Edited by Azizi Powell
This post features two sound files of the Gospel song "Let Us Run While It's Running" ("Run While The Sun Is Shining"). This post also includes my transcription of that song and my explanation of the meaning of that song's lyrics.
The content of this post is presented for historical, religious, and aesthetic purposes.
My thanks to the composer of this song. My thanks also to the vocalists and musicians who are featured in these sound files. Thanks also to the producers and uploaders of these sound files. All copyrights remain with their owners.
INFORMATION ABOUT THIS SONG
"Let Us Run While It's Running" ("Run While The Sun Is Shining") is a Gospel song that was made popular by Bessie Griffin & The Vans Gospel group and The Caravans Gospel group probably in 1954 or 1955. While this song has two different titles, it has the same lyrics and tune.
According to a summary statement for Albertina Walker's [The Caravans'] recording "Run While The Sun Is Shining" [given here as Example #2] and Bessie Griffin's "Let Us Run While It's Running" [given here as Example #1] were competing renditions of the same song which were both released around the same time "in the early 1950s". Also according to that summary statement, Bessie Griffin's rendition won the competition for which group's version of the song was the most popular. If indeed Bessie Griffin's recording was the most popular, it's ironical that the Caravans' title "Run While The Sun Is Shining" appears to be the most well known title for this song.
The Wikipedia page for the Caravans' http://en.wikipedia.org/wiki/The_Caravans indicates that "Bessie Griffin joined the [Caravans] group in 1953, but left after a year."
The Wikipedia page for Bessie Griffin http://en.wikipedia.org/wiki/Bessie_Griffin indicates that "After moving to Chicago in 1951, she worked briefly with The Caravans, a gospel group led by Albertina Walker, making a session with them for States in 1954. She left the group later that year, recording as a soloist for Al Benson's Parrot label."
-snip-
That Wikipedia page makes no mention of The Vans Gospel group. Perhaps this is the group for which she is mentioned as soloist for the Parrot label.
-snip-
Given these references, both of these renditions of "Let Us Run While It's Running Time" ("Run While The Sun Is Shining") were probably recorded in the same year of 1954 or 1955.
Unfortunately, I've not been able to find out who composed the lyrics or music to "Run While The Sun Is Shining" and the year in which that song was composed.
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FEATURED SOUND FILES
Example #1: Bessie Griffin - Let Us Run While It's Running Time
Uploaded by princebb1 on Dec 22, 2008
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Example #2: "Run While Sun Is Shining" - The Caravans feat, Albertina Walker
Uploaded by MrChoirDirector87 on Jun 23, 2011
The Caravans with Albertina Walker on lead
Run while sun is shining, Where He Leads Me, Album
This song was done by The Vans in the early 50's with Bessie Griffin (Let Us Run)
****
LYRICS: RUN WHILE THE SUN IS SHINING
(composer? , 1954?)
Chorus
Let us run while the sun is shining
You know we gonna run on in His name.
Run while the sun is shining
I said we gonna run on in His name.
Well, you know we gonna run while the sun is shining
Run on in His name.
You know when the rain falls
You can’t run.
When the storm rise
You can’t run.
When the wind blows
You can’t run.
Well we gotta run on
While it’s runnin time.
[repeat chorus]
Verse 1: Lead singer (Background singers hum)
Matthew, Mark, Luke and John
All of those prophets they are dead and gone.
Back in the days of the Philistines
God said it wouldn’t be water
But fire next time.
Read about Samson from his birth
He was the strongest man
Who ever lived on earth.
Delilah told Samson - Don’t you know
The Holy Bible tells us so -
She came to Samson down on her knees
“Tell me where you strength lie
if you please.”
He looked at Delilah. She looked so fair.
He said “My strength lies in my hair”.
She shaved his head clean as his hand.
Samson was weak as any other man.
Chorus
Verse #2: Lead singer; background singers hum:
Well, I remember one day walkin along
Whole in body but burdened down*
I looked around to see what I could see
Nothin but my Jesus talkin to me.
Background singers: “When the rain falls" etc.
Lead singer & background singers: Well, we gotta run on while it’s runnin time.
[Transcription by Azizi Powell, 6/30/2012 from listening to the sound file Bessie Griffin "Let Us Run...", given as "Example #1 on this page.
This transcription doesn't include all of the beginning words such as "Well" and "Let's".
*I'm unsure about the words to this line. This is my best guess, one which I believe fits the spirit of the verse.]
SONG MEANING
The chorus of "Run While The Sun Is Shining" means that we need to do all we can do [to be saved in the Biblical sense of that word] while we can because there will come when it will be too late, and we won't be able to be saved.
The line "Run on in His name" in the chorus means that we can keep on going because of the promise that God gave us that He would never forsake us.
"His name" in that chorus probably refers to Jesus' name. That same message about Jesus being with people when they are experiencing difficult times is repeated in the last verse of this song.
In the first verse the lead singer reminds those listening of the old time prophets and what they had written. The first verse also reminds listeners of the judgement that God promised would come to the wicked world - "It wouldn't be water [the flood] but fire next time."
The first verse also tells the cautionary Old Testament tale of Samson who yielded to temptation and lost his strength.
The second verse reminds those listening that they are never alone because Jesus walks and talks with them (meaning, He helps them make it through good times and bad times).
-snip-
On a personal note, I remember "Run While The Sun Is Shining" being sung in the 1950s and/or early 1960s by the Gospel choir that my mother belonged to in Atlantic City, New Jersey. I believe "Run While The Sun Is Shining" was a staple for a lot of African American Gospel choirs of those decades. And throughout my life, I have sung this song to give me the push that I need when times got rough. I'm glad to have found these sound files of the original Gospel group who sang "Run While The Sun Is Shining".
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Saturday, June 30, 2012
Videos Of The Wolaytigna Dance (Ethiopia)
Edited by Azizi Powell
This post features four videos of traditional and adapted versions of the Wolaytigna dance of Southern Ethiopia.
The content of this post is presented for historical, folkloric, and aesthetic purposes.
My thanks to those persons featured in these videos Thanks also to the producers and uploaders of these videos.
FEATURED VIDEOS
Video #1: Wolayta
Uploaded by lekee on Oct 4, 2009
****
Video #2: Aw Bade - Mamila And Kichini - Full Version
Uploaded by diretube10feb on Feb 15, 2010
http://diretube.com - Latest Ethiopian Videos
-snip-
From this video's viewer comments, it appears that this song quickly became a big dance hit in Ethiopia when it was released in 2011.
****
Video #3: Tejle Milkiase - Wolayta Enhede
Uploaded by NIN9ART on Sep 9, 2010
Wolayta music.
****
Video #4: Awassa, Ethiopia, 2009 dance_0001.wmv
Uploaded by mathewsdita on Apr 3, 2010
Especial event in city of Awassa, Southern Ethiopia, August, 2009
-snip-
Here are two comments from this video's viewer comment thread that was written in response to a comment that these dances look like street dances: http://www.youtube.com/all_comments?v=pJ9tor8QsU4
**
"This dance is called "Wolaytigna dance". In this video, the daces were mixed with Wolytigna dances and modern daces. Only the girls here actually were dancing Wolytigna but others do mix Wolytigna with modern dances. Any dances danced on the street are street dances. On this video, dance was recorded during especial events on the street of Awassa in 2009. Thanks for visiting this video site. To see actual song and dance, search under “ AW Bade" by-Mamila And Kichini ” . Good luck
-mathewsdita; 2005
**
"This dance is called "Wolaytigna dance" came from Wolyta tribes in Southern Ethiopia about 400 km South of Addis Ababa, Ethiopia. Walaytigna dances were normally a type of dance that involves parts of your body below the waist twisting waistline and shaking butts. Also the dancers hold long stick and jump very high and pull their legs back and forth following the beat and the rhythm of the songs."
mathewsdita; 2012
-snip-
The video that mathewsdita recommended is Video #2 of this post. My thanks to that commenter for that recommendation.
