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Sonnet 116
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Sonnet 116
Sonnet 116 in the 1609 Quarto (where it is mis-numbered as 119)
Q1

Q2

Q3

C
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no! it is an ever-fixed mark,
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

4

8

12

14
—William Shakespeare[1]
Shakespeare's Sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet.
The poet begins by stating he should not stand in the way of "the marriage of true minds", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In the seventh line, the poet makes a nautical reference, alluding to love being much like the north star is to sailors. Love also should not fade with time; instead, true love is, as is the polar star, "ever-fixèd" and lasts forever.
"The movement of 116, like its tone, is careful, controlled, laborious…it defines and redefines its subject in each quatrain, and this subject becomes increasingly vulnerable".[2] It starts out as motionless and distant, remote, independent—then moves to be "less remote, more tangible and earthbound",[2] and the final couplet brings a sense of "coming back down to earth". Ideal love is deteriorating throughout the sonnet and continues to do so through the couplet.
Contents
[hide]
1 Structure
2 Analysis
2.1 Overview
2.2 Quatrain 1
2.3 Quatrain 2
2.4 Quatrain 3
2.5 Couplet
3 Notes and references
3.1 References
3.2 Sources
4 See also
5 External links
Structure[edit]
Sonnet 116 is an English or Shakespearean sonnet. The English sonnet has three quatrains, followed by a final rhyming couplet. It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. The 10th line exemplifies a regular iambic pentameter:
 ×  /   ×   /  ×    /  ×     /  ×    /
Within his bending sickle's compass come; (116.10)

This sonnet contains examples of all three metrical variations typically found in literary iambic pentameter of the period. Lines 6 and 8 feature a final extrametrical syllable or feminine ending:
  ×   /    ×   /  ×    /   ×   / ×    /(×)
That looks on tempests and is never shaken; (116.6)

/ = ictus, a metrically strong syllabic position. × = nonictus. (×) = extrametrical syllable.
Line 2 exhibits a mid-line reversal:
×  /  ×  / × /      /   ×   ×   /
Admit impediments. Love is not love (116.2)

A mid-line reversal can also be found in line 12, while lines 7, 9, and 11 all have potential initial reversals. Finally, line 11 also features a rightward movement of the third ictus (resulting in a four-position figure, × × / /, sometimes referred to as a minor ionic):
 /   ×  ×    /   ×    ×    /    /    ×    /
Love alters not with his brief hours and weeks, (116.11)

The meter demands that line 12's "even" function as one syllable.[3]
Analysis[edit]
Overview[edit]
Sonnet 116 is one of Shakespeare's most famous love sonnets, but some scholars have argued the theme has been misunderstood. Hilton Landry believes the appreciation of 116 as a celebration of true love is mistaken,[4] in part because its context in the sequence of adjacent sonnets is not properly considered. Landry acknowledges the sonnet "has the grandeur of generality or a 'universal significance'," but cautions that "however timeless and universal its implications may be, we must never forget that Sonnet 116 has a restricted or particular range of meaning simply because it does not stand alone."[5] Carol Thomas Neely writes that, "Sonnet 116 is part of a sequence which is separate from all the other sonnets of Shakespeare because of their sense of detachment. They aren't about the action of love and the object of that love is removed in this sequence which consists of Sonnets 94, 116, and 129".[6] This group of three sonnets does not fit the mold of the rest of Shakespeare's sonnets, therefore, and they defy the typical concept and give a different perspective of what love is and how it is portrayed or experienced. "Though 116 resolves no issues, the poet in this part of the sequence acknowledges and accepts the fallibility of his love more fully than he could acknowledge that of the young man's earlier".[7] Other critics of Sonnet 116[8] have argued that one cannot rely on the context of the sonnet to understand its tone. They argue that since "there is no indisputably authoritative sequence to them, we cannot make use of context as positive evidence for one kind of tone or another."[9] Shakespeare does not attempt to come to any significant conclusion within this particular sonnet because no resolution is needed.
Quatrain 1[edit]
The sonnet begins with the poet's apparent acknowledgment of the compelling quality of the emotional union of "true minds". As Helen Vendler has observed, "This famous almost 'impersonal' sonnet on the marriage of true minds has usually been read as a definition of true love."[10] This is not a unique theme of Shakespeare's sonnets. Carol Neely observes that "Like [sonnet] 94, it defines and redefines its subject in each quatrain and this subject becomes increasingly concrete, attractive and vulnerable."[2] Shakespeare tends to use negation to define love according to Lukas Erne, "The first and the third [quatrains], it is true, define love negatively: 'love is not...'; Love's not...'. The two quatrains are further tied together by the reappearance of the verbs 'to bend' and 'to alter'."[11] Love is defined in vague terms in the first quatrain.
Garry Murphy observes that the meaning shifts with the distribution of emphasis. He suggests that in the first line the stress should properly be on "me": "Let ME not to the marriage of true minds..."; the sonnet then becomes "not just a gentle metaphoric definition but an agitated protest born out of fear of loss and merely conveyed by means of definition."[9] C.R. B. Combellack disputes the emphasis placed on the "ME" due to the "absence from the sonnet of another person to stand in contrast. No one else is addressed, described, named, or mentioned."[12] Murphy also claims that "The unstopped first and second lines suggest urgency in speech, not leisurely meditation."[9] He writes that the short words when delivered would have the effect of "rapid delivery" rather than "slow rumination". Combellack questions this analysis by asking whether "urgency is not more likely to be expressed in short bursts of speech?" He argues that the words in the sonnet are not intended to be read quickly and that this is simply Murphy's subjective opinion of the quatrain. Murphy believes the best support of the "sonnet itself being an exclamation" comes from the "O no" which he writes a person would not say without some agitation. Combellack responds that "O no" could be used rather calmly in a statement such as "O no, thank you, but my coffee limit is two cups."[12] If anything, Combellack suggests, the use of the "O" softens the statement and it would require the use of different grammar to suggest that the sonnet should be understood as rapid speech.
