22,487 research outputs found
Bury me beneath the willow, 'neath the weeping willow tree,
No full textmandolins; banjos; guitars; voiceCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Reel 23
Item 3
R.E. Murrell & M.P. Mitchell
Eldon, Missouri
March 15, 1950
The Weeping Willow Tree
Bury me beneath the willow, 'neath the weeping willow tree,
And when you know that I am sleeping, then is when I ask you to think of me.
They told me that he did not love me, how could I believe them true?
Until an angel whispered softly, He'll be proven true to you.
So, bury me beneath the willow, 'neaththe weeping willow tree,
And when you know that I am sleeping, then I'll ask you to think of me.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Oh, bury me not on the lore prairie, These words came low and mournfully
No full textguitars; voiceCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Reel 23
Item 5
M. P. Mitchell
Eldon, Missouri
March 15, 1950
The Lone Prairie
Oh, bury me not on the lore prairie,
These words came low and mournfully
From the finest(?) lips of a youth who lay
On his dying bed at the close of day.
He had wasted and pined 'til on his brow
The death shade was slowly gathering now,
He thought of his home and his loved ones lone(?),
As the cowboys dragged up(?) to see him die.
Oh, bury me not on the lone prairie,
Where the wild coyotes can howl o'er me,
Where the rattle snakes hiss and wind blows free,
Oh, bury me not on the lone prairie.
I'll always wait to be left when I die
In a little church yard on the green hill side,
By my father's grave let mine there be,
Oh, bury me not on the lone prairie.
And he told me then a Mother's prayer
And a sister's tears might linger there,
For the sake of those who will w e p for me,
Oh, bury me not on the lone prairie.
Oh, bury me not, and his voice failed there,
But we took no heed to his dying prayer,
In a shallow grave just six by three,
We buried him there on the lone prairie.
And the cowboys long as they roam the plains,
For the lonesome spot where his bones were laid,
Fling a handful of roses over his grave
With a prayer(?) to God his soul to save.
May the light winged bird(?) fly far to rest
Where the gimpsom sleeps on the prairie's grass,
May the Texas roving breezes sway,
And the country grow on the prairie grey.
It matters not, though, I've been told,
Where the body lies when the heart grows cold,
But grant, oh, grant this wish to me,
Oh, bury me not on the lone prairie.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Mitchell, Murdoch and me
No full textWhen I answered the phone on 11 July 2007 it was Chris Mitchell's personal assistant on the line. It turned out to be a courtesy call from the Australian's editor-in-chief to inform me that I would be starring in the next day's editorial - and not pleasantly. It would consist of a demolition of online critics of the newspaper - mostly me, complete with photo - in retaliation for the horrid things I'd written on my website about how the paper reported its fortnightly opinion poll, Newspoll. This wasn't the first phone conversation I'd had with Mitchell. That had been the previous December, after I'd emailed him out of the blue about a Newspoll pitting a hypothetical Kevin Rudd-Julia Gillard Labor leadership team against the incumbents, Kim Beazley and Jenny Macklin (why were there no figures on voting intentions?). That email had resulted, to my surprise, in an hour-long chat, in which Mitchell schmoozed and flattered and tried to get me to see things his way. He obviously spent a lot of time reading online opinions about his newspaper. Any dividends from that December charm offensive were short-term, because here we were eight months later. Rudd was leading Labor and rampaging against the Howard government in the polls, and the Oz was still clutching at Newspoll straws. You can read the comments that sparked the call online; scroll up for subsequent developments
GWU Alumnus Stars in “Don’t Cry for Me, Margaret Mitchell”
No full textGardner-Webb University alumnus, Nathan Rouse, is starring in the Starving Artists production of “Don’t Cry for Me, Margaret Mitchell,” running through April 11 at the Duke Energy Theater in Uptown Charlotte. “Don’t Cry for Me, Margaret Mitchell” is fast-paced, non-stop look at three men locked in an office, living off bananas and salted peanuts while trying to rewrite the screenplay to “Gone With the Wind,” a novel that took Margaret Mitchell ten years to write. Rouse is playing the role of David O Selznick.https://digitalcommons.gardner-webb.edu/gardner-webb-newscenter-archive/2885/thumbnail.jp
Give Me a Spin in Your Mitchell, Bill
No full textFirst Line: Billy Maloney loved Maggie MahoneyFirst Line of Chorus: Give me a spin in your Mitchell, BillKey: F Majo
Clinical Teaching at William Mitchell College of Law: Values, Pedagogy, and Perspective