I believe that the commenter who wrote that these dances look like street dances might have meant that they look like contemporary African American Rhythm & Blues/Hip Hop dances such as break dancing, Chicago footwork, and krumping. Click http://www.jambalayah.com/node/1147 for videos of various African American R&B/Hip Hop dances.
****
Thanks for visiting pancocojams.
Viewer comments are welcome
This post features four videos of traditional and adapted versions of the Wolaytigna dance of Southern Ethiopia.
The content of this post is presented for historical, folkloric, and aesthetic purposes.
My thanks to those persons featured in these videos Thanks also to the producers and uploaders of these videos.
FEATURED VIDEOS
Video #1: Wolayta
Uploaded by lekee on Oct 4, 2009
****
Video #2: Aw Bade - Mamila And Kichini - Full Version
Uploaded by diretube10feb on Feb 15, 2010
http://diretube.com - Latest Ethiopian Videos
-snip-
From this video's viewer comments, it appears that this song quickly became a big dance hit in Ethiopia when it was released in 2011.
****
Video #3: Tejle Milkiase - Wolayta Enhede
Uploaded by NIN9ART on Sep 9, 2010
Wolayta music.
****
Video #4: Awassa, Ethiopia, 2009 dance_0001.wmv
Uploaded by mathewsdita on Apr 3, 2010
Especial event in city of Awassa, Southern Ethiopia, August, 2009
-snip-
Here are two comments from this video's viewer comment thread that was written in response to a comment that these dances look like street dances: http://www.youtube.com/all_comments?v=pJ9tor8QsU4
**
"This dance is called "Wolaytigna dance". In this video, the daces were mixed with Wolytigna dances and modern daces. Only the girls here actually were dancing Wolytigna but others do mix Wolytigna with modern dances. Any dances danced on the street are street dances. On this video, dance was recorded during especial events on the street of Awassa in 2009. Thanks for visiting this video site. To see actual song and dance, search under “ AW Bade" by-Mamila And Kichini ” . Good luck
-mathewsdita; 2005
**
"This dance is called "Wolaytigna dance" came from Wolyta tribes in Southern Ethiopia about 400 km South of Addis Ababa, Ethiopia. Walaytigna dances were normally a type of dance that involves parts of your body below the waist twisting waistline and shaking butts. Also the dancers hold long stick and jump very high and pull their legs back and forth following the beat and the rhythm of the songs."
mathewsdita; 2012
-snip-
The video that mathewsdita recommended is Video #2 of this post. My thanks to that commenter for that recommendation.
I believe that the commenter who wrote that these dances look like street dances might have meant that they look like contemporary African American Rhythm & Blues/Hip Hop dances such as break dancing, Chicago footwork, and krumping. Click http://www.jambalayah.com/node/1147 for videos of various African American R&B/Hip Hop dances.
****
Thanks for visiting pancocojams.
Viewer comments are welcome
Thursday, June 28, 2012
Ain't Gonna Let Nobody Turn Me Round (Lyrics & Videos)
Edited by Azizi Powell
This post features a text version of the 1960s African American Civil Rights song "and sound file and videos of that song.
This post also includes two Gospel videos of "Don't You Let Nobody Turn You 'Round", the African American Spiritual which was the inspiration for "Ain't Gonna Let Nobody Turn Me 'Round".
The content of this post is presented for historical, folkloric, and aesthetic purposes.
My thanks to the unknown composers of the Spiritual from which the Civil Rights song was adapted and those who first adapted that song for use as a Civil Rights song. Thanks also to the vocalists featured in these videos, and to the producers & uploaders of these videos. Special thanks to those who worked then and those who work now for civil rights for all.
****
LYRICS: AIN'T GONNA LET NOBODY TURN ME ROUND
(Unknown composers)
Aint gonna let nobody
turn me 'round
turn me 'round
Aint gonna let nobody
turn me round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
Aint gonna let (add the name a prominent segregationist)
turn me 'round
turn me 'round
Aint gonna let (repeat name)
turn me 'round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
Aint gonna let no jailhouse
turn me 'round
turn me 'round
Aint gonna let no jailhouse
turn me 'round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
Aint gonna let no policeman
turn me 'round
turn me 'round
Aint gonna let no policeman
turn me round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
-snip-
These lyrics are presented by Azizi Powell from my memory of this song being sung in the 1960s.
The African American Civil Rights song "Ain't Gonna Let Nobody Turn Me 'Round" is based on an African American Gospel song with the same title. In the Gospel song, the line "marchin in to freedom land" is sung "walkin into Glory land" or "walkin into heaven land".
Like other civil rights songs, the words to this song aren't fixed. However, "Ain't Gonna Let Nobody Turn Me 'Round" was sung in unison which means that those singing it knew in advance which verses were to be sung, and in which order the verses were sung. In contrast, the earlier Gospel song was probably sung using a call & response pattern.
Click http://www.songsforteaching.com/folk/aintgonnaletnobodyturnmearound.php for other verses for this song.
FEATURED VIDEOS & SOUND FILES
(These videos/sound files are presented in no particular order.)
Video #1: Sweet Honey In The Rock - "Ain't Gonna Let Nobody Turn Me Around"
Uploaded by Rowoches on Jan 26, 2010
****
Video #2: Joan Baez - "Marching Up To Freedom Land"
Posted by Baez971 ; August 04, 2006
"Joan baez singing acapella"
****
Video #3: The Roots - "Aint Gonna Let Nobody"
Uploaded by djlightbolt on Oct 1, 2010
From "Soundtrk 4 a Revolution"
-snip-
This contemporary rendition of "Ain't Gonna Let Nobody Turn Me "Round" is a jazzed up, funkier version of that Civil Rights song. This video includes documentary clips of 1960s Civil Rights marches. Those marches were also called "demonstrations".
****
Video #4: The Chicago Children's Choir visits the Civil Rights Memorial in Montgomery, AL.
Posted by SPLCenter; July 27, 2007
****
Video #5: The Freedom Singers - Ain't Gonna Let Nobody Turn Me Round
Posted by the whitehouse | February 11, 2010
The Freedom Singers perform "(Ain't Gonna let Nobody) Turn me Around" at the White House Celebration of Music from the Civil Rights Movement.
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Video #6: Joyful Noise - Ain't Gonna Let Nobody
Uploaded by LadyKej on Jan 20, 2009
"This is Joyful Noise, a gospel acapella group in the DC Metro area. They sang at a popular restaurant in DC (Busboys and Poets) to celebrate MLK Day and the upcoming inauguration. The performance included singing of traditional Negro Spirituals, spoken word performances and saxophone solos."
****
SPIRITUAL AND GOSPEL VERSIONS
Video #7: The Fairfield Four circa 1980s..."Don't You Let Nobody Turn You 'Round"
Uploaded by Docjive on Oct 29, 2010
"In the early 1980s after a thirty-year hiatus, the Fairfield Four with a powerhouse line-up once again began performing. This period clip features the legendary Rev. Sam McCrary leading his classic "Don't You Let Nobody Turn You 'Round." The original release was on the Bullet label circa 1947/48. B.B. King called McCrary a primary vocal influence. The Fairfield Four left to right: Willie "Preacher" Richardson, Rev. McCrary, Wilson "Lit" Waters, James S. Hill, and Isaac Freeman."