The poetic language leaves the sort of love described somewhat indeterminate; "The 'marriage of true minds' like the 'power to hurt' is troublesomely vague open to a variety of interpretations."[2] Interpretations include the potential for religious imagery and the love being for God, "Lines one and two echo the Anglican marriage service from the Book of Common Prayer." The concept of the marriage of true minds is thought to be a highly Christian; according to Erne, "The mental picture thus called up in our minds of the bride and bridegroom standing up front in a church is even reinforced by the insistence on the word alter/altar in the following line."[11]
Quatrain 2[edit]
The second quatrain explains how love is unchanging according to Neely, "Love is a star, remote, immovable, self-contained, and perhaps, like the 'lords and owners of their faces,' improbably and even somewhat unpleasantly cold and distant."[2] The second quatrain continues Shakespeare's attempt to define love, but in a more direct way. Shakespeare mentions "it" in the second quatrain according to Douglas Trevor, "The constancy of love in sonnet 116, the "it" of line five of the poem, is also – for the poet – the poetry, the object of love itself."[13] Not only is there a direct address to love itself, the style Shakespeare's contemplation becomes more direct. Erne states, "Lines five to eight stand in contrast to their adjacent quatrains, and they have their special importance by saying what love is rather than what it is not." This represents a change in Shakespeare's view that love is completely undefinable. This concept of unchanging love is focused in the statement, "'[love] is an ever-fixed mark'. This has generally been understood as a sea mark or a beacon."[11] This concept may also convey in a theological sense. During the Reformation there was dispute about Catholic doctrines, "One of the points of disagreement was precisely that the Reformers rejected the existence of an ever-fixed, or in theological idiom, 'idelible' mark which three of the sacraments, according to Catholic teaching, imprint on the soul."[11] This interpretation makes God the focus of the sonnet as opposed to the typical concept of love.
The compass is also considered an important symbol in the first part of the poem. John Doebler identifies a compass as a symbol that drives the poem, "The first quatrain of this sonnet makes implied use of the compass emblem, a commonplace symbol for constancy during the period in which Shakespeare's sonnets were composed."[14] Doebler identifies certain images in the poem with a compass, "In the Renaissance the compass is usually associated with the making of a circle, the ancient symbol of eternity, but in sonnet 116 the emphasis is more upon the contrasting symbolism of the legs of the compass."[14] The two feet of the compass represent the differences between permanent aspects of love and temporary ones. These differences are explained as, "The physical lovers are caught in a changing world of time, but they are stabilized by spiritual love, which exists in a constant world of eternal ideals."[14] The sonnet uses imagery like this to create a clearer concept of love in the speaker's mind.
Quatrain 3[edit]
In the third quatrain, "The remover who bends turns out to be the grim reaper, Time, with his bending sickle. What alters are Time's brief hours and weeks…" and "Only the Day of Judgment (invoked from the sacramental liturgy of marriage) is the proper measure of love's time".[15] The young man holds the value of beauty over that of love. When he comes to face the fact that the love he felt has changed and become less intense and, in fact, less felt, he changes his mind about this person he'd loved before because what he had felt in his heart wasn't true. That the object of his affection's beauty fell to "Time's Sickle" would not make his feelings change. This fact is supported by Helen Vendler as she wrote, "The second refutational passage, in the third quatrain, proposes indirectly a valuable alternative law, one approved by the poet-speaker, which we may label "the law of inverse constancy": the more inconstant are time's alterations (one an hour, one a week), the more constant is love's endurance, even to the edge of doom".[16] Vendler believes that if the love the young man felt was real it would still be there after the object of that love's beauty had long faded away, but he "has announced the waning of his own attachment to the speaker, dissolving the "marriage of true minds""[17] Shakespeare is arguing that if love is true it will stand against all tests of time and adversity, no manner of insignificant details such as the person's beauty fading could alter or dissolve "the marriage of two minds".
Couplet[edit]
The couplet of Sonnet 116 Shakespeare went about explaining in the inverse. He says the opposite of what it would be natural to say about love. For instance, instead of writing something to the effect of 'I have written and men have loved', according to Nelson, Shakespeare chose to write, "I never writ, nor no man ever loved." Nelson argues that "The existence of the poem itself gives good evidence that the poet has written. It is harder to see, however, how the mere existence of the poem could show that men have loved. In part, whether men have loved depends upon just what love is…Since the poem is concerned with the nature of love, there is a sense in which what the poem says about love, if true, in part determines whether or not men have loved."[18] Nelson quotes Ingram and Redpath who are in agreement with his statement when they paraphrase the couplet in an extended form: "If this is a judgment (or a heresy), and this can be proved against me, and by citing my own case in evidence, then I've never written anything, and no man's love has ever been real love.""[18] Vendler states "Therefore, if he himself is in error on the subject of what true love is, then no man has ever loved; certainly the young man (it is implied) has not loved, if he has not loved after the steady fashion urged by the speaker, without alteration, removals, or impediments".[19] Each of these authorities agree in the essence of the Sonnet and its portrayal of what love really is and what it can withstand, for example, the test of time and the fading of physical attraction of the object of our love. The couplet is, therefore, that men have indeed loved both in true and honest affection (this being the most important part of the argument) as well as falsely in the illusions of beauty before just as Shakespeare has written before this sonnet.
Notes and references[edit]
References[edit]
Jump up ^ Pooler, C[harles] Knox, ed. (1918). The Works of Shakespeare: Sonnets. The Arden Shakespeare [1st series]. London: Methuen & Company. OCLC 4770201.
^ Jump up to: a b c d e Neely 1977.
Jump up ^ Booth 2000, p. 386.
Jump up ^ Landry 1967.
Jump up ^ Landry 1967, p. 98.
Jump up ^ Neely 1977, p. 83.
Jump up ^ Neely 1977, p. 89.
Jump up ^ Murphy 1982.
