the structural relationships between major cultural sub-systems such as the social and ideological sub-systems.[83]
In other words, Binford proposed an archeology that would be central to the dominant project of cultural anthropologists at the time (culture as non-genetic adaptations to the environment); the "new archeology" was the cultural anthropology (in the form of cultural ecology or ecological anthropology) of the past.
In the 1980s, there was a movement in the United Kingdom and Europe against the view of archeology as a field of anthropology, echoing Radcliffe-Brown's earlier rejection of cultural anthropology.[84] During this same period, then-Cambridge archeologist Ian Hodder developed "post-processual archeology" as an alternative. Like Binford (and unlike Taylor) Hodder views artifacts not as objectifications of culture but as culture itself. Unlike Binford, however, Hodder does not view culture as an environmental adaptation. Instead, he "is committed to a fluid semiotic version of the traditional culture concept in which material items, artifacts, are full participants in the creation, deployment, alteration, and fading away of symbolic complexes."[85] His 1982 book, Symbols in Action, evokes the symbolic anthropology of Geertz, Schneider, with their focus on the context dependent meanings of cultural things, as an alternative to White and Steward's materialist view of culture.[86] In his 1991 textbook, Reading the Past: Current Approaches to Interpretation in Archaeology Hodder argued that archeology is more closely aligned to history than to anthropology.[87]
Language and culture[link]
The connection between culture and language has been noted as far back as the classical period and probably long before. The ancient Greeks, for example, distinguished between civilized peoples and bárbaros "those who babble", i.e. those who speak unintelligible languages.[88] The fact that different groups speak different, unintelligible languages is often considered more tangible evidence for cultural differences than other less obvious cultural traits.
The German romanticists of the 19th century such as Johann Gottfried Herder and Wilhelm von Humboldt, often saw language not just as one cultural trait among many but rather as the direct expression of a people's national character,[89] and as such as culture in a kind of condensed form. Herder for example suggests, "Denn jedes Volk ist Volk; es hat seine National Bildung wie seine Sprache" (Since every people is a People, it has its own national culture expressed through its own language).[90]
Franz Boas, founder of American anthropology, like his German forerunners, maintained that the shared language of a community is the most essential carrier of their common culture. Boas was the first anthropologist who considered it unimaginable to study the culture of a foreign people without also becoming acquainted with their language. For Boas, the fact that the intellectual culture of a people was largely constructed, shared and maintained through the use of language, meant that understanding the language of a cultural group was the key to understanding its culture. At the same time, though, Boas and his students were aware that culture and language are not directly dependent on one another. That is, groups with widely different cultures may share a common language, and speakers of completely unrelated languages may share the same fundamental cultural traits.[91][92] Numerous other scholars have suggested that the form of language determines specific cultural traits.[93] This is similar to the notion of Linguistic determinism, which states that the form of language determines individual thought. While Boas himself rejected a causal link between language and culture, some of his intellectual heirs entertained the idea that habitual patterns of speaking and thinking in a particular language may influence the culture of the linguistic group.[94] Such belief is related to the theory of Linguistic relativity. Boas, like most modern anthropologists, however, was more inclined to relate the interconnectedness between language and culture to the fact that, as B.L. Whorf put it, "they have grown up together".[95]
Indeed, the origin of language, understood as the human capacity of complex symbolic communication, and the origin of complex culture is often thought to stem from the same evolutionary process in early man. Evolutionary anthropologist Robin I. Dunbar has proposed that language evolved as early humans began to live in large communities which required the use of complex communication to maintain social coherence. Language and culture then both emerged as a means of using symbols to construct social identity and maintain coherence within a social group too large to rely exclusively on pre-human ways of building community such as for example grooming. Since language and culture are both in essence symbolic systems, twentieth century cultural theorists have applied the methods of analyzing language developed in the science of linguistics to also analyze culture. Particularly the structural theory of Ferdinand de Saussure which describes symbolic systems as consisting of signs (a pairing of a particular form with a particular meaning) has come to be applied widely in the study of culture. But also post-structuralist theories that nonetheless still rely on the parallel between language and culture as systems of symbolic communication, have been applied in the field of semiotics. The parallel between language and culture can then be understood as analog to the parallel between a linguistic sign, consisting for example of the sound [kau] and the meaning "cow", and a cultural sign, consisting for example of the cultural form of "wearing a crown" and the cultural meaning of "being king". In this way it can be argued that culture is itself a kind of language. Another parallel between cultural and linguistic systems is that they are both systems of practice that is they are a set of special ways of doing things that is constructed and perpetuated through social interactions.[96] Children, for example, acquire language in the same way as they acquire the basic cultural norms of the society they grow up in – through interaction with older members of their cultural group.
However, languages, now understood as the particular set of speech norms of a particular community, are also a part of the larger culture of the community that speak them. Humans use language as a way of signalling identity with one cultural group and difference from others. Even among speakers of one language several different ways of using the language exist, and each is used to signal affiliation with particular subgroups within a larger culture. In linguistics such different ways of using the same language are called "varieties". For example, the English language is spoken differently in the USA, the UK and Australia, and even within English-speaking countries there are hundreds of dialects of English that each signals a belonging to a particular region and/or subculture. For example, in the UK the cockney dialect signals its speakers' belonging to the group of lower class workers of east London. Differences between varieties of the same language often consist in different pronunciations and vocabulary, but also sometimes of different grammatical systems and very often in using different styles (e.g. cockney Rhyming slang or Lawyers' jargon). Linguists and anthropologists, particularly sociolinguists, ethnolinguists and linguistic anthropologists have specialized in studying how ways of speaking vary between speech communities.
A community's ways of speaking or signing are a part of the community's culture, just as other shared practices are. Language use is a way of establishing and displaying group identity. Ways of speaking function not only to facilitate communication, but also to identify the social position of the speaker. Linguists call different ways of speaking language varieties, a term that encompasses geographically or socioculturally defined dialects as well as the jargons or styles of subcultures. Linguistic anthropologists and sociologists of language define communicative style as the ways that language is used and understood within a particular culture.[97]
The difference between languages does not consist only in differences in pronunciation, vocabulary or grammar, but also in different "cultures of speaking". Some cultures for example have elaborate systems of "social deixis", systems of signalling social distance through linguistic means.[98] In English, social deixis is shown mostly though distinguishing between addressing some people by first name and others by surname, but also in titles such as "Mrs.", "boy", "Doctor" or "Your Honor", but in other languages such systems may be highly complex and codified in the entire grammar and vocabulary of the language. In several languages of east Asia, for example Thai, Burmese and Javanese, different words are used according to whether a speaker is addressing someone of higher or lower rank than oneself in a ranking system with animals and children ranking the lowest and gods and members of royalty as the highest.[98] Other languages may use different forms of address when speaking to speakers of the opposite gender or in-law relatives and many languages have special ways of speaking to infants and children. Among other groups, the culture of speaking may entail not speaking to particular people, for example many indigenous cultures of Australia have a taboo against talking to one's in-law relatives, and in some cultures speech is not addressed directly to children. Some languages also require different ways of speaking for different social classes of speakers, and often such a system is based on gender differences, as in Japanese and Koasati.[99]
Cultural anthropology[link]
1899–1946: Universal versus particular[link]
The modern anthropological concept of culture has its origins in the 19th century with German anthropologist Adolf Bastian's theory of the "psychic unity of mankind," which, influenced by Herder and von Humboldt, challenged the identification of "culture" with the way of life of European elites, and British anthropologist Edward Burnett Tylor's attempt to define culture as inclusively as possible. Tylor in 1874 described culture in the following way: "Culture or civilization, taken in its wide ethnographic sense, is that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society."[100] Although Tylor was not aiming to propose a general theory of culture (he explained his understanding of culture in the course of a larger argument about the nature of religion), American anthropologists have generally presented their various definitions of culture as refinements of Tylor's. Franz Boas's student Alfred Kroeber (1876–1970) identified culture with the "superorganic," that is, a domain with ordering principles and laws that could not be explained by or reduced to biology.[101] In 1973, Gerald Weiss reviewed various definitions of culture and debates as to their parsimony and power, and proposed as the most scientifically useful definition that "culture" be defined "as our generic term for all human nongenetic, or metabiological, phenomena" (italics in the original).[102]
Franz Boas, founded modern American anthropology with the establishment of the first graduate program in anthropology at Columbia University in 1896. At the time the dominant model of culture was that of cultural evolution, which posited that human societies progressed through stages of savagery to barbarism to civilization; thus, societies that for example are based on horticulture and Iroquois kinship terminology are less evolved than societies based on agriculture and Eskimo kinship terminology. One of Boas's greatest accomplishments was to demonstrate convincingly that this model is fundamentally flawed, empirically, methodologically, and theoretically. Moreover, he felt that our knowledge of different cultures was so incomplete, and often based on unsystematic or unscientific research, that it was impossible to develop any scientifically valid general model of human cultures. Instead, he established the principle of cultural relativism and trained students to conduct rigorous participant observation field research in different societies. Boas understood the capacity for culture to involve symbolic thought and social learning, and considered the evolution of a capacity for culture to coincide with the evolution of other, biological, features defining genus Homo. Nevertheless, he argued that culture could not be reduced to biology or other expressions of symbolic thought, such as language. Boas and his students understood culture inclusively and resisted developing a general definition of culture. Indeed, they resisted identifying "culture" as a thing, instead using culture as an adjective rather than a noun. Boas argued that cultural "types" or "forms" are always in a state of flux.[103][104] His student Alfred Kroeber argued that the "unlimited receptivity and assimilativeness of culture" made it practically impossible to think of cultures as discrete things.[105]
Boas's students dominated cultural anthropology through World War II, and continued to have great influence through the 1960s. They were especially interested in two phenomena: the great variety of forms culture took around the world,[106] and the many ways individuals were shaped by and acted creatively through their own cultures.[107][108] This led his students to focus on the history of cultural traits: how they spread from one society to another, and how their meanings changed over time[109][110]—and the life histories of members of other societies.[111][112][113][114][115][116][117][118] Others, such as Ruth Benedict (1887–1948) and Margaret Mead (1901–1978), produced monographs or comparative studies analyzing the forms of creativity possible to individuals within specific cultural configurations.[119][120][121] Essential to their research was the concept of "context": culture provided a context that made the behavior of individuals understandable; geography and history provided a context for understanding the differences between cultures. Thus, although Boasians were committed to the belief in the psychic unity of humankind and the universality of culture, their emphasis on local context and cultural diversity led them away from proposing cultural universals or universal theories of culture.
There is a tension in cultural anthropology between the claim that culture is a universal (the fact that all human societies have culture), and that it is also particular (culture takes a tremendous variety of forms around the world). Since Boas, two debates have dominated cultural anthropology. The first has to do with ways of modeling particular cultures. Specifically, anthropologists have argued as to whether "culture" can be thought of as a bounded and integrated thing, or as a quality of a diverse collection of things, the numbers and meanings of which are in constant flux. Boas's student Ruth Benedict suggested that in any given society cultural traits may be more or less "integrated," that is, constituting a pattern of action and thought that gives purpose to people's lives, and provides them with a basis from which to evaluate new actions and thoughts, although she implies that there are various degrees of integration; indeed, she observes that some cultures fail to integrate.[122] Boas, however, argued that complete integration is rare and that a given culture only appears to be integrated because of observer bias.[123] For Boas, the appearance of such patterns—a national culture, for example—was the effect of a particular point of view.[124]
The first debate was effectively suspended in 1934 when Ruth Benedict published Patterns of Culture, which has continuously been in print. Although this book is well known for popularizing the Boasian principle of cultural relativism, among anthropologists it constituted both an important summary of the discoveries of Boasians, and a decisive break from Boas's emphasis on the mobility of diverse cultural traits. "Anthropological work has been overwhelmingly devoted to the analysis of cultural traits," she wrote "rather than to the study of cultures as articulated wholes."[125] Influenced by Polish-British social anthropologist Bronisław Malinowski, however, she argued that "The first essential, so it seems today, is to study the living culture, to know its habits of thought and the functions of its institutions" and that "the only way in which we can know the significance of the selected detail of behavior is against the background of the motives and emotions and values that are institutionalized in that culture."[126] Influenced by German historians Wilhelm Dilthey and Oswald Spengler, as well as by gestalt psychology, she argued that "the whole determines its parts, not only their relation but their very nature,"[127] and that "cultures, likewise, are more than the sum of their traits."[128] Just as each spoken language draws very selectively from an extensive, but finite, set of sounds any human mouth (free from defect) can make, she concluded that in each society people, over time and through both conscious and unconscious processes, selected from an extensive but finite set of cultural traits which then combine to form a unique and distinctive pattern."[129]
- The significance of cultural behavior is not exhausted when we have clearly understood that it is local and man-made and hugely variable. It tends to be integrated. A culture, like an individual, is a more or less consistent pattern of thought and action. Within each culture there come into being characteristic purposes not necessarily shared by other types of society. In obedience to their purposes, each people further and further consolidates its experience, and in proportion to the urgency of these drives the heterogeneous items of behavior take more and more congruous shape. Taken up by a well-integrated culture, the most ill-assorted acts become characteristic of its particular goals, often by the most unlikely metamorphoses.[130]
Although Benedict felt that virtually all cultures are patterned, she argued that these patterns change over time as a consequence of human creativity, and therefore different societies around the world had distinct characters. Patterns of Culture contrasts Zuňi, Dobu and Kwakiutl cultures as a way of highlighting different ways of being human. Benedict observed that many Westerners felt that this view forced them to abandon their "dreams of permanence and ideality and with the individual's illusions of autonomy" and that for many, this made existence "empty."[131] She argued however that once people accepted the results of scientific research, people would "arrive then at a more realistic social faith, accepting as grounds of hope and as new bases for tolerance the coexisting and equally valid patterns of life which mankind has created for itself from the raw materials of existence."[131]
This view of culture has had a tremendous impact outside of anthropology, and dominated American anthropology until the Cold War, when anthropologists like Sidney Mintz and Eric Wolf rejected the validity and value of approaching "each culture" as "a world in itself" and "relatively stable."[132] They felt that, too often, this approach ignored the impact of imperialism, colonialism, and the world capitalist economy on the peoples Benedict and her followers studied (and thus re-opened the debate on the relationship between the universal and the particular, in the form of the relationship between the global and the local). In the meantime, its emphasis on metamorphosing patterns influenced French structuralism and made American anthropologists receptive to British structural-functionalism.
File:Tur-vrml.gif
Turkish nomad clan with the nodes as marriages
File:Belen-gen-vrml.gif
Mexican village with the nodes as marriages
The second debate has been over the ability to make universal claims about all cultures. Although Boas argued that anthropologists had yet to collect enough solid evidence from a diverse sample of societies to make any valid general or universal claims about culture, by the 1940s some felt ready. Whereas Kroeber and Benedict had argued that "culture"—which could refer to local, regional, or trans-regional scales—was in some way "patterned" or "configured," some anthropologists now felt that enough data had been collected to demonstrate that it often took highly structured forms. The question these anthropologists debated was, were these structures statistical artifacts, or where they expressions of mental models? This debate emerged full-fledged in 1949, with the publication of George Murdock's Social Structure, and Claude Lévi-Strauss's Les Structures Élémentaires de la Parenté.
Opposing Boas and his students was Yale anthropologist George Murdock, who compiled the Human Relations Area Files. These files code cultural variables found in different societies, so that anthropologists can use statistical methods to study correlations among different variables.[133][134][135] The ultimate aim of this project is to develop generalizations that apply to increasingly larger numbers of individual cultures. Later, Murdock and Douglas R. White developed the standard cross-cultural sample as a way to refine this method.
French anthropologist Claude Lévi-Strauss's structuralist anthropology brought together ideas of Boas (especially Boas's belief in the mutability of cultural forms, and Bastian's belief in the psychic unity of humankind) and French sociologist's Émile Durkheim's focus on social structures (institutionalized relationships among persons and groups of persons). Instead of making generalizations that applied to large numbers of societies, Lévi-Strauss sought to derive from concrete cases increasingly abstract models of human nature. His method begins with the supposition that culture exists in two different forms: the many distinct structures that could be inferred from observing members of the same society interact (and of which members of a society are themselves aware), and abstract structures developed by analyzing shared ways (such as myths and rituals) members of a society represent their social life (and of which members of a society are not only not consciously aware, but which moreover typically stand in opposition to, or negate, the social structures of which people are aware). He then sought to develop one universal mental structure that could only be inferred through the systematic comparison of particular social and cultural structures. He argued that just as there are laws through which a finite and relatively small number of chemical elements could be combined to create a seemingly infinite variety of things, there were a finite and relatively small number of cultural elements which people combine to create the great variety of cultures anthropologists observe. The systematic comparison of societies would enable an anthropologist to develop this cultural "table of elements," and once completed, this table of cultural elements would enable an anthropologist to analyze specific cultures and achieve insights hidden to the very people who produced and lived through these cultures.[136][137] Structuralism came to dominate French anthropology and, in the late 1960s and 1970s, came to have great influence on American and British anthropology.
Murdock's HRAF and Lévi-Strauss's structuralism provide two ambitious ways to seek the universal in the particular, and both approaches continue to appeal to different anthropologists. However, the differences between them reveal a tension implicit in the heritage of Tylor and Bastian. Is culture to be found in empirically observed behaviors that may form the basis of generalizations? Or does it consist of universal mental processes, which must be inferred and abstracted from observed behavior? This question has driven debates among biological anthropologists and archeologists as well.
Structural functionalism: culture as a component of society[link]
In structural functionalism, as a social theory, society is viewed as "a reality of structural and cultural components or "facts" that can be investigated".[138] Thus in the 1940s the Boasian understanding of culture was challenged by that new paradigm for anthropological and social science research. This paradigm developed independently but in parallel in both the United Kingdom and in the United States (In both cases it is sui generis: it has no direct relationship to "structuralism" except that both French structuralism and Anglo-American Structural-Functionalism were all influenced by Durkheim. It is also analogous, but unrelated to, other forms of "functionalism"). Whereas the Boasians viewed anthropology as that natural science dedicated to the study of humankind, structural functionalists viewed anthropology as one social science among many, dedicated to the study of one specific facet of humanity. This led structural-functionalists to redefine and minimize the scope of "culture."[citation needed]
In the United Kingdom, the creation of structural functionalism was anticipated by Raymond Firth's (1901–2002) We the Tikopia, published in 1936, and marked by the publication of African Political Systems, edited by Meyer Fortes (1906–1983) and E.E. Evans-Pritchard (1902–1973) in 1940.[139][140] In these works these anthropologists forwarded a synthesis of the ideas of their mentor, Bronisław Malinowski (1884–1942), and his rival, A. R. Radcliffe-Brown (1881–1955). Both Malinowski and Radcliffe-Brown viewed anthropology—what they call "social anthropology"—as that branch of sociology that studied so-called primitive societies. According to Malinowski's theory of functionalism, all human beings have certain biological needs, such as the need for food and shelter, and humankind has the biological need to reproduce. Every society develops its own institutions, which function to fulfill these needs. In order for these institutions to function, individuals take on particular social roles that regulate how they act and interact. Although members of any given society may not understand the ultimate functions of their roles and institutions, an ethnographer can develop a model of these functions through the careful observation of social life.[141] Radcliffe-Brown rejected Malinowski's notion of function, and believed that a general theory of primitive social life could only be built up through the careful comparison of different societies. Influenced by the work of French sociologist Émile Durkheim (1858–1917), who argued that primitive and modern societies are distinguished by distinct social structures, Radcliffe-Brown argued that anthropologists first had to map out the social structure of any given society before comparing the structures of different societies.[142] Firth, Fortes, and Evans-Pritchard found it easy to combine Malinowski's attention to social roles and institutions with Radcliffe-Brown's concern with social structures. They distinguished between "social organization" (observable social interactions) and "social structure" (rule-governed patterns of social interaction), and shifted their attention from biological functions to social functions. For example, how different institutions are functionally integrated, and the extent to, and ways in, which institutions function to promote social solidarity and stability. In short, instead of culture (understood as all human non-genetic or extra-somatic phenomena) they made "sociality" (interactions and relationships among persons and groups of people) their object of study. (Indeed, Radcliffe-Brown once wrote "I should like to invoke a taboo on the word culture.")[143]
Coincidentally, in 1946 sociologist Talcott Parsons (1902–1979) founded the Department of Social Relations at Harvard University. Influenced by such European sociologists as Émile Durkheim and Max Weber, Parsons developed a theory of social action that was closer to British social anthropology than to Boas's American anthropology, and which he also called "structural functionalism." Parson's intention was to develop a total theory of social action (why people act as they do), and to develop at Harvard and inter-disciplinary program that would direct research according to this theory. His model explained human action as the result of four systems:
- the "behavioral system" of biological needs
- the "personality system" of an individual's characteristics affecting their functioning in the social world
- the "social system" of patterns of units of social interaction, especially social status and role
- the "cultural system" of norms and values that regulate social action symbolically
According to this theory, the second system was the proper object of study for psychologists; the third system for sociologists, and the fourth system for cultural anthropologists.[144][145] Whereas the Boasians considered all of these systems to be objects of study by anthropologists, and "personality" and "status and role" to be as much a part of "culture" as "norms and values," Parsons envisioned a much narrower role for anthropology and a much narrower definition of culture.
Although Boasian cultural anthropologists were interested in norms and values, among many other things, it was only with the rise of structural functionalism that people came to identify "culture" with "norms and values." Many American anthropologists rejected this view of culture (and by implication, anthropology). In 1980, anthropologist Eric Wolf wrote,
- As the social sciences transformed themselves into "behavioral" science, explanations for behavior were no longer traced to culture: behavior was to be understood in terms of psychological encounters, strategies of economic choice, strivings for payoffs in games of power. Culture, once extended to all acts and ideas employed in social life, was now relegated to the margins as "world view" or "values."[146]
Nevertheless, several of Talcott Parsons' students emerged as leading American anthropologists. At the same time, many American anthropologists had a high regard for the research produced by social anthropologists in the 1940s and 1950s, and found structural-functionalism to provide a very useful model for conducting ethnographic research.
The combination of American cultural anthropology theory with British social anthropology methods has led to some confusion between the concepts of "society" and "culture." For most anthropologists, these are distinct concepts. Society refers to a group of people; culture refers to a pan-human capacity and the totality of non-genetic human phenomena. Societies are often clearly bounded; cultural traits are often mobile, and cultural boundaries, such as they are, can be typically porous, permeable, and plural.[147] During the 1950s and 1960s anthropologists often worked in places where social and cultural boundaries coincided, thus obscuring the distinction. When disjunctures between these boundaries become highly salient, for example during the period of European de-colonization of Africa in the 1960s and 1970s, or during the post-Bretton Woods realignment of globalization, however, the difference often becomes central to anthropological debates.[148][149][150][151][152]
1946–1968: Symbolic versus adaptive[link]
Parsons' students Clifford Geertz and David M. Schneider, and Schneider's student Roy Wagner, went on to important careers as cultural anthropologists and developed a school within American cultural anthropology called "symbolic anthropology," the study of the social construction and social effects of symbols.[153][154][155][156] Since symbolic anthropology easily complemented social anthropologists' studies of social life and social structure, many British structural-functionalists (who rejected or were uninterested in Boasian cultural anthropology) accepted the Parsonian definition of "culture" and "cultural anthropology." British anthropologist Victor Turner (who eventually left the United Kingdom to teach in the United States) was an important bridge between American and British symbolic anthropology.[157]
Attention to symbols, the meaning of which depended almost entirely on their historical and social context, appealed to many Boasians. Leslie White asked of cultural things, "What sort of objects are they? Are they physical objects? Mental objects? Both? Metaphors? Symbols? Reifications?" In Science of Culture (1949), he concluded that they are objects "sui generis"; that is, of their own kind. In trying to define that kind, he hit upon a previously unrealized aspect of symbolization, which he called "the symbolate"—an object created by the act of symbolization. He thus defined culture as "symbolates understood in an extra-somatic context."[158]
Nevertheless, by the 1930s White began turning away from the Boasian approach.[159] He wrote,
- In order to live man, like all other species, must come to terms with the external world.... Man employs his sense organs, nerves, glands, and muscles in adjusting himself to the external world. But in addition to this he has another means of adjustment and control.... This mechanism is culture.[160]
Although this view echoes that of Malinowski, the key concept for White was not "function" but "adaptation." Whereas the Boasians were interested in the history of specific traits, White was interested in the cultural history of the human species, which he felt should be studied from an evolutionary perspective. Thus, the task of anthropology is to study "not only how culture evolves, but why as well.... In the case of man ... the power to invent and to discover, the ability to select and use the better of two tools or ways of doing something— these are the factors of cultural evolution."[161] Unlike 19th century evolutionists, who were concerned with how civilized societies rose above primitive societies, White was interested in documenting how, over time, humankind as a whole has through cultural means discovered more and more ways for capturing and harnessing energy from the environment, in the process transforming culture.
At the same time that White was developing his theory of cultural evolution, Kroeber's student Julian Steward was developing his theory of cultural ecology. In 1938 he published Basin-Plateau Aboriginal Socio-Political Groups in which he argued that diverse societies—for example the indigenous Shoshone or White farmers on the Great Plains—were not less or more evolved; rather, they had adapted differently to different environments.[162] Whereas Leslie White was interested in culture understood holistically as a property of the human species, Julian Steward was interested in culture as the property of distinct societies. Like White he viewed culture as a means of adapting to the environment, but he criticized Whites "unilineal" (one direction) theory of cultural evolution and instead proposed a model of "multilineal" evolution in which (in the Boasian tradition) each society has its own cultural history.[163]
When Julian Steward left a teaching position at the University of Michigan to work in Utah in 1930, Leslie White took his place; in 1946 Julian Steward was made Chair of the Columbia University Anthropology Department. In the 1940s and 1950s their students, most notably Marvin Harris, Sidney Mintz, Robert Murphy, Roy Rappaport, Marshall Sahlins, Elman Service, Andrew P. Vayda and Eric Wolf dominated American anthropology.[164][165][166][167][168][169][170][171][172] Most promoted materialist understandings of culture in opposition to the symbolic approaches of Geertz and Schneider. Harris, Rappaport, and Vayda were especially important for their contributions to cultural materialism and ecological anthropology, both of which argued that "culture" constituted an extra-somatic (or non-biological) means through which human beings could adapt to life in drastically differing physical environments.
The debate between symbolic and materialist approaches to culture dominated American Anthropologists in the 1960s and 1970s. The Vietnam War and the publication of Dell Hymes' Reinventing Anthropology, however, marked a growing dissatisfaction with the then dominant approaches to culture. Hymes argued that fundamental elements of the Boasian project such as holism and an interest in diversity were still worth pursuing: "interest in other peoples and their ways of life, and concern to explain them within a frame of reference that includes ourselves."[173] Moreover, he argued that cultural anthropologists are singularly well-equipped to lead this study (with an indirect rebuke to sociologists like Parsons who sought to subsume anthropology to their own project):
- In the practice there is a traditional place for openness to phenomena in ways not predefined by theory or design – attentiveness to complex phenomena, to phenomena of interest, perhaps aesthetic, for their own sake, to the sensory as well as intellectual, aspects of the subject. These comparative and practical perspectives, though not unique to formal anthropology, are specially husbanded there, and might well be impaired, if the study of man were to be united under the guidance of others who lose touch with experience in concern for methodology, who forget the ends of social knowledge in elaborating its means, or who are unwittingly or unconcernedly culture-bound.[174]
It is these elements, Hymes argued, that justify a "general study of man," that is, "anthropology".[175]
During this time notable anthropologists such as Mintz, Murphy, Sahlins, and Wolf eventually broke away, experimenting with structuralist and Marxist approaches to culture, they continued to promote cultural anthropology against structural functionalism.[176][177][178][179][180]
1940–present: Local versus global[link]
Boas and Malinowski established ethnographic research as a highly localized method for studying culture. Yet Boas emphasized that culture is dynamic, moving from one group of people to another, and that specific cultural forms have to be analyzed in a larger context. This has led anthropologists to explore different ways of understanding the global dimensions of culture.