-snip-
Notice the knee patting and foot stomping motions that one of the singers does for accompaniment. This body movement is found in a number of early Gospel and non-religious songs and is evidence of the survival of 19th century "pattin Juba".
****
Video #8: Albertina Walker with Olando Draper & Associates Choir - "Don't Let Nobody Turn You Round"
Uploaded by ADRIAN WILLIAMS on Jan 17, 2009
-snip-
I'm not sure about the recording date for this video, but I think it was in the 1990s or the early 2000s.
****
RELATED LINK
Click http://cocojams.com/content/african-american-civil-rights-songs for additional examples of African American Civil Rights songs.
****
Thanks for visiting this pancocojams.
Visitor comments are welcome.
This post features a text version of the 1960s African American Civil Rights song "and sound file and videos of that song.
This post also includes two Gospel videos of "Don't You Let Nobody Turn You 'Round", the African American Spiritual which was the inspiration for "Ain't Gonna Let Nobody Turn Me 'Round".
The content of this post is presented for historical, folkloric, and aesthetic purposes.
My thanks to the unknown composers of the Spiritual from which the Civil Rights song was adapted and those who first adapted that song for use as a Civil Rights song. Thanks also to the vocalists featured in these videos, and to the producers & uploaders of these videos. Special thanks to those who worked then and those who work now for civil rights for all.
****
LYRICS: AIN'T GONNA LET NOBODY TURN ME ROUND
(Unknown composers)
Aint gonna let nobody
turn me 'round
turn me 'round
Aint gonna let nobody
turn me round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
Aint gonna let (add the name a prominent segregationist)
turn me 'round
turn me 'round
Aint gonna let (repeat name)
turn me 'round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
Aint gonna let no jailhouse
turn me 'round
turn me 'round
Aint gonna let no jailhouse
turn me 'round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
Aint gonna let no policeman
turn me 'round
turn me 'round
Aint gonna let no policeman
turn me round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land
-snip-
These lyrics are presented by Azizi Powell from my memory of this song being sung in the 1960s.
The African American Civil Rights song "Ain't Gonna Let Nobody Turn Me 'Round" is based on an African American Gospel song with the same title. In the Gospel song, the line "marchin in to freedom land" is sung "walkin into Glory land" or "walkin into heaven land".
Like other civil rights songs, the words to this song aren't fixed. However, "Ain't Gonna Let Nobody Turn Me 'Round" was sung in unison which means that those singing it knew in advance which verses were to be sung, and in which order the verses were sung. In contrast, the earlier Gospel song was probably sung using a call & response pattern.
Click http://www.songsforteaching.com/folk/aintgonnaletnobodyturnmearound.php for other verses for this song.
FEATURED VIDEOS & SOUND FILES
(These videos/sound files are presented in no particular order.)
Video #1: Sweet Honey In The Rock - "Ain't Gonna Let Nobody Turn Me Around"
Uploaded by Rowoches on Jan 26, 2010
****
Video #2: Joan Baez - "Marching Up To Freedom Land"
Posted by Baez971 ; August 04, 2006
"Joan baez singing acapella"
****
Video #3: The Roots - "Aint Gonna Let Nobody"
Uploaded by djlightbolt on Oct 1, 2010
From "Soundtrk 4 a Revolution"
-snip-
This contemporary rendition of "Ain't Gonna Let Nobody Turn Me "Round" is a jazzed up, funkier version of that Civil Rights song. This video includes documentary clips of 1960s Civil Rights marches. Those marches were also called "demonstrations".
****
Video #4: The Chicago Children's Choir visits the Civil Rights Memorial in Montgomery, AL.
Posted by SPLCenter; July 27, 2007
****
Video #5: The Freedom Singers - Ain't Gonna Let Nobody Turn Me Round
Posted by the whitehouse | February 11, 2010
The Freedom Singers perform "(Ain't Gonna let Nobody) Turn me Around" at the White House Celebration of Music from the Civil Rights Movement.
****
Video #6: Joyful Noise - Ain't Gonna Let Nobody
Uploaded by LadyKej on Jan 20, 2009
"This is Joyful Noise, a gospel acapella group in the DC Metro area. They sang at a popular restaurant in DC (Busboys and Poets) to celebrate MLK Day and the upcoming inauguration. The performance included singing of traditional Negro Spirituals, spoken word performances and saxophone solos."
****
SPIRITUAL AND GOSPEL VERSIONS
Video #7: The Fairfield Four circa 1980s..."Don't You Let Nobody Turn You 'Round"
Uploaded by Docjive on Oct 29, 2010
"In the early 1980s after a thirty-year hiatus, the Fairfield Four with a powerhouse line-up once again began performing. This period clip features the legendary Rev. Sam McCrary leading his classic "Don't You Let Nobody Turn You 'Round." The original release was on the Bullet label circa 1947/48. B.B. King called McCrary a primary vocal influence. The Fairfield Four left to right: Willie "Preacher" Richardson, Rev. McCrary, Wilson "Lit" Waters, James S. Hill, and Isaac Freeman."
-snip-
Notice the knee patting and foot stomping motions that one of the singers does for accompaniment. This body movement is found in a number of early Gospel and non-religious songs and is evidence of the survival of 19th century "pattin Juba".
****
Video #8: Albertina Walker with Olando Draper & Associates Choir - "Don't Let Nobody Turn You Round"
Uploaded by ADRIAN WILLIAMS on Jan 17, 2009
-snip-
I'm not sure about the recording date for this video, but I think it was in the 1990s or the early 2000s.
****
RELATED LINK
Click http://cocojams.com/content/african-american-civil-rights-songs for additional examples of African American Civil Rights songs.
****
Thanks for visiting this pancocojams.
Visitor comments are welcome.
"Certainly, Lord" (Spiritual & Civil Rights Versions)
Edited by Azizi Powell
This post features examples of the Spiritual "Certainly, Lord" and examples of that song's Civil Rights adaptations. The Spiritual "Certainly, Lord" is also known as "Have You Got Good Religion".
The content of this post is presented for historical, folkloric, religious, and aesthetic purposes.
My thanks to the unknown composers of the Spiritual from which the Civil Rights song was adapted and those who first adapted that song for use as a Civil Rights song. Thanks also to the vocalists featured in these videos, and to the producers & uploaders of these videos. Special thanks to those who worked then and those who work now for civil rights for all.
GOSPEL LYRICS: HAVE YOU GOT GOOD RELIGION (Also known as "Certainly, Lord")
(unknown composer/s)
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
Certainly, certainly, certainly Lord.
Have you been baptized?
(Certainly, Lord.)
Have you been baptized?
(Certainly, Lord.)
Have you been baptized?
(Certainly, Lord.)
Certainly, certainly, certainly Lord.
Have you been redeemed?
(Certainly, Lord.)
Have you been redeemed?
(Certainly, Lord.)
Have you been redeemed?
(Certainly Lord.)
Certainly, certainly, certainly Lord.
Do you want to see Jesus?
(Certainly, Lord.)
Do you want to see Jesus?
(Certainly, Lord.)
Do you want to see Jesus?
(Certainly, Lord.)
Certainly, certainly, certainly Lord.
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
(Certainly, Lord.)
Certainly, certainly, certainly, Lord.
Certainly, certainly, certainly Lord.
