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Once in a Lifetime (Talking Heads song)
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"Once in a Lifetime"
Cover art of UK 7" and 12" vinyl singles
Single by Talking Heads
from the album Remain in Light
B-side
"Seen and Not Seen"
"Crosseyed and Painless"
"Listening Wind"
Released
February 2, 1981
Format
7"
12"
Recorded
July – August 1980
Genre
New wave[1]
art pop[2]
Length
4:19
Label
Sire
Songwriter(s)
David Byrne
Brian Eno
Chris Frantz
Jerry Harrison
Tina Weymouth
Producer(s)
Brian Eno
Talking Heads singles chronology
"Crosseyed and Painless"
(1980) "Once in a Lifetime"
(1981) "String Module Error: Match not found"
(1981)
"Crosseyed and Painless"
(1980) "Once in a Lifetime"
(1981) "Houses in Motion" (alternate mix)
(1981)
"And She Was"
(1985) And She Was1985
"Once in a Lifetime" (Live)
(1985) String Module Error: Match not found1985
"Wild Wild Life"
(1986) Wild Wild Life1986
Alternative release
A-side label of US vinyl single
"Once in a Lifetime" is a song by the American rock band Talking Heads, produced and co-written by Brian Eno. The lead single from Talking Heads' fourth studio album, Remain in Light (1980), it was released on February 2, 1981, through Sire Records. Eno and the band developed the song through extensive jams, inspired by Afrobeat musicians such as Fela Kuti. David Byrne's lyrics and vocals were inspired by preachers delivering sermons. The music video has Byrne dancing erratically in a suit over footage of religious rituals.
NPR named "Once in a Lifetime" one of the 100 most important American musical works of the 20th century. The song is one of the 500 Songs that Shaped Rock and Roll listed by the Rock and Roll Hall of Fame.[3]
Contents
[hide]
1 Production
2 Lyrics
3 Music video
4 Release and reception
5 Personnel
6 Charts
7 References
8 External links
Production[edit]
Like other songs on the album Remain in Light, Talking Heads developed "Once in a Lifetime" by recording jams, isolating the best parts, and learning to play them repetitively. The technique was influenced by early hip hop, and the afrobeat music of artists such as Fela Kuti, which producer Brian Eno had introduced to the band. Singer David Byrne likened to the process to modern looping and sampling: "We were human samplers."[4] He said the song was a result of the band trying and failing to play funk, inadvertently creating something new instead.[4] Songwriter Robert Palmer joined the jam on guitar and percussion.[4]
The track was initially not one of Eno's favorites, and it was almost abandoned. According to keyboardist Jerry Harrison, "Because there were so few chord changes, and everything was in a sort of trance ... it became harder to write defined choruses."[5][6] However, Byrne had faith in the song and felt he could write lyrics to it. After Eno developed the chorus melody by singing wordlessly, the song "fell into place".[4] Harrison developed the "bubbly" synthesizer line and added the Hammond organ climax, taken from the Velvet Underground's "What Goes On".[5]
Eno interpreted the rhythm differently from the band; he interpreted the third beat of the bar as the first. He encouraged the musicians to interpret the beat in different ways, thereby exaggerating different rhythmic elements.[5] According to Eno, "This means the song has a funny balance, with two centers of gravity - their funk groove, and my dubby, reggae-ish understanding of it; a bit like the way Fela Kuti songs will have multiple rhythms going on at the same time, warping in and out of each other."[4]
According to bassist Tina Weymouth, her husband, drummer Chris Frantz, created the bassline by yelling during a jam, which she mimicked on bass guitar.[5] She wanted "leave lots of space for the cacophony that surrounded me. I felt like I was pounding away like a carpenter, just nailing away to get it in the groove."[4] Eno wanted to remove the "one" in the bassline, as he felt it was too "obvious", and rerecorded the part himself. When the band returned to New York and Eno had gone home, the engineer asked Weymouth to record the bassline again. She said: "It wasn't a big fight between me and Brian, as it has sometimes been portrayed, it was just a musical dispute."[4]
Lyrics[edit]
According to Frantz, Byrne "disappeared for two months" to write the lyrics. Byrne improvised lines as if he were giving a sermon, with a call-and-response chorus like a preacher and congregation. His vocals are "half-spoken, half-sung", with lyrics about living in a "beautiful house" with a "beautiful wife" and a "large automobile".[7][8]
The Guardian suggested that the song could be read "as an art-pop rumination on the existential ticking time bomb of unchecked consumerism and advancing age".[8] According to AllMusic critic Steve Huey, the lyrics address "the drudgery of living life according to social expectations, and pursuing commonly accepted trophies (a large automobile, beautiful house, beautiful wife)."[7] Although the singer has these trophies, he questions whether they are real and how he got them, a kind of existential crisis.[9] Byrne disagreed that the lyrics address yuppie greed and said the song was about the unconscious: "We operate half-awake or on autopilot and end up, whatever, with a house and family and job and everything else, and we haven't really stopped to ask ourselves, 'How did I get here?'"
