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30.12.2013
There are moments in sports where it’s comforting to know that many of these highly paid athletes are just everyday kind of people that just happen to make loads of money. Except after work is over they go home to a hot girlfriend or wife in a Chicago high rise or something. Turns out this also happens to high-profile athletes like Buffalo Bills safety Donte Whitner, who found out after Sunday’s win against Tampa Bay that $400,000 worth of jewelery had been taken from his home. I mean, I remember a couple years ago when about that much worth of bling was stolen from me…Oh wait. If he’s careless and dumb enough to have that much jewelry around the house, he gets no sympathy from me.
Rumors and Rants Web Design and proudly powered by WordPress Entries (RSS) and Comments (RSS). Here You can find all kind of Keep It Real Quotes.Share Keeping It Real Quotes on social networking sites like facebook, pinterest, orkut, hi5, myspace, instagram and many more. I keep it genuine, I dont sugar coat, I dont untruth and I dont keep down what I need to say. I Find No Importance in Showing Others That I Am Happy; It's Not Important to Me That They Know or Think That I Am Happy but What Is Important to Me Is That I Am Happy.
Most sources credit Ohio-born Daniel Decatur Emmett with the song's composition; however many other people have claimed to have composed "Dixie", even during Emmett's lifetime. The song originated in the blackface minstrel shows of the 1850s and quickly grew famous across the United States. The song was traditionally played at a slower tempo than most listeners are familiar with today. Detail from a playbill of the Bryant's Minstrels depicting the first part of a walkaround, dated 19 December 1859. According to musicologist Hans Nathan, "Dixie" resembles other material that Dan Emmett wrote for Bryant's Minstrels, and in writing it, the composer drew on a number of earlier works. Countless lyrical variants of "Dixie" exist, but the version attributed to Dan Emmett and its variations are the most popular.[4] Emmett's lyrics as they were originally intended reflect the mood of the United States in the late 1850s toward growing abolitionist sentiment. As with other minstrel material, "Dixie" entered common circulation among blackface performers, and many of them added their own verses or altered the song in other ways. Both Union and Confederate composers produced war versions of the song during the American Civil War.
According to tradition, Ohio-born minstrel show composer Daniel Decatur Emmett wrote "Dixie" around 1859.[26] Over his lifetime, Emmett often recounted the story of its composition, and details vary with each account.
Emmett published "Dixie" (under the title "I Wish I Was in Dixie's Land") on 21 June 1860 through Firth, Pond & Co. On at least one occasion, Emmett attributed "Dixie" to an unnamed Southern black man,[33] and some of his contemporaries said that the song was based on an old African American folk tune. Lew and Ben Snowden on banjo and fiddle in the second-story gable of their home, Clinton, Knox County, Ohio, c. However, a Mount Vernon, Ohio, tradition, which dates to the 1910s or 1920s at the latest,[44] lends some credence to this notion.
Advocates of the Snowden theory believe that the lyrics of "Dixie" are a protest through irony and parody against the institution of slavery. A 1950 article by Ada Bedell Wootton claims that Ben and Lew Snowden sometimes played with Dan Emmett during the minstrel's retirement.[52] At his death in 1923, Lew Snowden owned a small box of newspaper clippings asserting Emmett's authorship of "Dixie". Bryant's Minstrels premiered "Dixie" in New York City on 4 April 1859 as part of their blackface minstrel show. The Rumsey and Newcomb Minstrels brought "Dixie" to New Orleans in March 1860; the walkaround became the hit of their show. It is marvellous with what wild-fire rapidity this tune "Dixie" has spread over the whole South.
Southerners who rallied to the song proved reluctant to acknowledge a Yankee as its composer.
Northerners, Emmett among them, also declared that the "Dixie Land" of the song was actually in the North.
By that and other actions, Lincoln demonstrated his willingness to be concilliatory to the South and to restore the Union as soon as practicable.
As African Americans entered minstrelsy, they exploited the song's popularity in the South by playing "Dixie" as they first arrived in a Southern town.
However, it is likely that the phrase "Whistling Dixie" made its way into the American lexicon with the assistance of a far more ancient legal term: Ipse Dixit.
Beginning in the American Civil Rights Movement in the 1950s and 1960s, African Americans have frequently challenged "Dixie" as a racist relic of the Confederacy and a reminder of decades of white domination and segregation.