Certainly, certainly, certainly Lord.
-snip-
These lyrics are presented by Azizi Powell from my memory of this song being sung in Union Baptist Temple Church, Atlantic City, New Jersey, 1960s.
I don't know when this song was composed or who composed it.
The parenthesis indicate that the song could be sung in a call & response manner, with the soloist asking the initial question, the rest the choir or congregation singing "Certainly, Lord", and the soloist and the choir/congregation singing "Certainly, certainly, certainly Lord".
However, as was the case with a lot of early African American Spirituals, my recollection is that "Have You Got Good Religion" ("Certainly, Lord") was actually sung in unison and not as a call & response song. That meant that the lyrics to the song and the order of the song was fixed (unchanging) with each rendition of the song.
CIVIL RIGHTS LYRICS: "CERTAINLY, LORD"
(unknown composer/s)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Certainly, Certainly, Certainly Lord.
We'll march for our rights.
(Certainly, Lord.)
We'll march for our rights.
(Certainly, Lord.)
We'll march for our rights.
(Certainly, Lord.)
Certainly, Certainly, Certainly, Lord.
We'll go to jail.
(Certainly, Lord.)
We'll go to jail.
(Certainly, Lord.)
We'll go to jail.
(Certainly, Lord.)
Certainly, Certainly, Certainly, Lord.
Jail over bail.*
(Certainly, Lord)
Jail over bail.
(Certainly, Lord.)
Jail over bail.
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Certainly, Certainly, Certainly Lord
Certainly, certainly, certainly Lord.
Certainly, certainly, certainly Lord
-snip-
This is just one version of this Civil Rights song.
My recollection of this song is that it was sung using a call & response pattern. The soloist asks the initial question, the rest the choir or congregation sing "Certainly, Lord", and the soloist and the choir/congregation sing "Certainly, certainly, certainly Lord".
Like other African American Civil Rights songs of the 1960s, the words of this song were changed and can still be changed to fit the particular issue or cause being protested.
* "Jail over bail" means that the person arrested chooses to remain in jail rather than have his or her bail paid and be released from jail. This strategy draws media attention to the cause being protested.
FEATURED VIDEOS
Video #1: Have You Got Good Religion
Posted by jayhardinchristine
June 22, 2009
"Sis. Calloway leading the SBC Gospel Choir in singing "Have you got good religion". Have you got good religion? Certainly, Lord. Certainly, certainly, certainly, Lord. "
-snip-
It appears that this choir is singing "Have You Got Good Religion" during a congregational offering. In the Baptist church that I attended in my hometown of Atlantic City, New Jersey, one of the two offerings was (and still is) also done this way. Members of the congregation move row by row to the front to give their money donations. After the congregation finishes, the choir comes down from their rows on the rostum behind the minister/s to give their offering or an offering plate is passed to the choir and ministers.
"SBC" probably stands for "Shiloh Baptist Church" or "Second Baptist Church". Both of these are very common church names among African Americans throughout the United States.
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Video #2: Jessye Norman + Kathleen Battle 'Certainly, Lord' 1990
Posted by LEGENDSOFTHEROD1
July 09, 2009
"[For blasianFMA] Performing at Carnegie Hall .... with James Levine .... March 1990"
-snip-
In my experience, a moderately fast tempo is used for the civil rights version of "Certainly, Lord". That tempo is faster than either of the Gospel versions of this song that are featured in this post.
RELATED LINKS
Click http://pancocojams.blogspot.com/2012/06/aint-gonna-let-nobody-turn-me-round.html
One of the videos on that post includes documentary clips of 1960s Civil Rights marches.
**
Also click http://cocojams.com/content/african-american-civil-rights-songs for additional examples of African American Civil Rights songs.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This post features examples of the Spiritual "Certainly, Lord" and examples of that song's Civil Rights adaptations. The Spiritual "Certainly, Lord" is also known as "Have You Got Good Religion".
The content of this post is presented for historical, folkloric, religious, and aesthetic purposes.
My thanks to the unknown composers of the Spiritual from which the Civil Rights song was adapted and those who first adapted that song for use as a Civil Rights song. Thanks also to the vocalists featured in these videos, and to the producers & uploaders of these videos. Special thanks to those who worked then and those who work now for civil rights for all.
GOSPEL LYRICS: HAVE YOU GOT GOOD RELIGION (Also known as "Certainly, Lord")
(unknown composer/s)
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
Certainly, certainly, certainly Lord.
Have you been baptized?
(Certainly, Lord.)
Have you been baptized?
(Certainly, Lord.)
Have you been baptized?
(Certainly, Lord.)
Certainly, certainly, certainly Lord.
Have you been redeemed?
(Certainly, Lord.)
Have you been redeemed?
(Certainly, Lord.)
Have you been redeemed?
(Certainly Lord.)
Certainly, certainly, certainly Lord.
Do you want to see Jesus?
(Certainly, Lord.)
Do you want to see Jesus?
(Certainly, Lord.)
Do you want to see Jesus?
(Certainly, Lord.)
Certainly, certainly, certainly Lord.
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
(Certainly, Lord.)
Have you got good religion?
(Certainly, Lord.)
Certainly, certainly, certainly, Lord.
Certainly, certainly, certainly Lord.
Certainly, certainly, certainly Lord.
-snip-
These lyrics are presented by Azizi Powell from my memory of this song being sung in Union Baptist Temple Church, Atlantic City, New Jersey, 1960s.
I don't know when this song was composed or who composed it.
The parenthesis indicate that the song could be sung in a call & response manner, with the soloist asking the initial question, the rest the choir or congregation singing "Certainly, Lord", and the soloist and the choir/congregation singing "Certainly, certainly, certainly Lord".
However, as was the case with a lot of early African American Spirituals, my recollection is that "Have You Got Good Religion" ("Certainly, Lord") was actually sung in unison and not as a call & response song. That meant that the lyrics to the song and the order of the song was fixed (unchanging) with each rendition of the song.
CIVIL RIGHTS LYRICS: "CERTAINLY, LORD"
(unknown composer/s)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Certainly, Certainly, Certainly Lord.
We'll march for our rights.
(Certainly, Lord.)
We'll march for our rights.
(Certainly, Lord.)
We'll march for our rights.
(Certainly, Lord.)
Certainly, Certainly, Certainly, Lord.
We'll go to jail.
(Certainly, Lord.)
We'll go to jail.
(Certainly, Lord.)
We'll go to jail.
(Certainly, Lord.)
Certainly, Certainly, Certainly, Lord.
Jail over bail.*
(Certainly, Lord)
Jail over bail.
(Certainly, Lord.)
Jail over bail.
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Do you want your freedom?
(Certainly, Lord.)
Certainly, Certainly, Certainly Lord
Certainly, certainly, certainly Lord.
Certainly, certainly, certainly Lord
-snip-
This is just one version of this Civil Rights song.
My recollection of this song is that it was sung using a call & response pattern. The soloist asks the initial question, the rest the choir or congregation sing "Certainly, Lord", and the soloist and the choir/congregation sing "Certainly, certainly, certainly Lord".
Like other African American Civil Rights songs of the 1960s, the words of this song were changed and can still be changed to fit the particular issue or cause being protested.
* "Jail over bail" means that the person arrested chooses to remain in jail rather than have his or her bail paid and be released from jail. This strategy draws media attention to the cause being protested.