Music video[edit]
In the "Once in a Lifetime" music video, singer David Byrne, dressed in a suit, bowtie and glasses, dances erratically over footage of religious rituals.
In the "Once in a Lifetime" music video, Byrne appears in a large, empty white room, dressed in a suit, bowtie and glasses. He dances erratically, imitating the movements of religious rituals or moving in "spasmic" full-body contortions. In the background, inserted via bluescreen, footage of religious rituals or multiple Byrnes appear. At the end of the video, Byrne is replaced by a "normal" version of himself in a white, open-collared shirt and no glasses, in a black room.[10]
Release and reception[edit]
The song gained modest chart success, peaking at #14 on the UK Singles Chart[11] and at #31 in the Dutch singles chart.[12] A live version, taken from the 1984 concert film Stop Making Sense, charted in early 1986, reaching #91 on the Hot 100.[13]
In 1996, Kermit the Frog performed the song on an episode of Muppets Tonight. Kermit appears in Byrne's "big suit" and mimics Byrne's dances from Stop Making Sense.[14]
In 2016, Guardian writer Malcolm Jack wrote: "'Once in a Lifetime' is a thing of dizzying power, beauty and mystery ... it sounds like nothing else in the history of pop."[8] In 2000, NPR named "Once in a Lifetime" one of the 100 most important American musical works of the 20th century.[15] It is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[3]
In 2003, BBC critic Chris Jones wrote: "[The] hilarious video for "Once in A Lifetime", with David Byrne's twitchy Middle American preacher in horn rims, remains as compelling as it was in 1981. And how many other videos can you say that about?"[16]
An early version of "Once in a Lifetime", "Right Start", was released on the 2006 Remain in Light reissue.[8]
Personnel[edit]
Talking Heads
David Byrne – vocals, guitar
Jerry Harrison – keyboards, guitar, backing vocals
Tina Weymouth – bass, backing vocals
Chris Frantz – drums
Additional personnel
Brian Eno – vocals, keyboards, percussion
Nona Hendryx – backing vocals
Adrian Belew – guitar[17]
Charts[edit]
Original version
Chart (1981)
Peak
position
Australian Singles Chart[18] 23
Canadian Singles Chart[19] 28
Dutch Singles Chart[12] 24
Irish Singles Chart 16
UK Singles Chart[11] 14
US Billboard Bubbling Under the Hot 100[20] 103
Live version
Chart (1985)
Peak
position
Dutch Singles Chart[12] 22
New Zealand Singles Chart[21] 15
US Billboard Hot 100[20] 91
References[edit]
Jump up ^ Huey, Steve. "Once In a Lifetime - Talking Heads". AllMusic. Retrieved November 7, 2017.
Jump up ^ Potton, Ed (August 15, 2015). "David Byrne: composer, curator, cyclist — not just a Talking Head". The Times. Retrieved February 28, 2016.
^ Jump up to: a b "The Songs That Shaped Rock and Roll". Rock and Roll Hall of Fame. Archived from the original on January 2, 2016. Retrieved April 9, 2018.
^ Jump up to: a b c d e f g Lewis, John (November 2007). "The Making Of... Once in a Lifetime by Talking Heads". Uncut.
^ Jump up to: a b c d ""Once in a Lifetime" National Public Radio broadcast, March 27, 2000". NPR. Retrieved April 7, 2018.
Jump up ^ "The 100 most important American musical works of the 20th century". NPR. Retrieved April 7, 2018.
^ Jump up to: a b Huey, S. "Once in a Lifetime". AllMusic. Retrieved March 30, 2014.