In the 1940s and 1950s, several key studies focused on how trade between indigenous peoples and the Europeans who had conquered and colonized the Americas influenced indigenous culture, either through change in the organization of labor, or change in critical technologies. Bernard Mishkin studied the effect of the introduction of horses on Kiowa political organization and warfare.[181] Oscar Lewis explored the influence of the fur trade on Blackfoot culture (relying heavily on historical sources).[182] Joseph Jablow documented how Cheyenne social organization and subsistence strategy between 1795 and 1840 were determined by their position in trade networks linking Whites and other Indians.[183] Frank Secoy argued that Great Plains Indians' social organization and military tactics changed as horses, introduced by the Spanish in the south, diffused north, and guns, introduced by the British and French in the east, diffused west.[184]
In the 1950s Robert Redfield and students of Julian Steward pioneered "community studies," namely, the study of distinct communities (whether identified by race, ethnicity, or economic class) in Western or "Westernized" societies, especially cities. They thus encountered the antagonisms 19th century critics described using the terms "high culture" and "low culture." These 20th century anthropologists struggled to describe people who were politically and economically inferior but not, they believed, culturally inferior. Oscar Lewis proposed the concept of a "culture of poverty" to describe the cultural mechanisms through which people adapted to a life of economic poverty. Other anthropologists and sociologists began using the term "sub-culture" to describe culturally distinct communities that were part of larger societies.
One important kind of subculture is that formed by an immigrant community. In dealing with immigrant groups and their cultures, there are various approaches:
- Leitkultur (core culture): A model developed in Germany by Bassam Tibi. The idea is that minorities can have an identity of their own, but they should at least support the core concepts of the culture on which the society is based.
- Melting Pot: In the United States, the traditional view has been one of a melting pot where all the immigrant cultures are mixed and amalgamated without state intervention.
- Monoculturalism: In some European states, culture is very closely linked to nationalism, thus government policy is to assimilate immigrants, although recent increases in migration have led many European states to experiment with forms of multiculturalism.
- Multiculturalism: A policy that immigrants and others should preserve their cultures with the different cultures interacting peacefully within one nation.
The way nation states treat immigrant cultures rarely falls neatly into one or another of the above approaches. The degree of difference with the host culture (i.e., "foreignness"), the number of immigrants, attitudes of the resident population, the type of government policies that are enacted, and the effectiveness of those policies all make it difficult to generalize about the effects. Similarly with other subcultures within a society, attitudes of the mainstream population and communications between various cultural groups play a major role in determining outcomes. The study of cultures within a society is complex and research must take into account a myriad of variables.
Cultural studies[link]
In the United Kingdom, sociologists and other scholars influenced by Marxism, such as Stuart Hall and Raymond Williams, developed Cultural Studies. Following nineteenth century Romantics, they identified "culture" with consumption goods and leisure activities (such as art, music, film, food, sports, and clothing). Nevertheless, they understood patterns of consumption and leisure to be determined by relations of production, which led them to focus on class relations and the organization of production.[185][186] In the United States, "Cultural Studies" focuses largely on the study of popular culture, that is, the social meanings of mass-produced consumer and leisure goods. The term was coined by Richard Hoggart in 1964 when he founded the Birmingham Centre for Contemporary Cultural Studies or CCCS. It has since become strongly associated with Stuart Hall, who succeeded Hoggart as Director.
From the 1970s onward, Stuart Hall's pioneering work, along with his colleagues Paul Willis, Dick Hebdige, Tony Jefferson, and Angela McRobbie, created an international intellectual movement. As the field developed it began to combine political economy, communication, sociology, social theory, literary theory, media theory, film/video studies, cultural anthropology, philosophy, museum studies and art history to study cultural phenomena or cultural texts. In this field researchers often concentrate on how particular phenomena relate to matters of ideology, nationality, ethnicity, social class, and/or gender.[citation needed] Cultural studies is concerned with the meaning and practices of everyday life. These practices comprise the ways people do particular things (such as watching television, or eating out) in a given culture. This field studies the meanings and uses people attribute to various objects and practices. Recently, as capitalism has spread throughout the world (a process called globalization), cultural studies has begun to analyse local and global forms of resistance to Western hegemony.[citation needed]
In the context of cultural studies, the idea of a text not only includes written language, but also films, photographs, fashion or hairstyles: the texts of cultural studies comprise all the meaningful artifacts of culture.[citation needed] Similarly, the discipline widens the concept of "culture". "Culture" for a cultural studies researcher not only includes traditional high culture (the culture of ruling social groups)[187] and popular culture, but also everyday meanings and practices. The last two, in fact, have become the main focus of cultural studies. A further and recent approach is comparative cultural studies, based on the discipline of comparative literature and cultural studies.[citation needed]
Scholars in the United Kingdom and the United States developed somewhat different versions of cultural studies after the field's inception in the late 1970s. The British version of cultural studies was developed in the 1950s and 1960s mainly under the influence first of Richard Hoggart, E. P. Thompson, and Raymond Williams, and later Stuart Hall and others at the Centre for Contemporary Cultural Studies at the University of Birmingham. This included overtly political, left-wing views, and criticisms of popular culture as 'capitalist' mass culture; it absorbed some of the ideas of the Frankfurt School critique of the "culture industry" (i.e. mass culture). This emerges in the writings of early British cultural-studies scholars and their influences: see the work of (for example) Raymond Williams, Stuart Hall, Paul Willis, and Paul Gilroy.
Whereas in the United States Lindlof & Taylor said, "Cultural studies [were] grounded in a pragmatic, liberal-pluralist tradition".[188] The American version of cultural studies initially concerned itself more with understanding the subjective and appropriative side of audience reactions to, and uses of, mass culture; for example, American cultural-studies advocates wrote about the liberatory aspects of fandom.[citation needed] The distinction between American and British strands, however, has faded.[citation needed] Some researchers, especially in early British cultural studies, apply a Marxist model to the field. This strain of thinking has some influence from the Frankfurt School, but especially from the structuralist Marxism of Louis Althusser and others. The main focus of an orthodox Marxist approach concentrates on the production of meaning. This model assumes a mass production of culture and identifies power as residing with those producing cultural artifacts. In a Marxist view, those who control the means of production (the economic base) essentially control a culture.[citation needed] Other approaches to cultural studies, such as feminist cultural studies and later American developments of the field, distance themselves from this view. They criticize the Marxist assumption of a single, dominant meaning, shared by all, for any cultural product. The non-Marxist approaches suggest that different ways of consuming cultural artifacts affect the meaning of the product. This view is best exemplified by the book Doing Cultural Studies: The Case of the Sony Walkman (by Paul du Gay et al.), which seeks to challenge the notion that those who produce commodities control the meanings that people attribute to them. Feminist cultural analyst, theorist and art historian Griselda Pollock contributed to cultural studies from viewpoints of art history and psychoanalysis. The writer Julia Kristeva is influential voices in the turn of the century, contributing to cultural studies from the field of art and psychoanalytical French feminism.[citation needed]
Culturology[link]
- Main article: Culturology
In USSR and Eastern Bloc culture was studied in a very different than the anthropological perspective, mainly as a hierarchial structure and within its role for society. Specifical interest here is played by the high culture and spiritual culture with their central place in culturology but also other types of culture as grounds for developing high culture. Relation between society and culture is understood as the role of culture to reaching better and higher level of morality (notion of the value structure of culture), intelligence, reason, etc. Here culture is strictly bonded to philosophy but also history and in some aspects and research like in semiotics of culture (a field in semiotics but not culturology however) of the Tartu School in relation to language and sign systems.
Cultural change[link]
Cultural invention has come to mean any innovation that is new and found to be useful to a group of people and expressed in their behavior but which does not exist as a physical object. Humanity is in a global "accelerating culture change period", driven by the expansion of international commerce, the mass media, and above all, the human population explosion, among other factors.
Cultures are internally affected by both forces encouraging change and forces resisting change. These forces are related to both social structures and natural events, and are involved in the perpetuation of cultural ideas and practices within current structures, which themselves are subject to change.[189] (See structuration.)
Social conflict and the development of technologies can produce changes within a society by altering social dynamics and promoting new cultural models, and spurring or enabling generative action. These social shifts may accompany ideological shifts and other types of cultural change. For example, the U.S. feminist movement involved new practices that produced a shift in gender relations, altering both gender and economic structures. Environmental conditions may also enter as factors. For example, after tropical forests returned at the end of the last ice age, plants suitable for domestication were available, leading to the invention of agriculture, which in turn brought about many cultural innovations and shifts in social dynamics.[190]
Cultures are externally affected via contact between societies, which may also produce—or inhibit—social shifts and changes in cultural practices. War or competition over resources may impact technological development or social dynamics. Additionally, cultural ideas may transfer from one society to another, through diffusion or acculturation. In diffusion, the form of something (though not necessarily its meaning) moves from one culture to another. For example, hamburgers, mundane in the United States, seemed exotic when introduced into China. "Stimulus diffusion" (the sharing of ideas) refers to an element of one culture leading to an invention or propagation in another. "Direct Borrowing" on the other hand tends to refer to technological or tangible diffusion from one culture to another. Diffusion of innovations theory presents a research-based model of why and when individuals and cultures adopt new ideas, practices, and products.
Acculturation has different meanings, but in this context refers to replacement of the traits of one culture with those of another, such has happened to certain Native American tribes and to many indigenous peoples across the globe during the process of colonization. Related processes on an individual level include assimilation (adoption of a different culture by an individual) and transculturation.
See also[link]
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Notes[link]
- ^ Harper, Douglas (2001). Online Etymology Dictionary
- ^ Levine, Donald (ed) 'Simmel: On individuality and social forms' Chicago University Press, 1971. p6.
- ^ Macionis, Gerber, John, Linda (2010). Sociology 7th Canadian Ed. Toronto, Ontario: Pearson Canada Inc.. pp. 53.
- ^ a b Velkley, Richard (2002). "The Tension in the Beautiful: On Culture and Civilization in Rousseau and German Philosophy". Being after Rousseau: Philosophy and Culture in Question. The University of Chicago Press. pp. 11–30
- ^ Immanuel Kant 1974 "Answering the Question: What is Enlightenment?" (German: "Beantwortung der Frage: Was ist Aufklärung?") Berlinische Monatsschrift, December (Berlin Monthly)
- ^ Michael Eldridge, "The German Bildung Tradition" UNC Charlotte
- ^ "Adolf Bastian", Today in Science History; "Adolf Bastian", Encyclopædia Britannica
- ^ a b Arnold, Matthew. 1869. Culture and Anarchy.
- ^ Williams (1983), p.90. Cited in Shuker, Roy (1994). Understanding Popular Music, p.5. ISBN 0-415-10723-7. argues that contemporary definitions of culture fall into three possibilities or mixture of the following three:
- "a general process of intellectual, spiritual, and aesthetic development"
- "a particular way of life, whether of a people, period, or a group"
- "the works and practices of intellectual and especially artistic activity".
- ^ Bakhtin 1981, p.4
- ^ McClenon, p.528-529
- ^ Robert Yerkes 1943 Chimpanzees: A Laboratory Colony. New Haven: Yale University Press. 51–52, 189, 193
- ^ Jane Goodall 1963 "My Life Among Wild Chimpanzees" National Geographic 124: 308
- ^ R. J. Andrew 1963 "Comment on The Essential Morphological Basis for Human Culture" Alan Bryan Current Anthropology 4: 301–303, p. 301
- ^ Alan Bryan 1963 "The Essential Morphological basis for Human Culture" Current Anthropology 4: 297
- ^ Keleman 1963 "Comment on The Essential Morphological Basis for Human Culture" Alan Bryan Current Anthropology 4: 301–303 p.304
- ^ W. C. McGrew 1998 "Culture in nonhuman primates?" Annual Review of Anthropology 27: 301–328
- ^ a b W.C. McGrew 1998 "Culture in Nonhuman Primates?" Annual Review of Anthropology 27: 323
- ^ W.C. McGrew 1998 "Culture in Nonhuman Primates?" Annual Review of Anthropology 27: 305
- ^ C.F. Voegelin 1951 "Culture, Language and the Human Organism" Southwestern Journal of Anthropology 7: 370
- ^ a b Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 511
- ^ M. King and A Wilson 1975 "Evolution at two levels: in humans and chimpanzees" Science 188: 107–116
- ^ Stringer and McKiew 1996 African Exodus: The origins of Modern Humanity. London: Cape
- ^ a b Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 510
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 512
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 520
- ^ a b Michael Tomasello 1990 "Cultural Transmission in the Tool Use and Communicatory Signaling of Chimpanzees?" in "Language" and Intelligence in Monkeys and Apes: Comparative Developmental Perspectives ed. S. Parker, K. Bibson. Cambridge: Cambridge University Press, pp. 274–311
- ^ Michael Tmoasello 1996 "Do Apes Ape?" in Social Learning in Animals: The Roots of Culture ed. C. Heyes and B. Galef. New York: Academic Press, pp. 319–346
- ^ a b Nagell, K., Olguin K. and Tomasello M. 1993 "Processes of social learning in the tool use of chimpanzees (Pan troglodytes) and human children (Homo sapiens)" in Journal of Comparative Psychology 107: 174–186
- ^ S. Kawamura 1959 "The process of subcultural propogation among Japanese macaques" Primates 2: 43–60
- ^ a b M. Kawai 1965 "Newly acquired pre-cultural behairo of the natural troop of Japanese monkeys on Koshima Islet Primates 6: 1–30
- ^ E. Visalberghi and D.M. Fragaszy 1990 "Food washing behavior in tufted Capuchin monkeys, Cebusapella, and crabeating macaques, Macaca fasciculais" Animal Behavior 40: 829–836
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 519
- ^ Michael Tomasello 1996 "Do Apes Ape?" in Social Learning in Animals: The Roots of Culture ed. C. Heyes and B. Galef. New York: Academic Press. pp: 319–346
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 512
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 513
- ^ R. Bakerman and L. Adamson 1984 "Coordinating attention to people and objects in mother-infant and peer-infant interaction" in Child Development 55: 1278–1289
- ^ C. Moore and P. Dunham 1995 Joint Attention: Its Origins and Role in Development. Hillsdale, NJ: Erlbaum Press.
- ^ M. Tomasello 1995 "Joint attention as social cognition" in Joint Attention: Its Origins and Role in Development, ed. C. Moore and P. Dunham. Hillsdale NJ: Erlbaum Press, pp. 103–130
- ^ W. C. Meltzoff 1988 "Infant imitation after a one-week delay: long term memory for novel acts and multiple stimuli" in Developmental Psychology 24: 470–476
- ^ M. Carpenter, N. Akhtar, M. Tomasello 1998 "Sixteen-month old infants differentially imitate intentional and accidental actions" in Infant behavioral Development 21: 315–330
- ^ A. Meltzoff 1995 "Understanding the intentions of others: re-enactment of intended acts by 18-month-old children" in Developmental Psychology 31: 838–850
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 514
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 515
- ^ Tomasello, M., Kruger, A. & Ratner, H. 1993 "Cultural learning" Behavioral and Brain Sciences 16, 495–552
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 516
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 520–521
- ^ Brown 1999
- ^ M. Tomasello and M. Barton 1994 "Learning Words in non-Ostensive Contexts" Developmental Psychology 30: 639–650
- ^ N. Akhtar and M. Tomasello 1996 "Twenty-four month old children learn words for absent objects and actions" in British Journal of Developmental Psychology 14: 79–93
- ^ M. Tomasello R. Strosberg, N. Akhtar 1996 "Eighteen-month old children learn words in non-ostensive contexts" in Journal of Child Language 23: 157–176
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 516
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 395
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 396
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 400
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 401.
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 399.
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 395.
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 399.
- ^ C.F. Hockett and R. Ascher 1964 "The Human Revolution" in Current Anthropology 4: 135–168.
- ^ Michael Tomasello 1999 "The Human Adaptation for Culture" in Annual Review of Anthropology vol. 28: 517.
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 401
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 402
- ^ Ralph L. Holloway Jr. 1969 "Culture: A Human domain" in Current Anthropology 10(4): 406.
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W. W. Norton, p. 322
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, p. 344
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, p. 340
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, p. 347
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, pp. 384–385
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W. W. Norton, p. 386.
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, pp. 386–387
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, p. 388
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, pp. 396–397
- ^ Terrence Deacon 1997 The Symbolic Species: The Co-evolution of Language and the Brain New York and London: W.W. Norton, pp. 397–401
- ^ V. Gordon Childe 1929 The Danube in Prehistory Oxford: Clarendon Press
- ^ By R. Lee Lyman and Michael J. O'Brien, 2003 W.C. McKern and the Midwestern Taxonomic Method. University of Alabama Press, Tuscaloosa
- ^ Colin Renfrew and Paul Bahn, 2008 Archeology: Theories, Methods and Practice Fifth edition. New York: Thames and Hudson. p. 470
- ^ Walter Taylor 1948 A Study of Archeology Memoir 69, American Anthropological Association, reprinted, Carbondale Il: Southern Illinois University Press, 1967. p. 96
- ^ Walter Taylor 1948 A Study of Archeology Memoir 69, American Anthropological Association, reprinted, Carbondale Il: Southern Illinois University Press, 1967. p. 100
- ^ Patty Jo Watson 1995 "Archeology, Anthropology, and the Culture Concept" in American Anthropologist 97(4) p.685
- ^ Robert Dunnel 1986 "Five Decades of American Archeology" in American Archeology past and Future: A Celebration of the Society for American Archeology, 1935–1985. D. Meltzer and J. Sabloff, eds. Washington D.C.: Smithsonian Institution Press. p.36
- ^ Lewish Binford 1962 "Archeology as Anthropology" in American Antiquity 28(2):218; see White 1959 The Evolution of Culture New York:McGraw Hill p.8
- ^ Lewish Binford 1962 "Archeology as Anthropology" in American Antiquity 28(2):218; see Steward 1955 Theory of Culture Change. University of Illinois Press, Urbana.
- ^ Patty Jo Watson 1995 "Archeology, Anthropology, and the Culture Concept" in American Anthropologist 97(4) p.684
- ^ Patty Jo Watson 1995 "Archeology, Anthropology, and the Culture Concept" in American Anthropologist 97(4) pp. 687–6874
- ^ Ian Hodder 1982 Symbols in action: ethnoarchaeological studies of material culture Cambridge: Cambridge University Press
- ^ Ian Hodder 1986 Reading the past: current approaches to interpretation in archaeology Cambridge: Cambridge University Press
- ^ Baepler, Paul. 2003. "White slaves, African masters." The ANNALS of the American Academy of Political and Social Science 588(1): 90–111. p. 91
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- ^ Quoted in Anderson, Benedict R.O'G. 1983. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso.
- ^ Sapir 1921:228
- ^ Sapir 1995: 59
- ^ e.g. Von Humbolt, Wilhelm. 1820. Über das vergleichende Sprachstudium in Beziehung auf die verschiedenen Epochen der Sprachentwicklung.
- ^ e.g. Whorf, Benjamin Lee. 1941. "The relation of habitual thought and behavior to language." In Language, Culture, and Personality: Essays in Honor of Edward Sapir. Menasha, WI: Sapir Memorial Publication Fund.
- ^ Whorf, Benjamin Lee. 1941. "The relation of habitual thought and behavior to language." In Language, Culture, and Personality: Essays in Honor of Edward Sapir. Menasha, WI: Sapir Memorial Publication Fund. p. 293. See also, e.g. Boas, Franz. 1911. "Introduction." Handbook of American Indian Languages. Washington: Smithsonian Institution, Bureau of American Ethnology.
- ^ (Duranti 1997: 49)(Mannheim & Tedlock 1995: 2)
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- ^ a b Foley 1997 p??
- ^ Men's and Women's Speech in Koasati, Mary R. Haas, Language, Vol. 20, No. 3 (Jul. – Sep., 1944), pp. 142–149 (also summarized in Foley 1997)
- ^ Tylor, E.B. 1874. Primitive culture: researches into the development of mythology, philosophy, religion, art, and custom.
- ^ A. L. Kroeber 1917 "The Superorganic" American Anthropologist, New Series, Vol. 19, No. 2 pp. 163–213.
- ^ Gerald Weiss 1973 "A Scientific Concept of Culture" in American Anthropologist 75(5): 1382
- ^ Franz Boas 1940 [1920] "The Methods of Ethnology", in Race, Language and Culture ed. George Stocking. Chicago: University of Chicago Press, 284.
- ^ Franz Boas 1940 [1932] "The Aims of Anthropological Research", in Race, Language and Culture ed. George Stocking. Chicago: University of Chicago Press. 253
- ^ Kroeber, Alfred L., 1948, Anthropology: Race, Language, Culture, Psychology, Prehistory revised edition. New York: Harcourt, Brace, and World, Inc. p. 261
- ^ Franz Boas 1907 "Anthropology" in A Franz Boas Reader: The Shaping of American Anthropology 1883–1911 ed. George Stocking Jr. 267–382
- ^ Boas, Franz 1920 "The Methods of Ethnology" in Race, Language, and Culture. ed. George Stocking Jr. 1940 Chicago: The University of Chicago Press. pp. 281–289
- ^ Boas, Franz 1909 "Decorative Designs in Alaskan Needlecases: A Study in the History of Conventional designs Based on Materials in the U.S. National Museum" in Race, Language, and Culture. ed. George Stocking Jr. 1940 Chicago: The University of Chicago Press. pp. 564–592
- ^ Wissler, Clark (ed.) (1975) Societies of the Plains Indians AMS Press, New York, ISBN 0-404-11918-2 , Reprint of v. 11 of Anthropological papers of the American Museum of Natural History, published in 13 pts. from 1912 to 1916.
- ^ Kroeber, Alfred L. (1939) Cultural and Natural Areas of Native North America University of California Press, Berkeley, CA.
- ^ Dyk, Walter 1938 Left Handed, Son of Old Man Hat, by Walter Dyk. Lincoln: The University of Nebraska Press.
- ^ Lewis, Oscar 1961 The Children of Sanchez. New York: Vintage Books.
- ^ Lewis, Oscar 1964 Pedro Martinez. New York: Random House.
- ^ Mintz, Sidney 1960 Worker in the Cane: A Puerto Rican Life History. Yale Caribbean Series, vol. 2. New Haven: Yale University Press.
- ^ Radin, Paul 1913 "Personal Reminiscences of a Winnebago Indian," in Journal of American Folklore 26: 293–318
- ^ Radin, Paul 1963 The Autobiography of a Winnebago Indian. New York: Dover Publications
- ^ Sapir, Edward 1922 "Sayach'apis, a Nootka Trader" in Elsie Clews Parsons, American Indian Life. New York: B.W. Huebesh.
- ^ Simmons, Leo, ed. 1942 Sun Chief: The Autobiography of a Hopi Indian. New Haven: Yale University Press.
- ^ Benedict 1934.
- ^ Benedict, Ruth. The Chrysanthemum and the Sword: Patterns of Japanese Culture. Rutland, VT and Tokyo, Japan: Charles E. Tuttle Co. 1954 orig. 1946.
- ^ Margaret Mead 1928 Coming of Age in Samoa
- ^ Benedict 1934 pp.46–47
- ^ Franz Boas 1940 [1932] "The Aims of Anthropological Research," in Race, Language and Culture ed. George Stocking. Chicago: University of Chicago Press. 256
- ^ Bashkow, Ira 2004 "A Neo-Boasian Conception of Cultural Boundaries" American Anthropologist 106(3): 446
- ^ Benedict 1934 p. 48
- ^ Benedict 1934 p. 49
- ^ Ruth Benedict 1934 Patterns of Culture Boston: Houghton Miflin Company p. 52
- ^ Benedict 1934 p. 47
- ^ Benedict 1934 pp. 23–24
- ^ Benedict 1934 p.46
- ^ a b Benedict 1934 p.277
- ^ Benedict 1934 p.271
- ^ Murdock, George, 1949 Social Structure New York: The Macmillan Company
- ^ Murdock, G. P. 1967. Ethnographic Atlas: A Summary. Pittsburgh: The University of Pittsburgh Press
- ^ Murdock, G. P. 1981. Atlas of World Cultures. Pittsburgh: The University of Pittsburgh Press.
- ^ Lévi-Strauss, Claude 1955 Tristes Tropiques Atheneum press
- ^ Lévi-Strauss, Claude Mythologiques I-IV (trans. John Weightman and Doreen Weightman);Le Cru et le cuit (1964), The Raw and the Cooked (1969); Du miel aux cendres (1966), From Honey to Ashes (1973); L'Origine des manières de table (1968) The Origin of Table Manners 1978); 'L'Homme nu (1971) The Naked Man (1981)
- ^ Structural-functionalism in Michael Rosenberg, Introduction to Sociology, Routledge, 1983
- ^ Raymond Firth 1936 We the Tikopia: A Sociological Study of Kinship in Primitive Polynesia London Allen and Unwin
- ^ Meyer Fortes and E.E. Evans Pritchard 1940. African Political Systems. London and New York: International African Institute.
- ^ Bronisław Malinowski 1944 The Scientific Theory of Culture
- ^ A.R. Radcliffe-Brown 1952 Structure and Function in Primitive Society
- ^ a.R. Radcliffe-Brown 1957 A Natural Science of Society Glencoe: The Free Press p. 53
- ^ Talcott Parsons 1937, The Structure of Social Action
- ^ Talcott Parsons 1951, The Social System
- ^ Eric Wolf 1980 "They Divide and Subdivide and Call it Anthropology." The New York Times November 30:E9.
- ^ Ira Bashkow, 2004 "A Neo-Boasian Conception of Cultural Boundaries," American Anthropologist 106(3):445–446
- ^ Appadurai, Arjun 1986 The Social Life of Things. (Edited) New York: Cambridge University Press.
- ^ Appadurai, Arjun, 1996 Modernity at large: Cultural dimensions of globalization. Minneapolis: University of Minnesota Press.
- ^ Gupta, Akhil, and James Ferguson, 1992, "Beyond 'Culture': Space, Identity, and the Politics of Difference," Cultural Anthropology 7(1): 6–23
- ^ Marcus, George E. 1995 "Ethnography in/of the World System: The Emergence of Multi-Sited Ethnography." In Annual Review of Anthropology 24: 95–117
- ^ Wolf, Eric 1982 Europe and the people without history. Berkeley: The University of California Press.
- ^ Clifford Geertz 1973 The Interpretation of Cultures New York: Basic Books
- ^ David Schneider 1968 American Kinship: A Cultural Account Chicago: University of Chicago press
- ^ Roy Wagner 1980 American Kinship: A Cultural Account Chicago: University of Chicago Press
- ^ Janet Dolgin, David Kemnitzer, and David Schneider, eds. Symbolic Anthropology: a Reader in the Study of Symbols and Meanings
- ^ Victor Turner 1967 The Forest of Symbols: Aspects of Ndembu Ritual Ithaca:Cornell University Press
- ^ White, L. 1949. The Science of Culture: A study of man and civilization.