No full textAs part of our celebration of thirty years of clinical education at William Mitchell College of Law, I want to describe three clinical courses that I\u27ve had a hand in developing and teaching. When I joined the William Mitchell faculty in 1984, the clinical program was in full bloom, vigorous, and diverse. The courses I discuss in this short essay have grown out of that fertile and energetic educational environment. While the main focus of my essay is to describe these courses, I also take the opportunity to reflect very briefly on the William Mitchell educational philosophy out of which they have grown, and of which they form a part. As I see it, William Mitchell\u27s approach to legal education flows from three main founts. First, there is an embrace of the profession, combined with the critical stance that should characterize higher education. William Mitchell is proud to be a professional school, helping students learn not just theory, but a practice--a complex, nuanced, and messy subset of real life. Second, William Mitchell\u27s education has incorporated a focus on values. In some ways, clinical education can take the lead in values education, but at William Mitchell, we\u27ve worked to include attention to values throughout our curriculum. But how one might teach about values is not self-evident, so our approaches to values-education have been diverse, and the courses I describe are part of an institutional ethos that encourages experimentation and initiative in developing approaches to teaching. The third characteristic is the school\u27s history of putting pedagogy on the same plane as scholarship. Teaching and writing are the two ways in which law school professors construct and disseminate knowledge. Our respect for teaching manifests the high regard we have for our students, for the profession they are learning, and for the clients they will eventually represent. Thinking about how to structure teaching to support our educational goals regarding the profession and values has led me to think a lot about the idea of perspective. Typical law school teaching shines a spotlight on a particular, analytically distinct area of legal doctrine or theory--for example, contracts or torts. This “content” is taught by studying pieces of judges\u27 (and lawyers\u27) work--often appellate opinions. Much clinical education--including the courses I am about to describe-- changes this typical pedagogical structure in two ways. First, it reverses foreground and background, so that the focus is now on what lawyers do rather than what law is. Second, clinical education shifts from the analytical stance to an approach that is integrative, which helps students connect the analytically separate pieces of their legal education together into a meaningful whole. As the reader will see, all three of the courses discussed below were developed collaboratively, are taught collaboratively, and use collaboration as a tool for learning. This, too, is a conscious choice about pedagogy, about values, and about lawyering. It represents an application of pedagogical knowledge about adult learning and models a way of approaching the practice of law and relationships with clients
Girl I left behind me
No full textbanjosCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Reel 11
Items 1-14
Jim Means (Banjo & fiddle)
Goshen, Arkansas
Banjo
Girl I left Behind
Cripple Creek
Buffalo Gals
Green Corn
November 9, 1949
Blue Be ls of Scotland
Horses on the Bridge
Chicken Reel
Fiddle
Girl I left Behind
Texas Cow Thief
Natchez Under the Hill
Rose of the Garden
Peek-a-boo Waltz
Forked Deer
Richett's HornpipeFunding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
I'm a drunker and a gambler; I'm a long way from home,
No full textvoiceCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Reel 14
Item 8
Tommy Johnston
Springdale, Ark.
January 11, 1950
Irish Rye Whiskey
I'm a drunker and a gambler; I'm a long way from home,
If you don't like me, just leave me alone,
I'll eat when I'm hungry and I'll drink when I'm dry,
And if the moonshiner don't get me, I'll live 'til I die.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Go way from me, Willie, And leave me alone,
No full textvoiceCollected by Merlin Mitchell
Transcribed by Mary C. Parler
S. T. Ervin
Reed Spring, Mo.
Sept. 17, 1950
Reel 65, Item 2
Go Way from Me, Willie
Go way from me, Willie,
And leave me alone,
You're out among strangers,
And far from your home.
I will build me a castle
On the mountain so high,
Where the wild beasts will see me
And hear my sad cry.
You may hug and embrace me
And call me your own,
But perhaps ye have a darling
Sits a-weeping at home.
Oh, a meeting is a pleasure
And a parting is a grief,
But an unconstant lover
Is worse than a thief.
A thief will but break you
And take what you have,
But an unconstant lover
Will bring you to your grave.
The grave you will mildew
And bring you to dust,
Well there's one in ten thousand
That a pore girl can trust.
Come all ye pretty maidens,
And a warning take of me,
Never set your affection
On a green willow tree,
For the green leaves they'll wither
And the branches'll decay
When the beauty of the fair one
May soon fade away.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
Hazel valley blues
No full textharmonicas; guitarsCollected by Merlin Mitchell
Transcribed by Kyle Perrin
Reel 27 Item 4-5
Ewell Napier
Hazel Valley, Ark.
March 8, 1950
Hazel Valley Blues
I believe I'll give you a little sample on this little starvation box I got here--The Hazel Valley Blues. Boy, you don't know just how blue they get around here sometimes.
Casey Jones
Now, me and Merlin Mitchell are gonna play just a dab or a dab and a half of Casey Jones.Funding for digitization provided by the Arkansas Humanities Council and the Happy Hollow Foundation
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