^ Jump up to: a b c d Jack, Malcolm (21 September 2016). "Talking Heads – 10 of the best". the Guardian. Retrieved 20 March 2018.
Jump up ^ Gittens, I. (2004). Talking Heads: Once in a Lifetime: the Stories Behind Every Song. Hal Leonard. pp. 68–71. ISBN 9780634080333.
Jump up ^ "Ridiculously Awesome Music Videos: The Heads' "Once in a Lifetime"". Consequence of Sound. 2008-11-25. Retrieved 2018-03-20.
^ Jump up to: a b "Chart Stats – Talking Heads". Chart Stats. Archived from the original on February 17, 2012. Retrieved August 13, 2011.
^ Jump up to: a b c "Discografie Talking Heads". Dutchcharts.nl (in Dutch). Retrieved August 13, 2011.
Jump up ^ "The Hot 100: Week of May 3, 1986". Billboard.com. Retrieved April 28, 2015.
Jump up ^ Blevins, Joe. "Kermit The Frog gets existential with this Talking Heads cover". News. Retrieved 2018-03-26.
Jump up ^ Karr, Rick (March 27, 2000). "The 100 Most Important American Musical Works of the 20th Century". NPR. Retrieved February 12, 2016.
Jump up ^ Jones, Chris (November 17, 2003). "Music - Review of Talking Heads - Once In A Lifetime". BBC. Retrieved February 12, 2016.
Jump up ^ "Once in a Lifetime - Talking Heads - Credits - AllMusic". AllMusic. Retrieved April 7, 2018.
Jump up ^ "Discography Talking Heads". Australian-charts.com. Retrieved August 13, 2011.
Jump up ^ "Talking Heads Top Singles positions". RPM. Archived from the original on September 21, 2011. Retrieved August 13, 2011.
^ Jump up to: a b "Talking Heads > Charts & Awards > Billboard Singles". Allmusic. Retrieved August 13, 2011.
Jump up ^ "Discography Talking Heads". Charts.org.nz. Retrieved August 14, 2011.
External links[edit]
"Once in a Lifetime" music video on MTV.com (Windows Media Video format)
NPR interviews David Byrne on the occasion of the Once in Lifetime box set release on November 18, 2003
Lyrics of this song at MetroLyrics
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Takeover (song)
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For other uses, see Takeover (disambiguation).
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"Takeover"
Song by Jay Z
from the album The Blueprint
Released
September 11, 2001
Recorded
July 2001
Genre
Hip hop
Length
5:13
Label
Roc-A-Fella
Def Jam
Songwriter(s)
Shawn Carter
Producer(s)
Kanye West
The Blueprint track listing
The Ruler's Back
(1) "Takeover"
(2) Izzo (H.O.V.A.)
(3)
"Takeover" is a track recorded by Jay Z for his 2001 album The Blueprint. The song is a diss track aimed at rappers Nas and Prodigy of Mobb Deep.
Contents
[hide]
1 Background
2 References to other rappers
3 Accolades
4 See also
5 References
Background[edit]
This song was the first official LP diss track to publicize directly the hip hop Jay Z vs. Nas feud (although there exists several other rap records prior to this featuring disses from both Nas and Jay Z toward each other). It samples the song "Five to One" by The Doors and "Sound of da Police" by KRS-One. The first line in this song is taken from Jay Z's verse in "Celebration" off of the Streets Is Watching soundtrack. The song also samples David Bowie's "Fame".
References to other rappers[edit]
In the second verse, Jay Z alleges that Prodigy (member of Mobb Deep) took ballet classes as a child and mocks Prodigy's small stature. Jay-Z further dismisses Mobb Deep as competition in the hip hop industry by pointing out that his career had more commercial success than they ever would, and dissing Mobb Deep's famous song "Shook Ones Pt. II". Mobb Deep replied to Jay Z in a subsequent LP diss track, but their rivalry has more or less been overshadowed by the rivalry between Nas and Jay Z.