FEATURED VIDEOS
Video #1: Have You Got Good Religion
Posted by jayhardinchristine
June 22, 2009
"Sis. Calloway leading the SBC Gospel Choir in singing "Have you got good religion". Have you got good religion? Certainly, Lord. Certainly, certainly, certainly, Lord. "
-snip-
It appears that this choir is singing "Have You Got Good Religion" during a congregational offering. In the Baptist church that I attended in my hometown of Atlantic City, New Jersey, one of the two offerings was (and still is) also done this way. Members of the congregation move row by row to the front to give their money donations. After the congregation finishes, the choir comes down from their rows on the rostum behind the minister/s to give their offering or an offering plate is passed to the choir and ministers.
"SBC" probably stands for "Shiloh Baptist Church" or "Second Baptist Church". Both of these are very common church names among African Americans throughout the United States.
****
Video #2: Jessye Norman + Kathleen Battle 'Certainly, Lord' 1990
Posted by LEGENDSOFTHEROD1
July 09, 2009
"[For blasianFMA] Performing at Carnegie Hall .... with James Levine .... March 1990"
-snip-
In my experience, a moderately fast tempo is used for the civil rights version of "Certainly, Lord". That tempo is faster than either of the Gospel versions of this song that are featured in this post.
RELATED LINKS
Click http://pancocojams.blogspot.com/2012/06/aint-gonna-let-nobody-turn-me-round.html
One of the videos on that post includes documentary clips of 1960s Civil Rights marches.
**
Also click http://cocojams.com/content/african-american-civil-rights-songs for additional examples of African American Civil Rights songs.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Sunday, June 24, 2012
"Daniel In The Lion's Den" Song (Sound Files & Lyrics)
Edited by Azizi Powell
This post provides two sound files performances of the song "Daniel In The Lion's Den". This post also includes the lyrics of these particular renditions.
The content of this post is presented for historical, folkloric, religious, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the unknown composers of this song. My thanks also to the featured performers of this song, to the collectors and recorders of early these renditions of this song, and to the uploaders of these sound files.
****
INFORMATION ABOUT "DANIEL IN THE LION'S DEN".
"Daniel In The Lion's Den" is an African American Gospel song. The earliest recording of this song is by the Norfolk Jubilee Quartet in 1927.
Click http://christianity.about.com/od/biblestorysummaries/a/Daniel-Den-Of-Lions.htm for a summary and background information of the Old Testament Biblical story of Daniel in the lion's den.
****
FEATURED SOUND FILES
Sound File #1: Norfolk Jubilee Quartette - Daniel in the lions' den
Uploaded by kr103 on Sep 10, 2008
New Yirk Recording Laboratories master 2816-2, rec. New York, February 1927 ca.
James „Buddy" Archer (tenor), Otto Tutson (tenor), Delroy [or Delrose] Hollins (baritone), Len Williams (bass).
The quality of those early electric Paramounts is simply unpleasant (did they record through a telephone line), but this is a great performance, so ...
-snip-
LYRICS: DANIEL IN THE LION'S DEN
(Unknown composers; as sung by the Norfolk Jubilee Quartette, 1927)
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
-snip-
Transcription from the sound file by Azizi Powell, 6/24/2012 without the words of the background singers.
"Didn't My Lord Deliver Daniel" is also a stand alone African American spiritual. The line "why not deliver man" is usually given as "And why not every man".
Click http://www.youtube.com/watch?v=emkRoOWe-xc for a video of members of the Alvin Ailey dance company dancing to a rendition of "Didn't My Lord Deliver Daniel".
The lyrics "Lord, won't you come by here" is a stand alone song and a floating verse in several other African American early Gospel songs. The subsequent line for that song (or the subsequent floating verse) is "now is the needed time". An example of these lines are found in the Bessie Jones version of this song which is presented below.
Also, click http://www.mudcat.org/thread.cfm?threadid=19695 for mention of this song/floating verses in the 1972 African American movie Sounder. In addition, on January 17, 2009, WysiwyG!(Susan) wrote "There are a lot of spirituals, blues, and gospel songs with this tune and with this textual pattern.
Just Over in the GloryLand
(NOT Kumbaya) Lord, Won't You Come By Here AKA Now is the The Needed Time"....
http://mudcat.org/thread.cfm?threadid=117754#2538561 Lyr Add: Daniel in the Lions' Den (1927 Recording)
-snip-
However, the renditions of "Over Into Gloryland" that I've found on YouTube don't appear to be the same song that referred to.
****
Sound File #2: Bessie Jones - Daniel in the Lion's Den
Uploaded by gabehampton on Jun 18, 2010
-snip-
LYRICS: DANIEL IN THE LION DEN
(Unknown composers; as performed by Bessie Jones & The Georgia Sea Islands)
Daniel in the lion den.
Oh, Daniel in the lion den
Lord, Daniel in the lion den.
Daniel in the lion den.
Oh, Daniel in the lion den.
Daniel in the lion den.
He cried “Lord, have mercy on me.”
He said “Lord, have mercy on me.”
He cried “Lord, have mercy on me.”
He said, Lord, have mercy on me”.
Lord, have mercy on me”.
Lord, have mercy on me”.
He said “Now is the needed time.”
Lord “Now is the needed time”.
He cried “Now is the needed time.”
He said “Now is the needed time”.
He cried “Now is the needed time.”
He said “Now is the needed time.”
He said “Now is the needed time”.
He promised to answer prayer.
Lord, You promised to answer prayer.
Yes, You promised to answer prayer.
He said "You promised to answer prayer."
Promised, Lord, to answer prayer.
Promised, Lord, to answer prayer
Then ,Lord, He sent an angel down.
God, He sent an angel down.
Yes, God, He sent an angel down.
God, He sent an angel down.
God, He sent an angel down.
Yes, God sent an angel down.
Then the angel he locked the lion’s jaw.
The angel locked the lion’s jaw.
Yes, angel locked the lion’s jaw.
Well, the angel locked the lion’s jaw.
Lord, the angel locked the lion’s jaw.
The angel locked the lion’s jaw.
-snip-
This transcription is by Azizi Powell on 6/24/2012 from the sound file given above but without the inclusion of the words sung by the back-up singers.
Note: This transcription is not meant to imply that the beginning or middle injections such as "Oh", "Well", and "Lord" or the beginning phrases "He said" and "He cried" have to be the same with every rendition of this song.
Because this song tells a story, unlike most spirituals or Gospel songs, the order of the verses given above are probably very consistent with each rendition. For instance, the verse "the angel locked the lion's jaw" should not be sung before the verse "God sent an angel down".
Click http://www.youtube.com/watch?v=2wDUWVO_6_A to hear another rendition of this song by Bessie Jones and the Georgia Sea Island Singers with slightly different beginning interjections but the same order of verses. That sound file's uploader, MuseOBlues, wrote that this sound file was "Recorded by Alan Lomax May 5, 1960 on St. Simons Island, GA as part of his Southern Journeys recordings of native folk music.
Backing singers include: Joe Armstrong, Jerome Davis, John Davis, Peter Davis, Henry Morrison, Willis Proctor, and Ben Ramsay."
A commenter on that sound file's comment thread describes that rendition of this song as "a capella gospel". That same descriptor would apply to the 1927 sound file of the Norfolk Jubilee Quartette.
****
RELATED LINKS
Click http://www.youtube.com/watch?v=_f5JjPJSeec for a rendition of Charlie Parr - Daniel In The Lion's Den with guitar accompaniment. That rendition begins and ends with the verse "Jesus won’t you come by here". Also, the line "Now is the needed time" serves as the 4th, 5th and 6th lines of each verse.