^ Jump up to: a b c Murphy 1982, p. 40.
Jump up ^ Vendler 1997.
^ Jump up to: a b c d Erne 2000.
^ Jump up to: a b Combellack 1982, p. 13.
Jump up ^ Trevor 2007.
^ Jump up to: a b c Doebler 1964.
Jump up ^ Vendler 1997, p. 490.
Jump up ^ Vendler 1997, p. 492.
Jump up ^ Vendler 1997, p. 493.
^ Jump up to: a b Nelson & Cling 2000.
Jump up ^ Vendler 1997, p. 491.
Sources[edit]
Combellack, C.R.B. (1982). "Shakespeare's Sonnet 116". The Explicator. 41 (1). ISSN 1939-926X.
Doebler, John (1964). "A Submerged Emblem in Sonnet 116". Shakespeare Quarterly. Folger Shakespeare Library. 15 (1): 109–110. doi:10.2307/2867968. ISSN 1538-3555. JSTOR 2867968.
Erne, Lukas (2000). "Shakespeare's 'Ever-Fixed Mark': Theological Implications in Sonnet 116". English Studies. Routledge. 81 (4): 293–304. doi:10.1076/0013-838X(200007)81:4;1-F;FT293. ISSN 1744-4217.
Landry, Hilton (1967). "The Marriage of True Minds: Truth and Error in Sonnet 116". Shakespeare Studies. University of Cincinnati. 3: 98–110.
Murphy, Garry (1982). "Shakespeare's Sonnet 116". The Explicator. 39 (1): 39–41. ISSN 1939-926X.
Neely, Carol Thomas (1977). "Detachment and Engagement in Shakespeare's Sonnets: 94, 116, and 129". PMLA. Modern Language Association. 92 (1): 83–95. doi:10.2307/461416. ISSN 0030-8129. JSTOR 461416.
Nelson, Jeffrey N.; Cling, Andrew D. (2000). "Love's Logic Lost: The Couplet of Shakespeare's Sonnet 116". ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. Routledge. 13 (3): 14–19. doi:10.1080/08957690009598107. ISSN 1940-3364.
Trevor, Douglas (2007). "Shakespeare's Love Objects". In Schoenfeldt, Michael. A Companion to Shakespeare's Sonnets. Grand Rapids: Blackwell Limited. doi:10.1111/b.9781405121552.2007.00015.x. ISBN 9781405121552.
First edition and facsimile
Shakespeare, William (1609). Shake-speares Sonnets: Never Before Imprinted. London: Thomas Thorpe.
Lee, Sidney, ed. (1905). Shakespeares Sonnets: Being a reproduction in facsimile of the first edition. Oxford: Clarendon Press. OCLC 458829162.
Variorum editions
Alden, Raymond Macdonald, ed. (1916). The Sonnets of Shakespeare. Boston: Houghton Mifflin Company. OCLC 234756.
Rollins, Hyder Edward, ed. (1944). A New Variorum Edition of Shakespeare: The Sonnets [2 Volumes]. Philadelphia: J. B. Lippincott & Co. OCLC 6028485.
Modern critical editions
Atkins, Carl D., ed. (2007). Shakespeare's Sonnets: With Three Hundred Years of Commentary. Madison: Fairleigh Dickinson University Press. ISBN 978-0-8386-4163-7. OCLC 86090499.
Booth, Stephen, ed. (2000) [1st ed. 1977]. Shakespeare's Sonnets (Rev. ed.). New Haven: Yale Nota Bene. ISBN 0-300-01959-9. OCLC 2968040.
Burrow, Colin, ed. (2002). The Complete Sonnets and Poems. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 978-0192819338. OCLC 48532938.
Duncan-Jones, Katherine, ed. (2010) [1st ed. 1997]. Shakespeare's Sonnets. The Arden Shakespeare, Third Series (Rev. ed.). London: Bloomsbury. ISBN 978-1-4080-1797-5. OCLC 755065951.
Evans, G. Blakemore, ed. (1996). The Sonnets. The New Cambridge Shakespeare. Cambridge: Cambridge University Press. ISBN 978-0521294034. OCLC 32272082.
Kerrigan, John, ed. (1995) [1st ed. 1986]. The Sonnets ; and, A Lover's Complaint. New Penguin Shakespeare (Rev. ed.). Penguin Books. ISBN 0-14-070732-8. OCLC 15018446.
Mowat, Barbara A.; Werstine, Paul, eds. (2006). Shakespeare's Sonnets & Poems. Folger Shakespeare Library. New York: Washington Square Press. ISBN 978-0743273282. OCLC 64594469.
Orgel, Stephen, ed. (2001). The Sonnets. The Pelican Shakespeare (Rev. ed.). New York: Penguin Books. ISBN 978-0140714531. OCLC 46683809.
Vendler, Helen, ed. (1997). The Art of Shakespeare's Sonnets. Cambridge, MA: The Belknap Press of Harvard University Press. ISBN 0-674-63712-7. OCLC 36806589.
See also[edit]
When Love Speaks
External links[edit]
From the British Library and NPR, a reading of Sonnet 116 in a reproduction of Shakespeare's dialect
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Agriculture in Cuba
From Wikipedia, the free encyclopedia
Jump to: navigation, search
A sugarcane plantation in rural Cuba
Agriculture in Cuba has played an important part in the economy for several hundred years. Today, it contributes less than 10% to the gross domestic product (GDP), but it employs about 20% of the working population. About 30% of the country's land is used for crop cultivation.[1]
The inefficient agricultural industry in Cuba has led to the need to import large amounts of beef and lard.[citation needed][2] Cuba now imports about 70–80% of all the food its people consume[3] and 80–84% of the food it provides via the rations to the public.[2] The rationing program accounts for about a third of the food energy the average Cuban consumes.[4] However these affirmations are contested. [5]
Contents
[hide]
1 History
2 Urban agriculture
3 Crops
3.1 Cassava
3.2 Citrus
3.3 Coffee
3.4 Potato
3.5 Rice
3.6 Sugar
3.7 Tobacco
3.8 Tropical fruits
4 See also
5 References
6 External links
History[edit]
Cuba's agricultural history can be divided into five periods, reflecting Cuban history in general:
Precolonial (before 1492)
Spanish colonial (1492–1902)
Cuban Republic (1902–1958)
Castro's Cuba, pre-Soviet bloc collapse (1959–1989)
Castro's Cuba, post-Soviet bloc collapse (1989–present)
During each of these periods, agriculture in Cuba has confronted many and unique obstacles.