In the third verse (which has 32 bars, while the other verses have 16), Jay Z ridicules Nas's discography (at the time consisting of four albums) and claims Nas has a "one hot album every ten year average." Jay-Z referred to a widespread feeling from many hip hop critics and artists that Nas's subsequent albums after his legendary Illmatic debut were mediocre follow ups, and dissed Nas' famous song from that album "The World Is Yours". Jay Z sampled some of Nas' lines for the chorus of Jay Z's famous song "Dead Presidents II", and claimed in "Takeover" that he sampled it because Nas was using it wrong ("So yeah I sampled your voice, you was usin' it wrong/ You made it a hot line, I made it a hot song"). Jay Z also questions Nas's street credibility and claims Nas has lied or exaggerated about his past in songs, with the lines, "Nigga, you ain't live it you witnessed from your folks' pad/Scribbled in your notepad and created your life/I showed you your first tec, on tour with Large Professor (Me! That's who!)/Then I heard your album 'bout your tec on your dresser."(This is a reference to the Illmatic song "Represent"). Jay Z also ridicules Nas's style, flow, and career decisions, with lyrics like, "Nigga switch up your flow, your shit is garbage/What you trying to kick knowledge? (Get the fuck outta here)" and "Fell from top ten to not mentioned at all/To your bodyguard's Oochie Wally verse better than yours/Matter fact you had the worst flow in the whole fuckin' song..." which "Oochie Wally" is a song by The Bravehearts from the collaborative album QB's Finest, and samples the song in this song when Jay-Z mentions it.
The song initiated one of the biggest and most hyped hip hop rivalries within the industry, and the song was generally well received by fans. At the time, the song's hard-hitting caliber was such that Jay-Z and many hip hop fans had felt that this song could have potentially ended Nas's career. On the contrary, however, the track merely served to reinvigorate Nas' career as he responded to "Takeover" with a diss track of his own, entitled "Ether".
Jay-Z responded to "Ether" with a freestyle entitled "Supa Ugly". Jay-Z and Nas would release other subsequent diss tracks and records referencing the feud, including "Blueprint 2" (from Jay Z's The Blueprint2: The Gift & The Curse) and "Last Real Nigga Alive" (from Nas's God's Son.)
"Takeover" was produced by Kanye West and samples The Doors' "Five to One" as well as "Sound of da Police" by KRS-One. 50 Cent swards Mobb Deep in his own diss song "Piggy Bank", by telling his rival Jadakiss "Jada don't fuck with me if you wanna eat, 'cause I'll do your lil' ass like Jay did Mobb Deep." Coincidentally, 50 signed Mobb Deep to his G-Unit Records imprint a mere few months later.
On Mos Def's 2004 album The New Danger, the track "The Rape Over" is essentially a revision of "Takeover", with a similar Kanye West backing track using the same Doors sample. Mos Def's rewritten lyrics criticize the hip-hop industry in general and attribute hip-hop's direction at the time to "old white men", "corporate forces", and substance abuse.
Chicago pop-rock band Fall Out Boy referenced this song in their 2007 album Infinity on High with the song "The Take Over, the Breaks Over" as a direct mention to the rivalry.
In 2007 Mistah F.A.B. used the beat from the track on his Royce da 5'9" diss track entitled "C.I.A."
Accolades[edit]
"Takeover" appeared at 51 on Pitchfork's The Top 500 Tracks of the 2000s. Ian Cohen writing a summary said:
There have been diss tracks that have been more personal, more vicious, hell, even more effective-- Nas got a bigger career boost out of his response, the simplistic and homophobic "Ether", which inexplicably (well, not really) was declared the winner by internet scorekeepers who would soon use its title as a slang for smiting one's enemies at all costs. But there's never been a better diss song: Kanye West's "Five to One" flip turned Jim Morrison's Dionysus into Hercules while Jay calmly doled out dismissals that were all the more perfect for their brevity and focus-- "a wise man told me don't argue with fools..."; "I sold what your whole album sold in my first week"; "you only get half a bar..." That entire third verse. As is the case with so many other spats in real life, Jay-Z and Nas would eventually bury the hatchet in the name of good business, but listen to "Takeover" if you're ever confused about who's wearing the pants: Regardless of Jigga's recent output, "Takeover" will always beam with the righteousness one can only have when they're clearly playing the upper hand.[1]
See also[edit]
"Ether" (song)
References[edit]
Jump up ^ "Staff Lists: The Top 500 Tracks of the 2000s: 100-51". Pitchfork.com. April 19, 2009. Retrieved April 19, 2013.