- ^ Richard A. Barrett 1989, "The Paradoxical Anthropology of Leslie White," American Anthropologist Vol. 91, No. 4 (Dec., 1989), pp. 986–999
- ^ Leslie White, 1949 "Ethnological Theory." In Philosophy for the Future: The Quest of Modern Materialism. R. W. Sellars, V.J. McGill, and M. Farber, eds. Pp. 357–384. New York: Macmillan.
- ^ Leslie White, 1943 "Energy and the Evolution of Culture." American Anthropologist 45: 339
- ^ Julian Steward 1938 Basin Plateau Aboriginal Socio-political Groups (Smithsonian Institution Bureau of American Ethnology Bulletin, No 20)
- ^ Julian Steward 1955 Theory of Culture Change: The Methodology of Multilinear Evolution University of Illinois Press
- ^ Marvin Harris 1979 Cultural Materialism: The Struggle for a Science of Culture New York: Random House
- ^ Marvin Harris 1977 Cannibals and Kings: Origins of Cultures New York: Vintage
- ^ Marvin Harris 1974 Cows, Pigs, Wars, and Witches: The Riddles of Culture New York: Vintage
- ^ Roy A. Rappaport 1967 Pigs for the Ancestors: Ritual in the Ecology of a New Guinea People
- ^ Julian Steward, ed. 1966 The people of Puerto Rico: a study in social anthropology Chicago: University of Chicago Press (includes doctoral dissertations of Mintz and Wolf)
- ^ Robert F. Murphy 1960 Headhunter's Heritage; Social and Economic Change Among the Mundurucu Indians
- ^ Marshall Sahlins and Elman Service, '
- ^ Elman R. Service 1962 Primitive social organization: an evolutionary perspective New York: Random House
- ^ Andrew Peter Vayda, ed. 1969 Environment and cultural behavior: ecological studies in cultural anthropology Garden City: Natural History Press
- ^ Dell Hymes 1969 Reinventing Anthropology p. 11
- ^ Dell Hymes 1969 Reinventing Anthropology p. 42
- ^ Dell Hymes 1969 Reinventing Anthropology p. 43
- ^ Sidney Mintz 1985 Sweetness and Power New York:Viking Press
- ^ Robert Murphy 1971 The Dialectics of Social Life New York: Basic Books
- ^ Marshall Sahlins 1976 Culture and Practical Reason Chicago: University of Chicago Press
- ^ Eric Wolf 1971 Peasant Wars of the Twentieth Century
- ^ Eric Wolf, 1982 Europe and the People Without History Berkeley: University of California Press
- ^ Mishkin, Bernard 1940 Rank and Warfare in Plains Indian Culture. Monographs of the American Ethnological Society no. 3. New York: J.J. Augustin.
- ^ Lewis, Oscar 1942 The Effects of White Contact upon Blackfoot Culture, with Special Reference to the Role of the Fur Trade. Monographs of the American Ethnological Society no. 6. New York: J.J. Augustin.
- ^ Jablow, Joseph 1951 The Cheyenne in Plains Indian Trade Relations, 1795–1972. American Ethnological Society Monograph 19. New York: J.J. Augustin.
- ^ Secoy, Frank 1953 Changing Military Patterns on the Great Plains(17th Century througn Early 19th Century). American Ethnological Society Monograph 21, New York: J.J. Augustin.
- ^ Raymond Williams (1976) Keywords: A Vocabulary of Culture and Society. Rev. Ed. (NewYork: Oxford UP, 1983), pp. 87–93 and 236–8.
- ^ John Berger, Peter Smith Pub. Inc., (1971) Ways of Seeing
- ^ Bakhtin, Mikhail 1981. The Dialogic Imagination. Austin, TX: UT Press, p.4
- ^ Lindlof & Taylor, 2002,p.60
- ^ O'Neil, D. 2006. "Processes of Change".
- ^ Pringle, H. 1998. The Slow Birth of Agriculture. Science 282: 1446.
References[link]
- "Adolf Bastian". Today in Science History. 27 Jan 2009 Today in Science History
- "Adolf Bastian", Encyclopædia Britannica Online, 27 January 2009
- Ankerl, Guy (2000) [2000]. Global communication without universal civilization, vol.1: Coexisting contemporary civilizations: Arabo-Muslim, Bharati, Chinese, and Western. INU societal research. Geneva: INU Press. ISBN 2-88155-004-5.
- Arnold, Matthew. 1869. Culture and Anarchy. New York: Macmillan. Third edition, 1882, available online. Retrieved: 2006-06-28.
- Bakhtin, M. M. (1981) The Dialogic Imagination: Four Essays. Ed. Michael Holquist. Trans. Caryl Press. ISBN 978-0-252-06445-6.
- Barzilai, Gad. 2003. Communities and Law: Politics and Cultures of Legal Identities University of Michigan Press. ISBN 0-472-11315-1
- Benedict, Ruth (1934). Patterns of Culture. Boston: Houghton Miflin Company
- Bourdieu, Pierre. 1977. Outline of a Theory of Practice. Cambridge University Press. ISBN 978-0-521-29164-4
- Cohen, Anthony P. 1985. The Symbolic Construction of Community. Routledge: New York,
- Dawkins, R. 1982. The Extended Phenotype: The Long Reach of the Gene. Paperback ed., 1999. Oxford Paperbacks. ISBN 978-0-19-288051-2
- Findley & Rothney. Twentieth-Century World (Houghton Mifflin, 1986)
- Forsberg, A. Definitions of culture CCSF Cultural Geography course notes. Retrieved: 2006-06-29.
- Geertz, Clifford. 1973. The Interpretation of Cultures: Selected Essays. New York. ISBN 978-0-465-09719-7.
- — 1957. "Ritual and Social Change: A Javanese Example", American Anthropologist, Vol. 59, No. 1. Geertz
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External links[link]
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http://wn.com/Culture
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Culture
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For other people named Joseph Hill, see Joseph Hill (disambiguation).
| Joseph Hill | |
|---|---|
.jpg) Joseph Hill in 2000 |
|
| Background information | |
| Also known as | Keeper of Zion Gate |
| Born | January 22, 1949 |
| Origin | St. Catherine, Jamaica |
| Died | August 19, 2006 in Berlin, Germany |
| Genres | Roots reggae |
| Years active | 1970s–2006 |
| Associated acts | Culture |
Joseph Hill (January 22, 1949 – August 19, 2006) was the lead singer and songwriter for the roots reggae group Culture whose other members were Kenneth Dayes and Hill's cousin Albert Walker, most famous for their 1977 hit "Two Sevens Clash", but also well known for their "International Herb" single. Hill recorded twenty-two albums.
Biography[link]
Joseph Hill was a devoted worshipper of His Imperial Majesty Haile Selassie I of Ethiopia as a member of the Rastafari movement. Indeed, Hill's honorific/nickname, "Keeper of Zion Gate" reflects his vaunted position as one of reggae's and Rastafari's greatest voices.
Hill died while the group was in the middle of a European tour [1] after being taken ill suddenly and dying the next morning. His daughter, Andrea Hill, reported that he died from liver failure. Hill's son Kenyatta[2] and Baby Stoosh the only blood brother of the late have been performing concerts with Culture, standing in on lead vocals as a tribute to Hill. Kenyatta and Stoosh toured extensively for the last 11 years, Stoosh has stated "Since he [Hill] is no longer around to do the work himself, I feel it is my duty to carry on the work. I know that Kenyatta can lead us the way."
Hill had received a number of honours; an induction into the Jamaican Reggae Walk of Fame and a 2005 Independence Award presented by the Prime Minister of Jamaica. In 2006 the group continued to draw good reviews, especially for their performance at 'Bob Marley 61st Birthday Celebration' in Ghana.
During the seventies the group had a string of highly successful singles for producers Joe Gibbs and Sonia Pottinger including the song 'Two Sevens Clash' which made its mark on both Jamaica and the United Kingdom. It was named by Rolling Stone magazine in 2002 as one of the '50 Coolest Records' - the only single artist reggae album to make the list. The group also had a hit with 'Stop Fussing and Fighting', a song that addressed the chaotic political climate of the late 1970s and the attempt on Bob Marley's life.
Joseph Hill and Culture developed a reputation as a performing group after a performance at the 'One Love Peace Concert' in 1978, and was soon regularly touring the United States, Europe and Africa. In recent years the group continued to perform at least one hundred concerts each year - with Hill's wife Pauline performing road manager duties. Hill was a presence on stage - part deejay as he directed his band to reconfigure songs on stage and part teacher as he commented on Jamaican history and current political issues. In his lyrics, Hill often explored how the legacy of slavery continued to have an influence on Jamaican citizens. Yet, what made Culture unique was that Hill always tempered his messages by having a smile on his lips and a dance in his feet. He was never without a good joke at hand.
Growing up in the parish of St. Catherine Jamaica, Joseph Hill often described how he built a homemade drum as a child. He first became involved in the Jamaican music scene as a sound system deejay. By the late 1960s he was performing as a percussionist for the Soul Defenders[3] group who were based out of Linstead. It was with this group (which included such figures as Nana McLean and Vincent Morgan) that Hill made his first recording at Coxsone Dodd's legendary Studio One - both as a musician and lead singer. Notably, the group backed such Studio One stars as Burning Spear and Dennis Brown.
In the early 70s Hill performed with two groups that included future reggae star Glen Washington - C35 Incorporated and Stepping Stone. In 1976, Hill formed the harmony trio Culture with his cousin Albert Walker and Kenneth Dayes. The group combined sharp social commentary and catchy rhythms. Hill has often noted that the group earned their name Culture. They had a string of albums - most recently the album World Peace for Heartbeat Records in 2003. Significantly, Hill was not content to let Culture be a mere oldies act. In his last years he had recorded duets with Buju Banton and Anthony B, and demonstrated a wish to be faithful to his roots and a contemporary artist.
At his funeral in September 2006, Hill was eulogized by, amongst others, Jamaican Prime Minister Portia Simpson Miller who recognized his contributions to Jamaican Culture and ambassadorship to the world.
 |
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (February 2008) |
Notes[link]
- ^ http://www.jamaicaobserver.com/lifestyle/html/20060819t200000-0500_111575_obs_singer_joseph_hill_dies.asp
- ^ Kenyatta Hill keeps the voice of Culture alive
- ^ http://www.furious.com/Perfect/culture.html
External links[link]
| Persondata | |
|---|---|
| Name | Hill, Joseph |
| Alternative names | |
| Short description | |
| Date of birth | January 22, 1949 |
| Place of birth | |
| Date of death | August 19, 2006 |
| Place of death | |
http://wn.com/Joseph_Hill
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Joseph_Hill
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Peter Joseph | |
|---|---|
 Peter Joseph, 2010 |
|
| Born | Peter Joseph North Carolina, United States |
| Occupation | Film director, Film editor, Screenwriter, Producer, Composer, Activist |
| Years active | 2007 - present |
Peter Joseph[1] is an independent filmmaker and social activist. He has written, directed, narrated, scored and produced three non-commercial, self-produced and freely-distributed documentary films called Zeitgeist: The Movie, Zeitgeist: Addendum and Zeitgeist: Moving Forward. These films comprise what is called the "Zeitgeist Film Series". He is the founder of the Zeitgeist Movement and is also on the Steering Committee of "Project Peace on Earth."[2]
Contents |
Media attention[link]
Peter Joseph's work was the subject of articles in The New York Times, The Huffington Post, The Palm Beach Post, TheMarker and Globes.[3][4][5][6][7]
He has been featured on TV a number of times regarding the solutions proposed by The Zeitgeist Movement for the economic crisis, including several interviews on RT TV [8][9][10][11][12] along with TheMarkerTV in Israel.[13]
Peter Joseph has also appeared on two TEDx events: TEDxO'Porto[14] and TEDxOjai (California).[15][16]
References[link]
- ^ His first and middle name. The Zeitgeist movie website Q&A
- ^ Project Peace on Earth advisory board
- ^ Feuer, Alan (2009-03-17). "They've Seen the Future and Dislike the Present". The New York Times. http://www.nytimes.com/2009/03/17/nyregion/17zeitgeist.html. Retrieved 2012-05-12.
- ^ Travis Walter Donovan, The Zeitgeist Movement: Envisioning a Sustainable Future. The Huffington Post, March 16, 2010.
- ^ Rhonda Swan, A dream worth having, The Palm Beach Post, April 30, 2009
- ^ Quotations and citations in this Wikipedia article are based on the translation from Hebrew to English of The Filmmaker Who Helped Recruit Millions for the Global Protests of the Bottom 99%, original Hebrew article by Asher Schechter, TheMarker (Israel), January 19, 2012.
- ^ Quotations and citations in this Wikipedia article are based on the translation from Hebrew to English of Imagine, original Hebrew article by Tzaela Kotler, Globes (Israel), March 18, 2010.
- ^ "Zeitgeist: Moving beyond money". RT. March 26, 2011. http://rt.com/usa/news/zeitgeist-moving-money-utopia/.
- ^ The Zeitgeist Movement - Money, Debt and RBE, RT, Dec. 2, 2011
- ^ Zeitgeist Solutions for the World, RT, Sept. 14, 2011
- ^ Interview with Activist and Filmmaker Peter Joseph, RT, April 10, 2011
- ^ The Zeitgeist Movement on Solutions to War, Imperialism and The State, RT, Feb. 10, 2012
- ^ Discussion of the Zeitgeist movement with Peter Joseph, TheMarkerTV, Jan. 19, 2012. Interview conducted in English, following a brief introduction in Hebrew. The brief Hebrew introduction states: "Hello, Peter Joseph is with us, he is the filmmaker and director who created the Zeitgeist film series and The Zeitgeist movement, which advances for a global socio-economic change. The Zeitgeist films were among the most popular films in the history of the Internet, and Peter is here to answer a few questions regarding the nature of the Zeitgeist movement."
- ^ Peter Joseph - Arriving at a Ressource-Based Economy (RBE), TEDxO'Porto, July 8, 2011
- ^ Peter Joseph - The Big Question, TEDxOjai, March 9, 2012
- ^ Peter Joseph - The Zeitgeist Movement - spreading the interest for a new social system, TEDxOjai, Feb. 29, 2012
External links[link]
The Zeitgeist Movement[link]
- The Zeitgeist Movement Official Website
- New world re-order: The Zeitgeist Movement spreads to Ventura County, Shane Cohn, Ventura County Reporter, May 12, 2011
- Peter Joseph, the Creator of the Zeitgeist Movement, Talks in Salvador, Bahia, Brazil, Fabio Santos, Yahoo! Voices, Jul 26, 2011
Films and radio[link]
Lectures[link]
- Peter Joseph's Zeitgeist Movement Lecture "Where Are We Now?" London, UK - Saturday, July 25, 2009
- Peter Joseph's Zeitgeist Movement Lecture "Where Are We Going?" Maharishi University, Sunday, November 15, 2009 at the Maharishi University of Management, an "Ayurvedic science" institution.
- Social Pathology - The Zeitgeist Movement Lecture by Peter Joseph - NYC 2010 ZDAY.
- 18 min video backup for the live March 21, 2011 TEDx Portugal Talk by Peter Joseph called: "An Introduction to a Resource-Based Economy."
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| Name | Peter Joseph |
| Alternative names | |
| Short description | |
| Date of birth | 1978 |
| Place of birth | North Carolina, United States |
| Date of death | |
| Place of death | |
http://wn.com/Peter_Joseph
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Peter_Joseph
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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| Born | (1915-01-06)6 January 1915 Chislehurst, Kent, England |
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| Died | 16 November 1973(1973-11-16) (aged 58) Mt. Tamalpais, California, USA |
| Era | Contemporary philosophy |
| Region | Eastern Philosophy |
| School | Zen Buddhism · Hinduism · Pantheism · Religious naturalism · Taoism |
| Main interests | Personal identity · Higher consciousness · Aesthetics · Public Ethics |
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Alan Wilson Watts (6 January 1915 – 16 November 1973) was a British philosopher, writer, and speaker, best known as an interpreter and populariser of Eastern philosophy for a Western audience. Born in Chislehurst, he moved to the United States in 1938 and began Zen training in New York. Pursuing a career, he attended Seabury-Western Theological Seminary, where he received a master's degree in theology. Watts became an Episcopal priest but left the ministry in 1950 and moved to California, where he joined the faculty of the American Academy of Asian Studies.
Living on the West Coast, Watts gained a large following in the San Francisco Bay Area while working as a volunteer programmer at KPFA, a Pacifica Radio station in Berkeley. Watts wrote more than 25 books and articles on subjects important to Eastern and Western religion, introducing the then-burgeoning youth culture to The Way of Zen (1957), one of the first bestselling books on Buddhism. In Psychotherapy East and West (1961), Watts proposed that Buddhism could be thought of as a form of psychotherapy and not just a religion. Like Aldous Huxley before him, he explored human consciousness in the essay, "The New Alchemy" (1958), and in the book, The Joyous Cosmology (1962).
Towards the end of his life, he divided his time between a houseboat in Sausalito and a cabin on Mount Tamalpais. His legacy has been kept alive by his son, Mark Watts, and by many of his recorded talks and lectures that have found new life on the Internet. According to the critic Erik Davis, his "writings and recorded talks still shimmer with a profound and galvanizing lucidity."[1]
Contents |
Early years[link]
Watts was born to middle class parents in the village of Chislehurst, Kent, in 1915, living at 3 (now 5) Holbrook Lane. His father was a representative for the London office of the Michelin Tyre Company, his mother a housewife whose father had been a missionary. With modest financial means, they chose to live in pastoral surroundings and Alan, an only child, grew up playing at brookside, learning the names of wildflowers and butterflies.[2] Probably because of the influence of his mother’s religious family[3] the Buchans, an interest in "ultimate things" seeped in. But it mixed with Alan’s own interests in storybook fables and romantic tales of the mysterious Far East.[4]
Watts also later wrote of a mystical vision he experienced while ill with a fever as a child. During this time he was influenced by Far Eastern landscape paintings and embroideries that had been given to his mother by missionaries returning from China. The few Chinese paintings Watts was able to see in England riveted him, and he wrote "I was aesthetically fascinated with a certain clarity, transparency, and spaciousness in Chinese and Japanese art. It seemed to float...".[5] These works of art emphasized the participative relationship of man in nature, a theme that stood fast throughout his life.
Buddhism[link]
By his own assessment, Watts was imaginative, headstrong, and talkative. He was sent to boarding schools (which included both academic and religious training of the Muscular Christianity sort) from early years. Of this religious training, he remarked “Throughout my schooling my religious indoctrination was grim and maudlin…”[6] During holidays in his teen years, Francis Croshaw, a wealthy Epicurean with strong interests in both Buddhism and the exotic little-known aspects of European culture, took Watts on a trip through France. It was not long afterward that Watts felt forced to decide between the Anglican Christianity he had been exposed to and the Buddhism he had read about in various libraries, including Croshaw’s. He chose Buddhism, and sought membership in the London Buddhist Lodge, which had been established by Theosophists, and was now run by the barrister Christmas Humphreys. Watts became the organization’s secretary at 16 (1931). The young Watts explored several styles of meditation during these years.
Education[link]
Watts attended The King's School next door to Canterbury Cathedral. Though he was frequently at the top of his classes scholastically, and was given responsibilities at school, he botched an opportunity for a scholarship to Oxford by styling a crucial examination essay in a way that was read as presumptuous and capricious.[7]
Hence, when he graduated from secondary school, Watts was thrust into the world of employment, working in a printing house and later a bank. He spent his spare time involved with the Buddhist Lodge and also under the tutelage of a "rascal guru" named Dimitrije Mitrinović. (Mitrinović was himself influenced by Peter Demianovich Ouspensky, G. I. Gurdjieff, and the varied psychoanalytical schools of Freud, Jung and Adler.) Watts also read widely in philosophy, history, psychology, psychiatry and Eastern wisdom. By his own reckoning, and also by that of his biographer Monica Furlong, Watts was primarily an autodidact. His involvement with the Buddhist Lodge in London afforded Watts a considerable number of opportunities for personal growth. Through Humphreys, he contacted eminent spiritual authors (e.g., Nicholas Roerich, Dr. Sarvapalli Radhakrishnan) and prominent theosophists like Alice Bailey. In 1936, aged 21, he attended the World Congress of Faiths at the University of London, heard D. T. Suzuki read a paper, and afterwards was able to meet this esteemed scholar of Zen Buddhism. Beyond these discussions and personal encounters, Watts absorbed, by studying the available scholarly literature, the fundamental concepts and terminology of the main philosophies of India and East Asia.
Influences and first publication[link]
In 1936, Watts' first book was published, The Spirit of Zen, which he later acknowledged to be mainly digested from the writings of Suzuki.
In 1938 he and his bride left England to live in America. He had married Eleanor Everett, whose mother Ruth Fuller Everett was involved with a traditional Zen Buddhist circle in New York. A few years later, Ruth Fuller married the Zen master (or "roshi"), Sokei-an Sasaki, and this Japanese gentleman served as a sort of model and mentor to Watts, though he chose not to enter into a formal Zen training relationship with Sasaki. During these years, according to his later writings, Watts had another mystical experience while on a walk with his wife.
Watts' fascination with the Zen (or Chan) tradition—beginning during the 1930s—developed because that tradition embodied the spiritual, interwoven with the practical, as exemplified in the subtitle of his Spirit of Zen: A Way of Life, Work, and Art in the Far East. "Work," "life," and "art" were not demoted due to a spiritual focus.
Priesthood and after[link]
Watts left formal Zen training in New York because the method of the teacher didn't suit him. He was not ordained as a Zen monk, but he felt a need to find a professional outlet for his philosophical inclinations. He entered Seabury-Western Theological Seminary, an Anglican (Episcopalian) school in Evanston, Illinois, where he studied Christian scriptures, theology, and Church history. He attempted to work out a blend of contemporary Christian worship, mystical Christianity, and Asian philosophy. Watts was awarded a master's degree in theology in response to his thesis, which he published as a popular edition under the title Behold the Spirit. The pattern was set, in that Watts did not hide his dislike for religious outlooks that he decided were dour, guilt-ridden, or militantly proselytizing—no matter if they were found within Judaism, Christianity, Hinduism, or Buddhism.
All seemed to go reasonably well in his next role, as Episcopalian priest (beginning in 1945, aged 30), until an extramarital affair resulted in his young wife having their marriage annulled. It also resulted in Watts leaving the ministry by 1950. He spent the New Year getting to know Joseph Campbell; his wife, Jean Erdman; and John Cage.
In early 1951, Watts moved to California, where he joined the faculty of the American Academy of Asian Studies in San Francisco. Here he taught alongside Saburō Hasegawa, Frederic Spiegelberg, Haridas Chaudhuri, lama Tokwan Tada, and various visiting experts and professors. Hasegawa, in particular, served as a teacher to Watts in the areas of Japanese customs, arts, primitivism, and perceptions of nature. Besides teaching, Watts served for several years as the Academy's administrator. One notable student of his was Eugene Rose, who later went on to become a famous Hieromonk and theologian in the Eastern Orthodox Church of America.
Watts also studied written Chinese and practiced Chinese brush calligraphy with Hasegawa as well as with some of the Chinese students who enrolled at the Academy. While Watts was noted for an interest in Zen Buddhism, his reading and discussions delved into Vedanta, "the new physics", cybernetics, semantics, process philosophy, natural history, and the anthropology of sexuality.
Middle years[link]
After heading up the Academy for a few years, Watts left the faculty for a freelance career in the mid 1950s. In 1953, he began what became a long-running weekly radio program at Pacifica Radio station KPFA in Berkeley, which continued until his death in 1973. Like other volunteer programmers at the listener-sponsored station, Watts was not paid for his broadcasts; they did, however, gain him a large following in the San Francisco Bay Area. These programs were later carried by additional Pacifica stations, and were re-broadcast many times over in the decades following his death. The original tapes are currently held by the Pacifica Radio Archives, based at KPFK in Los Angeles, and at the Electronic University archive founded by his son, Mark Watts (alanwatts.org).
In 1957 when 42, Watts published one of his best known books, The Way of Zen, which focused on philosophical explication and history. Besides drawing on the lifestyle and philosophical background of Zen, in India and China, Watts introduced ideas drawn from general semantics (directly from the writings of Alfred Korzybski and also from Norbert Wiener's early work on cybernetics, which had recently been published). Watts offered analogies from cybernetic principles possibly applicable to the Zen life. The book sold well, eventually becoming a modern classic, and helped widen his lecture circuit.
Around this time, Watts toured parts of Europe with his father, meeting the renowned psychiatrist Carl Jung. In relation to modern psychology, Watts's instincts were closer to Jung's or Abraham Maslow's than to those of Freud.
Experimentation[link]
When he returned to the United States, he began to dabble in psychedelic drug experiences, initially with mescaline given to him by Dr. Oscar Janiger. He tried LSD several times with various research teams led by Drs. Keith Ditman, Sterling Bunnell, and Michael Agron. He also tried marijuana and concluded that it was a useful and interesting psychoactive drug that gave the impression of time slowing down. Watts’ books of the ’60s reveal the influence of these chemical adventures on his outlook. He would later comment about psychedelic drug use, "When you get the message, hang up the phone."[8]
For a time, Watts came to prefer writing in the language of modern science and psychology (Psychotherapy East and West is a good example), finding a parallel between mystical experiences and the theories of the material universe proposed by 20th-century physicists. He later equated mystical experience with ecological awareness, and typically emphasized whichever approach seemed best suited to the audience he was addressing.
Supporters and critics[link]
Watts's explorations and teaching brought him into contact with many noted intellectuals, artists, and American teachers in the human potential movement. His friendship with poet Gary Snyder nurtured his sympathies with the budding environmental movement, to which Watts gave philosophical support. He also encountered Robert Anton Wilson, who credited Watts with being one of his "Light[s] along the Way" in the opening appreciation of Cosmic Trigger.
Though never affiliated for long with any one academic institution, he did have a fellowship for several years at Harvard University. He also lectured to many college and university students. His lectures and books gave him far-reaching influence on the American intelligentsia of the 1950s–1970s, but he was often seen as an outsider in academia. When questioned sharply by students during his talk at University of California Santa Cruz in 1970, Watts responded that he was not an academic philosopher but rather "a philosophical entertainer."
Watts has been criticized by Buddhists such as Roshi Philip Kapleau, John Daido Loori, and D. T. Suzuki for allegedly misinterpreting several key concepts of Zen Buddhism. Examples of the criticisms by those who believe that zazen can only be achieved by a strict and specific means of sitting as opposed to a cultivated state of mind available at any moment in any situation would be when Kapleau claimed that Watts dismissed zazen on the basis of only half a koan.[9] In regard to the aforementioned koan, Robert Baker Aitken reports that Suzuki told him "I regret to say that Mr. Watts did not understand that story."[10] In Loori's translation of Dogen's The True Dharma Eye, the author also mentions this and expands further to suggest that Zen in its essence is zazen, and cannot be grasped without the practice. This had been the predominant interpretation of Zen in the West before Alan Watts began to write. One major point raised today, however, is that the state of Zen is like that of a dog, always in the moment, regretting nothing. Although in one Koan Zhaozhou is said to have answered that a Dog does not have Buddha nature, in a different Koan from the same period Zhaozhou answered the same question in the positive, demonstrating the disagreements between the sects of 'walking monks' and 'sitting monks' that go back thousands of years. In his talks, Watts addressed the issue of defining zazen practice when he said, "A cat sits until it is tired of sitting, then gets up, stretches, and walks away."