Before the revolution 1959, the agricultural sector in Cuba was largely oriented towards and dominated by the US economy. After the Cuban Revolution, the revolutionary government nationalised farmland, and the Soviet Union supported Cuban agriculture by paying premium prices for Cuba's main agricultural product, sugarcane, and by delivering fertilizers. Sugar was bought by the Soviets at more than five times the market price. 95% of its citrus crop was exported to the COMECON. On the other hand, the Soviets provided Cuba with 63% of its food imports and 90% of its petrol.[6]
After the collapse of the Soviet Union in 1991, the Cuban agricultural sector faced a very difficult period. Cuba had to rely on sustainable farming methods. Agricultural production fell by 54% between 1989 and 1994.[7] The government aimed to strengthen agricultural biodiversity by making a greater range of varieties of seed available to farmers.[8] In the 1990s, the government prioritized food production and put focus on small farmers.[6] Already in 1994, the government allowed farmers to sell their surplus product directly to the population. This was the first move to lift the state's monopoly on food distribution.[9] Due to the shortage in artificial fertilizers and pesticides, Cuba's agricultural sector largely turned organic,[10] with the Organopónicos playing a major role in this transition.
Today, there are several forms of agricultural production, including cooperatives such as UBPCs (Unidad Básica de Producción Cooperativa) and CPAs (Cooperativa de Producción Agropecuaria).
Some of this is described in the documentary The Power of Community: How Cuba Survived Peak Oil.[11]
Urban agriculture[edit]
Main article: Organopónicos
Due to the shortage of the fuel, and so severe lack of transportation, a growing proportion of the agricultural production takes place in urban agriculture. In 2002, 35,000 acres (140 km2) of urban gardens produced 3.4 million metric tons of food. Current estimates are as high as 81,000 acres (330 km2).[12] In Havana, 90% of the city's fresh produce come from local urban farms and gardens. In 2003, more than 200,000 Cubans worked in the expanding urban agriculture sector.[13]
Crops[edit]
Cassava[edit]
Unprocessed cassava root
Some 260,000 acres (1,100 km2) are planted with cassava.[14] Cassava is native to the Latin American and Caribbean region[15] and is grown in almost every country of the region. Cuba is the second largest producer of cassava in the Caribbean with a production of 300,000 t (2001).[16] However, the yield per hectare is the lowest of all Caribbean countries. Most of Cuba's production is used directly for fresh consumption.[17] Part of the cassava is processed to sorbitol in a plant near Florida, Central Cuba.[18]
Citrus[edit]
Cuba is the world's third largest producer of grapefruit. Sixty percent of the citrus produce is oranges, 36% grapefruit.[7] Citrus production and processing was the first foreign investment in Cuba's agricultural sector, in 1991, the participation of an enterprise from Israel, the Jagüey Grande area, approximately 140 km (90 mi) east of Havana.[19] The products are mainly marketed in Europe under the brand name Cubanita.
Coffee[edit]
Main article: Coffee production in Cuba
Potato[edit]
Consumption of potatoes in Cuba amounts to 25 kg (55 lb) per year. Potatoes are mainly consumed as French fries. Potato production areas (in total 37,000 acres or 150 square kilometres) are concentrated in the western part of Cuba. The main variety grown in Cuba is the Désirée.[20] Seed potatoes are partly produced locally. Some 40,000 metric tons of seed potatoes are imported annually from New Brunswick, Canada and the Netherlands.[21]
Rice[edit]
Rice is a staple in Cuban diet; one of the main dishes is rice and beans. Rice in Cuba is mostly grown along the western coast. There are two crops per year. Most rice farms are state-owned or co-operatives.[22] Production is limited by the shortage of water and, similar to other industries in Cuba, lack of fertilizer and modern agricultural technology. The yield per hectare remains lower than the average of Central American and Caribbean countries.[23] Therefore, Cuba has been a major importer of rice. Recently, imports approached 500,000 tonnes of milled rice per year.
Sugar[edit]
Cuban sugar mill, ca. 1922.
Cuba was once the world's largest sugar exporter. Until the 1960s, the US received 33% of its sugarcane imports from Cuba. During the cold war, Cuba's sugar exports were bought with subsidies from the Soviet Union. After the collapse of this trade arrangement, coinciding with a collapse in sugar prices, two thirds of sugar mills in Cuba closed. 100 000 workers lost their jobs.[24] However, the sugar production in the cane sugar mills has fallen from approximately 8 million metric tons to 3.2 million metric tons in the 2015 period.[citation needed][clarification needed] A rise in sugar prices beginning in 2008, stimulated new interest in sugar. Production in 2012–2013 was estimated at 1.6–1.8 million tonnes. 400,000 tonnes is exported to China and 550,000–700,000 for domestic consumption.[25]
Tobacco[edit]
See also: Cuban cigars
Tobacco leaves in a drying shed
Cuba has the second largest area planted with tobacco of all countries worldwide.[26] Tobacco production in Cuba has remained about the same since the late 1990s. Cigars are a famous Cuban product worldwide and almost the whole production is exported.[27] The center of Cuban tobacco production is the Pinar del Río Province. Tobacco is the third largest source of hard currency for Cuba.[28] The income derived from the cigars is estimated at US$200 million.[29] The two main varieties grown in Cuba are Corojo and Criollo. 85% of the tobacco grown in Cuba is produced by National Association of Small Farmers members.[30] In the United States, Cuban cigars hold a special cachet, because they are banned as contraband in accordance with the United States embargo against Cuba. A number of shops catering to American tourists sell Cuban cigars in Canada.
