>>That's the whole point of the freakin' song, Bill.
>>He was convicted on
>>evidence that *should* have left a reasonable doubt
>>in the jury's mind.
>>This has nothing whatsoever in the whole bloomin'
>>world to do with
>>presumption of innocence. He was presumed innocent
>>until proven guilty
>>until the jury rendered its verdict (mistakenly,
>>according to the
>>defendant). Nothing in the song contradicts that.
>
>
> Mostly I agree with your aspersions on Bartlett, but I
> do not think that LBV is a protest song or even a song
> about the injustices of the law. It's a song about
> loyalty and infidelity; the narrator will cheat on his
> best friend friend but not betray him to public shame,
> or perhaps it's his lover the best friend's wife who
> whom he will not betray, while she, in turn, will not
> speak to save her lover's life even as he remains
> silent to save her honor, or perhaps that of his best
> friend her husband, though she mourns her lover,
> wearing a LBV, and cries over his grave when the cold
> wind moans. Nothing in the song challenges the law or
> suggests an injustice rather than a tragedy. The law
> is simply the neutral instrument of the tragedy. The
> song is not a folk song, btw, in the sense that it was
> composed out of the oral tradition the way Pretty
> Polly or Love Henry was, but is clearly artfully
> commercial composed; I believe it is early country,
> though I don't know the author.
Composed by Marijohn Wilkin and Danny in 1959
That's seems more like middle country to me, but perhaps I am dating the origin of country music to be too early. -joan
> jks
>
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