He did, however, have his supporters in the Zen community, including Shunryu Suzuki, the founder of the San Francisco Zen Center. As David Chadwick recounted in his biography of Suzuki, when a student of Suzuki's disparaged Watts by saying “we used to think he was profound until we found the real thing," Suzuki "fumed with a sudden intensity," saying, "You completely miss the point about Alan Watts! You should notice what he has done. He is a great bodhisattva."[11]
Applied aesthetics[link]
Watts often wrote about, or sometimes alluded to, a group of neighbors in Druid Heights (near Mill Valley, California), who had endeavored to combine architecture, gardening, and carpentry skills to make a beautiful and comfortable life for themselves. These neighbors accomplished this by relying on their own talents and using their own hands, as they lived in what has been called "shared bohemian poverty."[12] Druid Heights was founded by the writer Elsa Gidlow,[13] and Watts dedicated his book The Joyous Cosmology to the people of this neighborhood.[14]
Regarding his intentions, Watts attempted to lessen the alienation that accompanies the experience of being human that he felt plagued the modern Westerner, and (like his fellow British expatriate and friend, Aldous Huxley) to lessen the ill will that was an unintentional by-product of alienation from the natural world. He felt such teaching could improve the world, at least to a degree. He also articulated the possibilities for greater incorporation of aesthetics (for example: better architecture, more art, more fine cuisine) in American life. In his autobiography he wrote, "… cultural renewal comes about when highly differentiated cultures mix".[15]
In his last novel Island (1962), Aldous Huxley mentions the religious practice of maithuna as being something like what Roman Catholics call "coitus reservatus". A few years before, Alan Watts had discussed the theme in his own book Nature, Man and Woman. There, he discusses the possibility of the practice being known to early Christians and of it being kept secretly by the Church.
Later years[link]
In his writings of the 1950s, he conveyed his admiration for the practicality in the historical achievements of Chán (Zen) in the Far East, for it had fostered farmers, architects, builders, folk physicians, artists, and administrators among the monks who had lived in the monasteries of its lineages.
In his mature work, he presents himself as "Zennist" in spirit as he wrote in his last book, Tao: The Watercourse Way. Child rearing, the arts, cuisine, education, law and freedom, architecture, sexuality, and the uses and abuses of technology were all of great interest to him.
Though known for his Zen teachings, he was equally if not more influenced by ancient Hindu scriptures, especially Vedanta, and spoke extensively about the nature of the divine Reality Man that Man misses, how the contradiction of opposites is the method of life and the means of cosmic and human evolution, how our fundamental Ignorance is rooted in the exclusive nature of mind and ego, how to come in touch with the Field of Consciousness and Light, and other cosmic principles. These are discussed in great detail in dozens of hours of audio that are in part captured in the ‘Out of Your Mind’ series.
On the personal level, Watts sought to resolve his feelings of alienation from the institutions of marriage and the values of American society, as revealed in his classic comments on love relationships in "Divine Madness" and on perception of the organism-environment in "The Philosophy of Nature".
In looking at social issues he was quite concerned with the necessity for international peace, for tolerance and understanding among disparate cultures. He also came to feel acutely conscious of a growing ecological predicament; as one instance, in the early 1960s he wrote: “Can any melting or burning imaginable get rid of these ever-rising mountains of ruin—especially when the things we make and build are beginning to look more and more like rubbish even before they are thrown away?"[16] These concerns were later expressed in a television pilot made for NET filmed at his mountain retreat in 1971 in which he noted that the single track of conscious attention was wholly inadequate for interactions with a multi-tracked world.
Political stance[link]
Distrusting both the established political left and right, Watts found political inspiration in the Chinese sage Chuang-Tzu, an ancient Taoist thinker[citation needed]. He disliked much in the conventional idea of "progress." He hoped for change, but personally he preferred amiable, semi-isolated rural social enclaves, and also believed in tolerance for urban tenderloins, social misfits, and eccentric artists. Watts decried the suburbanization of the countryside and the way of life that went with it.
In one campus lecture tour, which Watts titled "The End to the Put-Down of Man", Watts presented positive images for both nature and humanity, spoke in favor of the various stages of human growth (including the teenage years), reproached excessive cynicism and rivalry, and extolled intelligent creativity, good architecture and food[citation needed].
On spiritual and social identity[link]
Watts felt that absolute morality had nothing to do with the fundamental realization of one’s deep spiritual identity. He advocated social rather than personal ethics. In his writings, Watts was increasingly concerned with ethics applied to relations between humanity and the natural environment and between governments and citizens. He wrote out of an appreciation of a racially and culturally diverse social landscape.
He often said that he wished to act as a bridge between the ancient and the modern, between East and West, and between culture and nature.
Watts led some tours for Westerners to the Buddhist temples of Japan. He also studied some movements from the traditional Chinese martial art T'ai chi ch'uan, with an Asian colleague, Al Chung-liang Huang.
Worldview[link]
In several of his later publications, especially Beyond Theology and The Book on the Taboo Against Knowing Who You Are, Watts put forward a worldview, drawing on Hinduism, Chinese philosophy, pantheism, and modern science, in which he maintains that the whole universe consists of a cosmic self playing hide-and-seek (Lila), hiding from itself (Maya) by becoming all the living and non-living things in the universe, forgetting what it really is; the upshot being that we are all IT in disguise. In this worldview, Watts asserts that our conception of ourselves as an "ego in a bag of skin" is a myth; the entities we call the separate "things" are merely processes of the whole.
Internet phenomenon[link]
As part of his growing popularity, Matt Stone and Trey Parker—creators of the animated series South Park—have also contributed a video tribute by animating some of his lectures. This has spawned a culture of user-animated videos all around the net.[17]
Personal life[link]
Watts married three times and had seven children, five daughters and two sons. His oldest son, Mark Watts, currently serves as curator of his father's work.
Watts met Eleanor Everett in 1936, when her mother, Ruth Fuller Everett, brought her to London to study piano. They met at the Buddhist Lodge, were engaged the following year and married in April 1938. A daughter, Joan, was born November 1938 and another, Anne, was born in 1943. Their marriage ended eleven years later, but Watts continued to correspond with his former mother-in-law.[18]
After leaving Eleanor in 1950, Watts married Dorothy DeWitt and moved to San Francisco in early 1951 to teach. They began a family that grew to include five children: Tia, Mark, Richard, Lila, and Diane. However the couple separated in the early sixties after Watts met Mary Jane Yates King while lecturing in New York. After a difficult divorce he married Mary Jane in 1964.
Watts lived with Mary Jane in Sausalito, California, in the mid-60s.[19] He lived his later years at times on a houseboat in Sausalito called the Vallejo,[20] and at times in a secluded cabin on Mount Tamalpais.
In October 1973, Watts returned from an exhausting European lecture tour to his cabin in Mount Tamalpais. On November 16, 1973, he died in his sleep of heart failure.
Publications[link]
- 1936 The Spirit of Zen, Paperback. 1969 ISBN 0-8021-3056-9 A preview from Google Books
- 1937 The Legacy of Asia and Western Man
- 1940 The Meaning of Happiness, Paperback. 1970, ISBN 0-06-080178-6
- 1944 Theologica Mystica of St. Dionysius, (translation from Greek of pseudo-Dionysius, available online)
- 1948 Behold the Spirit:A Study in the Necessity of Mystical Religion, Vintage ed. 1972, ISBN 0-394-71761-9
- 1950 Easter – Its Story and Meaning
- 1950 The Supreme Identity, Vintage ed. 1972, ISBN 0-394-71835-6
- 1951 The Wisdom of Insecurity, Vintage ed. 1968, ISBN 0-394-70468-1
- 1953 Myth and Ritual in Christianity, Beacon Press 1971, ISBN 0-8070-1375-7
- 1957 The Way of Zen, Vintage Spiritual Classics 1999, ISBN 0-375-70510-4
- 1958 Nature, Man, and Woman, Vintage reissue 1991, ISBN 0-679-73233-0
- 1959 Beat Zen Square Zen and Zen, Paperback, ASIN B000F2RQL4
- 1960 "This Is It" and Other Essays on Zen and Spiritual Experience, Vintage reprint 1973, ISBN 0-394-71904-2
- 1961 Psychotherapy East and West, Vintage ed. 1975, ISBN 0-394-71609-4 An excerpt
- 1962 The Joyous Cosmology – Adventures in the Chemistry of Consciousness
- 1963 The Two Hands of God – The Myths of Polarity
- 1964 Beyond Theology – The Art of Godmanship, Vintage 1973, ISBN 0-394-71923-9
- 1966 The Book – On the Taboo Against Knowing Who You Are, Vintage reissue 1989, ISBN 0-679-72300-5 An excerpt
- 1967 Nonsense, ISBN 0-525-47463-3. (This book is a spiritual application of literary nonsense).
- 1970 Does It Matter?: Essays on Man's Relation to Materiality, Vintage ed. 1971, ISBN 0-394-71665-5
- 1971 Erotic Spirituality – The Vision of Konarak
- 1972 The Art of Contemplation
- 1972 In My Own Way – An Autobiography 1915–1965, Vintage 1973, ISBN 0-394-71951-4 A preview from Google Books
- 1973 Cloud-hidden, Whereabouts Unknown: A Mountain Journal, Vintage 1974, ISBN 0-394-71999-9
Posthumous publications[link]
- 1974 The Essence of Alan Watts, ed. Mark Watts, Celestial Arts 1977, ISBN 0-89087-210-4
- 1975 Tao: The Watercourse Way, with Al Chung-liang Huang, Pantheon 1977, ISBN 0-394-73311-8
- 1976 Essential Alan Watts ed. Mark Watts,
- 1978 Uncarved Block, Unbleached Silk: The Mystery of Life
- 1979 Om: Creative Meditations ed. Mark Watts,
- 1982 Play to Live ed. Mark Watts,
- 1983 Way of Liberation: Essays and Lectures on the Transformation of the Self ed. Mark Watts,
- 1985 Out of the Trap ed. Mark Watts,
- 1986 Diamond Web ed. Mark Watts,
- 1987 The Early Writings of Alan Watts, Paperback. 1995, ISBN 0-89087-794-7
- 1990 The Modern Mystic: A New Collection of Early Writings
- 1994 Talking Zen ed. Mark Watts,
- 1995 Become What You Are, Shambhala Expanded ed. 2003, ISBN 1-57062-940-4
- 1995 Buddhism: The Religion of No-Religion ed. Mark Watts, A preview from Google Books
- 1995 The Philosophies of Asia ed. Mark Watts,
- 1995 The Tao of Philosophy, ed. Mark Watts, edited transcripts, Tuttle Publishing 1999, ISBN 0-8048-3204-8
- 1996 Myth and Religion ed. Mark Watts,
- 1997 Taoism: Way Beyond Seeking ed. Mark Watts,
- 1997 Zen and the Beat Way ed. Mark Watts,
- 1998 Culture of Counterculture ed. Mark Watts,
- 1999 Buddhism: The Religion of No-Religion, ed. Mark Watts, edited transcripts, Tuttle Publishing, ISBN 0-8048-3203-X
- 2000 What Is Zen?, editor: Mark Watts, New World Library, ISBN 0-394-71951-4 A preview from Google Books
- 2000 What Is Tao?, ed. Mark Watts, New World Library, ISBN 1-57731-168-X
- 2000 Still the Mind: An Introduction to Meditation, ed. Mark Watts, New World Library, ISBN 1-57731-214-7
- 2000 Eastern Wisdom, ed. Mark Watts, MJF Books, ISBN 1-56731-491-0, three books in one volume: What is Zen?, What is Tao?, and An Introduction to Meditation (Still the Mind). These were assembled from transcriptions of audio tape recordings made by his son Mark, of lectures and seminars given by Alan Watts during the last decade of his life. They constitute simplified introductions to the philosophies he taught.
- 2002 Zen, the Supreme Experience: The Newly Discovered Scripts, ed. Mark Watts, Vega
- 2006 Eastern Wisdom, Modern Life: Collected Talks, 1960-1969, New World Library
Audio and video works, essays[link]
Including recordings of lectures at major universities and multi-session seminars: Many of his works have made it easier for western people to apprehend eastern esoteric thinking, which until now required western people to travel to Asia and spend years learning the subtle nuances of the profound traditions.
- 1960 Eastern Wisdom and Modern Life, television series, (here)
- 1960 Essential Lectures, audio recordings, (here)
- 1960 Nature of Consciousness, essay, (here)
- 1960 The Value of Psychotic Experience
- 1960 The World As Emptiness
- 1960 From Time to Eternity
- 1960 Lecture On Zen
- 1960 The Cross of Cards
- 1960 Taoism
- 1962 This Is IT
- 1968 "Psychedelics & Religious Experience", in California Law Review (here)
- 1969 Why Not Now: The Art of Meditation
- 1971 A Conversation With Myself (part 1 part 2part 3)
- 1994 Zen: The Best of Alan Watts (VHS)
- 2005 Do You Do It, or Does It Do You?: how to let the universe meditate you (CD)
- 2007 Zen Meditations with Alan Watts, DVD, (here)
Biographical publications[link]
- Genuine Fake: a Biography of Alan Watts, by Monica Furlong, Published by Heinemann, 1986
Academic connections[link]
Saybrook University offers the only course on Watts in the United States and perhaps the world (HTP 3075: The Life of Alan Watts). Saybrook also has the only Watts academic chair in the world, which is held by Stanley Krippner, Executive Faculty Member.[citation needed]
Notes[link]
- ^ David, Erik (2006). The Visionary State: A Journey through California's Spiritual Landscape. Chronicle Books. ISBN 0-8118-4835-3.
- ^ Watts, Alan W. 1973 In My Own Way: An Autobiography 1915–1965, New York: Pantheon
- ^ Zen Effects: The Life of Alan Watts, by Monica Furlong, p. 12
- ^ Zen Effects: The Life of Alan Watts, by Monica Furlong, p. 22
- ^ Watts, Alan W. 1973, pp. 71–72
- ^ Watts, Alan W. 1973, p. 60
- ^ Watts, Alan W. 1973, p. 102
- ^ The Joyous Cosmology: Adventures in the Chemistry of Consciousness (the quote is new to the 1965/1970 edition (page 26), and not contained in the original 1962 edition of the book).
- ^ Kapleau 1967, pp. 21–22
- ^ Aitken 1997, p. 30. [1]
- ^ Chadwick, D: Crooked Cucumber: The Life and Zen Teaching of Shunryu Suzuki, Broadway Books,2000
- ^ ^ Davis, Erik (May 2005). Druids and Ferries "Druids and Ferries". Arthur (Brooklyn: Arthur Publishing Corp.) (16). http://www.techgnosis.com/index_druid.html Druids and Ferries.
- ^ Davis, Erik (May 2005). "Druids and Ferries". Arthur (Brooklyn: Arthur Publishing Corp.) (16). http://www.techgnosis.com/index_druid.html.
- ^ The Joyous Cosmology, p. v
- ^ Watts, In My Own Way
- ^ The Joyous Cosmology, p. 63
- ^ Flash Animated Philosophy From South Park Creators www.coldhardflash.com
- ^ Stirling 2006, pg. 27
- ^ The Book on the Taboo Against Knowing Who You Are (1966)
- ^ Watts, Alan, 1973, pp. 300–304
References[link]
- Aitken, Robert. Original Dwelling Place. Counterpoint. Washington, D.C. 1997. ISBN 1-887178-41-4 (paperback)
- Charters, Ann (ed.). The Portable Beat Reader. Penguin Books. New York. 1992. ISBN 0-670-83885-3 (hard cover); ISBN 0-14-015102-8 (paperback)
- Furlong, Monica, Zen Effects: The Life of Alan Watts Houghton Mifflin. New York. 1986 ISBN 0-395-45392-5, Skylight Paths 2001 edition of the biography, with new foreword by author: ISBN 1-893361-32-2
- Kapleau, Philip. Three Pillars of Zen (1967) Beacon Press. ISBN 0-8070-5975-7
- Stirling, Isabel. "Zen Pioneer: The Life & Works of Ruth Fuller Sasaki" Shoemaker & Hoard. 2006. ISBN 978-1-59376-110-3
- Watts, Alan, In My Own Way New York. Random House Pantheon. 1973 ISBN 0-394-46911-9 (his autobiography)
External links[link]
 |
Wikiquote has a collection of quotations related to: Alan Watts |
- The Alan Watts Electronic University – Alan Watts audio and video courses, co-founded by Alan Watts, Mark Watts, and Henry Jacobs in 1973.
- Alan Watts Podcast – The official Podcast of Alan Watts
- Master Enlightenments Arts Seminars and Lectures by Alan Watts – Looking at many different forms of enlightenment – Recorded by Henry Jacobs in 1964/65 who set up the original Alan Watts radio network.
- Alan Watts Online – Project Unicorn (also via Archive.org)
- Works by or about Alan Watts in libraries (WorldCat catalog)
- Watts essay on Nothingness (This link no longer functions.)
- Alan Watts Lectures and Essays Audio, video, essays and articles – resources from deoxy.org
- Alan Watts' This Is IT: The First Psychedelic LP essay by Patrick Lundborg
- Alan Watts Resource Compilation A collection of audio and video links of Alan Watts lecture and essays
- Alan Watts on YouTube, South Park Interview with Mark Watts on the resurgence of his father's work
- watts.progressiveradionetwork.org Gary Nulls online station with Alan Watts show including some archived audio lectures.
- Alan Watts. The Book: On The Taboo Against Knowing Who You Are
|
|||||||||||||||||
| Persondata | |
|---|---|
| Name | Watts, Alan |
| Alternative names | |
| Short description | English philosopher |
| Date of birth | January 6, 1915 |
| Place of birth | Chislehurst, Kent, England |
| Date of death | November 16, 1973 |
| Place of death | Mt. Tamalpais, California |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
- Lyrics: play full screen play karaoke
- Cumbolo - Culture
- Zion Gate - Culture
- Them A Payaka - Culture
- Writing On The Wall - Culture
- Why Am I A Rastaman - Culture
- Where The Tree Falls - Culture
- The Land We Belong - Culture
- War In Sierra Leone - Culture
- Walk With Jah - Culture
- Unconditional Love - Culture
- Two Sevens Clash - Culture
- Twenty-Four - Culture
- Silence Surrounds - Culture
- Trust Me - Culture
- Tribal War - Culture
- Too Long In Slavery - Culture
- Time Is Getting Harder - Culture
- The International Herb - Culture
- The Everyman - Culture
- The Boss - Culture
- Tell Me Where You Get It - Culture
- Still Crossed - Culture
- Slice Of Mount Zion - Culture
- Share The Riches - Culture
- Satan Company - Culture
- Riverside - Culture
- Reasoning - Culture
- Outcast - Culture
- Rastaman A Come - Culture
- Pirate Days - Culture
- PEACE AND LOVE - Culture
- Pay Day - Culture
- Pass On - Culture
- No Drive - Culture
- One Stone - Culture
- One Grandson - Culture
- Old Tattoo - Culture
- Oath - Culture
- Not As Mine - Culture
- No Night - Culture
- Never Get Weary - Culture
- Natty Dread Taking Over - Culture
- Mr. Sluggard - Culture
- Money Girl - Culture
- Memento Mori - Culture
- I'm Not Ashamed - Culture
- Lion Rock - Culture
- Legalization - Culture
- Jah Rastafari - Culture
- Jah Pretty Face - Culture
- Jah Alone A Christian - Culture
- Iron Sharpen Iron - Culture
- I Tried - Culture
- Humble African - Culture
- Hav E Hav E - Culture
- Good Times - Culture
- Girls! Girls! Girls! - Culture
- Get Them Soft - Culture
- Free Again - Culture
- Exchange - Culture
- Election - Culture
- Down In Babylon - Culture
- Do Something For Yourself - Culture
- Dirty Tricks - Culture
- Deforestation - Culture
- Chiney Man - Culture
- Chicken Titty - Culture
- Chant Down Babylon - Culture
- Cape Coast To Ja - Culture
- Campyard - Culture
- Born Of You - Culture
- Blood A Go Run - Culture
- Black Starliner Must Come - Culture
- Addis Ababa - Culture
- Black Starliner - Culture
- Behold - Culture
- Babylon Falling - Culture
- Babylon A Weep - Culture
- Apologies - Culture
- Another Path - Culture
- A Slice Of Mount Zion - Culture
- Culture - Culture
- We A Boss - Culture
- Payday (Live) - Culture
- World Peace - Culture
- Payday - Culture
- Two 7's Clash (Live) - Culture
- Holy Mount Zion - Culture
- Capture Rasta - Culture
- They Never Love In This Time - Culture
- Culture - Micranots
Yothu Yindi
Freedom
Back To Culture
Back to culture
Take me onto culture
Yirrmal djungguwan
Back to culture
Take me onto culture
Yirrmal djungguwan
When you're in line with beat
And you're feeling so fine
And your feet can't help but move
Join the circle of men
Women, children and friends
In the rhythm of love
Gaywa gaywa gaywa gaywa
Yirrmal djungguwan
Gaywa gaywa gaywa gaywa
Yirrmal djungguwan
The smile of a child
Sends a message of hope
Back to culture yeah
Beware of the storm
Of contradictions
The law is on my side
Gaywa gaywa gaywa gaywa
Yirrmal djungguwan...
Back to culture
Take me onto culture
Yirrmal djungguwan...
Gatju mak yawirriny
Bukmak yawirriny
Gatju mak yawirriny
Bukmak yawirriny
Yawirriny!
Gaywa gaywa gaywa gaywa
Yirrmal djungguwan
When you're in line with beat
And you're feeling so fine
And your feet can't help but move
Join the circle of men
Women children and friends
In the rhythm of love
Gaywa gaywa gaywa gaywa
Yirrmal djungguwan...
Back to culture
Take me onto culture
Yirrmal djungguwan...
Back to culture
Take me onto culture
I don't want to
No, I don't want to be outside
When Zion Gate close
I just want to
Yes, I want to be inside
When Zion Gate close
'Cause the world is enslaved
Millions are lost
Some seeking world power, some vanity
They don't remember Jah
Sadder iniquity, prostitution
Too much wrong-doings
In the sight of Jah
So I don't want to
No, I don't want to be outside
When Zion Gate close
I just want to
Yes, I want to be inside
When Zion Gate close
Yeah, I don't want to be outside
Black woman
Can't you see what they are doing to you, oh?
Giving you evil bill to destroy your nation
You're onto me(??)
Though one can teach the children the wrong-doings
And tell them that it's right
So, I don't want to
No, I don't want to be outside
When Zion Gate close
I just want to
Yes, I want to be inside
When Zion Gate close
Me a go throw me corn, and me no call no fowl
And you see who want pick up a macka corn and swallow it
And make it pitch cross him throat, make him gwaan
You Mr. Hav E Hav E Hav E Hav E Hav E Hav E
Hey Mr. Hav E! Yuh Hav E already
Hey you Mr. Hav E Hav E Hav E Hav E (Hey you) Hav E Hav E
You Have E already
Me said fi move your hand with your big quart cup
Please don't let it stay there full and keep running over
My command is:
Give the youth a try, give the youth a try
Let them even suck their mother's milk and even eat bread (Them nah waan go a prison)
So give the youth a try, give the youth a try (One more time)
Let them even suck their mother's milk and even eat bread
You! Mr. Hav E Hav E Hav E Hav E Hav E
Greedy man, oh! Hav E already
Crack the pen and gone
A Mr. You Mr. Hav E Hav E Hav E Hav E Hav E Hav E
Hey Hav E! Yuh Hav E already
Boy chuh. Come like I a use a chicken bone and stop you now
And a use a Cutlass and a cut you throat now for justice
Me said fe have your hand with your big quart cup
Please don't let it stay there full and keep running over
Give the youth a try, give the youth a try (One more time)
Let them suck their mother's milk and even eat bread
I know they are all suffering
Hey Mr. Hey you Mr. Hav E Hav E Hav E Hav E (lock the prison door) Hav E Hav E
You Have E already
Old penitentiary, penitentiary
Time for the lock spoil and the key throw away
That's for the jail house key
And that a back you up and that a big you up
All because you can tell lie pon youth and send them to prison
Hey Mr. Hav E Hav E Hav E Hav E (share it)) Hav E Hav E
You Have E already
Back down off your pomp and pride!
A Mr Hav E Hav E (straight down off your high horse) Hav E Hav E
For you Hav it already
Down a seaside in a boat
Stinking fish- that's all the life Mr. Baseball salutes
Can't take back no more, can't take that no more
They need some education and proper schooling
So wheh yuh a do? So wheh yuh a seh?
You Mr Hav E Hav E Hav E (Don't you know?) Hav E
You have it already
Give back some to society!
A Mr. Hav E Hav E Hav E ...
Hav E already
Saw a woman the other morning with a dirty baby lying on her breast
my God is,my God is,my God is writing,my God is writing on the wall
Rastafari is,Rastafari is writing,Jah is writing on the wall
but whatever you do and whatever you say
my God is writing on the wall, Jah is writing on the wall
the chances you take,and the mistakes you make
my God is writing on the wall ,how fast you go and how fast you break
my God is writing on the wall (hear what i say) chorus
Rastafari is,Rastafari is writing on the wall
the Conquering Lion of Judah is bound to break every chain (all African
sing) chorus:
Rastafari is,Rastafari is writing on the wall
no matter how you susu and no matter how you sprat,
Jah Jah is writing on the wall
whatever you are crumbs or whether you a Big Mac
Jah Jah is writing on the wall
chorus:
don't think with water he writes with fire
my God is writing on the wall ,chorus:
not even a chalice nor a spliff to burn to open your eyes for,
my God is writing on the wall (brothers and sisters)
I´ve being questioned to meet early on the street
- many want to know the reason why?
I am a rastaman
many people see I many people ask I?
why am I a rastaman
many people see I many people ask?
why am I a rastaman
cause, it´s because of the babyloon and the siituation?
it´s because of the babyloon and the siituation
when I was a boy about eight years old
there was a surtain rastaman
and he love all the children
and he treated us like a man
even the little children than no one cared
he called up on everyone
and he gave us food and treated everyone
with a special love
Chorus:
many people see I, many people ask I?
why am I a rastaman
(but he tought I the LOVE to give to everyone)
many people see I many people ask I?
why am I a rastaman
(there is no better way to express my love, to each and everyone)
one satuarday morning
a special thing happend to this man
he moved out of babyloon
HIM take away the rastaman
to the root of HIM herb and the meat of HIM fruit
and throw it in a van
(and staight up brother for ten years)
I never see the rastaman
they took him to general penetentry and
send him back as a valid man
but GOD could not change him his mind
cause in that prison was just his body, man, oh
Chorus:
many people see I, many people ask I?
why am I a rastaman
(no matter how hard the battle be - I still have JAH in my hand)
many people see I many people ask I?
why am I a rastaman
(how sweet the name of JAH JAH song - to every rightous rastaman)
am the same old rastaman
taught you paushing and ting
would come out and have cyculation
and we would use a true bird, man
now I have seen telling me u
got no dark and it got no use, man
donkey, horses and cross keeper
trooding on I being am a man
Chorus:
everyone see, I everyone ask I?
why am I a rastaman
(am here to prove and testify- about our prophecy)
everyone who see I , everyone ask I?
why am I a rastaman
(they baptaised marcus garvey and christ - they was a rastaman)
everyone see I, everyone ask I?
why am I a rastaman
(I vote and fight for another right and it can´t be no other wise man)
everyone see I, everyone ask I?
why am I a rastaman
(I love my brothers and I sisters and I can not give up a tall man)
Brother Brown, brother Duke, brother John, brothers stand up Man
I use to hear them beat the drums and sing
there in the forest land
many people see I many people ask I?
why am I a rastaman
I love the beat of the nayabing that call the creation
many people see I, many people ask I?
why am I a rastaman
The axe man have left the root of the tree and it is fruitless
Where the tree falls
There shall it lie until judgement take its course, Mass a God
Where the tree falls
There shall it lie until judgement take its course
Dog safe to sit down and stretch out its tail too long.