Tropical fruits[edit]
Plantains and bananas account for 47% and 24% of the local production respectively. Both are only produced for domestic consumption.[31] Other tropical fruits produced in Cuba are mango, papaya, pineapple, avocado, guava, coconut, and Annonaceae (custard apple family).
See also[edit]
Agriculture and Agronomy portal
Cuba portal
Agrarian Reform Laws of Cuba
Special Period – Change in agriculture
References[edit]
Jump up ^ Britannica Online
^ Jump up to: a b "Cuban leader looks to boost food production". CNN. April 17, 2008.
Jump up ^ "WFP Cuba page".
Jump up ^ Snow, Anita (2 July 2007). "Living on Cuban Food Ration Isn't Easy". Washington Post. Retrieved 2010-04-23.
Jump up ^ [1]
^ Jump up to: a b "Cuba's agricultural revolution an example to the world". Andrew Buncombe
^ Jump up to: a b http://webarchives.cdlib.org/sw1bc3ts3z/http:/[permanent dead link]/ers.usda.gov/publications/agoutlook/oct1998/ao255h.pdf
Jump up ^ cuba-agriculture.com – Cuba Agriculture History Archived April 26, 2016, at the Wayback Machine.
Jump up ^ The New York Times, January 10, 1995, "Cuba's Agriculture Shows Improvements"[permanent dead link]
Jump up ^ "A Different Kind of Green Revolution in Cuba". Hal Hamilton Archived January 10, 2008, at the Wayback Machine.
Jump up ^ The Power of Community: How Cuba Survived Peak Oil Archived January 4, 2010, at the Wayback Machine.
Jump up ^ Seattle Post-Intelligencer
Jump up ^ Cuban Ministry of Agriculture Archived May 20, 2016, at the Wayback Machine.
Jump up ^ Cuba´s Non-Sugar Agriculture Archived July 6, 2008, at the Wayback Machine.
Jump up ^ "Archived copy" (PDF). Archived from the original (PDF) on 2008-09-11. Retrieved 2008-02-27.
Jump up ^ Foodmarket Exchange Archived March 9, 2016, at the Wayback Machine.
Jump up ^ FAO Corporate Document Repository Archived March 3, 2016, at the Wayback Machine.
Jump up ^ EVD - The Netherlands Archived May 31, 2009, at the Wayback Machine.
Jump up ^ "Archived copy" (PDF). Archived from the original (PDF) on 2008-02-27. Retrieved 2008-02-25.
Jump up ^ World Potato Atlas[permanent dead link]
Jump up ^ Cuba works toward seed potato deal with North Dakota in: The Bismarck Tribune.com Archived June 1, 2009, at the Wayback Machine.
Jump up ^ FAO Corporate Document Repository Archived November 23, 2015, at the Wayback Machine.
Jump up ^ FAO Corporate Document Repository Archived December 17, 2015, at the Wayback Machine.
Jump up ^ "Cuba reopens sugar mills after price rise". BBC News. 22 May 2013.
Jump up ^ "Archived copy". Archived from the original on 2016-08-12. Retrieved 2013-05-22.
Jump up ^ Cuba Archived April 12, 2016, at the Wayback Machine., Encyclopedia of the Nations
Jump up ^ "MSN encarta". Archived from the original on 2009-10-31.
Jump up ^ Cubanet Archived September 21, 2007, at the Wayback Machine.
Jump up ^ CNN: The color and complexity of Cuba’s cigars April 9, 2007
Jump up ^ Sinclair, Minor; Martha Thompson (2007). "Agricultural Crisis and Transformation". A Contemporary Cuba Reader: Reinventing the Revolution. Rowman & Littlefield,. p. 158. ISBN 0-7425-5507-0.
Jump up ^ USDA 2004 Archived October 14, 2016, at the Wayback Machine.
External links[edit]
Wikimedia Commons has media related to Agriculture in Cuba.
Agriculture in Cuba: frequently updated news site
Cuban Agriculture website
Andrew Buncombe The good life in Havana: Cuba's green revolution The Independent 8 August 2006
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text:
In the Ghetto
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"In the Ghetto"
Single by Elvis Presley
from the album From Elvis in Memphis
B-side
"Any Day Now" (Burt Bacharach, Bob Hilliard)
Released
April 1969
Recorded
January 1969, American Studios, Memphis, Tennessee
Genre
Country, pop, soul
Length
2:57
Label
RCA Victor
Songwriter(s)
Mac Davis
Producer(s)
Chips Moman
Elvis Presley singles chronology
"His Hand in Mine"
(1969) "In the Ghetto"
(1969) "Clean Up Your Own Backyard"
(1969)
"His Hand in Mine"
(1969) "In the Ghetto"
(1969) "Clean Up Your Own Backyard"
(1969)
Music video
"In the Ghetto" (audio) on YouTube
"In the Ghetto" (originally titled "The Vicious Circle") is a song written by Mac Davis and made famous by Elvis Presley, who had a major comeback hit with it in 1969. It was released in 1969 as a 45 rpm single with "Any Day Now" as the flip side.
Contents
[hide]
1 Song information
2 Lisa Marie Presley duet version
3 Cover versions
3.1 Nick Cave and the Bad Seeds version
3.2 Charts
3.3 Eric Cartman version
4 Parodies
5 References
6 External links
Song information[edit]
It is a narrative of generational poverty: a boy is born to a mother who already has more children than she can feed in the ghetto of Chicago. The boy grows up hungry, steals and fights, purchases a gun and steals a car, attempts to run, but is shot and killed just as his own child is born. The song implies that the newborn will meet the same fate, continuing the cycle of poverty and violence. The feeling of an inescapable circle is created by the structure of the song, with its simple, stark phrasing; by the repetition of the phrase "in the ghetto" as the close of every fourth line; and finally by the repetition of the first verse's "and his mama cries" just before the beginning and as the close of the last verse. It is played in the key of B flat.