***
Several videos of choral arrangements of "Daniel In The Lion's Den" can also be found on YouTube. http://www.youtube.com/watch?v=O7HYBkPXJA8&feature=related is an example of these choral arrangements.
****
Click http://pancocojams.blogspot.com/2012/06/biblical-references-in-african-american.html to find the pancocojams post "Biblical References In African American Religious Songs (Part I - Old Testament)"
****
Thanks for visiting pancocojams.
Viewer comments are welcome
This post provides two sound files performances of the song "Daniel In The Lion's Den". This post also includes the lyrics of these particular renditions.
The content of this post is presented for historical, folkloric, religious, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the unknown composers of this song. My thanks also to the featured performers of this song, to the collectors and recorders of early these renditions of this song, and to the uploaders of these sound files.
****
INFORMATION ABOUT "DANIEL IN THE LION'S DEN".
"Daniel In The Lion's Den" is an African American Gospel song. The earliest recording of this song is by the Norfolk Jubilee Quartet in 1927.
Click http://christianity.about.com/od/biblestorysummaries/a/Daniel-Den-Of-Lions.htm for a summary and background information of the Old Testament Biblical story of Daniel in the lion's den.
****
FEATURED SOUND FILES
Sound File #1: Norfolk Jubilee Quartette - Daniel in the lions' den
Uploaded by kr103 on Sep 10, 2008
New Yirk Recording Laboratories master 2816-2, rec. New York, February 1927 ca.
James „Buddy" Archer (tenor), Otto Tutson (tenor), Delroy [or Delrose] Hollins (baritone), Len Williams (bass).
The quality of those early electric Paramounts is simply unpleasant (did they record through a telephone line), but this is a great performance, so ...
-snip-
LYRICS: DANIEL IN THE LION'S DEN
(Unknown composers; as sung by the Norfolk Jubilee Quartette, 1927)
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Daniel in the lion’s den
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
The angel locked the lion’s yaw.
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Lordy, won’t you come by here.
Lordy, won’t you come by here.
Lordy won’t you come by here.
Didn’t God deliver Daniel, Daniel, Daniel
Didn’t God deliver Daniel
Why not deliver man.
-snip-
Transcription from the sound file by Azizi Powell, 6/24/2012 without the words of the background singers.
"Didn't My Lord Deliver Daniel" is also a stand alone African American spiritual. The line "why not deliver man" is usually given as "And why not every man".
Click http://www.youtube.com/watch?v=emkRoOWe-xc for a video of members of the Alvin Ailey dance company dancing to a rendition of "Didn't My Lord Deliver Daniel".
The lyrics "Lord, won't you come by here" is a stand alone song and a floating verse in several other African American early Gospel songs. The subsequent line for that song (or the subsequent floating verse) is "now is the needed time". An example of these lines are found in the Bessie Jones version of this song which is presented below.
Also, click http://www.mudcat.org/thread.cfm?threadid=19695 for mention of this song/floating verses in the 1972 African American movie Sounder. In addition, on January 17, 2009, WysiwyG!(Susan) wrote "There are a lot of spirituals, blues, and gospel songs with this tune and with this textual pattern.
Just Over in the GloryLand
(NOT Kumbaya) Lord, Won't You Come By Here AKA Now is the The Needed Time"....
http://mudcat.org/thread.cfm?threadid=117754#2538561 Lyr Add: Daniel in the Lions' Den (1927 Recording)
-snip-
However, the renditions of "Over Into Gloryland" that I've found on YouTube don't appear to be the same song that referred to.
****
Sound File #2: Bessie Jones - Daniel in the Lion's Den
Uploaded by gabehampton on Jun 18, 2010
-snip-
LYRICS: DANIEL IN THE LION DEN
(Unknown composers; as performed by Bessie Jones & The Georgia Sea Islands)
Daniel in the lion den.
Oh, Daniel in the lion den
Lord, Daniel in the lion den.
Daniel in the lion den.
Oh, Daniel in the lion den.
Daniel in the lion den.
He cried “Lord, have mercy on me.”
He said “Lord, have mercy on me.”
He cried “Lord, have mercy on me.”
He said, Lord, have mercy on me”.
Lord, have mercy on me”.
Lord, have mercy on me”.
He said “Now is the needed time.”
Lord “Now is the needed time”.
He cried “Now is the needed time.”
He said “Now is the needed time”.
He cried “Now is the needed time.”
He said “Now is the needed time.”
He said “Now is the needed time”.
He promised to answer prayer.
Lord, You promised to answer prayer.
Yes, You promised to answer prayer.
He said "You promised to answer prayer."
Promised, Lord, to answer prayer.
Promised, Lord, to answer prayer
Then ,Lord, He sent an angel down.
God, He sent an angel down.
Yes, God, He sent an angel down.
God, He sent an angel down.
God, He sent an angel down.
Yes, God sent an angel down.
Then the angel he locked the lion’s jaw.
The angel locked the lion’s jaw.
Yes, angel locked the lion’s jaw.
Well, the angel locked the lion’s jaw.
Lord, the angel locked the lion’s jaw.
The angel locked the lion’s jaw.
-snip-
This transcription is by Azizi Powell on 6/24/2012 from the sound file given above but without the inclusion of the words sung by the back-up singers.
Note: This transcription is not meant to imply that the beginning or middle injections such as "Oh", "Well", and "Lord" or the beginning phrases "He said" and "He cried" have to be the same with every rendition of this song.
Because this song tells a story, unlike most spirituals or Gospel songs, the order of the verses given above are probably very consistent with each rendition. For instance, the verse "the angel locked the lion's jaw" should not be sung before the verse "God sent an angel down".
Click http://www.youtube.com/watch?v=2wDUWVO_6_A to hear another rendition of this song by Bessie Jones and the Georgia Sea Island Singers with slightly different beginning interjections but the same order of verses. That sound file's uploader, MuseOBlues, wrote that this sound file was "Recorded by Alan Lomax May 5, 1960 on St. Simons Island, GA as part of his Southern Journeys recordings of native folk music.
Backing singers include: Joe Armstrong, Jerome Davis, John Davis, Peter Davis, Henry Morrison, Willis Proctor, and Ben Ramsay."
A commenter on that sound file's comment thread describes that rendition of this song as "a capella gospel". That same descriptor would apply to the 1927 sound file of the Norfolk Jubilee Quartette.
****
RELATED LINKS
Click http://www.youtube.com/watch?v=_f5JjPJSeec for a rendition of Charlie Parr - Daniel In The Lion's Den with guitar accompaniment. That rendition begins and ends with the verse "Jesus won’t you come by here". Also, the line "Now is the needed time" serves as the 4th, 5th and 6th lines of each verse.
***
Several videos of choral arrangements of "Daniel In The Lion's Den" can also be found on YouTube. http://www.youtube.com/watch?v=O7HYBkPXJA8&feature=related is an example of these choral arrangements.
****
Click http://pancocojams.blogspot.com/2012/06/biblical-references-in-african-american.html to find the pancocojams post "Biblical References In African American Religious Songs (Part I - Old Testament)"
****
Thanks for visiting pancocojams.
Viewer comments are welcome
Friday, June 22, 2012
Byron Lee & The Dragonnaires (Selected Soca Songs)
Edited by Azizi Powell
This post showcases four sound files & one video of selected soca songs performed by the Jamaican band "Byron Lee & The Dragonnaires".
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes.
My thanks to Byron Lee & the Dragonnaires for their musical legacy. My thanks also to the composers of these songs, as well as to the producers & uploaders of these sound file and this video. All copyrights remain with their owners.