Dirty nigga will mash it.
Every little thing you do too progressive
None ambitious people crush it
Them nuh have no ambition at all
Where the tree falls
There shall it lie until judgement take its course
Fuitless trees must be yewn down
Where the tree falls
There shall it lie until judgement take its course
And me hear Mr. Vally
Him a chat seh
Since brother Bob dead, reggae music gone down
But I have story for the youth
But as long as bitter belly Joseph Hill is alive
Reggae music is alive! (You know what kill me man?)
When I look around me I saw death stole away
My brother Dennis Brown
I'm crying, but we will carry on
Where the tree falls
There shall it lie until judgement take its course
Don't watch me, watch yourselves!
Where the tree falls
There shall it lie until judgement take its course
Not everything good fi eat sometime
Old time people say "Good fe talk"
And the same stone that the builder refused in the morning
Becomes the head cornerstone
And new king sit upon the throne
Hey, where the tree falls
Hey, there shall it lie until judgement take its course
Root of all immoral laws
Where the tree falls
There shall it lie until judgement take its course
(You know something?)
Marcus Garvey say all immoral laws
Must be disobeyed
And no powers shall make me bow down to the laws
Oh, no little faggot! (Forgot that! Man, not I!)
For where the tree falls
There shall it lie until judgement take its course
Whether you a tomato or you a cedar
Where the tree falls
There shall it lie until judgement take its course
We gonna rode little chariot, old little chariot a g'waan
Mek reggae music g'waan
And who's here will stay here
And who fi gone, is already gone
Lift up your red pearly gates
Where the tree falls
There shall it lie until judgement take its course
Keep on preying with me, my brother
Where the tree falls
Too long in our little ghetto wrong has been going on - let's protest
Children of Israel who really love rights
For Jah set I&I; as a watchman - around Babylonian walls
Oh, Children of Israel
I&I; should never hold I peace while wrong is going on - day or night
Man! Bust down Babylon gates - preparing the way - preparing the way for Jah People
Fight down war crime, fight down war and crime, fight down war and crime
And build up righteousness
Jah Rastafari, Jah Rastafari, Jah Rastafari - preserve all people
Put crime away - put crime away again
Jah set I&I; still as a watchman, around Babylon walls
Yes, Children of Israel
I&I; should never hold our peace - while we are penalized day and night
B'woy, if yah see the remnant of sufferation and disgrace
Where the English government left inna Africa- dog b'woy
Them have no respect for the people and act and a come g'waan like them decent
It was way down in West Africa, way down in the slave country
I took a walk, I took a walk down in West Africa
Down in West Africa
And there I found myself taking a short stop
Way down in Ghana
To tell them that me on ya
Then after I took a rest I took a walk
Way over to Cape Coast slave dungeon
To see what was happening (Hear what the song say)
Equal rights and justice stand for all
Them a preach upstairs rights from downstairs (Lord have mercy)
Them rip up creation
Slave trade continue until I found myself way over in
Sierra Leone
At the foot of Lion Mountain
It was around about Christmastime
Then I stop to have a drink of palm wine
But one thing- them want the people live like swine
They gave guns and bullets to the rebels and start to
teach them to fight each other for iamond
It was a diamond war (Yet for whom?)
And all because there was nothing to gain
I've never seen the United Nation cry peace again
So you nuh see the corruption (and I look at you)
Out of the woodland
Man a nah nuh fight none
Stretch out your hand, put it out yourself
What do you want? Long sleeve or short sleeve?
And them a take them cutlass and them chop it off
(your request now)
Long sleeve them chop you on the wrist
Short sleeve them a cut it to the arm
We have everything in paradise (my God)
Here in the West
Even them Christmastime them song like a Christmastime without light!!
From the woodland
Just the sound of a bird.
When I woke up in my lonely cottage, listening to the song of each thing
And every man them a fight it don't know who is gonna win
War in a Africa
But it is extra slaughter there in Sierra Leone
We regret to announce the death
Of the liars and the thieves and all those that
Bust gun upon their bredren for nothing at all
And keep on robbing the innocent man night and day
Tell me how you gonna walk with Jah
When your dirty ways not right
You walk with your gun upon my innocent man
So tell me how you gonna walk with Jah
It will be pretty flowers on gold box
For you've got to meet your Waterloo
You open fire down in Rema
In a Franklintown there too (hey)
Hearse a go run tonight
Whether red, blue, pink or white
You don't live up in this world like a man
So tell me how you gonna walk with Jah
What a something, what a fight, what a controversy
What a la la pon the tractor when the wise cannot draw it
It will be pretty flowers on gold box
Start to laugh after Rastaman locks
How you gonna face yourself, you are a idiot?
Tell me how you gonna walk with Jah
Something gonna go wrong tonight
Those dirty ways not right
You use your own teeth to cut your own throat
Tell me how you gonna walk with Jah
Death bell a go ring at your door
Cause you cheat and no praise the poor
Jah see and know but can not take it no more
Lord, separation knocking at their doors
Tell me how you gonna walk with Jah
When your greedy belly too full
You bite off too much more than what you can chew
And craven a go choke puppy
Tell me how you gonna walk with Jah
To Zion with your revolver
You can not go to Zion with your big gun
Make we go there, have some fun
Tell me how you gonna walk with Jah
When you don't love the children at all
As soon as you stop then the youth will start
And wicked men start them to fall
Sacrifice this love
Unconditional love
Takes all my strength
For me not to cut my throat
Out of my sight
But forever in my mind
Put your pride aside
Let emotion take over
These scars have faded away
With all the tears
Memories burn holes in my heart
Let the blackness shine through
Cold numb in my mind
Burns right through these eyes
Slow moving time
Bleeding out my sickness
I'm still waiting drained
Stumbled over a piece of my past
Only wanting
To forget
Sacrifice this love
Sacrifice our love
Sacrifice my love
Unconditional love
Unconditional love
Unconditional love
Unconditional love
You promised me
Unconditional
Wat a liiv an bambaie
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash
My good old prophet Marcus Garvey prophesize, say
"St. Jago de la Vega and Kingston is gonna read"
And I can see with mine own eyes
It's only a housing scheme that divide
Wat a liiv an bambaie, it dread
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash
Look up a cotton tree out by Ferry police station
How beautiful it used to be
And it has been destroyed by lightning,
Earthquake and thunder, I say, what?
Wat a liiv an bambaie
When the two sevens clash - it dread
Wat a liiv an bambaie
When the two sevens clash
I take a ride sometimes
On Penn Overland and Bronx
And sometimes I ride on bus X-82, say what?
Wat a liiv an bambaie
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash
Marcus Garvey was inside of Spanish Town district Prison
And when they were about to take him out
He prophesied and said
"As I have passed through this gate"
"No other prisoner shall enter and get through"
And so it is until now
The gate has been locked, so what?
Wat a liiv an bambaie
When the two sevens clash, it dread
Wat a liiv an bambaie
When the two sevens clash, it bitter, bitter, bitter
Wat a liiv an bambaie
When the two sevens clash, a man a go feel it
Wat a liiv an bambaie
Not to be
Held accountable
For what i've done
That was then, this is now
It's not what I do
Left behind
I turned away
The twenty fourth letter
Bears all i am
And I will
Walk away
In the past
Buried grave
Left behind
Left alone
I'd like to think
That I've come farther than that
I'd like to think
That I could be given more credit than that
I'd like to think
That my mistakes
And when they move on
They're still in the past
In the past
Buried grave
Left behind
Left alone
And I will
Pain finds
My void
Makes me
Feel whole
Lets me know
I can still feel
Stagnant slow
Beat of a heart
My silent scream
Still unheard
Sadness for the lonely
Silence surrounds me
My minds screams the words
Draining
Vision
Ending
My life
Have the words
On the tip of my tongue
My mind won't let them out
My silent scream
Still unheard
Sadness for the lonely
Silence surrounds me
My minds screams the words
Waist deep in this filth
Let the rain wash it away
Clouds break and the sun shines through
Give birth to brand new day
Blackness consumes my mind
My body too weak weak to move
There's nothing left of me
Empty shell of a human being
Waist deep in this filth
Let the rain wash it away
Clouds break and the sun shines through
Give birth to brand new day
Blackness consumes my mind
My body too weak weak to move
There's nothing left of me
Empty shell of a human being
Empty Shell
Reggae Music for a reason
You see you can play it under Jah season
I play reggae music in the middle of the street
Play reggae music because it's our beat
Play reggae music because it was ordered
By the Messiah Marcus Garvey
Trust me, trust me, trust me
Why don't you trust me, trust me, trust me
Don't allow politicians to fool you again
Another lawyer to plea your case
They love the doctor to poison you
And even the minister to indoctrinate you
Why don't you trust me, trust me, trust me
Why don't you trust me, trust me, trust me
You trust the teachers to teach your children
Trust the mechanic to build your car
Trust the carpenter to build your house
And yet you don't trust your brother at all
Why don't you trust me, trust me, trust me
Why don't you trust me, trust me, trust me
(solo)
You don't even trust yourself...
Please be yourself...
You trust the media to give you our news
And my simple words you do refuse
You don't trust Rastafari
You won't even listen to I and I and I
Why don't you trust me, trust me, trust me
Why don't you trust me, trust me, trust me
Please...
I stand up for the right of every man
As lonely as long as I can
We can win the victory
To fight on for humanity
Trust me, trust me, trust me
Why don't you trust me, trust me, trust me
My eyes are in the human body
Several of them are in your head
So why don't you clean up your life and try to live
Like the Congo Natty Dread
Why don't you trust me, trust me, trust me
Why don't you trust me, trust me, trust me
Jah Rastafari
Jah! Rastafari!
One mother you've got
I must remind you
And you must respect her
To the highest level I say, man
Why don't you trust me, trust me, trust me
Why don't you trust me, trust me, trust me
Why don't you trust me, trust me, trust me
And trust yourself too
We don't need no tribal
Inna this ya time, yeah
Tribal war can't solve the problem
Tribal war can't solve it at all
Tribal war can't solve the problem
Tribal war can't solve it at all
Just the other day I forward down a river side
Nuh fi go check Granny a scrub some clothes
As she smoke up her herb in her little chalk pipe
She said: "Chah, not even the soap nah sudd again"
Tribal war can't solve the problem
Tribal war can't solve it at all
Tribal war can't solve the problem
Tribal war can't solve it at all
The other day I saw a ladies war
They were planning to march up to such house
They said they're not getting any justice within the kitchen
So they plan to make a big war with their big spoon
I said ladies tell me where are you going
They said: "I'm going to stand up and fight for my rights"
Tribal war can't solve the problem
Tribal war can't solve it at all
Tribal war can't solve the problem
Tribal war can't solve it at all
Another time I saw a youth man
With an M-16 just lying on his back
I said youth man tell me where are you going
He said: "I'm going to stand up and fight for my rights"
Tribal war can't solve the problem
Tribal war can't solve it at all
Tribal war can't solve the problem
Tribal war can't solve it at all
We should live in love
War can't do a thing
The arms of gun is helpless
Fathers against son
Countries against countries
What we need, all we need is love
We don't need no war
Too long the people's hidden in the darkness (Oh milord!)
Now is the time, now is the time,
that we all should see the light.
civilisation begins here.
Now, it's been too long.
Too long, too long in slavery.
Free us god.
Now, it's been too long.
Too long, too long in slavery.
But we were brought here,
to do a very necessary job (job job job)
Now that the work is over, we want to know when we will be returned.
That's what we ask.
They stole us, away from africa.
Could not let you buy.
Not at our will
but stole us away on these three ships.
Do you want to hear what's their names?
But they are races, Jesus,
Races, Jesus, of god.
This is my way of loving, and that is the destruction of poor black people.
Too much of that.
Now, it's been too long.
Too long, too long in slavery.
black man get up, stand up blackfoot
Now, it's been too long.
Too long, too long in the slavery.
Why, milord? (3x)
My mother suffer, my father suffer.
My brother die in penitentiary, under solitary confinement.
Why milord? (oh lord oh lord)
All the international morality is at stake.
Why milord?
Now that the work is over, we want to know when we will be the returned.
couldn't believe you see, they stole us away on these three ships.
Now, it's been too long.
Too long, too long in slavery.
Free the people and let them move in liberty
Now, it's been too long.
Too long, too long in slavery.
So the struggle continue..
But while the struggle continue, I'm going to tell you
We can once seek Rasta with Peace
Corner, corner these are these
Harder, harder these are these
Ooh! That door Ooh! Jah talk
Each and everyday time is getting harder,
Some of them are girls some are boys
Each and everyday time is getting harder,
Some of them are girls some are boys
They can't get no food to eat; can't get no clothes to wear
No where to lay their weary head
They go to bed with once and they wake up with give me
Some of them are girls some are boys
Working man want this, working man want that
Lazy man want just the same
We got to make effort, to get what necessities, Lord!
You forward to the market to make a small purchase every item rise sky high
The longer you live the more you got to pay
Some of them are girls some are boys
People are dying; little babies are crying
There care is?! No sympathy!
Think about the greedy, they leave nothing for the needy
Some of them are girls some are boys
What about taxation
kind of the in creation
Some of them are girls some are boys
You call for it then,
you surely get it
be careful what you are praying for
Chorus!
That close they where, that close the system
No money in some pocket
Some depend on girlfriends
I TOOK A SPLIFF THIS MORNING OF
THE INTERNATIONAL HERB
IT MAKE I FEEL SO GROOVY MAN (THE INTERNATINAL HERB)
IT GIVES ME INSPIRATION IN MUSIC MAN (THE INTERNATIONAL HERB)
SO THAT IS WHY I CANT REFUSE IT MAN (THE INTERNATIONAL HERB)
MY BREDREN NUH LOVE IT AND I LOVE IT MAN (THE INTERNATIONAL HERB)
THE SPAN OF MY LIFE IS NOT A BUCKET MAN (THE INTERNATIONAL HERB)
(break)
HEY!
JAH (RASTAFARI) SELASSIE I
JAH (RASTAFARI) LIVE IT UP
JAH (RASTAFARI) ME TELL YU
JAH (RASTAFARI)
ITS GOOD FOR MEDITATION MAN (THE INTERNATIONAL HERB)
AND IT WAS WAY FROM CREATION MAN (THE INTERNATIONAL HERB)
EVEN THE DOCTORS KNOWS ABOUT IT TOO (THE INTERNATIONAL HERB)
SCIENTISTS THEY KNOWS ABOUT IT MAN (THE INTERNATIONAL HERB)
TAKE A DRAW AND DON´T YOU DOUBT IT MAN (THE INTERNATIONAL HERB)
FOR IF YOU GO TO AFRICA YOU WILL SEE IT MAN (THE INTERNATIONAL HERB)
RUN UP BY ENGLAN AND YOU WILL SEE IT MAN (THE INTERNATIONAL HERB)
(break)
RUN CLEAR HE! HE!
ME YA TELL YU....WAA... (THE INTERNATIONAL HERB)
MAN I JUST CAN´T DO WHITHOUT IT MAN (THE INTERNATIONAL HERB)
COME FROM TAIWAN LIFE IN A STICK YEH (THE INTERNATIONAL HERB)
COLOMBIAN STYLEE ROPE IT BACK TOO (THE INTERNATIONAL HERB)
SCHOOL CHILDREN THEY LOVE IT AND THEY LOVE IT MAN (THE INTERNATIONAL HERB)
I SAW THERE BIRDS AND BIRDS EAT IT MAN (THE INTERNATIONAL HERB)
AND I GOT TO UTILIZE IT MAN (THE INTERNATIONAL HERB)
NO ONE CAN TELL I TO BRUTALIZE IT MAN (THE INTERNATIONAL HERB)
I'll be the self determined damned
Before the blessed lump of clay
I'll be the self reliant idiot
Before the learned led astray
I'll be the unholy over reactor
Before the smiling unaffected
I'll be the laughing-stock revolutionary
Before the dignified slave
I demand solidarity
This is a call to arms
But you refuse to grow
We've lost faith in overthrow
In the power to resist
In the strength to assist
In the importance of the self
Open your eyes
Heteronome
Our mother freedom
Is calling us home to civility
You will die
The everyman
And although you will die
I will simply end
Call me status-quomophobic
But I'm not dazzled by your order
I'm not impressed by amenities
I will be governed internally
You will die
The everyman
And although you will die
I will simply end
And although you will die
Hey me brethren, you know wha gwaan now?
The boss a sell ticket fi gwaan a the moon- a wha him gwaan 'bout?
Who gave order to go to the moon?
"Me boss," he say so
Who gave order to build a station?
"Me boss," he say so
Who gave order to come Kosovo?
"Me boss," he say so
Who gave the order to bomb Iraq? (Jesus Christ)
"Me boss," he say so
Children, tell me who is the boss
Who is the boss?
Is the boss make life? Or is he the anti-Christ?
Who gave the order to come Vietnam?
"The boss," he say so
Who gave the rights to Apartheid in South Africa?
"The boss," he say so
Tell me who is the boss!
And what is? who is this great boss?
All he have for you is a pound of stale rice
And some funny looking
One, one cocoa full basket
But him tell you that him have mountains of it
All because him waan you get greedy and come catch after it
Then him feed you with grit
Tell me who is the boss (Is this right?)
Who is this boss? (Me God!)
Tell me who is this boss
Is he right or is he the anti-Christ?
I read about the seven-headed beast
That shall rise up in this time
I read about him in Revelation
Come to destroy and corrupt our nation (Man!)
Tell me who is this boss (I waan know!)
Who is the boss?
Nuff nuff law in one different country, me God!
Tell me that you'll wait
Tell me that you'll wait for me
I gotta come back some day so tell me that you'll wait for me
I'm leaving on a jetplane
So tell me that you'll wait for me
Once again we're facing a tough situation
No need to be bassing cause time we'll be wasting
We've been through this type of thing before
When I stepped to the ride and you stood crying in the door
I really hate moments that turn out like these
I'd sail the seven seas if I thought that I would ease
The discomfort we feel when we must part
There's not a man alive that wouldn't feel it in his heart
Living out a suitcase always on the move
I really appreciate the fact that you've always waited
And been ready and willing
Supporting what I'm doing and how I'm feeling
Travelling all over may keep the bills paid
But I couldn't stand myself if our love was to fade
Over and over I dwell on this issue
Cause when I'm away I can't help but miss you
Tell me that you'll wait
Tell me that you'll wait for me
I gotta come back some day so tell me that you'll wait for me
I'm leaving on a jetplane
* Intro from "Tombstone" (1993)
After all this time
I thought
I knew you
Like the back of my hand
Still crossed
And that will never change
I hear your edge has gone dull
I can not feed into your fall
I can only cry for you
And continue to rise above
After all this time
I'm still going strong
I thought
I knew you
Like the back of my hand
I'm still crossed
And that will never change
After all this time
Going strong
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I pray to Jah honestly
To please let me live honestly
Love my brother that's all I need
I need no riches just harmony
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I'm willing Jah to lay down
At Zion doorway like a foot mat
Even the saints of Zion
Trod upon my back and enter in, but
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I pray every day to see
The falling of the wicked man
I know that wickedness will prevail
But only for a little while and
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Cannot go to Zion with your force
Have manners and enter in Jah house
You cannot live here with your big gun
All you got to do is help me pray
Let's kneel on our knees and clasp our hands
And say: Father please help me
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Children having children
Poverty upon the door
I've seen white squall
Walking on the street
With man under arrest (yeah)
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Satan is around us like a roaring lion
Seeking Jah children to devour
All the days of our lives
Like a hungry eagle
Flying through the sky
Seeking form and soul to devour
But don't let him catch us
A slice of Mount Zion is for I
Hear me when I say
A slice of Mount Zion is for I
Hear me when I pray
Give me strength oh Jah I pray
With Thy manna up from Mount Zion
And no one can give satisfaction
But Thee alone
Sit upon Thy throne
And pardon our transgression
And stretch forth pity to Thy children
In the morning time
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for
A slice of Mount Zion belong to
Boy, as far as I see life, food nah sweet a one man mouth.
And this thing haffe share. Otherwise a death!
I want to share the riches with the poor
Before they share the poverty with you
Rich man, share the riches with the poor
Before they share the poverty with you (Tek warning!)
Share the riches with the poor
Before they share the poverty with you
Man, share the riches with the poor
Before they share the poverty with you
First you must remember:
Children got to go to school
Second, you got to know:
We need education
Third, you got to know:
We nuh want to eat and leff
Fourth, you got to know:
The people are no second choice
(Let me let you man)
Share the riches with the poor
Before they share the poverty with you
(Mr. Rich Man)
Share the riches with the poor
Before they share the poverty with you
Share the riches with the poor
Before they share the poverty with you (now)
Share the riches with the poor
Before they share the poverty with you
You got to remember
Tivoli need to be quiet
Concrete Jungle
Brown's Pen, too
Down in a Dunkirk
They nuh give respect to the poor
How 'bout the people rebel?
And all y'all you start to sell (but mi a warn you)
Share the riches with the poor
Before they share the poverty with you
Share the riches with the poor
Before they share the poverty with you (time too tough)
Share the riches with the poor
Before they share the poverty with you
Mr Rich Man
Share the riches with the poor
Before they share the poverty with you
Mi nuh want no war pon dem down inna de ghettos you know, boss
Ya a hear me man?
The people who are less fortunate boss you a pressure
them for time after time
Ya a hear me man. I said fe listen
First, you must remember:
Prison door wide open
Nine men gone in, and we no want fe ma beaten
(So me a beg you)
Share the riches with the poor
Before we share the poverty with you
Mr. Rich Man
Share the riches with the poor
Before they share the poverty with you
(Come on and)
Share the riches with the poor
Before they share the poverty with you
Remember:
Share the riches with the poor
Before they share the poverty with you
For many days I have seen
Desperation walking in arm to arm
Shoulder to shoulder and fighting back the willing man
(So me a beg you boss)
Share the riches with the poor
Before they share the poverty with you
Share the riches with the poor
Before they share the poverty with you
There's no use to trod with the Devil...
For me nah go in a Babylon kingdom fi go beg no bread
Me nah go in a Babylon kingdom fi go beg no bread
For Satan company dem a snipers
Satan company dem a snipers
Nah go in a Babylon kingdom fi go beg dem dem bread
Me nah trod in a Babylon kingdom fi go beg dem bread
For Satan company dem a snipers all a dem
Satan company dem a snipers
They rob and they cheat the poor people all the time
They sit and keep a conference while some a drink wine
Satan company dem a snipers, mi Lord
Satan company dem a snipers
I don't want to be in their conference at all
To try and keep poor black people down
Satan company dem a snipers, they're all
Satan company dem a snipers
Su su su su pon them neighbors, idle jesting
Walk the street without the Lord, Jah Rastafari
Satan company dem a snipers, they're all
Satan company dem a snipers
Satan company dem a snipers, oh Jah
Satan company dem a snipers
Cause me nah go in a Babylon kingdom fi go beg no bread
Me nah go in a Satan kingdom fi go beg no bread
Want to see I beg that dem run go chat
Dem and dem neighbor pon the table dem chat bout that
For me nah go in a Babylon kingdom fi go beg no bread
Me nah go in a Babylon kingdom fi go beg no bread
Me nah go in a Babylon kingdom fi go beg no bread
Where is the love to be found, oh People?
Nowhere around...
For I woke on Saturday morning
Feeling sticky and dirty after work
Took a walk down a riverside
I roll a little spliff
Sat down on a stone and start to cool off
With my burden down a riverside
For I check around the youths
And I try to teach the truth
Lay their burden on the riverside
I walk through every corner
Try to find someone to talk to but I have to
Lay their burden on the riverside
For I walk and I talk
And I linger and I search
Lay their burden on the riverside
And I walk, I met the youthman pocket
And I try to search around them
Lay their burden on the riverside
And I sat down quietly
Watch the fishes circle around the little stones
Lay their burden on the riverside
I cup my ears and I heard the little birds
Whistling in the tree like so
Lay their burden on the riverside
Live good among your neighbor
Like sister and brother and
Come with me a riverside
All you need is pray to Jah, quality
You see secret shall be revealed
Lay their burden on the riverside
(solo)
Jah provides for the birds in the air
And the fishes in the sea so what about me
Lay their burden on the riverside
Look at the crow they toil not neither do they spin
Yet father provide far them
Lay their burden on the riverside
Let us walk and talk
And pray quietly in search
Lay their burden on the riverside
Look at the color of those clothes, oh Jah
Make each and every one individually
Lay their burden on the riverside
Where is the love?
Where is the togetherness too?
Lay their burden on the riverside
I can't take the war and I can't take the shooting
Neither the looting, just
Lay their burden on the riverside
I tried around Rema
Even in The Jungle
To find a quiet rest
Round there in a Nannyville
My heart come to a trail
Lay their burden on the riverside
And I knock, and I search
And I whisper and I preach
Lay their burden on the riverside
Where is the quietness
And the love to be found in some corner?