"In the Ghetto" was recorded during Presley's session in the American Sound Studio in Memphis, Tennessee. It was Presley's first creative recording session since the '68 Comeback. Other hits recorded at this session were "Suspicious Minds", "Kentucky Rain", and "Don't Cry Daddy".
The song was Presley's first Top 10 hit in the US in four years, peaking at number 3, and number 2 in Canada. It was his first UK Top 10 hit in three years, also peaking at No. 2. It hit No. 1 on Cashbox and No. 8 Easy Listening.[1] It was a number-one hit in West Germany, Ireland, Norway, Australia and New Zealand.
As a major international hit, Presley included it in his setlist during his return to live performances at the International Hotel in Las Vegas in 1969. It was a staple of his shows in the first two seasons, however in his third (August/September 1970), he included it only once,[2] at the dinner show on August 13, for the benefit of the MGM cameras who were filming Elvis: That's the Way It Is (1970). This version started without pause at the end of another hit from 1969 – "Don't Cry Daddy".
Lisa Marie Presley duet version[edit]
The song was recorded in 2007 by Lisa Marie Presley as a duet with her father to raise money for the Presley Foundation. The song was released on iTunes.
Cover versions[edit]
After Elvis Presley, the song has been performed by many other artists. Among them were, most notably, Sammy Davis Jr., Marilyn Manson, Susan Cadogan, Candi Staton, Dolly Parton, Bobby Blue Bland, Bobbie Gentry, Nick Cave and the Bad Seeds, Ian Stuart Donaldson, The Cranberries, Merle Haggard, Leatherface, Three Six Mafia, DNX vs. The Voice, Natalie Merchant, Bad Lieutenant, Fair Warning, Beats International, Eleanor Shanley, Chris Clark and Hecchi & Kethmer. The Spanish singer and actor Enrique Castellon Vargas, also known as "El Principe Gitano" (The Gypsy Prince), recorded a version of the song, a version sung with such a thick Spanish accent that the English lyrics were almost uninintelligible. The KLF used a sample of the Elvis recording in their ambient DJ album Chill Out (1990). Mac Davis recorded a version of the song for a greatest hits album released in 1979. In 2011, Chris de Burgh covered the song on his album Footsteps 2.
Dancehall singer Sister Nancy used some of the song's lyrics in the song "Coward of the Country", which appeared on her 1982 album One, Two.
In 2014, cricketer Andrew Flintoff was asked to sing Elvis, as commentator David Lloyd had recommended Flintoff's Elvis impersonation. He proceeded to sing In The Ghetto while the game was going on (he was mic-ed up, as part of the entertainment).
Nick Cave and the Bad Seeds version[edit]
"In the Ghetto"
Single by Nick Cave and the Bad Seeds
from the album From Her to Eternity
Released
June 18, 1984
Format
7"
Recorded
March 1984
Label
Mute Records
Songwriter(s)
Mac Davis
Producer(s)
Flood
Nick Cave and the Bad Seeds singles chronology
"In the Ghetto"
(1984) "Tupelo"
(1985)
"In the Ghetto"
(1984) "Tupelo"
(1985)
"In the Ghetto" was covered by Nick Cave and the Bad Seeds and was their debut single. It was recorded at the Trident Studios in London and released as a 7" on June 18, 1984 with the B-side "The Moon Is in the Gutter".[3] It reached 84 on the UK Singles Chart.[4] While originally not present on any album, it was later included on the CD reissue of the band's first album, From Her to Eternity.
Charts[edit]
Chart (1984)
Peak
position
UK Indie Chart[5] 1
Eric Cartman version[edit]
In the Comedy Central show South Park, Eric Cartman sings "In the Ghetto" on two separate occasions, once in "Chickenpox", then again when Kenny's soul is trapped in Cartman's body in "A Ladder to Heaven".
Parodies[edit]
Paul Shanklin recorded a parody called "In a Yugo" for Rush Limbaugh, in which an environmentally conscious family buys a Yugo to save gas, only to get killed by a truck after swerving to miss a duck.[6] Later, Shanklin updated his parody for a new generation too young to remember the Yugo, replacing it with its perceived equivalent, "In a Hybrid".
El Vez recorded a version titled "En el Barrio" that mixed humor with details about Chicano struggles.
Danish Radio group "Selvsving" also recorded a parody called "Ned i NATO", which makes fun of former Danish Prime Minister Anders Fogh Rasmussen's path to a leading post at NATO.
The BBC radio comedy program Radio Active broadcast a version titled Tim the gecko.
Dutch TV celebrity and comedian Paul de Leeuw released in 1992 a Dutch language translated version as his alter ego Bob de Rooy. The first Dutch-language version of the song was recorded by Flemish coroner Will Tura, whose version uses the wrong definite article 'de' preceding the word ghetto.
In the Fox sitcom New Girl, Jessica Day sings "In the Ghetto" as an Elvis impersonator at her roommate Nick's father's funeral.
References[edit]
Jump up ^ Whitburn, Joel (1993). Top Adult Contemporary: 1961–1993. Record Research. p. 192.
Jump up ^ "YouTube". YouTube. Retrieved 2016-10-02.
Jump up ^ "Nick Cave Discography on "From The Archives"". From The Archives. Retrieved 2008-06-09.
Jump up ^ "Everyhit.com". everyhit.com. Archived from the original on 2007-02-17. Retrieved 2008-06-10.
Jump up ^ Lazell, Barry (1997). Indie Hits 1980-1989. Cherry Red Books. Archived from the original on June 5, 2011. Retrieved September 5, 2014. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "MP3 file". Mfile.akamai.com. Retrieved 2016-10-02.