[hide]
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Jay-Z songs
Reasonable Doubt
"Dead Presidents"
"Ain't No Nigga"
"Can't Knock the Hustle"
"Feelin' It"
In My Lifetime, Vol. 1
"(Always Be My) Sunshine"
"Wishing on a Star"
"The City Is Mine"
Vol. 2... Hard Knock Life
"Can I Get A..."
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"Nigga What, Nigga Who (Originator 99)"
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Life and Times of S. Carter
"Jigga My Nigga"
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"Do It Again (Put Ya Hands Up)"
"Things That U Do"
"Big Pimpin'"
The Dynasty: Roc La Familia
"I Just Wanna Love U (Give It 2 Me)"
"Change the Game"
"Guilty Until Proven Innocent"
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"Izzo (H.O.V.A.)"
"Girls, Girls, Girls"
"Jigga That Nigga"
"Song Cry"
The Best of Both Worlds
"Honey"
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The Gift & The Curse
"'03 Bonnie & Clyde"
"Hovi Baby"
"Excuse Me Miss"
The Black Album
"Change Clothes"
"Dirt off Your Shoulder"
"99 Problems"
Unfinished Business
"Big Chips"
Collision Course
"Numb/Encore"
Kingdom Come
"Show Me What You Got"
"Lost One"
American Gangster
"Blue Magic"
"Roc Boys (And the Winner Is)..."
"I Know"
The Blueprint 3
"D.O.A. (Death of Auto-Tune)"
"Run This Town"
"Empire State of Mind"
"On to the Next One"
"Young Forever"
Watch the Throne
"H•A•M"
"Otis"
"Niggas in Paris"
"No Church in the Wild"
Magna Carta Holy Grail
"Holy Grail"
"Tom Ford"
"Part II (On the Run)"
4:44
"4:44"
"Bam"
Featured singles
"Show & Prove"
"I'll Be"
"Be Alone No More" (Remix)
"Money Ain't a Thang"
"Heartbreaker"
"Best of Me Part II"
"Is That Your Chick (The Lost Verses)"
"Do My..."
"Fiesta" (Remix)
"Beware of the Boys (Mundian To Bach Ke)"
"Back in the Day"
"Crazy in Love"
"Frontin'"
"Go Crazy"
"Get Throwed"
"Déjà Vu"
"Umbrella"
"Roc-A-Fella Billionaires"
"Hot Tottie"
"XXXO" (Remix)
"Monster"
"I Do"
"Talk That Talk"
"Suit & Tie"
"Bitch, Don't Kill My Vibe" (Remix)
"Drunk in Love"
"The Devil Is a Lie"
"They Don't Love You No More"
"Seen It All"
"Pop Style"
"I Got the Keys"
"Shining"
Promotional singles
"Shake It Off" (Remix)
"Upgrade U"
"Rehab" (Remix)
"Mr. Carter"
"Put On" (Remix)
"Bye Bye" (Remix)
"Brooklyn Go Hard"
Other singles
"In My Lifetime"
"Who You Wit"
"It's Alright"
"Anything"
"Hey Papi"
"Swagga Like Us"
"Jockin' Jay-Z (Dopeboy Fresh)"
"Glory"
"Clique"
"All the Way Up" (Remix)
"Lost+"
"Stranded (Haiti Mon Amour)"
"Power" (Remix)
"So Appalled"
Book
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=Takeover_(song)&oldid=807121963"
Categories:
2001 songs
Jay-Z songs
Song recordings produced by Kanye West
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Patriot (American Revolution)
From Wikipedia, the free encyclopedia
This is the latest accepted revision, reviewed on 19 October 2017.
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This article is about the Patriots in the American Revolution. For other uses, see Patriot (disambiguation).
The Spirit of '76 (originally entitled Yankee Doodle), painted by Archibald Willard in the late nineteenth century, an iconic image relating to the patriotic sentiment surrounding the American Revolutionary War
Patriots (also known as Revolutionaries, Continentals, Rebels, or American Whigs) were those colonists of the Thirteen Colonies who rebelled against British control during the American Revolution and in July 1776 declared the United States of America an independent nation. Their rebellion was based on the political philosophy of republicanism, as expressed by spokesmen such as Thomas Jefferson, John Adams and Thomas Paine. They were opposed by the Loyalists who instead supported continued British rule.