Lay their burden on the riverside
Let us walk, let us search
Let us examine and let us see
Well I have something fe tell you
And when I tell you this
You say father, pop story, gimme
Well father ready fe pop story now
So I hope you're ready fe listen
When daughter in-law go in a mother in-law yard
All clothes washing, she haffe do it
When daughter in-law go in a mother in-law yard
All clothes washing, she haffe do it
Brotherman a come, come let us reason
Come and make we reason, reason
Come, come let us reason
About this condition
And if your heart is tough as dragon
Come spit fire, dragon, dragon
Jah shall bringeth smoother than oil
Pop story, gimme old man
(Me no liar, me no thief)
But you chatty chatty boy
(Anyhow, listen)
When son in-law go in a father in-law yard
All wood looking, a him haffe do it
When son in-law go in a father in-law yard
All wood looking, a him haffe do it
Brotherman a come, come let us reason
Come and make we reason, reason
Brotherman a come, come let us reason
About this condition
And if your heart is tough as dragon
Spit fire like dragon, dragon
Jah shall bringeth smoother than oil
Come, come let me reason
Come and make we reason, reason
Brotherman a come, come let me reason
About this condition
And if your heart is tough as dragon
Though like fe lion, lion
Jah shall bringeth smoother than oil
When daughter in-law go in a mother in-law yard
All clothes washing, she haffe do it
When daughter in-law go in a mother in-law yard
All clothes washing, she haffe do it
When son in-law go in a father in-law yard
All wood looking, a him haffe do it
When son in-law go in a father in-law yard
All wood looking, a him haffe do it
yes mi bredda winston rodney!
the boy we waan see long time
christopher columbus,we catch him
we hold him pon vibes
chorus:
they never want christopher columbus in a italy
they never want christopher columbus in a rome
so how come him down in a west indies land
a bother we 2x
chorus...
how come in a west indies man a ravish my home
how come the boy down to claim my home
he came to the west indies land and saw us on the plantation,
trying hard to work and support and feed our generation
then he came and took out his sword
and hold everything by by the jiffy of a word:thief!
chorus...
then how come down here with boy three finger jack
come kick out rastaman and west indians off the rock
you think a so christopher,think we ago give up easily
he came and start to feed the people again
and not a word of justice could be said
when i look,things upon the land start run red
and the later generation african we affe turn natty dread
chorus... (then tell i something)
so how come him down in a west indies land
a bother we 2x
came and rob us all our vote
rape our sons and daughters at 9 years old
straight after that we can't get no good times fe roll
and our wild animals and our speech and culture is cold
chorus...
so how come him down in a west indies land
a follow we
how come in a west indies land
just a follow we
and everything we working take it away from us
They just a stretch them neck
Across the fences
Just to see when the Rastaman a come
They just a stretch them neck
Across the fences
Just to see when the Rastaman a come
You have got to be clean inside
You have got to be united
Just to see when the Rastaman a come
You have got to have charity
And love within your heart
Just to see when the Rastaman a come
Can't be no prostitute living
You have got to be clean and upful and right
Just to see when the Rastaman a come
Can't be grudgeful nah red eye
Nah licky-licky nah eat swine
Just to see when the Rastaman a come
(Chant)
You've got to have a stretch out hand
To receive in your strange brother
Just to see when the Rastaman a come
The thing can't be too small
To share amongst your brother
Just to see when the Rastaman a come
I would even be a footmat in Mount Zion
And lay down
Just to see when the Rastaman a come
I will beat my drum
And I will sit on the sand on the listening shore of Jamaica
Just to see when the Rastaman a come
They took me from Africa
And leave us here on a pirate boat
Just to see when the Rastaman a come
My children, children, children
Shall give a testimony of his life
Just to see when the Rastaman a come
We'll beat salvation drum from shore to shore
From door to door
Just to see when the Rastaman a come
Iration drum is not a seed on the rich man table
But on the table of the poor
Just to see when the Rastaman a come
Lick it Dread
Selassie I
To see when the Rastaman a come
Sound ye the trumpet of Zion
That the inhasitant of Earth may tremble
Just to see when the Rastaman a come
It's not a big sound
Neither a small sound
To see when the Rastaman a come
It's not a jigsaw
Neither a puzzle
To see when the Rastaman a come
Me no have fi have no spliff
Me no have fi have no pipe
There's nothing near as quiet as the light, I'm looking for
Last time that it appeared, he was lying next to me
Last time I felt his near to whispered ecstasy
And those who need adventure
They can sail the seven seas
And those who search for treasure
They must live on grander dreams
We rose and fell just like the tides
He filled my heart and soul
And I buried all my dreams for someone else to find
In my pirate days
This world is kinder to the kind that won't look back
They are the chosen few, among us now, unbowed somehow
One day he turned to me and before I took one breath
I knew, I would only see his shadow in what light was left
And those who need adventure
They can sail the seven seas
And those who search for treasure
They must live on grander dreams
If I've seen his face since then
It's only been in dreams my friend
Since I came to the end
Of my pirate days
If I've called his name since then
It's only been in dreams my friend
And so I came to the end
Of my pirate days
There's nothing near as quiet as the light, I'm looking for
Some ah dem a say dat dem a bad man
Some ah dem a say dat dem a dan
Di other ress a dem a say a gun man
Di other ress a dem bawl out dem a notch
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love
I'm not afraid of your automatic! (one love)
Neither afraid or respect your special! (we want love)
If yuh even go tek up your big six pence
And come to jump and drive over I fence (weh mi say?)
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love (hear what I say)
Peace and love inna di dancehall peace and love
I'm not afraid of your M16
Neither afraid of your bush master
Because from your heart have war I know what you're after
Come to destroy each and everyone (but yah hear mi)
Peace and love inna di dancehall peace and love
(peace within the hall)
Peace and love inna di dancehall peace and love
(come sista mek we rock)
Peace and love inna di dancehall peace and love
(sista pat sista pat)
Peace and love inna di dancehall peace and love
Juss a while ago yuh throw yuh hand over mi shoulder
I feel like fallin to bed (nuh bedtime yet though)
When I tek a stop reggae music get red
I've got to hop and skip and shake up I dread (weh mi say?)
Peace and love inna di dancehall peace and love
(to everybody)
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love
All I need is the music to haul and pull up (right! right!)
Mi nah boast off nar push up
But reggae music get internationally
Das why we have got to jump and sing musically
Wha we a sing she??
Peace and love inna di dancehall peace and love
Peace and love inna di dancehall peace and love
(rock an come reggae)
Poison the 666 conception now!!
Hey slavedriver!
I'm asking you this question again and again and again
and again
Work police- you false priest!
Trying to indoctrinate Jah people but, (Hear me man)
When will this payday be?
Slavedriver
When will this payday be?
Tell us this hour
When will this payday be?
For these retired slaves (Let me ask you something)
When will this payday be?
Mr. Bigman
When will this payday be?
When will this payday be?
For all these retired slaves (Ya a listen me?)
My forefather worked down here
On this great plantation
True he didn't get no pay
For all their wasted days
Tell us now!
When will this payday be?
Mr. Slavedriver
When will this payday be?
Tell us this hour
When will this payday be?
For all these retired slaves (Lord)
Will this payday be Monday?
Will this payday be Tuesday?
Tell us now!
Will this payday be Wednesday?
Wednesday Jah need a working day (Wednesday can be the
working day)
Can this payday be Thursday?
Ben Johnson day
Can it be Friday?
The Regular Payday!
Will it be Saturday?
Saturday Jean shoemaker wife day
Why don't you give me that (I want it now)
When will this payday be?
Slavedriver
When will this payday be?
Oh, Jah
When will this payday be?
For these retired slaves
Tell us now!
When will this payday be?
You better give me that-
When will this payday be?
Tell us this hour
When will this payday be?
For these retired slaves
You beat my grandmother in the fields
Rape her and call her a prostitute
Fill the land with colored pay bills
From an outlaw's race
Chuh!
When will this payday be?
I'm asking
When will this payday be?
Backra Master the table is turned
When will this payday be?
For these retired slaves
We nuh joke, we nuh take back nuh talk
When will this payday be?
Slavedriver!
When will this payday be?
You'd better give me that
When will this payday be?
For these retired slaves
Bwoy, true!
Mama come suffer, father come suffer
Bad man suffer, pickney come suffer
Brother come, gone a prison
Uncle come, no have no job
Watch this weakheart!
Move your foot,
Watch out 'pon it. (?)
You coulda screw, tell dem blue,
Rastafari dat look 'pon you;
Niyabinghi will be chanting tonight.
You coulda screw, tell dem blue,
Your conscious a look 'pon you;
Niyabinghi will be chanting tonight.
Light up your fire,
To light up your chalice;
Niyabinghi will be chanting tonight.
Make up the fire,
To light up your chalice;
Niyabinghi will be chanting tonight.
Look (?) last night,
When your sister dem eat a (?), watch that;
Niyabinghi will be chanting tonight.
Your rob the poor and needy,
For the rich and greedy;
Niyabinghi will be chanting tonight.
Weakheart !Look out..
Niyabinghi will be chanting tonight.
No pardon!
Look out.. controlled route.
Niyabinghi will be chanting tonight.
You eat and drink, he!
Niyabinghi will be chanting tonight.
Eat nuff pork, an' you nuh know,
You that mek your teeth cut your throat;
Niyabinghi will be chanting tonight.
Greedy workin', he! Oy!
Jah Jah, Jah Jah!
Ras.. Tafari!
(..)
You coulda do wrong things,
Until you cannot do no more,
The cup full;
Niyabinghi will be chanting tonight.
You coulda feel like your bad,
An' have ten thousands guns;
Niyabinghi will be chanting tonight.
Look out.. weakheart!
Niyabinghi will be chanting tonight.
Look out.. what you a go done a ya yard?
Niyabinghi will be chanting tonight.
Coulda bun bad lam (?),
Until you cannont bun no more;
Niyabinghi will be chanting tonight.
Coulda work, who can dat,
Until you cannot work no more;
Niyabinghi will be chanting tonight.
Light up your fire,
To light up your chalice;
Niyabinghi will be chanting tonight.
Make up the fire,
To light up your chalice;
Niyabinghi will be chanting tonight.
You coulda small like a mustard seed,
Or even grain seed;
Niyabinghi will be chanting tonight.
Hear me when I say!
The soles of his feet became bruised from constant pacing
Back and forth from the hallway to the kitchen, a peak in the fridge and back again
The tile had been cruel to his feet and the phone to his ear
It was 4 o' clock and he was finally off the telephone and began to ready himself for departure
The alarm had been set for 11 in the morning but no feet touched the floor until a quarter to 2
The past three weeks had been like this, unproductive, long...
School was finished and he was unemployed
Bills meant nowhere near as much as they should, but concern and stress were far from scarce
What troubled him the most perhaps, was his inability to create
He'd been told often that he was a talented individual, at times he even believed it
But lately there had been no drive, he was uninspired for his surroundings had made themselves grey and dull in his presence
He was insensitive for love had left him and he was confident of its unwillingness to return
He was unmotivated for his necessities had been masquerading themselves as options
It was may, rainy, silent and hungry
Music for the first time bored him and he refused to test that boredom
He would have read the books that he had set aside for summer had his eyes and his mind been willing and capable of concentrating on even the titles, let alone the contents
But they instead shifted quickly and randomly from wall to wall, from thought to thought
He missed her, although he wasn't sure which her he missed
He needed her, although he doubted that she existed
Each week called itself a day and he felt 50 as he sluggishly crept each of his 20 year old legs into his pants
They were light sort of army green, but the poor lighting in his apartment gave the illusion of a much darker shade
The socks he wore were the same as yesterday's as was the shirt
He stood there in the middle of his room staring blankly at his bed reflecting on a parallel that his friend had drawn earlier, between the process of making one's bed in the morning only to undo it the same night and striving to achieve something that will inadvertently and surely be destroyed
He made it nonetheless
He scratched his head and discovered dandruff, wiped his chin found ungroomed stubble
He would have been ashamed of himself if he had the energy
He would have hung himself had he even cared
But instead life had reached such a point of unimportance that it wasn't even worth ending
His window to the world has his cordless phone, as it was his means of contacting those that consistently pretended to care about him and his means to pretend to care about them
He was happy they were there, it was a satisfying system
All the shades in every window in the flat had been drawn and he could barely find his shoes in the darkness that should not exist in one's apartment at 4 o' clock in the afternoon
They were tanned converse low-tops, cracked on the sides, torn in the back, crooked tongue and reeking of cat piss
He was convinced they still did the job but they'd retired behind his back riddled with holes and promises of disease
His breath smelled, his tooth was broken, he would have masturbated but he had lust at nothing
He became slow, pale, greasy
The light hurt his eyes as he stepped outside and took longer than usual to adjust
The mailbox downstairs offered nothing but an electric bill and a letter to some lady named lesley
He imagined that she was a previous owner of his apartment who had failed to notify the post office of a changed address
Letters in her name came frequently and he read them all
He wanted to meet her and maybe spit on her
He resented her for getting his hopes up whenever he'd open his mailbox
He'd considered killing her
He made his way to his car, his tires looked low, half-caps were missing
His car was grey and he felt that was symbolic but wished he was smart enough to know just what it symbolized
He crawled in and shut the door finally muting that goddamn bluejay
The interior smelled of cat piss as well and was littered with cassettes and receipts
He leaned forward and rested his head on the steering wheel, wanted to throw up but wasn't sure why
At 10:05 in the p.m. he awoke still in his car having not made it out of the parking lot
He wasn't upset by this for he had forgotten where exactly he intended to go in the first place
He tasted sleep in his mouth and felt the imprint of the wheel on his right temple
as he peeled off his head from the plastic
Locking up his car he ascended to his apartment where he resumed his slumber fully clothed
The next morning his alarm rang loudly, promptly at 11 o' clock
But no feet touched the ground until 3:30 in the afternoon
Hold not Thy peace, oh God of my salvation
Because the mouth of the wicked and the deceitful is open
Eh-eh...
Come with I...
Rastaman throw one stone
And it bring a bad feeling to all wicked men
Natty man throw one stone
And it bring a bad feeling to all wicked men
Only when man like Marcus Garvey speak
Wicked men would ah hear (hear nuh hear)
Instead of that they only sit aside and rob and cheat
And oppress the poor (mi God, what a sin thing!)
Nyabinghi throw one stone
And it bring a bad feeling to all wicked men
Binghiman throw one stone
And it bring a bad feeling to all wicked men
If Rasta make a progressive move
Wicked men a red-eye (eh-eh)
All they want to see the days when they can send out Rasta
Can't send I out, I send out Babylon
Binghiman throw one stone
And it bring a bad feeling to all wicked men
Binghiman throw one stone
And it bring a bad feeling to all wicked men
Things change, the table is turned
And you'll have to live, and live and learn
President Mandela was in prison
For twenty add years (eh-eh)
And he leave from the prison
And take the seat of the president (stoned one)
Binghiman, we throw one stone
And it bring a bad feeling inna Africa
Binghiman, we throw one stone
And it bring a bad feeling inna European land
He have eyes to see, let them see
He who have ears to hear, let them hear
What the prophet of the land say (listen)
Truthful one throw one stone
And it bring a bad feeling to all wicked men
The truthful one, them throw one stone
This one is livicated to all youthman
And Grandmothers who are involved in doing wrong
Quiet yourself youthman no bother with the war
Quiet yourself youthman no bother with the war
For Granny one grandson gone live a penitentiary wall
For Granny one grandson gone live a penitentiary wall
Quiet yourself youthman
Quiet yourself youthman
Granny round a kitchen a screw up face like she a bawl
Granny round a kitchen a screw up face like she a bawl
For Granny one grandson gone live a penitentiary wall
For Granny one grandson gone live a penitentiary wall
For Granny one grandson gone live a penitentiary wall
For Granny one grandson gone live a penitentiary wall
You hear what I say ...
Only if Granny had bend that tree from it was young
Granny one grandson wouldn't live a penitentiary wall
I say Granny one grandson wouldn't live a penitentiary wall
Monday morning come you gone a Halfway Tree
Tuesday morning you gone a Second Street
Granny one grandson gone live a penitentiary wall
Granny one grandson gone live a penitentiary wall
Granny one grandson gone live a penitentiary wall
Granny one grandson gone live a penitentiary wall
You hear this
Everything him walk in with you tell him him lucky
Everything him come in with you take it and tell him him lucky
Granny one grandson gone live a penitentiary wall
Granny one grandson gone live a penitentiary wall
Granny one grandson gone live a penitentiary wall
Quiet yourself youthman
For Granny one grandson gone live a penitentiary wall
For Granny one grandson gone live a penitentiary wall
For Granny one grandson gone live a penitentiary wall
My bredreen i love so well
When we where all such sufferers
There was an old tattoo
Dat He made i
To cover i Shade Down in cell
Way down in the gullie
There was an old tatto
Dat He made i
To cover my i shade down in cell
But we wait him down
One day while we were gone dat way
To chant Jah old black work
Me say
Here cames the old tatto
Dat He made i
To cover i shade down in the cell
We are all children of africa and the Most Hig
He shamed came the old tatto
Dat He made i
To cover i shade down in cell
Sad news
But a pain to my heart
Can yu imagine dat
Way we have been in sufferation
Do yu tink out
Dat dought is to yu
Do yu tink my brother
I couldn't done this to yu
Me say
Here cames the old tatto
Dat He made i
To cover i shade down in cell
Been this for me my brother yeh
Here cames the old tatto
Dat He made i
To cover i shade down in cell
Mother and father feel it and turn around
Me say
Here cames the old tatto
Dat He made i
To cover i shade down in cell
We have gone on wailing for an equal rights and love
Me say
Here cames the old tatto
Dat He made i
To cover i shade down in cell
We use to praise and give tanks and lick up togheter
Here comes the old tatto
Dat he made i
Look over i shelt and said
He got no mercy on i'n'i turn a red to
This is my manifest function
Altruistic, systematic
I will sacrifice for the good of the whole
Oppressed and undressed by oligarchic control
So heckle me through my revolution
It's the only thing keeping you alive
I put the air you've stolen back into your lungs
And the water you blacken back into your blood
We are born to a world of beauty and color
Why must you gouge out your eyes
Just to feel around in the comfortable dark
Know nothingness of convenience
I can't hold it completely against you
You've been conditioned by tradition as so many before
So here I am again cleaning up your mess
Here we are again picking up your tab
Everything turns a threatening shade of grey
But this is where we'll stand
Vegan
Straight-Edge
Terms that seem
Stupid to you
But these are terms that
Separate me
From the destruction
You refuse to
Attempt to
Undo
Love
Life
Reform
Redirect
Rebuild
Reassess
Relearn
Reinstate
Repeal
Relive
Renounce all acclamations
Renounce indoctrinations
Renounce all intoxication
Consumption of populations
My goal is liberation
My goal is integration
Self determination
Not as mine
Undernourished minds falsify
Turn holocaust to lullaby
Roushing the vein of an era with no backbone
What kind of freedom confines
Rapes the mind
Your freedom
Is not as mine
Age of indulgence
Refusal
Immediate gratification
Refusal
Infantile behavior
Refusal
From a culture
So advanced
Not as mine
Not as mine
Not as mine
Your privileges
Not as mine
Your freedom
Not as mine
Your rights are not, not
Not as mine
I may have the right
Hey Rastafari King of Kings
Lord of Lords, Conquering Lion
Rastafari
No night in a Zion, there is no night there
Hallelujah, there is no night there
King Rastafari is our light and we need no other light
Hallelujah, there is no night there
No night in a Zion, there is no night there
Hallelujah, there is no night there
Rastafari is our light and we need no other light
Hallelujah, there is no night there
For the Babylon is full of bad ways and bad decision
All they know to do is make guns and ammunition
Never yet to ever make any good decision
And the people out there in the street they suffer by that
Hear what I'm saying
No night in a Zion, there is no night there
Hallelujah, there is no night there
King Rastafari is our light and we need no other light
Hallelujah, there is no night there
(solo)
For me no in none a dem and a dem cantankorous business
All they want fe do is fasten you up in a politics
But the Rastaman him vote for him dreadlocks already
When I vote for you them tell me now vote for me
Stop that!
No night in a Zion, there is no night there
Hallelujah, there is no night there
King Rastafari is our light and we need no other light
Hallelujah, there is no night there
Wake up and look at my doorway early this morning
And when I look out it was the census taker standing
I said bredda man look out and see me vote for me dreadlocks already
When I vote for you, tell me who vote for my baby
No night in a Zion, there is no night there
Hallelujah, there is no night there
Jah Rastafari is our light and we need no other light
Hallelujah, there is no night there
No night in a Zion, there is no night there
Hallelujah, there is no night there
Rastafari is our light and we need no other light
Hallelujah, there is no night there
Come and make we sing out the music
No time to idle soldiers
Step up in Zion's Light
No time for boys
And is a su su come su su come su su come su su come
Fire bun deeem
Then is a su su come su su come su su come su su come
Fire bun deeem...why?
Natty dread
Taking over... shout it and tell dem Culture
Natty dread...Natty curly congo ayah
Taking over
For i hear the baldheads dem a screw among demselfs for di dready
Fire bun dem
Natty dread...can yu hear!
Taking over...once at last in Revelation time
Natty dread..
Taking over..oooh Jah... yeeh
Once upon a time
We couldn't get a blight...Natty Dread
Everyone had got something in hand except Natty Dread
Natty Dread..take it or leave it
Taking over...technically
Natty Dread..never get weary
Taking over...yu take it oh
For a little while dread
Taking over...yeah
Natty Dread.. Jah choose and son of vision say
Taking over...for victory at last
Natty Dread...rise your rights and Black people say all nations
And is a su su come su su come su su come su su come
Fire bun deeem
Then is a su su come su su come su su come su su come
Fire bun deeem...why?
Natty dread
Taking over... shout it and tell dem Culture
Natty dread...Natty curly congo ayah
Taking over
For i hear the baldheads dem a screw among demselfs for di dready
Fire bun dem
Natty dread...can yu hear!
Taking over...once at last in Revelation time
Natty dread..
Taking over..oooh Jah... yeeh
Once upon a time
We couldn't get a blight...Natty Dread
Everyone had got something in hand except Natty Dread
Natty Dread..take it or leave it
Taking over...technically
Natty Dread..never get weary
Taking over...yu take it oh
For a little while dread
Taking over...yeah
Natty Dread.. Jah choose and son of vision say
Taking over...for victory at last
Natty Dread...rise your rights and Black people say all nations
Come to justice Mr. Sluggard
Me did ah chat to you
Sit down everyday lazy
Like you ah park bench
You think ah so
So tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each day and night
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time
Have you ever worked a fork lift
Hustling day and night on the wharf
Have you ever worked a taxi
Sleeping on the street side all night long
To find some food
So tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time you lift your knife and fork
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time
To work in the radio station
It's not easy at all
Did you check out Sister Mary
Selling with her basket in Carnation market
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time you eat ah belly full
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time
Have you every work in ah coal pit
Burning fire coal for the nation to cook
I saw you all day long in the streets
Something on the sidewalk you a look
So tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time you eat
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time
You want the prettiest bootie
The new jeans cannot pass
And as you see a pretty car on the wharf
About it you start to talk
Still have ambition though
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time
Tell me where you get your bread Mr. Sluggard
Tell me where you get your bread each time
Did you ever push a hand cart
Full of farmers goods
Crossing the street between truck and cars
Everywhere she see I am, she want money
Monday morning comes, she hops in.
Tuesday morning comes she don't turn up at all.
Wednesday evening come out I eat a little fresh rice, 'cause I'm an Italist.
Thursday evening come she don't turn up at all.
Friday morning come when I'm about to get me pay, and when I look her foot stretch out in other way.
Everywhere she see I am, she want money.
Monday morning comes, she hops in.
Tuesday morning comes she don't turn up at all.
Wednesday evening come out I eat a little fresh rice, 'cause I'm an Italist.
Thursday evening come she don't turn up at all.
Friday morning come when I'm about to get me pay, and when I look her foot stretch out in other way.
She have gold 'round her ankle,
gold 'round her waist,
gold around her little neck and chest,
gold in her ears and gold in her nose,
gold 'round her head and gold 'round her eye for..
Hunters will be hunted
Blood spilled for blood
In my mind
Your end is justified
No exceptions
No acceptance
No forgiveness
Your merciless sport
Blood spilled for blood
Your blood for their blood
Blood spilled for blood
In the name of recreation
I deny
I deny it
I've heard it said
That life is a series
Of trade-offs
Your life for theirs
Seems only fair
Your life for theirs
Seems only fair
La la la la la laaa, means I love Jah, yes
La la la la la laaa, means I love Jah
I'm not ashamed, I'm not ashamed
I'm not ashamed to hold Jah Jah
Not in any crowd
I'm not ashamed, I'm not ashamed
I'm not ashamed to hold Jah Jah
Oh no
For when I was doun an out
He was the one who help me out
Stretch forth His hands
For I when I'm in distress
For even when my mother hide
And my father was sickly, yeah
He said "come inside, come on, I'll take thy hand"
An' that is why, hear me all!
La la la la la laaa, means I love Jah, hear!
La la la la la laaa, means I love Jah, yeah
I'm not ashamed, I'm not ashamed
I'm not ashamed to shake up my knots
Not even in the street
I'm not ashamed, I'm not ashamed
I'm not ashamed to shake up my knots
Not even in church
I'm not ashamed, I'm not ashamed
I'm not ashamed to shake up my knots
Not even among the
I'm not ashamed, I'm not ashamed
I'm not ashamed to shake up my knots
Not even among the greatest set of men
I'm not ashamed, I'm not ashamed
I'm not ashamed to shake up my knots
what a shame what a shame
for the day dat we where born
we never seen the right dollar here
only the count of fear we a see oh!
Bring back the money with the sign of the Lion money
Me say fe get back the money with the sign of the dragon money
dat we no use him no no
Bring back the money with the sign of the Lion money
Me say fe get back the money with the sign of the dragon money
for we no waaaant
to hear no more about your great sir francis dread
put us slave driver like wise
we no waaaant
to hear no more about your great long John Silver
dat na have drop to use the sufferes dem
Bring back the money with the sign of the Lion money
wat gone down can tell your friends dat i tell yu dat
i jus fe take back the money with the sign of the dragon money
dats (?)even fe feed the hungry belly pickney dem me say yu
Bring back the money with the sign of the Lion money
Me no waaant
to hear no more about your great sir francis dread
the old slave driver
we no waaaant
to hear no more about your great long John Silver
dat only help to colonialize our mind lord
Bring back the money with the sign of the Lion money
Lion dollars we want to see
Inna Jamdung
Take back the money with the sign of the dragon money
I am so tired to hear the sufferes dem a bawll
Bring back the money with the sign of the Lion money
The Lion dollars can't satisfy good wants and needs
Take back the money with the sign of the Dragon money
One sake one sake inna aluminum kind hehe!
Bring back the money with the sign of the Lion money
Clap me with the Lion but back way with the dragon
Me say Bring back the money with the sign of the Lion money
back way with the dragon inna dis ya time
The dragon must drop
Bring back the money with the sign of the Lion money
for we no waaaant
to hear no more about your great sir francis dread
we no waaaant
Hey Dreadlock!
Babylon a run after you!
And I fall down and a bounce I head pon a ganja root
Vex bad, bad, bad.
Me say ganja haffe grow big man
With a bag of marijuana whole a heap a little bit (So)
Babylon a show off pon, Rasta, gwaan like him no know
He sell it by music to educate our children and police
And gwaan pon I like nuff nuff wickedness increase
Legalization fi the ganja herb!
Legalization fi the ganja herb!
We want it now
Legalization fi the ganja herb! (How they legalize it inna Holland?)
Legalization fi the ganja herb!
United we will stand, divided we will fall, apart
Lick up the chalice and mek that clean up your heart
What kind of corruption you have on your tongue?
To prison a man for a simple draw of herb (that grow from the earth!)
Legalization fi the ganja herb! (Cut it down quick!)
Legalization fi the ganja herb! (Me no a bad man, me a strong defender!)
Legalization fi the ganja herb! (Oh, Babylon!)
Legalization fi the ganja herb!
A some time when them come with them and drive ambulance
And a some time when them a tief up the area
them a drive a fire truck with a bag in the back
And some time when them a come a tek out
them sure they drive all ship and coast guard thing
Nuff coke a share from here to there
And Rasta can't lick him chalice (The whole a we are one)
Jah Ras Tafari! Must smite them things!
As mi plant a seed, ya run come raid mi field
Look inna I yaself and tell me the way you feel
My children wake up in the morning without a nice meal.
Simply because you can go wheel and tear down and mek a deal (Mi can't do like you)
Legalization fi the ganja herb! (Rasta need it now!)
Legalization fi the ganja herb! (You need another conscience)
Legalization fi we ganja herb! (Put it up quick!)
Legalization fi the ganja herb!
Some say we have to bite the bullet
What about poor children have no teeth, a suck them ago suck it
We have to sell the ganja herb,
We buy a ticket (My God!)
Down in a Babylon the situation, we just can't take it! (Back up!)