External links[edit]
Elvis and Lisa Marie Presley: "In the Ghetto" (music video) at Spinner.com
Lyrics of this song at MetroLyrics
[show]
v
t
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Elvis Presley singles discography
1954
"That's All Right" / "Blue Moon of Kentucky"
"Good Rockin' Tonight" / "I Don't Care if the Sun Don't Shine"
"You're a Heartbreaker"
1955
"Baby Let's Play House"
"I Forgot to Remember to Forget" / "Mystery Train"
1956
"Heartbreak Hotel" / "I Was the One"
"I Want You, I Need You, I Love You" / "My Baby Left Me"
"Don't Be Cruel" / "Hound Dog"
"Blue Suede Shoes" / "Tutti Frutti"
"Money Honey"
"I Got a Woman"
"Tryin' to Get to You"
"Blue Moon"
"I'll Never Let You Go (Lil' Darlin')" / "I'm Gonna Sit Right Down and Cry (Over You)"
"Shake, Rattle and Roll" / "Lawdy Miss Clawdy"
"Love Me Tender"
1957
"Too Much" / "Playing for Keeps"
"All Shook Up"
"Peace in the Valley
"(Let Me Be Your) Teddy Bear"
"Paralyzed" (UK)
"Jailhouse Rock"
"Party" / "Got a Lot o' Livin' to Do!" (UK)
1958
"Don't"
"Wear My Ring Around Your Neck"
"Hard Headed Woman" / "Don't Ask Me Why"
"King Creole" (UK)
"One Night"
1959
"I Need Your Love Tonight" / "A Fool Such as I"
"A Big Hunk o' Love"
1960
"Stuck on You" / "Fame and Fortune"
"It's Now or Never"
"Are You Lonesome Tonight?"
1961
"Surrender" / "Lonely Man"
"I Feel So Bad" / "Wild in the Country"
"(Marie's the Name) His Latest Flame" / "Little Sister"
"Can't Help Falling in Love" / "Rock-A-Hula Baby"
1962
"Good Luck Charm" / "Anything That's Part of You"
"She's Not You"
"Return to Sender" / "Where Do You Come from"
1963
"One Broken Heart for Sale"
"(You're the) Devil in Disguise"
"Bossa Nova Baby" / "Witchcraft"
1964
"Kissin' Cousins" / "It Hurts Me"
"What'd I Say" / "Viva Las Vegas"
"Such a Night" / "Never Ending"
"Ask Me" / "Ain't That Loving You Baby"
"Blue Christmas"
1965
"Do the Clam" / "You'll Be Gone"
"Crying in the Chapel
"(Such an) Easy Question"
"I'm Yours"
"Puppet on a String" / "Wooden Heart"
1966
"Tell Me Why" / "Blue River"
"Frankie and Johnny" / "Please Don't Stop Loving Me"
"Love Letters"
"Spinout" / "All That I Am"
"If Every Day Was Like Christmas"
1967
"Indescribably Blue"
"Long Legged Girl (With the Short Dress On)" / "That's Someone You Never Forget"
"There's Always Me" / "Judy"
"Big Boss Man" / "You Don't Know Me"
1968
"Guitar Man"
"U.S. Male" / "Stay Away"
"You'll Never Walk Alone"
"Your Time Hasn't Come Yet, Baby" / "Let Yourself Go"
"Almost in Love" / "A Little Less Conversation"
"If I Can Dream" / "Edge of Reality"
1969
"Memories" / "Charro"
"How Great Thou Art"
"In the Ghetto" / "Any Day Now"
"Clean Up Your Own Backyard"
"Suspicious Minds" / "You'll Think of Me"
"Don't Cry Daddy"
1970
"Kentucky Rain"
"The Wonder of You"
"I've Lost You"
"You Don't Have to Say You Love Me" / "Patch It Up"
"I Really Don't Want to Know" / "There Goes My Everything"
1971
"Rags to Riches"
"Life" / "Only Believe"
"I'm Leavin'"
"It's Only Love"
"Merry Christmas Baby" / "O Come All Ye Faithful"
1972
"Until It's Time for You to Go"
"He Touched Me"
"An American Trilogy" / "The First Time Ever I Saw Your Face"
"Burning Love" / "It's a Matter of Time"
"Separate Ways" / "Always on My Mind"
1973
"Steamroller Blues" / "Fool"
"Raised on Rock" / "For Ol' Times Sake"
1974
"I've Got a Thing About You Baby"
"If You Talk in Your Sleep" / "Help Me"
"Promised Land" / "It's Midnight"
1975
"My Boy" / "Thinking About You"
"T-R-O-U-B-L-E"
"Bringing It Back" / "Pieces of My Life"
1976
"Hurt" / "For the Heart"
"Moody Blue"
1977
"Way Down"
"My Way" / "America the Beautiful"
1978
"Unchained Melody" / "Softly as I Leave You"
Category
[show]
v
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e
Lisa Marie Presley
Discography
Studio albums
To Whom It May Concern
Now What
Storm & Grace
Singles
"Dirty Laundry"
"In the Ghetto"
Promotional singles
"Don't Cry Daddy"
Related articles
Universal Republic Records
Capitol Records
Elvis Presley
Priscilla Presley
Michael Jackson
Nicolas Cage
Michael Lockwood
[show]
v
t
e
Barry White
Studio albums
I've Got So Much to Give (1973)
Stone Gon' (1973)
Can't Get Enough (1974)
Just Another Way to Say I Love You (1975)
Let the Music Play (1976)
Is This Whatcha Wont? (1976)
Barry White Sings for Someone You Love (1977)
The Man (1978)
I Love to Sing the Songs I Sing (1979)
The Message Is Love (1979)
Sheet Music (1980)
Barry & Glodean (with Glodean White) (1981)
Beware! (1981)
Change (1982)
Dedicated (1983)
The Right Night & Barry White (1987)
The Man Is Back! (1989)
Put Me in Your Mix (1991)
The Icon Is Love (1994)
Staying Power (1999)
Compilations
Barry White's Greatest Hits (1975)
Barry White's Greatest Hits Vol. 2 (1977)
Heart and Soul (1985)
The Collection (1988)
Just for You (1992)
All-Time Greatest Hits (1994)
The Ultimate Collection (2000)
Love Songs (2003)
The Millennium Collection: The Best of Barry White (2003)
White Gold: The Very Best of Barry White (2005)
Gold (2006)
Number Ones (2009)
Unlimited (2009)
Icon (2010)
Icon 2 (2010)
Singles
"Man Ain't Nothin"
"All in the Run of a Day"
"In the Ghetto"
"I'm Gonna Love You Just a Little More Baby"
"I've Got So Much to Give"
"Never, Never Gonna Give Ya Up"
"Can't Get Enough of Your Love, Babe"
"You're the First, the Last, My Everything"
"What Am I Gonna Do with You"
"I'll Do for You Anything You Want Me To"
"Let the Music Play"
"You See the Trouble with Me"
"Baby, We Better Try to Get It Together"
"Don't Make Me Wait Too Long"
"I'm Qualified to Satisfy You"
"It's Ecstasy When You Lay Down Next to Me"
"Playing Your Game, Baby"
"Oh, What a Night for Dancing"
"Your Sweetness Is My Weakness"
"Just the Way You Are"
"Sha La La Means I Love You"
"It's Only Love Doing Its Thing"
"Any Fool Can See (You Were Meant for Me)"
"It Ain't Love, Babe (Until You Give It)"
"I Love to Sing the Songs I Sing"
"How Did You Know It Was Me?"