The earliest of these protests came from students of Southern universities, where "Dixie" was a staple of a number of marching bands.[90] In 1967 black cadets at The Citadel refused to stand for "Dixie" or to sing and perform it at football games. Performers who choose to sing "Dixie" today usually remove the black dialect and combine the song with other pieces. There are a lot of bad people out there in the real world that will break into a normal person’s house and take their meager belongings.
It is one of the most distinctively American musical products of the 19th century,[1] and probably the best-known song to have come out of blackface minstrelsy.[2] Although not a folk song at its creation, "Dixie" has since entered the American folk vernacular. Compounding the problem of definitively establishing the song's authorship are Emmett's own confused accounts of its writing, and his tardiness in registering the song's copyright.
Its lyrics, written in a comic, exaggerated version of African American Vernacular English, tell the story of a freed black slave pining for the plantation of his birth. Rhythmically, the music is "characterized by a heavy, nonchalant, inelegant strut",[6] and is in duple meter, which makes it suitable for both dancing and marching. The first part of the song is anticipated by other Emmett compositions, including "De Wild Goose-Nation" (1844), itself a derivative of "Gumbo Chaff" (1830s) and ultimately an 18th-century English song called "Bow Wow Wow". The song is a walkaround, which originally began with a few minstrels acting out the lyrics, only to be joined by the rest of the company (a dozen or so individuals for the Bryants).[10] According to a musician named Oscar Coon, Bryant's Minstrels performed a jig to "Dixie" called Beans of Albany. The song presented the point of view, common to minstrelsy at the time, that slavery was overall a positive institution.
Emmett himself adopted the tune for a pseudo-African American spiritual in the 1870s or 1880s. These variants standardized the spelling and made the song more militant, replacing the slave scenario with specific references to the conflict or to Northern or Southern pride. For example, in various versions of the story, Emmett claimed to have written "Dixie" in a few minutes, in a single night, and over a few days.[27] An 1872 edition of The New York Clipper provides one of the earliest accounts, claiming that on a Saturday night shortly after Emmett had been taken on as songwriter for the Bryant's Minstrels, Jerry Bryant told him they would need a new walkaround by the following Monday. According to Robert LeRoy Ripley (founder and originator of “Ripley's Believe It or Not”), Dixie has nothing to do with the south.
Taken at face value, these claims are hardly surprising, as minstrels often billed themselves as authentic delineators of slave material.
Many Mount Vernon residents claim that Emmett collaborated informally with a pair of black musicians named Ben and Lew Snowden. While Emmett likely did meet and play with Ben and Lew Snowden when he retired to Knox County, the Snowden brothers would have been only small children at the time Emmett composed "Dixie". Emmett's grandparents owned the farm adjacent to the Snowden homestead, and Emmett's father was one of a few blacksmiths to whom Thomas Snowden could have brought his horses for shoeing.
The references to "Cimmon seed an' sandy bottom" in one version of the song may refer to Nanjemoy, Maryland, Ellen Snowden's birthplace, and located in an area that was known for its persimmons and sandy, wet lowlands.[50] Slaves rarely knew their exact birth date, instead recalling broad details that someone was born, for example, "Early on one frosty mornin'".
He also had a small framed photograph of Emmett, a fixture on the Snowden house's wall for years, with the text "Author of 'Dixie'!" written under the minstrel's name.[53] Scholars such as Clint Johnson, Robert James Branham, and Stephen J. One common story, still cited today, claimed that Dixie was a Manhattan slave owner who had sent his slaves south just before New York's 1827 banning of slavery.
Northern singers and writers often used it for parody or as a quotation in other pieces to establish a person or setting as Southern.[79] For example, African Americans Eubie Blake and Noble Sissle quoted "Dixie" in the song "Banana Days" for their 1921 musical Shuffle Along. Similar protests have since occurred at the University of Virginia, the Georgia Institute of Technology, and Tulane University.
For example, Chief Justice William Rehnquist regularly included "Dixie" in his annual sing-along for the 4th Circuit Judicial Conference in Virginia. For example, Rene Marie's jazz version mixes "Dixie" with "Strange Fruit", a Billie Holiday song about a lynching. For example, the soundtracks of cartoons featuring Southern characters like Foghorn Leghorn often play "Dixie" to quickly set the scene. Everybody knows that guy at the office who is never happy with life and is just kind of douchey.
But since individuals dont, everybody is living in a dreamland, and they dont know reality.
The song likely cemented the word "Dixie" in the American vocabulary as a synonym for the Southern United States.