As a group, Patriots represented a wide array of social, economic and ethnic backgrounds. They included lawyers like John Adams and Alexander Hamilton; planters like Thomas Jefferson and George Mason; merchants like Alexander McDougall and John Hancock; and ordinary farmers like Daniel Shays and Joseph Plumb Martin. Patriots also included slaves and freemen such as Crispus Attucks, a free man and the first martyr of the American Revolution; James Armistead Lafayette, who served as a double agent for the Continental Army; and Jack Sisson, who, under the command of Colonel William Barton, was leader of the first successful black operation mission in American history, resulting in the capture of British General Richard Prescott.
Contents
[hide]
1 Terms
2 Influence
3 Motivations
4 No taxation without representation
5 List of prominent Patriots
5.1 Statesmen and office holders
5.2 Pamphleteers and activists
5.3 Military officers
5.4 African-American Patriots
5.5 Native American Patriots
6 References
7 Bibliography
Terms[edit]
The critics of British rule called themselves "Whigs" after 1768, identifying with members of the British Whig party (including the Radical Whigs and Patriot Whigs), who favored similar colonial policies. The Oxford English Dictionary's third definition of "Patriot" is "A person actively opposing enemy forces occupying his or her country; a member of a resistance movement, a freedom fighter. Originally used of those who opposed and fought the British in the American War of Independence." The earliest citation is a 1773 letter by Benjamin Franklin.[citation needed] In Britain at the time, "patriot" had a negative connotation, and was used, says Samuel Johnson, as a negative epithet for "a factious disturber of the government."[1]
Prior to the Revolution, colonists who supported British authority called themselves Tories or royalists, identifying with the political philosophy then dominant in Great Britain, traditionalist conservatism. During the Revolution, these persons became known primarily as Loyalists. Afterward, many emigrated north to the remaining British territories in what is now modern Canada. There they called themselves the United Empire Loyalists.
Influence[edit]
Many Patriots were active before 1775 in groups such as the Sons of Liberty. The most prominent leaders of the Patriots are referred to today by Americans as the Founding Fathers. The Patriots came from many different backgrounds. Among the most active of the Patriots group were highly educated and fairly wealthy individuals. However, without the support of the ordinary men and women, such as farmers, lawyers, merchants, seamstresses, homemakers, shopkeepers, and ministers, the struggle for independence would have failed.
Historian Robert Calhoon said the consensus of historians is that between 40 and 45 percent of the white population in the Thirteen Colonies supported the Patriots' cause, between 15 and 20% supported the Loyalists, and the remainder were neutral or kept a low profile.[2] With a white population of about 2.5 million, that makes about 380,000 to 500,000 Loyalists. The great majority of them remained in America, since only about 80,000 Loyalists left the United States 1775–1783. They went to Canada, Britain, Florida or the West Indies, but some eventually returned.[3]
Motivations[edit]
To understand how people made the choice between being a Patriot or a Loyalist, historians have compared the motivations and personalities of leading men on each side. Labaree (1948) has identified eight characteristics that differentiated the two groups. Psychologically, Loyalists were older, better established, and more likely to resist innovation than the Patriots. Loyalists said the Crown was the legitimate government and resistance to it was morally wrong, while the Patriots thought morality was on their side because the British government had violated the constitutional rights of Englishmen. Men who were alienated by physical attacks on Royal officials took the Loyalist position, while those who applauded were being Patriots. Most men who wanted to find a compromise solution wound up on the Loyalist side, while the proponents of immediate action became Patriots. Merchants in the port cities with long-standing financial and sentimental attachments to the Empire were likely to remain loyal to the system, while few Patriots were so deeply enmeshed in the system. Some Loyalists were procrastinators who believed that independence was bound to come some day, but wanted to postpone the moment; the Patriots wanted to seize the moment. Loyalists were cautious and afraid of anarchy or tyranny that might come from mob rule; Patriots made a systematic effort to use and control mob violence. Finally, Labaree argues that Loyalists were pessimists who lacked the Patriots' confidence that independence lay ahead.[4][5][6]
No taxation without representation[edit]
The Patriot faction came to reject taxes imposed by legislatures in which the tax-payer was not represented. "No taxation without representation" was their slogan, referring to the lack of representation in the British Parliament. The British countered there was "virtual representation", that is, all members of Parliament represented the interests of all the citizens of the British Empire.