Legalization fi the ganja herb! (Bounce me back!)
Too long in our little ghetto wrong has been going on - let's protest
Children of Israel who really love rights
For Jah set I&I; as a watchman - around Babylonian walls
Oh, Children of Israel
I&I; should never hold I peace while wrong is going on - day or night
Man! Bust down Babylon gates - preparing the way - preparing the way for Jah People
Fight down war crime, fight down war and crime, fight down war and crime
And build up righteousness
Jah Rastafari, Jah Rastafari, Jah Rastafari - preserve all people
Put crime away - put crime away again
Jah set I&I; still as a watchman, around Babylon walls
Yes, Children of Israel
I&I; should never hold our peace - while we are penalized day and night
Hallelujah!
I and I a want to see King Rastafari
To look upon Jah pretty pretty face
We want to walk the streets of glory
Shining around Jah throne
So Natty Dread tell all the gentles them to come
Run come to look upon Jah pretty pretty face
For we are going home, going home
To see King Rastafari
Selassie a the roots of David
Hallelujah! I, I a Congo I
King Selassie a the roots of David, chant it out
Hallelujah! I, I a Congo I
King Selassie a the roots of David
Hallelujah! I, I a Congo I
Hallelujah!
(solo)
King Selassie a the roots of David
Hallelujah! I, I a Congo I
Selassie a the roots of David
Hallelujah!
Selassie a the roots of David
Hallelujah!
With your loud voice say
Hallelujah!
I, I a Congo I
Hallelujah!
Mount Zion bird shall sing and say
Hallelujah!
Chant it from the throne, let them hear it
There is something wrong you know,
Which not even parson can see,
Jah alone can understand.
There is something wrong, you know,
Which not even bishop cannot see,
Jah alone can understand.
So it is Jah,
I tell you is Jah,
only Jah alone,
Jah alone a Christian.
So it's Jah, don't believe it,
Jah, a only jah alone,
Jah alone a Christian.
If you think them a Christian,
Wait until them see a thousand dollars,
Them say no hair no grow in my palm.
And when darkness come down,
Them make some ridiculous move, which,
Jah alone can understand.
So it's Jah, hey,
Jah, a only Jah alone,
Jah alone a Christian.
So it's Jah, don't believe it,
Jah, a only Jah alone,
Jah alone a Christian.
Ah.. only Jah alone sit upon the throne,
Only emperor haile I,
A high a I a Congo natty I a Christian..
Ah ah ah ah.. ah ah ah ah..
If you think them a Christian,
Wait until them feel sexy,
And catch sister Lorna in them car.
And then the emotional feelings,
Which encourages the devil, which,
Jah alone can understand.
So it's Jah, don't believe it,
Jah, a only Jah alone,
Mmmm
sha la la la la la la la la la la
do bada do bada day
la la la la la la la day ba
do bada do bada day
when you gonna dig a pit i tell you my brother
dont dig one always dig two
when you gonna dig a pit i tell you my brother dont
dont dig one always dig two
be careful of the things you do
the everyday words you speak
you walk on the streets
you run up your mouth
you want to see your brother
be a prisoner always
nevermind
the countenance of one man brighten up another
iron sharpen iron
the countenance of one man brighten up another yes
iron sharpen iron
when you gonna dig a pit i tell you my brother be careful
dont dig one always dig two
when you gonna dig a pit i tell you my brother yes
dont dig one always dig two
Mmmm
be carefull of the things you do
the everyday words you speak
you walk on the streets
you run up your mouth
you want to see your brother
be a prisoner always
nevermind
the countenance of one man brighten up another
iron sharpen iron
the countenance of one man brighten up another yes
iron sharpen iron
dude
when you gonna dig a pit i tell you my brother
dont dig one always dig two
when you gonna dig a pit i tell you my brother be careful
dont dig one always dig two
trial road
tribulation will belong to i
trod on my brother trod on
although the road maybe full of tickle and tuants
trod on my brother trod on
natty dread get the hardest thing to do all the time yes
trod on my brother trod on
peace
when you gonna dig a pit i tell you my brother
dont dig one always dig two
when you gonna dig a pit i tell you my brother yes
dont dig one always dig two
be carefull of the things you do
the everyday words you speak
you walk on the streets
you run up your mouth
you want to see your brother
be a prisoner always
nevermind
the countenance of one man brighten up another
iron sharpen iron
the countenance of one man brighten up another yes
iron sharpen iron
when you gonna dig a pit i tell you my brother
dont dig one always dig two
when you gonna dig a pit i tell you my brother yes
dont dig one always dig two yes
sha la la la la la la la la la la
do bada do bada day
rejoice
la la la la la la la day ba
do bada do bada day yes
when you gonna dig a pit i tell you my brother yes
dont dig one always dig two
trial road
tribulation will belong to i and i
trod on my brother trod on
the road to zion is not so easy
trod on my brother trod on
I tried and I tried and I tried and I tried
To make them understand
I tried and I tried and I tried and I tried
But they just can't understand
I tried and I tried and the Lord know I tried
To make them understand
I tried, oh tried how I tried
But they just can't understand
The more victimization is up on their back
The more foolish they becomes
The more victimization is up on their back
They satisfy Lord for less
I tried, oh Jah how I tired
But they just can't understand
I tried and I tried and I tried and I tried
But they just can't understand
Poor God, people
When will they ever learn?
This one turn them fool, that one turn them fool
So what are they waiting for
Fix up yourself and prepare to meet Jah
That will satisfy Lord for more
I tried, oh Jah how I tried
But they just can't understand
I tried and I tried and I tried and I tried
But they just can't understand
Father die in pain, Mother die in pain
Slavery continue
They say we have no right no where
In no corner of the world
And I tried to make them notice
But they just can't understand
I tried and I tried and I tried to make them know
But they just can't understand
Twenty-four hours make one day, they told us
Seven days make a week
And out of all that they hold 365 days
They can only name you seven days
I tried, I tried and I tried
But they just can't understand
I tried and I tried and I tried and I tried
But they just can't understand
We beat drums at night, we beat drums by day
They take no heed
The church bell a-ring and the children a-sing
And them still satisfy Lord for less
I tried and I tried
But they just can't understand
I tried and I tried and I tried and I tried
But they still can't understand
Son is waiting at condemned cell for his sentence
You know
Father in the field can't find nothing
And mother nah no money
I tried, I tried and I tried
But they just can't understand
I tried and I tried and I tried and I tried
But they just can't understand
My Daddy was sure, my Mommy was poor
Ain't got no money
Still no bother me, all I need to see
I'm on this land, I trouble no one
My desire is to make no problem with no one
None interference, none political
No matter what you do
I see I'm blind and ear and deaf
Chorus:
I'm an humble african
Passing through Babylon
I'm an humble african
Trouble no one say
I'm an humble african
Some said I'm a rastaman
I'm an humble african
Verse 2:
These little hands and simple fingers that I have
They were not made to ? no tear, you hear?
But to move in this of kindness, you see?
And to ? to help my brother pray
Brother better ? this life yeah, oh yeah
It's better to have a friend than to need one
It's better to find a friend than to be in need
Lift up your brother, don't you put him down
Chorus:
I'm an humble african
I was born to love my brother
I'm an humble african
United I must be
I'm an humble african
No matter what they say
I'm an humble african
Verse 3:
My forefather came here from the days of slavery
I work until my skin ?
? everytime I speak for my justice
? to name me desagrable still
I pray the day will come
When we all up in peace and inity
No more chasing one and other
Without humanity
I pray the day will come
That we all share what we have
And show the people of the Love
That we have to give love than more
Chorus:
I'm an humble african
Nothing but unity inside
I'm an humble african
Jah stand for us all
humble african
Help me beat my drum inna Babylon
I'm an humble african
Jah you know who I am
I'm an humble african
Me a go throw me corn, and me no call no fowl
And you see who want pick up a macka corn and swallow it
And make it pitch cross him throat, make him gwaan
You Mr. Hav E Hav E Hav E Hav E Hav E Hav E
Hey Mr. Hav E! Yuh Hav E already
Hey you Mr. Hav E Hav E Hav E Hav E (Hey you) Hav E Hav E
You Have E already
Me said fi move your hand with your big quart cup
Please don't let it stay there full and keep running over
My command is:
Give the youth a try, give the youth a try
Let them even suck their mother's milk and even eat bread (Them nah waan go a prison)
So give the youth a try, give the youth a try (One more time)
Let them even suck their mother's milk and even eat bread
You! Mr. Hav E Hav E Hav E Hav E Hav E
Greedy man, oh! Hav E already
Crack the pen and gone
A Mr. You Mr. Hav E Hav E Hav E Hav E Hav E Hav E
Hey Hav E! Yuh Hav E already
Boy chuh. Come like I a use a chicken bone and stop you now
And a use a Cutlass and a cut you throat now for justice
Me said fe have your hand with your big quart cup
Please don't let it stay there full and keep running over
Man Give the youth a try, give the youth a try (One more time)
Let them suck their mother's milk and even eat bread
I know they are all suffering
Hey Mr. Hey you Mr. Hav E Hav E Hav E Hav E (lock the prison door) Hav E Hav E You Have E already
Old penitentiary, penitentiary
Time for the lock spoil and the key throw away
That's for the jail house key
And that a back you up and that a big you up
All because you can tell lie pon youth and send them to prison
Hey Mr. Hav E Hav E Hav E Hav E (share it)) Hav E Hav E
You Have E already
Back down off your pomp and pride!
A Mr Hav E Hav E (straight down off your high horse)
Hav E Hav E
For you Hav it already
Down a seaside in a boat
Stinking fish- that's all the life Mr. Baseball salutes
Can't take back no more, can't take that no more
They need some education and proper schooling
So wheh yuh a do? So wheh yuh a seh?
You Mr Hav E Hav E Hav E (Don't you know?) Hav E
You have it already
Give back some to society!
A Mr. Hav E Hav E Hav E ...
Hav E already
Saw a woman the other morning with a dirty baby lying on her breast
You know what I want?
All presidents and Prime ministers fi hear this!
Good Times!
Lucifer is having a party in hell
Good times!
Who's his patron I can tell
Whether you are dressed in red
White or blue or pink or green
Rasta won't be there (on that scene)
Many bottles of whiskey will be down there (down a bimbo)
Good times!
Many slices of pork will be there
Good times!
Rastaman a vegetarian
I am no barbarian
I don't need to be on your menu
There also have a bus ride too
Good times!
A jumbo jet will be flying, too
Good times!
You've got to be an inequity worker before you can
earn a ticket to sit
On any one of those transportation
This nation
Good times!
Satan is having a party down in hell
Good times!
Mi don't want nuh of dem dinner
Mi belly a go swell
Good times!
Have a bowl, a knife, a throat
You no know what in a the pocket of him cloak
Lucifer come so you better keep wake
Who is the conductor?
Lucifer is having a party down in hell
Have a good time!
Good times!
Rastaman a no junkie- him no drink wine
Good times!
By the sweat of your brow you eat bread
Some people say they will live and beg
But rastaman just can't live with that on his head
Good times!
Rastaman can not live with that on his head
Good times!
So when you see I work 'til I sweat (nuh call it no sweat you know)
Good times!
My little one is called dignity
Good times!
I nuh work for Lucifer! I work for my community!
So the wet that came down my forehead is called dignity
Whooah, don't you that
Good times!
Lucifer is having a party down in hell
Good times!
The chief ministers with their robbers and tief
Good times!
Don't think this owl a bite
Never steal my bother yet
Sleep on mi bed at night so mi nuh haffe fret
Whooah- good times!
Sleep on mi bed an mi quiet
Mi nuh haffe fret
Good times!
Never tried to kill an infant yet
For if you do that you eat food a Satan party 'til you wet
Everything in hell is for free
You can eat for both you and me
I don't want to be sitting next to you in a chair
Good times!
Satan is having a party down in hell
Good times!
Wicked man, you are invited, well
Good times!
I can not chew big bones so well
Threaten 'til me soundboy swell
Tell Satan fi go to hell
Satan is having a party down in hell
I won't be there!
Good times!
Satan is having a party down in hell
Now I want you to listen to I, man to man
Some nah go like it you know, but ah dee truth man
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Find a woman and call her your baby
Treat her kindly as a lady
Give her all the respect you can find
Then soon as the year roll by
You'll have a little girl or a boy
And that's the way Jah natural life
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Wild boy want one in a London
Wild boy want one in a New York
Want one in a Paris too
Still never check the one a yard
Still him gone abroad
No 'member what him Grandmother and him Grandfather say:
"Learn fi dance a yard"
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Fact say what is joke to you
It's surely death to them
And that's the way human life go
There's a part of the animal
Which really attach to man
Watch them and you'll find out the way to live
Too much of the girls, girls, girls
Will take your heart away
Too much of the girls, girls, girls
Will break your heart I say
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
And when I tell you this
I don't want you to scratch your head and doubt it man
Come with me
First you want one in a London
You want one in a Paris
And you gone way a Australia too
Some man can be found as a father
Why some is known as a sperm donor
Tell me really what you are
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Will break your heart I say
Too much of the girls, girls, girls
Will take your love away
Too much of the girls, girls, girls
Look how you chaka chaka and rink and mash up
For you nuh hear me wah de Rastaman say
Say you nuh fi sniff no cocaine down deh
You nuh hear me wah de Rastaman say
Say you nuh fi sniff no cocaine down deh
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
Mi say, the cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
As them start to sniff the cocaine
Them no washing them clothes again
Neither clean them boot, mi God
Neither wash them dirty dirty foot
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
Ah wah happen to you master, heh hey
Look deh round the brethren foot
Like no water no deh, but see yah master
Go ah river yeah, but look how him mother
And father nice and look how him stay sake
Ah the little white powder but is wah do the boy master
Mama give you one black fowl
And it lay one dozen egg
And sake ah the little white powder
The boy sell it off and start to beg, Lord
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
Papa have one big foot truck
And him left it on the will fi you
Hindering you from turn a thief or
Neither turn a crook
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
Mama walk through dew water
And try to send you to school
So you can learn the golden rule
And when you take a stock you deh back a school a rude
Because
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft, Lord
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
Sometimes I sit and wonder
I wonder where them ambition gone
It seem them ambition
Turn a dirt upon a land
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
I wonder where your ambition gone
I wonder what you think
I wonder what example you setting for the youth
What them fi think bout you
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Get them soft, get them soft
The cocaine ah get them off
Satan nation free again, O Jah, O Jah
(Free, free again), Satan nation
(Free, free again)Be cool a man, the black man want to be (free, free again)
White and Indian and tuliet, (Free, free again)
For I never know that Jah never make some of his people to be born
Jah never make some from wood nor stone
and the others from mud and flesh and blood you know, Don't think so.
(Free, free again), Do Jah set aside
(Free, free again),Rastaman roll on
All nation want to be free
For I never know, that Jah never make some of his people to be born
Jah never make some from wood nor stone
And the rest from plastic and rubber and holer
You know
(Free, free again) Everyman about life
(Free, free again), Whether his' rich or poor
(Free, free again), set him oh Jah, let the handkerchief fed on the negative flows
Free, free again
Everything is coming to an end, Don't you do no one nothing too wrong, but just like blood sister and brother now
Not everyone can be free
Free herself,the tree yeh
Enough of this murderous world
This cannibalistic world
It's enough that we justify
The destruction of each other and ourselves
At least we can speak out
Put our foot down
What of those
Lacking voice
A society
Preaches equality
When equality
Is its own greatest fear
For those voiceless
I plant my own foot
On your oppressing hand
That robs of life and choice
At least we can speak out
Put our foot down
What of those
Lacking voice
A society that preaches equality
When superiority is its only intent
You will be leveled
You will understand
What it means to be
A victim of technology
A society
Preaches equality
When equality
Is its own greatest fear
Tears through barbedwire
Screams throught the lab
In the blood you draw
You'll soon understand
You will be leveled
You will understand
What it means to be a victim of
Yes you, Mr. Politician
We're not blind, we seeing you
You use the people's misery for your prey
And you use war to be a business
Now I want you to deal with something now in the new millenium
How long this a go continue?
And how long you believe you ago last?
I wonder why politician them won't go 'way
Rasta can't get no peace inna this land
I wonder why politician them won't go 'way
Rasta can't get no peace on the land
Rasta children run them 'way
Drive them 'way
When them come, come talk 'bout election
Iahbingi run them 'way
Drive them 'way
When them come come talk 'bout election
I wonder why the old tief dem won't go 'way
Can't get no peace inna yard
I wonder why old PJ him won't go 'way
Can't go no peace down a yard,
A two a dem
Run them 'way
Run them 'way
When them come, come talk 'bout election
An a fi we run them 'way
(Nia bingi) run them 'way
When them run come talk 'bout election
Eddie, I wonder why politician them won't go 'way
Rastaman can't get no peace a Jungle
Wonder why politician them won't go 'way
Bingiman can't get no peace in a 'Jungle
Tivoli and Jungle unite
Drive them 'way
Run them 'way
When them separate you with election
(Them a friend say) Run them 'way
Bingiman a drive them 'way
When them come, come talk 'bout election
As God live we must unite
You think I never see when you go a Switzerland, go
bank up all the people dem money
You think I don't know seh when you a buy places and property all
Bout where poor people can't read back fi get back
some of dem tax money (Watch it!)
Depression, frustration
The poor man people hungry just a few days
Frustration. Wise fowl walk like man
Poor people money bank away
We nuh want no politics
Wonder why politician them won't go 'way
Bingiman want some peace on the land, Chuh.
Wonder why politicians them won't go 'way
Bingiman, we want some peace of the land
Kings and queens, president
All them do is oppress God's people
Prime ministers, underdogs,
Cat a lick, while Jah Jah Lion a watch
Cat a lick, dog a watch
Listen what them say in society
(No Anglican)
Cat a lick, while old dog a watch
Jah bound to man crotch
Come down off yah high horse!
Boy, mi nah pile up no nuff pon plenty and me nah give
no man who have already
The man who hungry haffe eat
And the man who have already haffe share
You know, you a hear mi man?
And me have something fi tell yuh inna the next version
Come down off yah high horse!
Some people a kick fast too long
Big fish a rain from the sky fi you
Everything too easy for you
And it seem to me that the rich man tax write-off
And the poor man haffe pay that
Boy? Them send very likkle for your money, them no own a joint..
Where are all the Rastaman
That used to be down here in Babylon
Where are all the Rastaman
That used to beat their drums oh yeah
Where are all the Rastaman
That even used to till the soil
And preach to us for awhile
Down here in Babylon
Where are all the Rastaman
That used to walk the woods
And have a little talk now and then
Even as we should oh yeah
Where are all the Rastaman
That used to build our schools
And teach the children rights
Down here in Babylon
And teach the children rights
Down here in Babylon
Where are all the Rastaman
That used to stand upright
With their staff in their hands
Preaching to the leaders
Where are all the Rastaman
That used to till the soil
And feed our nation Lord
Down here in Babylon
And teach the children rights
Down here in Babylon
And lead our nation Lord
Hey chuh! Stop the begging, man!
Yuh mek it look bad upon the whole a we.
You ever see dog pon the street?
And talk about fatha fatha.
Then all dog a your father too.
Get up and do something for yourself
Rise up and do something for yourself
Rise up and do something good for yourself
Instead of your begging!
Do something progressive for yourself
One thing I can't understand
How did the guinea chicken so broad?
Get up and do something for yourselves
Look at the children, they are in school
Trying to work hard and further education
Look at granny down a Coronation Market
I can't believe that young strong man
Stand up on street and stretch out them hand
Get up and do something for yourselves (You can't beat a bush)
Can't you be a mechanic?
Can't you teach yourself to paint a house?
Can't you make a Dutch pot? Yahba pot!
Can't you make a pair of shoes?
Can't you do something with the tailor?
I can't understand
Everyday you have fi nyam
And you nuh want to work at all (Jah know)
A lazy man eat more than a working man (Him belly bigger)
For him more time to eat the food
While I have to be in the field
See if I can make tomorrow's meal
The building haffe reach the sky
Them seem to a next skyscraper now
Get up and do something for yourselves
Rise up and work!
Rise up and do something for yourselves
Roast two dumpling, it's for yourselves
This is what I can't understand:
Women having children for lazy man
I wonder how the pickney them ago nyam
Those children need some education
They've got no mental disability
Lawyers, doctors, teachers of tomorrow
There won't be no sorrow
That's all the hope that we have got (So you know what, brother? Mind them)
Get up and do something for yourselves
Sell two callaloo, star
Get up and do something for yourselves
Even two ripe banana
Granny she can wait so long
Yet you want to be a jiffy man
Get up and do something for yourselves
Meet me with a nana nap.
Get up and do something for yourselves
You just a pray for John Brown fi dead
Why didn't you pray a good prayer for survival?
Everything you see a street yuh want
Won't somebody
Won't somebody
Won't somebody tell me please what's going on
Won't somebody
Won't somebody
Won't somebody tell me please what's going on
With our people
With Jah people
They are playing a dirty trick upon dem
With Jah people
With Jah people
They are trying hard to mislead dem
With our children
With our children
They are trying hard to indoctrinate dem
With our children's
Education
They are trying their best to fool the children dem
Won't somebody
Won't somebody
Won't somebody please tell me what's going on
Somebody
Somebody
Won't somebody tell me please what's going on
Looking around
And I can't understand
I tried to discuss with them
For instance Fort Augustus
I am talking about Alcatraz
They're two prisons of the same kind
One in Jamaica
The other in America
So tell me why really should we see that
Won't somebody
Somebody
Won't somebody tell me please what's going on
Won't somebody
Somebody
Won't somebody tell me about the prisons
Every now and then they take away a man and carry him behind the walls
[Whoa officer]
I just can't understand what's going on
Won't somebody please
Won't somebody
Won't somebody
Deforestation leads to extinction
Deforestation leads to extinction
Deforestation leads to extinction
Deforestation leads to extinction
Another land
Laid to waste
Species die
Forest falls
Endless fires
Consume all life
Nature dies
While demons dine
Sky grows black
Blood runs red
End of life
No more compromise
Sky grows black
Blood runs red
I take your life
No compromise
This world is hell
I must escape
This fucking hell
This world is fucking hell
Chiney man,
Blackman,
Indiaaaaaans,
Syrians,
For we were made by
one hand,
created by one man,
Ohhhhhh wow
we should try to live as one
we should try and give a helping hand
we should live peaceful with each other,
for we are all sister and brothers
For we were made by
one hand,
created by one man,
Jah know my heart
For we were made by
one hand,
created by one man,
ohhhh
We should in harmony,
We shouldn't live and want money
We should give to each other
For jah see as one brother
For we were made by
one hand,
created by one man,
ohhhh
We should give equal
that we all live like puss and dog
but we turn a helping hand
Whap'n sah, leggo mi fowl!
Him have no titty
What you mean, you want fowl breast to eat?
What you want it for?
Them telling lie on the chicken
Telling lie on the chicken
Telling lie on the chicken
Say that them eat off him breast
The chicken nah got no titty
Chicken no got no titty
Because them telling lie on the chicken
Telling lie on the chicken
Telling lie on the chicken
Say that them eat off him breast
She use a wing to shelter her young one
A wing to shelter her young ones
A wing to shelter her young one
Because she nah no titty
The chicken no got no titty
The chicken no got no titty (How you say?)
Them telling lie on this poor chicken
Telling lie on the chicken
Because them eat off him breast
Whap'n sah, leggo mi fowl
Whap'n sah, leggo Miss Mary fowl
The fowl nuh have no breasy
Look, if it have breast, you see nipple
Hey, whap'n, son?
Leggo the lady fowl
Want put up the chicken
Want fi put saddle pon the chicken
Want fi put saddle pon the chicken
The whole of them a ride pon the back
The chicken nah got no titty
Chicken nah got no titty
So them telling lie on the chicken
Telling lie on the chicken
Say that them want quart a milk
The chicken no got no titty
Chicken no got no titty
Telling lie on the chicken
Telling lie on poor chicken
Telling lie on the chicken
Say that them eat off him breast
Go on son, stop from milking Miss Mary fowl
You done hear she say when the fowl a pop
You will get one
So stop from doing that
Go on, son
Go answer the door so the cock come in
Go on, son, stop milk Miss Mary fowl
Move the bucket from beneath the fowl breast
Gwaan , son an do it. You hear what I say?
Telling lie on the chicken
Still telling lie on poor chicken
Them telling lie on the
Said that them eat off him breast
The chicken no got no titty
Chicken no got no titty
Telling lie on the chicken
Telling lie on poor chicken
Telling lie on the chicken
Say that them eat off him breast
Chicken nah got any breast (no nipple)
Chicken no got no titty
Them telling lie on the chicken
Telling lie on the chicken
Telling lie on the chicken
Until them swallow chicken problem
Chicken no got no titty
Chicken no got no titty (Whap'n sah)
Chicken no got no titty
Chicken no got no titty
Stop milk Miss Mary fowl
You remember the other man, Mr. Busta, rooster
And ride him and go to Reggae Sunsplash a Montego Bay
and back to Kingston
Judge them Jah!
In your eyes is judgement, in the region
I chant down Babylon, right now
Chant down wicked man, right now
Come mek we chant down Babylon, right now
Them and the wickedness, right now
For the Babylon them a fight
Against the ganjaman
The ganjaman in a Babylon
Happens to be the righteous one
I chant down Babylon, right now
Beat down wickedness, right now
They have committed abominable works
The wickedness reach to the eyes of Jah Jah
The eyes of Jah is looking down
But they can not see
Guiltiness, abundant, wickedness (here this year)
We chant down Babylon, right now
Beat down wicked man, right now
Chant down wicked man, right now
Fight down wickedness
For the people them a starve
Innocent man back against the wall
And the wicked man a ball
But that isn't all
I chant down wicked men, right now
Fight down the wickedness, right now
Stop lasciviousness, right now
Eliminate the wickedness, right now
Oh what a world
What a miserable place, man
I man try hard fi live, Rasta, but chah!
I fight the wicked men, right now
Fight them to the end, right now
Rasta, them a no friend, right now
For they are turning back
Their minds at the back of the track
It seems them must a crack
The whole a them a sniff the rock
Chant down Babylon, right now
In Jamaica we call it dungee
But the British man him call it dungeon
That them sanction.
If you saw what took place in Cape Coast dungeon (West
Africa)
If you saw what took place down in the dungeon
Man blood clot up thick. Down in this dungeon
Blackman blood turn up thick. Down in this dungeon
I can see the sign of torture down in this dungeon (I
smell blood)
You can smell the smell of stale blood down in th
edungeon
Nowhere to turn, yet so much in there.
Nowhere to sit down. I must be standing (No chair in
here)
Straight after that, the ship was anchor.
They call to a shock away call "man too fit"
And nowadays they dress it up a and they no call it
benefit.
And nowadays Babylon dress it up a and they no call it
benefit.
(And me no want no benefit)
Give me equal rights and justice
Me no want no benefit
For it's the old strategy they use, down in the
dungeon
The same dirty old strategy they use down in the
dungeon
And as for the woman part of it
If short like a one foot rule
Nobody can stand up. All baby born under dat. (Ya a
hear me man)
Man, know yourself now
They refuse to ask me my name upson the slave shp
Their minds told them to call me nigger and that was
the end of it (A who name so?)
There is no dignity. You don't know my name (You can't
respect I)
It take more intelligency to find out my real name.