"Love Ain't Easy"
"Sheet Music"
"Love Makin' Music"
"I Believe in Love"
"Didn't We Make It Happen, Baby" (with Glodean White)
"I Want You" (with Glodean White)
"You're the Only One for Me" (with Glodean White)
"Louie Louie"
"Beware"
"Change"
"Passion"
"America"
"Don't Let Them Blow Your Mind"
"Sho' You Right"
"For Your Love (I'll Do Most Anything)"
"Never, Never Gonna Give You Up" (Paul Hardcastle Remix)
"Super Lover"
"Follow That and See (Where It Leads Y'All)"
"I Wanna Do It Good to Ya"
"When Will I See You Again"
"Put Me in Your Mix"
"Dark and Lovely (You Over There)" (with Isaac Hayes)
"Practice What You Preach"
"Love Is the Icon"
"Come On"
"I Only Want to Be with You"
"There It Is"
"Staying Power"
"The Longer We Make Love" (with Lisa Stansfield & Chaka Khan)
"Let the Music Play" (Funkstar Deluxe Remixes)
Featured singles
"The Secret Garden (Sweet Seduction Suite)" (with Quincy Jones, Al B. Sure!, James Ingram, & El DeBarge)
"All of Me" (with Big Daddy Kane)
"Slow Jams" (with Quincy Jones, Babyface, Tamia, & Portrait)
"In Your Wildest Dreams" (with Tina Turner)
Related articles
Discography
Love Unlimited
The Love Unlimited Orchestra
[show]
v
t
e
Nick Cave and the Bad Seeds
Martyn P. Casey
Nick Cave
Toby Dammit
Warren Ellis
Conway Savage
Jim Sclavunos
George Vjestica
Thomas Wydler
Barry Adamson
Blixa Bargeld
Mick Harvey
James Johnston
Anita Lane
Kid Congo Powers
Hugo Race
Roland Wolf
Studio albums
From Her to Eternity
The Firstborn Is Dead
Kicking Against the Pricks
Your Funeral... My Trial
Tender Prey
The Good Son
Henry's Dream
Let Love In
Murder Ballads
The Boatman's Call
No More Shall We Part
Nocturama
Abattoir Blues / The Lyre of Orpheus
Dig, Lazarus, Dig!!!
Push the Sky Away
Skeleton Tree
Live albums
Live Seeds
Abattoir Blues Tour
Live at the Royal Albert Hall
Live from KCRW
Compilations
The Best of Nick Cave and The Bad Seeds
B-Sides & Rarities
Lovely Creatures: The Best of Nick Cave and the Bad Seeds
Singles
"In the Ghetto"
"Tupelo"
"The Singer"
"The Mercy Seat"
"Deanna"
"The Ship Song"
"The Weeping Song"
"Straight to You"
"I Had a Dream, Joe"
"What a Wonderful World"
"Do You Love Me?"
"Loverman"
"Red Right Hand"
"Where the Wild Roses Grow"
"Henry Lee"
"Into My Arms"
"(Are You) The One That I've Been Waiting For"
"As I Sat Sadly by Her Side"
"Fifteen Feet of Pure White Snow"
"Love Letter"
"Dig, Lazarus, Dig!!!"
"More News from Nowhere"
"Midnight Man"
"We No Who U R"
"Jubilee Street"
Other songs
"From Her to Eternity"
"The Carny"
Cave and Ellis
The Proposition
The Assassination of Jesse James by the Coward Robert Ford
The Road
Lawless
West of Memphis
Hell or High Water
Grinderman
Grinderman
Grinderman 2
"Get It On"
"No Pussy Blues"
"(I Don't Need You To) Set Me Free"
"Heathen Child"
"Worm Tamer"
"Palaces of Montezuma"
"Evil"
Grinderman discography
Related articles
Discography
Bad Seeds members
20,000 Days on Earth
One More Time With Feeling
And the Ass Saw the Angel
The Birthday Party
Dirty Three
Ghosts… of the Civil Dead
Original Seeds
Tuff Monks
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=In_the_Ghetto&oldid=821078911"
Categories:
1960s ballads
1969 singles
1984 singles
1969 songs
Elvis Presley songs
Irish Singles Chart number-one singles
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Number-one singles in Australia
Number-one singles in Germany
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Number-one singles in Norway
Song recordings produced by Chips Moman
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values: อินเดอะกรีตโต – Thai

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