The Hangman's Beautiful Daughter is the third album by the Scottish psychedelic folk group, The Incredible String Band (ISB), and was released in March 1968 on Elektra Records (see 1968 in music). It saw the band continuing its development of the elements of psychedelic folk and enlarging on past themes, a process they had begun on their previous album, The 5000 Spirits or the Layers of the Onion
Hangman’s Son Lyrics. He was the hangman's son Wouldn't crack a smile til' the deal was done He was the only one Laughing as he sang that we all shall hang Oh, have mercy On the demons that curse me Oh, lay it on me When my time has come And I don't have the sense to run He was the hangman's
The Hangman’s Daughter (Oliver Potzsch). A historical thriller set in Germany, 1660: When a dying boy is pulled from the river with a mark crudely tattooed on his shoulder, hangman Jakob Kuisl is called upon to investigate whether witchcraft is at play in his small Bavarian town. Geektastic: Tales from the Nerd Herd (Black and Castellucci).
The Hangman's Beautiful Daughter. What a bunch of hippies. All jokes aside, the album itself is a fun and soothing listen and a very influential band as you can see acts such as Fleet Foxes and.
54 quotes from The Hangman's Daughter (The Hangman's Daughter, ‘Life went on, despite all the dying. His love for this girl was so strong now, at this moment, that he would readily give up everything for her. ― Oliver Pötzsch, The Hangman's Daughter. because a rumor is like smoke. It will spread, it will seep through closed doors and latched shutters, and in the end the whole town will smell of it.
Before the hangman's noose I'll say It's a good day to die a good day to die. No more stops, time to punch your ticket This time this ride is one way I can see a shadow of a man And man it's coming my way Riding this rail, I know what I'm on But not now what I'm in for This train to nowhere seems to never end As far as I can tell.
Into our town the hangman came, smelling of gold and blood and flame. He paced our bricks with a different air, and built his frame on the courthouse square. The scaffold stood by the courthouse side, only as wide as the door was wide with a frame as tall, or a little more, than the capping sill of the courthouse door. And we wondered whenever we had the time, Who the criminal? What the crime? The hangman judged with the yellow twist of knotted hemp in his busy fist. And innocent though we were with dread, we passed those eyes of buckshot lead
Both works, made by artists who are white, recall historical acts of racial violence and have been viewed by many as painful and insensitive to communities that have suffered directly from those injustices. Central to both cases are issues of cultural appropriation and artistic freedom.
|A||Once Your Girl Was Mine|
|B||The Hangman's Scaffold|