But if you see what went down, down in the dungeon
Even in the sea
If you see what went on, on the slave ship
Even on the journey
Man get dead and beaten and them throw him overboard
Woman skin never get to deliver their nine month
through
Children born under the agony of knife
Father see children and cannot even own their wives
Equal rights and justice stand for all right in the
dungeon
And yet them rub it off and show me another something
Yet them a polish it from my eyes, show me another
something
So Mr. Chin, how him want him titty
Indian men want him Hindustani
But them beat our language from you and me
What a slavery! What happen to he, she, you and me
They beat us in slavery
And want us to be quiet under captivity (It can't
gwaan so- You mad?)
Wooo.. what a trial that a gwan a Rasta yard,
Look at them a come with the machete and them gun.
Them come.. them reap what them no sow
What a gwan in the early morning a Rasta ganja field.
Come into the mountains,
Sight I and I grandfather,
Planting marijuana, naw make no war.
Come with your disrespect,
Take away I chalice, carry gone a campyard.
And when you reach the campyard,
You mash-up I kutchie,
And the whole a Rasta weed gone aboard.
You know why?
If you never sell it,
How come you could a tell I, how much a pound for it?
Hear this!
Early, early morning the man them on parade,
Run Rasta, run them a come.
Hide the barn, hide the kutchie!
Come with your disrespect,
Start boy-up I grandfather,
Haul and pull him all over.
Take away Sister Mary,
From around the fire,
Carry gone a prison ??.
Come into the mountains,
Sight I and I grandfather,
Planting marijuana, naw make no war.
I love the birds them,
The birds love the Rasta,
We reap marijuana together.
Why you come to the mountains,
Trouble I and I grandfather?
Planting marijuana, naw make no war.
We naw run, we naw run!
Adopted from King Solomon,
This marijuana, granted to the hands of black man.
Now and then we smoke it,
Another time we boil it,
Good for all sickness and pain.
Come into the mountains,
Sight I and I grandfather,
Planting marijuana, naw make no war.
Go back a station, I come to save creation,
Free marijuana at large.
Go back a station, trouble some police man,
We planting marijuana, naw make no war.
Come into the mountains,
Sight I and I grandfather.
Born
Create the fire
That in the end
Consumes you
Fill my latrine with spite
Spite
Forever born of you
You fill my gut with rage
Rage
Forever born of you
Welcome this hell
You asked for it
Never satified
Need a way to win
Embrace this hell
You created it
Never satisfied
Gotta get back in
Forced to dwell
In disarray
Your lack of pride
Leads to lack of effort
Leads to lack of order
The cry of murder
Welcome this hell
You asked for it
Never satified
Need a way to win
Embrace this hell
You created it
Never satisfied
Now Babylon I want you fi know say
I and I no blood thirsty
I and I no want no one life
But what is in the future
As Nostradamus say
No it have fi go and what Jah say it no so
And so a just so
And if you fight against the youth man of today
Man, blood a go run
Weeping and wailing and gnashing of teeth
And if you fight against the youth man of today
Man, blood a go run
Can't you see that Tivoli Garden
It a get green
And the youth them from Rema
And in a jungle
Them don't decide to rob
And the youth them from Mandiville and Franklintown
Nah pick no bag
And the youth them from August Town and Grant's Pen and all bout
Them going good
And if you fight against the youth man of today
Blood a go run
And if you fight against the youth man of today
Blood a go run
Can't you see the battle stick them
Gone down in a ground
Yet don't grow
And the long gun that use to rule the people
Them start to stick
So if you fight against the youth man of today
Man, blood a go run
And if you fight against the youth man of today
Blood a go run
Can't you see that there is murder
Circling around the colleges
And guns and knife in the classroom
Is the commonest thing
Can't you see that Tivoli Garden
Still getting green
And the youth them weh push cart in a carnation market
Start to walk clean and clean
Ambitious
And if you fight against the youth man of today
Blood a go run
And if you fight against the youth man of today
Blood a go run
Oh if I knew yesterday what I know now
Things would be different
Today would be excellent of course
They took us away from our homeland
They took us away from our homeland
And we are slaving down here in Babylon
And we are slaving down here in Babylon
They are waiting on an opportunity
They are waiting on an opportunity
For the Black Starliner which is to come
For the Black Starliner which is to come
Not long Jah Jah Jah Jah not long
Not long Jah Jah Jah Jah not long
We are waiting on the Black Starliner
And we are still waiting on the Black Starliner
Wait on Jah
Wait on His works
I meekly wait and murmur not
I meekly wait and murmur not
For the Black Starliner shall come
For the Black Starliner must come
Still waiting on that opportunity
We are still waiting on the same opportunity
For the Black Starliner which is to come
For the Black Starliner which is to come
Marcus say so
Oh land of Africa
Holy Mount Africa
We want, we want to go
We want, we want to go
Sierra Leone and Ghana
Zimbabwe, Ethiopia
We want, we want to go (in a Kenya)
We want, we want to go
They took us away from our homeland
They took us away from our homeland
And we are slaving down here in Babylon
Don't want to be slaving down here in Babylon
Ethiopia stretch forth her hands
Ghana, say come home brother
We are slaving down here in Babylon
And we are slaving down here in Babylon
We want go eat fufu and palm wine
Eat some nice fish and have nice time
We are slaving down here in Babylon [brotherman]
We are slaving down here in Babylon
Want go look nice ladies
Want to see mother with their babies
We are slaving down here in Babylon
This is eternal hell
We are slaving down here in Babylon
Nothing for us
We are slaving down here in Babylon
And it a run red
There is a land far far away
It's called Addis Ababba
There is a land far far away
It's called Addis Ababba
The ruler of the land
Which is far away
His name is King Selassie
King of Kings and Lord of Lords
The ruler of the land
Which is in the East
His name is King Selassie
There is a land far far away
It's called Addis Ababba
There is a land far far away
It's called Addis Ababba
Babylon them
They want to take away
The Ark of the Covenant from yard
The Ark of the Covenant
Cannot be taken away
From Addis Ababba
Respect!
There is a land far far away
It's called Addis Ababba
Here me when I say
There is a land far far away
It's called Addis Ababba
King of Kings and Lord of Lords
Ruler of Creation
His name is King Selassie
Mussolini tried to invade Ethiopia
But the Conqueror
His name is King Selassie
Rule and respect
There is a land far far away
It's called Addis Ababba
There is a land far far away
It's called Addis Ababba
Wonders of the world
The great River Nile
Is found there in Africa
The great treasure of Axum
Axum of Zion
Oh if I knew yesterday what I know now
Things would be different
Today would be excellent of course
They took us away from our homeland
They took us away from our homeland
And we are slaving down here in Babylon
And we are slaving down here in Babylon
They are waiting on an opportunity
They are waiting on an opportunity
For the Black Starliner which is to come
For the Black Starliner which is to come
Not long Jah Jah Jah Jah not long
Not long Jah Jah Jah Jah not long
We are waiting on the Black Starliner
And we are still waiting on the Black Starliner
Wait on Jah
Wait on His works
I meekly wait and murmur not
I meekly wait and murmur not
For the Black Starliner shall come
For the Black Starliner must come
Still waiting on that opportunity
We are still waiting on the same opportunity
For the Black Starliner which is to come
For the Black Starliner which is to come
Marcus say so
Oh land of Africa
Holy Mount Africa
We want, we want to go
We want, we want to go
Sierra Leone and Ghana
Zimbabwe, Ethiopia
We want, we want to go (in a Kenya)
We want, we want to go
They took us away from our homeland
They took us away from our homeland
And we are slaving down here in Babylon
Don't want to be slaving down here in Babylon
Ethiopia stretch forth her hands
Ghana, say come home brother
We are slaving down here in Babylon
And we are slaving down here in Babylon
We want go eat fufu and palm wine
Eat some nice fish and have nice time
We are slaving down here in Babylon [brotherman]
We are slaving down here in Babylon
Want go look nice ladies
Want to see mother with their babies
We are slaving down here in Babylon
This is eternal hell
We are slaving down here in Babylon
Nothing for us
We are slaving down here in Babylon
And it a run red
WAS TRAVELING UP THE MOUNTAINS ONE DAY
AND SUDDENLY I HEARD...
A VOICE COME TO I AN`SAY`AY
BEHOLD I COME QUICKLY
TO PAY EVERY MAN
ACORDING TO THE WORK THAT YOU HAVE DONE
(CHORUS)
AND I KNOW....DAT IT WAS THE VOICE
THE VOICE OF THE MOST I....
SHOULD BEHOLD
BEHOLD...I COME QUICKLY (HEAR WHAT HE SAY TO ONE AN`ALL
BEHOLD
BEHOLD...I COME QUICKLY (CAN YU HEAR DIS IS CULTURE)
THIS WORLD IS LIKE A MIRROR
REFLECTED IN WHAT YU DOOOOO
AND IF YU FACE IT SMILING
WILL SMILE RIGHT BACK TO YU...
SO DO ONE TO OTHERS
AS YU WILL'AVE THEM TOO
SO DAT YOUR DAYS
WILL BE MANY MANY EARS MUCH LONGER
(CHORUS)
(CHORUS)
AND I KNOW....DAT IT WAS THE VOICE
THE VOICE OF THE MOST I....
SHOULD BEHOLD
BEHOLD...I COME QUICKLY
BEHOLD
BEHOLD...I COME QUICKLY
Babylon is falling down
Everybody losing control
People use and abuse this world
And now they just taking a stroll
These times have changed
Time will tell, left in no wealth
You gotta start giving your love
Maybe then you will open your eyes
And end up in heaven above
There is light at the end of the darkness
Why don't you come out and see? yeah
Some are prisoners of this world, Lord
But you were never right to be, these times
Babylon is falling, falling, falling, falling, falling down
For it has been said that when either a man or women vow the vow of Nazarite
No scissors nor razor shall be upon his head as this has been said by the King of Kings,
Lord of lords our Imperial Majesty Haile Selassie I - Jah Rastafari...
The Babylon a weep, weep on
The Babylon a weep, weep on
Rasta a go tear down Babylon
The Rasta a go tear down Babylon
I, I, I, I a go tear down Babylon
The Rasta a go tear down Babylon
Babylon a weep, weep on
Babylon a weep, weep on
Rasta a go tear down Babylon
The Rasta a go tear down Babylon
Bongo Far I a go tear down Babylon
The Rasta a go tear down Babylon
The days of lice head and chill of foot amongst children is over
And education and Brytish youth now in college taking over, welcome
Neither this is the time when children and fathers listening most to grand massa [firebun]
Rasta a go tear down Babylon
Rasta a go tear down Babylon
Freedom fighters a go tear down Babylon
Revolutionaries a go tear down Babylon
R-A-S-T-A, Rasta, which means
Righteous African Stands Tall Alone, forever
And the king that sits not upon a golden throne
Is eating after the pig and sucking off his bone
Boy you no understand
The Rasta a go tear down Babylon
The Rasta a go tear down Babylon
Fe truth and rights we a go tear down Babylon
The Rasta a go tear down Babylon
We no sleeping out again and you have to respect each and every crocus bag [move up now]
And the time is coming shortly when we shall use the marijuana and thatch our place
[swear it, my god]
Rasta a go tear down Babylon
The Rasta a go tear down Babylon
Ayashanti a go tear down Babylon
My ego
My senseless ego
Has become my demise
My Relentless
Still senseless
Attacks on you my downfall, downfall
And so my need to conquer
Conquer
Conquers me
My apologies
Mean nothing
I have ruined their worth
Again on the wrong path
As I wage war on myself
When everything
Everything
Fades away
Away
My ego
My senseless ego
Has become my demise
My Relentless
Still senseless
Attacks on you my, my ,my
For you
My time
Is not
Worth the pain
You let your fears
Get the best of you
Let your fears
Get the best of you
Put on me
Haven't changed my mind
Just another way
To escalate
Another path
Leads me nowhere
But i can clear
So many more
For you
My time
Is not
Worth the pain
Your fears
Get the best
Let your fears
Get the best of you
And this is one time
I'll let it get the best of me
My dreams
Are already broken
My dreams
Are never broken
I found a new release
Tongue in cheek
My dreams
It seems
Were never ever broken
For you
My time
Is not
Worth the pain
Your fears
Your fears
You let your fears
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I pray to Jah honestly
To please let me live honestly
Love my brother that's all I need
I need no riches just harmony
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I'm willing Jah to lay down
At Zion doorway like a foot mat
Even the saints of Zion
Trod upon my back and enter in, but
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I pray every day to see
The falling of the wicked man
I know that wickedness will prevail
But only for a little while and
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Cannot go to Zion with your force
Have manners and enter in Jah house
You cannot live here with your big gun
All you got to do is help me pray
Let's kneel on our knees and clasp our hands
And say: Father please help me
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Children having children
Poverty upon the door
I've seen white squall
Walking on the street
With man under arrest (yeah)
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Satan is around us like a roaring lion
Seeking Jah children to devour
All the days of our lives
Like a hungry eagle
Flying through the sky
Seeking form and soul to devour
But don't let him catch us
A slice of Mount Zion is for I
Hear me when I say
A slice of Mount Zion is for I
Hear me when I pray
Give me strength oh Jah I pray
With Thy manna up from Mount Zion
And no one can give satisfaction
But Thee alone
Sit upon Thy throne
And pardon our transgression
And stretch forth pity to Thy children
In the morning time
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for
A slice of Mount Zion belong to
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I pray to Jah honestly
To please let me live honestly
Love my brother that's all I need
I need no riches just harmony
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I'm willing Jah to lay down
At Zion doorway like a foot mat
Even the saints of Zion
Trod upon my back and enter in, but
A slice of Mount Zion is for I
A slice of Mount Zion is for I
I pray every day to see
The falling of the wicked man
I know that wickedness will prevail
But only for a little while and
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Cannot go to Zion with your force
Have manners and enter in Jah house
You cannot live here with your big gun
All you got to do is help me pray
Let's kneel on our knees and clasp our hands
And say: Father please help me
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Children having children
Poverty upon the door
I've seen white squall
Walking on the street
With man under arrest (yeah)
A slice of Mount Zion is for I
A slice of Mount Zion is for I
Satan is around us like a roaring lion
Seeking Jah children to devour
All the days of our lives
Like a hungry eagle
Flying through the sky
Seeking form and soul to devour
But don't let him catch us
A slice of Mount Zion is for I
Hear me when I say
A slice of Mount Zion is for I
Hear me when I pray
Give me strength oh Jah I pray
With Thy manna up from Mount Zion
And no one can give satisfaction
But Thee alone
Sit upon Thy throne
And pardon our transgression
And stretch forth pity to Thy children
In the morning time
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for I
A slice of Mount Zion is for
A slice of Mount Zion belong to
Hey me brethren, you know wha gwaan now?
The boss a sell ticket fi gwaan the moon-a wha him
Gwaan'bout?
Who gave order to go to the moon?
"me boss", he say so
Who give order to build a station?
"me boss", he say so
Who gave order to come kosovo?
"me boss", he say so
Who gave the order to bomb iraq?(jesus christ)~
"me boss", he say so
Children, tell me who is the boss
Who is the boss?
Is the boss make life? or is the anti-christ?
Who gave the order to come vietnam?
"the boss", he say so
Who gave the rigths to apartheid in south africa?
"the boss", he say so
Poison the 666 conception now!
Hey slavedriver!
I'm asking you this question again and again and again
and again
Work police- you false priest!
Trying to indoctrinate Jah people but, (Hear me man)
When will this payday be?
Slavedriver
When will this payday be?
Tell us this hour
When will this payday be?
For these retired slaves (Let me ask you something)
When will this payday be?
Mr. Bigman
When will this payday be?
When will this payday be?
For all these retired slaves (Ya a listen me?)
My forefather worked down here
On this great plantation
True he didn't get no pay
For all their wasted days
Tell us now!
When will this payday be?
Mr. Slavedriver
When will this payday be?
Tell us this hour
When will this payday be?
For all these retired slaves (Lord)
Will this payday be Monday?
Will this payday be Tuesday?
Tell us now!
Will this payday be Wednesday?
Wednesday Jah need a working day (Wednesday can be the
working day)
Can this payday be Thursday?
Ben Johnson day
Can it be Friday?
The Regular Payday!
Will it be Saturday?
Saturday Jean shoemaker wife day
Why don't you give me that (I want it now)
When will this payday be?
Slavedriver
When will this payday be?
Oh, Jah
When will this payday be?
For these retired slaves
Tell us now!
When will this payday be?
You better give me that-
When will this payday be?
Tell us this hour
When will this payday be?
For these retired slaves
You beat my grandmother in the fields
Rape her and call her a prostitute
Fill the land with colored pay bills
From an outlaw's race
Chuh!
When will this payday be?
I'm asking
When will this payday be?
Backra Master the table is turned
When will this payday be?
For these retired slaves
We nuh joke, we nuh take back nuh talk
When will this payday be?
Slavedriver!
When will this payday be?
You'd better give me that
When will this payday be?
For these retired slaves
Bwoy, true!
Mama come suffer, father come suffer
Bad man suffer, pickney come suffer
Brother come, gone a prison
Uncle come, no have no job
All you hippies better start to face reality,
All your far fetched dreams of anarchy,
Better start to see things the way they are,
Cause the way things
Are going they won't be goin' far.
World peace can't be done.
It just can't exist.
World peace can't be done.
Anarchy's a mess.
Things are gettin hectic.
It's all gonna end.
You don't know what's waitin' up around the bend.
Open your eyes, perhaps you'll realize.
If aids don't get ya then the warheads will.
All you hippies better start to face reality,
All your far fetched dreams of anarchy,
Better start to see things the way they are,
Cause the way things
Are going they won't be goin' far.
World peace can't be done.
It just can't exist.
World peace can't be done.
Anarchy's a mess.
Things are gettin hectic.
It's all gonna end.
You don't know what's waitin' up around the bend.
Open your eyes, perhaps you'll realize.
If aids don't get ya then the warheads will.
World peace can't be done!
World peace!
It just can't exist.
World peace!
World peace can't be done.
World peace!
Anarchy's a mess!
World peace can't be done!
World peace!
No it can't.
World peace!
It just won't exist.
Poison the 666 conception now!
Hey slavedriver!
I'm asking you this question again and again and again
and again
Work police- you false priest!
Trying to indoctrinate Jah people but, (Hear me man)
When will this payday be?
Slavedriver
When will this payday be?
Tell us this hour
When will this payday be?
For these retired slaves (Let me ask you something)
When will this payday be?
Mr. Bigman
When will this payday be?
When will this payday be?
For all these retired slaves (Ya a listen me?)
My forefather worked down here
On this great plantation
True he didn't get no pay
For all their wasted days
Tell us now!
When will this payday be?
Mr. Slavedriver
When will this payday be?
Tell us this hour
When will this payday be?
For all these retired slaves (Lord)
Will this payday be Monday?
Will this payday be Tuesday?
Tell us now!
Will this payday be Wednesday?
Wednesday Jah need a working day (Wednesday can be the
working day)
Can this payday be Thursday?
Ben Johnson day
Can it be Friday?
The Regular Payday!
Will it be Saturday?
Saturday Jean shoemaker wife day
Why don't you give me that (I want it now)
When will this payday be?
Slavedriver
When will this payday be?
Oh, Jah
When will this payday be?
For these retired slaves
Tell us now!
When will this payday be?
You better give me that-
When will this payday be?
Tell us this hour
When will this payday be?
For these retired slaves
You beat my grandmother in the fields
Rape her and call her a prostitute
Fill the land with colored pay bills
From an outlaw's race
Chuh!
When will this payday be?
I'm asking
When will this payday be?
Backra Master the table is turned
When will this payday be?
For these retired slaves
We nuh joke, we nuh take back nuh talk
When will this payday be?
Slavedriver!
When will this payday be?
You'd better give me that
When will this payday be?
For these retired slaves
Bwoy, true!
Mama come suffer, father come suffer
Bad man suffer, pickney come suffer
Brother come, gone a prison
Uncle come, no have no job
Wat a liiv an bambaie
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash
My good old prophet Marcus Garvey prophesize, say
"St. Jago de la Vega and Kingston is gonna read"
And I can see with mine own eyes
It's only a housing scheme that divide
Wat a liiv an bambaie, it dread
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash
Look up a cotton tree out by Ferry police station
How beautiful it used to be
And it has been destroyed by lightning,
Earthquake and thunder, I say, what?
Wat a liiv an bambaie
When the two sevens clash - it dread
Wat a liiv an bambaie
When the two sevens clash
I take a ride sometimes
On Penn Overland and Bronx
And sometimes I ride on bus X-82, say what?
Wat a liiv an bambaie
When the two sevens clash
Wat a liiv an bambaie
When the two sevens clash
Marcus Garvey was inside of Spanish Town district Prison
And when they were about to take him out
He prophesied and said
"As I have passed through this gate"
"No other prisoner shall enter and get through"
And so it is until now
The gate has been locked, so what?
Wat a liiv an bambaie
When the two sevens clash, it dread
Wat a liiv an bambaie
When the two sevens clash, it bitter, bitter, bitter
Wat a liiv an bambaie
When the two sevens clash, a man a go feel it
Wat a liiv an bambaie
Even if your sin be as small as a mustard seed
That sin cannot go to Zion, oh no
What a. Holy Mount Zion.
What a. Holy Mount Zion.
Zion is a holy place, uh
Sin cannot enter there
Can't you believe?
Zion is a holy place, uh
Sin cannot enter there
I and I and I and I wan' go home,
To Mount Zion (Children of Israel!)
Waan go home. to Mount Zion
Why?
Zion is a holy place, oh
Sin cannot enter there
Zion is a holy place, hey
Sin cannot enter there
Even with your blood money
With your blood money
With your blood money
Bailout bag, a blood money
It just can't save you before
Zion is a holy place
Can't you believe?
Sin cannot enter there, yeah
Zion is a holy place, ah
Sin cannot enter there
What's in a??
Jah gates
Mount Zion gates
I and I and I and I and I
Waan go home, to Mount Zion
I and I
Waan go home, to Mount Zion
Hey Zion is a holy place, chant
Sin cannot enter there
Chant it out
Zion is a holy place, hey
Sin cannot enter there
For your gun bullet
It grown a plant??
Gun bullet, your gun bullet
Zion is a holy place, believe it
Sin cannot enter there
No, no, no, no, no.
Christopher Columbus, him come from Spain, sir
When him sail him ship, then him come ah Jamaica
Send go tell de Queen say him come-come discover
But when mi tek a stock, there was Red Indian
Him ah boooast - say him capture Rasta
Him gone-gone boooast - say him capture Rasta
Afterward mi check it out, him turn back ah Africa
Load the ship with human cargo
Come back and start to work up the cane field
Kill out the cassava and potato
An' ah boooast - say him capture Rasta (wha' im seh?)
An' ah boooast - say him capture Rasta
The next time they see him, them send fi the barber
Say that them come fi trim up the Rasta
Trim first and then them ask question
But when me tek a stock, ah Armageddon
Dem a boooast - say dem capture Rasta
An' start to boooast - say dem capture Rasta
(Heh! Watch dis!)
When mi tek a stock him come inna the land, sir
See mi ah Negril, grandfather Rasta
With mi grey beard and mi challwah
Him mash up the kutchie and him gon' ah Campion
Gone boooast, say him capture Rasta (what a sinting!)
Gone boooast, say him capture Rasta
The first semi-aircraft gun was made by
Carlton?? was a black American
And them tek it weh and gone mek M16
Give it to black man fi shoot one another
An' a boast, say dem capture Rasta
Dem a boast, say dem capture Rasta
If ah piece of cloth, why dem call it rattan?
Dolly an' lick-shot an' water pumpy
When mi tek a stock, that's not our unity
Among the children in our community
Dem a boast, say dem capture Rasta
Dem boast, say dem capture Rasta
Some black man say them drop off ah Trinidad
The other black man drop ah Antigua
The big stake them drop ah Jamaica
Because I and I, we come fi conquer
Dem cyann't boooast - say dem capture Rasta
Dem cannot boooast - say dem capture Rasta (yuh ah hear?)
Dis ya Rastaman him nuh licky dreadlocks
Dis ya Rastaman him nuh licky licky dreadlocks
Den can't catch me wid no rice and peas and meat, sir
When me come me come, de Rasta cook him ital
Dem cyaan't boast, say dem capture Rasta
Carpenters
Close To You
I'll Never Fall In Love Again
(here to remind you, here to remind you,
Here to remind you, here to remind you)
What do you get when you fall in love
A girl with a pin to burst your bubble
That's what you get for all your troubble
I'll never fall in love again
I'll never fall in love again
What do you get when you kiss a guy
You get enough germs to catch pneumonia
After you do, he'll never phone you
I'll never fall in love again
I'll never fall in love again
Don't tell me what it's all about
'cause i've been there and i'm glad i'm out
Out of those chains, those chains that bind you
That is why i'm here to remind you
What do you get when you fall in love?
You only get lies and pain and sorrow
So far at least until tomorrow
I'll never fall in love again
I'll never fall in love again
Don't tell me what it's all about
'cause i've been there and i'm glad i'm out
Out of those chains, those chains that bind you
That is why i'm have here to remind you
Here to remind you, here to remind you
Toh! here to remind you
What do you get when you fall in love
You only get lies and pain and sorrow
So, far at least until tomorrow
I'll never fall in love again
[chorus x2: scratches]
This, is, original indigenous
This is all that we know that we have (cul-cul-cul-culture)
This, is, original indigenous
This is all that we know that we have (die-die-die for they culture)
[I-Self Divine]
We dealin' with sound, filling ya crown with immaculate
Concepts, classic air max in cortex
Vortex, sucking you in
Building my fortess, forcefield
Forty acres for construct building
This hip-hop landscape is my energy and culture
High lyricism spill my blood for the rapture
Metaphor foreside me guided me wise me
Sewn shut like an in-seem huh niggas eyes be
Chewin' on crushed glass, through how to see the robbery
Gettin' off the tips million dollar lottery odyssey
I'm, sincere to the utmost, severe to industry cut-throats
For real, hip-hoppers feel niggas glucose
The fashionest, isolate the fascist
Mashin', supplemental stashes of hash plants
Dirty cheap, cash advance, an avalanche
Full of faulty plans, galaxies shatter, full like the ASCAP
[chorus x2]
"This is all that we know that we have, is this life
Those who don't believe, that they can suffer now and get theirs after death"
[I-Self Divine]
Pain, tattooed to the face tight
High field general, I-Self damaging, earning his stripes
Queens thought the obelisk movement was love movements
Love music, kings and queens concieve seeds to this
And achieve high degrees to this
Like specialists, my grandmaster flash messages
Very visual and graphic like bombed paintings
With self-inflicted wounds to the cardiovascular instinct
Ninety-eight degrees/98 degrees in sync/nsync
Interchangable cables and links
Medallions the size of kitchen sinks
With labels of anger designed, with Europeans in mind
We distorted the prism with turtle-shine
Street rappin' with slang, king English cut and butchered
Assassinate, reborn a culture that's decultivate
Bullet ricochet through asbestos hallways
Asthmatic athletes run fast in track meets
This, is, original indigenous
Before Columbus, or Columbine High gun busts
Supreme, queens glistening the radiant sun
Marley Marl man tonic soul sonic hold chronic
Like heaven on Earth, when the vinyl hit the obelisk
Water-head niggas burst when they over-confident
Impact, my sistas got gats up in they head wraps
Drug-traffic rap, aftermath on the mayhem
[chorus x2]