Though some Patriots declared that they were loyal to the king, they believed that the assemblies should control policy relating to the colonies. They should be able to run their own affairs. In fact, they had been running their own affairs since the period of "salutary neglect" before the French and Indian War. Some radical Patriots tarred and feathered tax collectors and customs officers, making those positions dangerous; the practice was especially prevalent in Boston, where many Patriots lived, but was curbed there sooner than elsewhere.[7]
List of prominent Patriots[edit]
Most of the individuals listed below served the American Revolution in multiple capacities.
Statesmen and office holders[edit]
Thomas Jefferson
John Adams
John Hancock
John Jay
John Dickinson
Benjamin Franklin
Richard Henry Lee
Jonathan Shipley
William Paca
James Madison
Pamphleteers and activists[edit]
Samuel Adams
Alexander Hamilton
William Molineux
Timothy Matlack
Thomas Paine
Paul Revere
Patrick Henry
Samuel Prescott
Molly Pitcher
Roger Sherman
Philip Mazzei
Elkanah Watson
Military officers[edit]
See also: Military leadership in the American Revolutionary War
Nathanael Greene
Nathan Hale
Francis Marion
Andrew Pickens
Daniel Morgan
James Mitchell Varnum
Joseph Bradley Varnum
George Washington
John Paul Jones
Thomas Sumter
Francis Vigo
Elijah Isaacs
Benedict Arnold (defected)
Charles Lee
Daniel Shays
African-American Patriots[edit]
See also: African Americans in the Revolutionary War
Crispus Attucks
Peter Salem
Jack Sisson
James Armistead Lafayette
1st Rhode Island Regiment
William Flora
Saul Matthews
Prince Whipple
Native American Patriots[edit]
Main articles: Saratoga campaign, Battle of Oriskany, and Stockbridge Militia
References[edit]
Jump up ^ "Patriot" in Oxford English Dictionary (3rd ed. online 2011). accessed 19 December 2011.
Jump up ^ Robert M. Calhoon, "Loyalism and neutrality" in Jack P. Greene; J. R. Pole (2008). A Companion to the American Revolution. John Wiley & Sons. p. 235.
Jump up ^ Thomas B. Allen, Tories: Fighting for the King in America's First Civil War (2011) p. xviii
Jump up ^ Leonard Woods Larabee, Conservatism in Early American History (1948) pp. 164–65
Jump up ^ See also N. E. H. Hull,Peter C. Hoffer and Steven L. Allen, "Choosing Sides: A Quantitative Study of the Personality Determinants of Loyalist and Revolutionary Political Affiliation in New York," Journal of American History, Vol. 65, No. 2 (Sept. 1978), pp. 344–66 in JSTOR
Jump up ^ The most in-depth study of the Patriot psychology is Edwin G. Burrows and Michael Wallace, "The American Revolution: The Ideology and Psychology of National Liberation," Perspectives in American History, (1972) vol. 6 pp. 167–306
Jump up ^ Benjamin H. Irvin, "Tar and Feathers in Revolutionary America," (2003)
Bibliography[edit]
Ellis, Joseph J. . Founding Brothers: The Revolutionary Generation (2002), Pulitzer Prize
Kann, Mark E.; The Gendering of American Politics: Founding Mothers, Founding Fathers, and Political Patriarchy, (1999) online version
Middlekauff, Robert; The Glorious Cause: The American Revolution, 1763-1789 (2005) online version
Miller, John C. Origins of the American Revolution. (1943) online version
Miller, John C. Triumph of Freedom, 1775-1783, (1948) online version
Previdi, Robert; "Vindicating the Founders: Race, Sex, Class, and Justice in the Origins of America," Presidential Studies Quarterly, Vol. 29, 1999
Rakove, Jack. Revolutionaries: A New History of the Invention of America (2010) excerpt and text search
Raphael, Ray. A People's History of the American Revolution: How Common People Shaped the Fight for Independence (2002)
Roberts, Cokie. Founding Mothers: The Women Who Raised Our Nation (2005)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Patriot_(American_Revolution)&oldid=806107534"
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This page was last edited on 19 October 2017, at 19:07.
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