INFORMATION ABOUT BYRON LEE & THE DRAGONNAIRES
From http://en.wikipedia.org/wiki/Byron_Lee_and_the_Dragonaires:
FEATURED SOUND FILES AND VIDEOS
[These songs are presented in no particular order.]
Video #1: Byron Lee - Dollar Wine
Uploaded by fetetv on Jan 31, 2008
Byron Lee is in the fete. Juck Juck Juck...See you in the Caribbean.
-snip-
A number of bloggers on this sound file's viewer comment thread debated which Caribbean nation this song came from. Here are two comments from that comment thread http://www.youtube.com/all_comments?v=QUQ_nZSJ6g8:
"It doesn't matter who want to claim this song this was an intercaribbean effort, colin lucas from trinidad sing it first, byron lee remade it with a lead singer who was definitely not a jamaican so in conclusion stfu and enjoy the music and be proud to be west indian and if your not west indian come and have a good time anyhow."
-rmsutherland; 2011
**
"Collin Lucas composed and performed song in 1991. It won road March Titles in England, Canada and South Florida that year. He also recorded it with the Trinidad Band called Taxi in 1994. Byron Lee covers music and plays mostly Calypso and later Soca music already made popular by original artists for each year that the song he plays came out since the 1960's. Easy to check original recordings. Please refer to Album credits on CDS and records if you have them ."
-bujudoug1 ; 2011
****
Video #2: Byron Lee & The Dragonaires - Tiny Winey.mp4
Uploaded by DJManquin on Dec 11, 2011
This is the official clip of this song
****
Video #3: Byron Lee - Doh Rock It So
Uploaded by trinigyal15 on Jul 11, 2008
Old soca.
****
Video #4: Soca Butterfly-Bryon Lee
Uploaded by GuyanaBaboo247 on Aug 9, 2009
****
Video #5: Byron Lee - Walk & Wine (Conga Line) [SOCA]
Uploaded by TheSocaMan on Feb 27, 2009
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This post showcases four sound files & one video of selected soca songs performed by the Jamaican band "Byron Lee & The Dragonnaires".
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes.
My thanks to Byron Lee & the Dragonnaires for their musical legacy. My thanks also to the composers of these songs, as well as to the producers & uploaders of these sound file and this video. All copyrights remain with their owners.
INFORMATION ABOUT BYRON LEE & THE DRAGONNAIRES
From http://en.wikipedia.org/wiki/Byron_Lee_and_the_Dragonaires:
Byron Lee and the Dragonaires (known as Byron Lee's Dragonaires since Lee's death) are a Jamaican ska, calypso and soca band. The band played a crucial pioneering role in bringing Caribbean music to the world...****
Years active: 1950 to present
Genres: Ska, mento, reggae, calypso, soca...
From 1979, the Dragonaires output was heavily concentrated on calypso, soca, and mas, regularly performing at Trinidad & Tobago's carnival, and also touring the Caribbean and North America.[1] Throughout the 1990s they were also regulars at Jamaica's carnival, and their "Dance Hall Soca" hit (recorded with Admiral Bailey) was credited with starting the ragga-soca craze of the late 1990s...
Byron Lee died on 4 November 2008...
The band has continued since Lee's death, with the name slightly altered to Byron Lee's Dragonaires.
FEATURED SOUND FILES AND VIDEOS
[These songs are presented in no particular order.]
Video #1: Byron Lee - Dollar Wine
Uploaded by fetetv on Jan 31, 2008
Byron Lee is in the fete. Juck Juck Juck...See you in the Caribbean.
-snip-
A number of bloggers on this sound file's viewer comment thread debated which Caribbean nation this song came from. Here are two comments from that comment thread http://www.youtube.com/all_comments?v=QUQ_nZSJ6g8:
"It doesn't matter who want to claim this song this was an intercaribbean effort, colin lucas from trinidad sing it first, byron lee remade it with a lead singer who was definitely not a jamaican so in conclusion stfu and enjoy the music and be proud to be west indian and if your not west indian come and have a good time anyhow."
-rmsutherland; 2011
**
"Collin Lucas composed and performed song in 1991. It won road March Titles in England, Canada and South Florida that year. He also recorded it with the Trinidad Band called Taxi in 1994. Byron Lee covers music and plays mostly Calypso and later Soca music already made popular by original artists for each year that the song he plays came out since the 1960's. Easy to check original recordings. Please refer to Album credits on CDS and records if you have them ."
-bujudoug1 ; 2011
****
Video #2: Byron Lee & The Dragonaires - Tiny Winey.mp4
Uploaded by DJManquin on Dec 11, 2011
This is the official clip of this song
****
Video #3: Byron Lee - Doh Rock It So
Uploaded by trinigyal15 on Jul 11, 2008
Old soca.
****
Video #4: Soca Butterfly-Bryon Lee
Uploaded by GuyanaBaboo247 on Aug 9, 2009
****
Video #5: Byron Lee - Walk & Wine (Conga Line) [SOCA]
Uploaded by TheSocaMan on Feb 27, 2009
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Tuesday, June 19, 2012
Latin Jazz - Performances Of "El Cumbanchero"
Edited by Azizi Powell
This post showcases three videos of Latin Jazz groups' performances of Puerto Rican composer Rafael Hernandez's 1940s composition "El Cumbanchero".
The content of this post is provided for historical, recreation, and aesthetic purposes.
****
FEATURED VIDEOS
Video #1: The Four Amigos - El Cumbanchero - Puerto Rico
Uploaded by wattachee on Mar 7, 2010
The Four Amigos sing Rafael Hernandez's "El Cumbanchero" on the Bill Dana Show in 1964. This Puerto Rican quartert also known as "Los Borincanos" performed with Elvis Presley in two movies; Viva Las Vegas & Girls, Girls, Girls
****
Video #2: Tito Puente - El Cumbanchero
Uploaded by carlosaleon on Feb 18, 2007
Rare, non-commercial 1965 clip of Tito Puente playing "El Cumbanchero" by Rafael Hernandez, one of the most prolific and important Puerto Rican composers of the century. This is from a tribute show to Hernandez that El Banco Popular sponsored in 1965.
****
Video #3: Perez Prado - El Cumbanchero
Uploaded by cesarchalon on Jan 28, 2011
...Pérez Prado ejecutó en 1947, el mambo QUE RICO EL MAMBO, usando la orquesta tipo jazzband, haciendo una reestructuración distinta del nuevo ritmo en las sonoridades de trompetas y saxos, con percusión cubana y un desarrollo melódico sobre la base de esquemas percusivos en secuencias. El uso de la voz con textos incoherentes, pero de valor percusivo también, fueron sus características más notables
****
RELATED LINKS
Here's a link to biographical information about Rafael Hernandez:
http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn.
**
Click http://cocojams.com/content/flea-fly-flow-cumala-vista-sources-and-examples for examples, and videos of and comments about the English language playground & camp song "Flea Fly Flow" ("Cumala Vista"). It's my position that the song "El Cumbanchero" is the Spanish source for the song "Flea Fly Flow" song.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This post showcases three videos of Latin Jazz groups' performances of Puerto Rican composer Rafael Hernandez's 1940s composition "El Cumbanchero".
The content of this post is provided for historical, recreation, and aesthetic purposes.