The latest challenge has come on behalf of the Snowden Family of Knox County, Ohio, who may have collaborated with Emmett to write "Dixie".
During the American Civil War, "Dixie" was adopted as a de facto anthem of the Confederacy. The pining slave had been used in minstrel tunes since the early 1850s, including Emmett's "I Ain't Got Time to Tarry" and "Johnny Roach". The original manuscript has been lost; extant copies were made during Emmett's retirement, starting in the 1890s.


Those who remember the Snowden brothers describe them as "informal", "spontaneous", "creative", and "relatively free of concern over ownership" of their songs.[45] The Snowden brothers were part of the Snowden Family Band, which was well known for traveling about the region. Furthermore, an unpublished biography of Emmett, written in 1935 by a friend of the Emmett family, Mary McClane, says that Emmett visited Mt.
A domestic slave, as Ellen Snowden had been, would have been well placed to witness a love affair between "Old Missus" and "Will-de-weaber". Hartnett accept the claims of black origin for the song or at least allow for the possibility.[54][55] Nevertheless, many scholars, such as E. John Wood sang "Dixie" in a John Brougham burlesque called Po-ca-hon-tas, or The Gentle Savage, increasing the song's popularity in New Orleans. Poet John Hill Hewitt wrote in 1862 that "The homely air of 'Dixie', of extremely doubtful origin . In 1905 the United Daughters of the Confederacy mounted a campaign to acknowledge an official Southern version of the song (one that would purge it forever of its African American associations).[56] Although they obtained the support of the United Confederate Veterans and the United Sons of Confederate Veterans, Emmett's death the year before turned sentiments against the project, and the groups were ultimately unsuccessful in having any of the 22 entries universally adopted.
1908, said that "though 'Dixie' came to be looked upon as characteristically a song of the South, the hearts of the Northern people never grew cold to it.
In 1989 three black Georgia senators walked out when the Miss Georgia Sweet Potato Queen sang "Dixie" in the Georgia chamber. On the television series The Dukes of Hazzard, which takes place in Georgia, the car horn of the General Lee plays part of the melody from the song. 31, says that it was "a sizable amount of money in those days, especially for a song." Nathan, p.
Nathan 359 and Sacks and Sacks 247 note 54, on the other hand, claim it is the closest representation of the original lyrics.
New versions appeared at this time that more explicitly tied the song to the events of the Civil War. The melodic content consists primarily of arpeggiations of the tonic triad, firmly establishing the major tonality.
Emmett's tardiness registering the copyright for the song allowed it to proliferate among other minstrel groups and variety show performers.
Sacks and Judith Sacks suggest that the Ohio legend may in fact be off by a generation, and that Emmett could have collaborated instead with the Snowden parents, Thomas and Ellen. On the surface "Dixie" seems an unlikely candidate for a Southern hit; it has a Northern composer, stars a black protagonist, is intended as a dance song, and lacks any of the patriotic bluster of most national hymns and marches.
Confederate soldiers by and large preferred these war versions to the original minstrel lyrics. Since the advent of the North American Civil Rights Movement, many have identified the lyrics of the song with the iconography and ideology of the Old South.
He befriended so many slaves before the Civil War, that his place — "Dixie's Land" — became a sort of a paradise to them.
Broadsides circulated with titles like "The Union 'Dixie'" or "The New Dixie, the True 'Dixie' for Northern Singers".
Dixie is as lively and popular an air today as it ever was, and its reputation is not confined to the American continent . For example, Sam Dennison writes that "Today, the performance of 'Dixie' still conjures visions of an unrepentant, militarily recalcitrant South, ready to reassert its aged theories of white supremacy at any moment . For example, Max Steiner quotes the song in the opening scene of his late 1930s score to Gone with the Wind as a down-beat nostalgic instrumental to set the scene and Ken Burns makes use of instrumental versions in his 1990 Civil War documentary. Today, "Dixie" is sometimes considered offensive, and its critics link the act of singing it to sympathy for the concept of slavery in the American South. The earliest of these that is known today is a copyrighted edition for piano from the John Church Company of Cincinnati, published on 26 June 1860. Its supporters, on the other hand, view it as a legitimate aspect of Southern culture and heritage and the campaigns against it as political correctness.
In fact, the song was a favorite of President Abraham Lincoln; he had it played at some of his political rallies and at the announcement of General Robert E.
I presented the question to the Attorney-General, and he gave his opinion that it is our lawful prize .



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