****
FEATURED VIDEOS
Video #1: The Four Amigos - El Cumbanchero - Puerto Rico
Uploaded by wattachee on Mar 7, 2010
The Four Amigos sing Rafael Hernandez's "El Cumbanchero" on the Bill Dana Show in 1964. This Puerto Rican quartert also known as "Los Borincanos" performed with Elvis Presley in two movies; Viva Las Vegas & Girls, Girls, Girls
****
Video #2: Tito Puente - El Cumbanchero
Uploaded by carlosaleon on Feb 18, 2007
Rare, non-commercial 1965 clip of Tito Puente playing "El Cumbanchero" by Rafael Hernandez, one of the most prolific and important Puerto Rican composers of the century. This is from a tribute show to Hernandez that El Banco Popular sponsored in 1965.
****
Video #3: Perez Prado - El Cumbanchero
Uploaded by cesarchalon on Jan 28, 2011
...Pérez Prado ejecutó en 1947, el mambo QUE RICO EL MAMBO, usando la orquesta tipo jazzband, haciendo una reestructuración distinta del nuevo ritmo en las sonoridades de trompetas y saxos, con percusión cubana y un desarrollo melódico sobre la base de esquemas percusivos en secuencias. El uso de la voz con textos incoherentes, pero de valor percusivo también, fueron sus características más notables
****
RELATED LINKS
Here's a link to biographical information about Rafael Hernandez:
http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn.
**
Click http://cocojams.com/content/flea-fly-flow-cumala-vista-sources-and-examples for examples, and videos of and comments about the English language playground & camp song "Flea Fly Flow" ("Cumala Vista"). It's my position that the song "El Cumbanchero" is the Spanish source for the song "Flea Fly Flow" song.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Monday, June 18, 2012
Oscar Brown Jr - "The Signifyin Monkey" (Video, Lyrics, Comments)
Edited by Azizi Powell
This post presents a video & lyrics of and information about the African American toast "The Signifyin Monkey".
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to Oscar Brown Jr for composing & performing a "clean"* version of this African American toast. My thanks also to the producer and uploader of this video, as well as to the authors of the quoted information.
* An explanation of the term "clean" in the context of this composition is provided in the NOTES section below.
****
FEATURED VIDEO
Oscar Brown Jr on Chic-A-Go-Go (1996)
Uploaded by chicagogo on Sep 20, 2009
Legendary Chicago poet/singer/playwrite/activist visits Miss Joy on the first season of our cable access dance show (for more info visit www.roctober.com/chicagogo ). He sings his version of the legendary toast Signifying Monkey
****
LYRICS: SIGNIFYIN' MONKEY
(by Oscar Brown, Jr.)
Said the signifyin' monkey to the lion one day:
"Hey, there's a great big elephant down the way
Goin' 'round talkin' ,I am sorry to say,
About your momma in a scandalous way.
He's talkin' 'bout your momma and your grandma, too
And he don't show so much respect for you.
You want to chat? I sure am glad.
'Cause what he said about your momma, it made me mad".
Chorus:
Signifyin' Monkey, stay up in your tree.
You are always lyin' and signifyin'
But you better not monkey with me.
The lion said "Yeah well, I'll fix him.
I'll tear that elephant limb from limb.
He found the elephant where the tall grass grows
Said "I come to punch you in your long nose."
The elephant looked over at the lion in surprise
Said, "Boy you better go pick on somebody your own size."
But the lion wouldn't listen, he made a pass.
Then the elephant slapped him down in the grass.
The lion just roared and sprung from the ground.
And that's when the elephant really went to town.
He whipped that lion for the rest of the day
And I still don't see how the lion got away.
But he dragged on off, more dead than alive.
And that's when that monkey started his signifyin' jive.
Chorus
The monkey looked down and said "Ooo-whee!
What is that beat up mess I see?
Is that you lion? Well do tell.
He beat your head to a fare-thee-well.
He gave you a beatin' that was a run for nothin'.
And you s'posed to be king of the jungle? Well ain't that somethin'.
You big overgrown pussycat, don't you roar
Or I'll hop down there and whup you some more."
The monkey got to laughin' and a-jumpn' up and down
But his foot missed the limb, and he plunged to the ground.
The lion was on him with all four feet -
Gonna grind that monkey into hamburger meat.
The monkey looked up with tears in his eyes
Said "Please Mr. Lion, I apologize.
I meant no harm, so please let me go
And I'll tell you somethin' you really need to know."
Chorus
Well the lion stepped back to hear what that monkey had to say
And the monkey scampered up a tree and got away
What I want to tell you, the monkey hollered then
"If you fool with me I'll sic the elephant on you again."
The lion just shook his head and said "You jive.
If you and your monkey children want to stay alive
Up in them trees is where you better stay."
And that's where they are till this very day.
Chorus
-snip-
Hat tip to dwditty for posting these lyrics on http://www.mudcat.org/thread.cfm?threadid=6932&messages=13 "Lyr Req: Signifyin' Monkey (Oscar Brown Jr.)"
[I made several minor corrections, and added quotation marks, some other punctuation, and italics to better clarify what was being said and how I believe that it was meant to be said.]
**
From http://en.wikipedia.org/wiki/Oscar_Brown:
"Oscar Brown, Jr (October 10, 1926 – May 29, 2005) was an American singer, songwriter, playwright, poet, civil rights activist, and actor."
-snip-
Oscar Brown Jr's "Signifyin Monkey" is from his 1960 album "Sin and Soul"
Source: http://www.answers.com/topic/oscar-brown.
****
NOTES
Here are some explanations of words & phrases used in this post and in this composition:
"clean" version - a version of a composition that doesn't contain any profanity or sexually explicit content; the opposite of "dirty" (bawdy)
**
toasts
From http://www.louisianafolklife.org/LT/Articles_Essays/creole_art_toast_tradition.html:
"'Toasts' are performed narratives of often urban but always heroic events...As with any oral tradition, many versions of the same toast exist. The toast is a dynamic performance within the Black community of recognizable and popular central characters."
-snip-
Traditionally, African American toasts are usually bawdy ("dirty", obscene).
**
signifyin
"Signifyin" is an African American way of pronouncing and writing the word "signifying".
From http://www.straightdope.com/columns/read/498/to-african-americans-what-does-signifying-mean:
"Signifying — the origin of the term is obscure — is the process of semi-witty insults by which black American male adolescents attempt to cut their buddies down to size...As with any sort of repartee, whether you really mean it depends on the situation.
The exact definition of signifying (also known, in various times and places, as sigging, sounding, woofing, wolfing, burning, icing, joning, etc.) is a bit vague. To some it means any kind of ritual insult; to others, it must include an element of indirection — i.e., the victim doesn't realize he's being insulted, you egg the victim into a fight with somebody else, or in general you just lay on the BS. One form of signifying is "doin' the dozens," which usually means making fun of the other guy's relatives, particularly his momma"...
-snip-
"Signifying jive" = signifyin talk; what you say when you are signifyin (also known as "talkin trash" (trash talk)
**
"You jive" = "You are jive." meaning "You are worthless, no good.
**
"you better not monkey with me" = ["monkey with me" means "to mess with me", "to play around with me"; "to treat me without respect"; "to fool with me"
**
"...I'll sic the elephant on you again." = to urge or incite the elephant to attack your again" [by signifyin]
**
"he really went to town" = he started doing something with a lot of energy.
**
"He beat your head to a fare-thee-well" = "He beat you up real bad". [The term "fare- thee-well" is used here for rhyming effect. It wasn't/isn't part of African American vernacular.
****
RELATED LINKS
http://en.wikipedia.org/wiki/Signifying_monkey
Signifying monkey
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This post presents a video & lyrics of and information about the African American toast "The Signifyin Monkey".
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to Oscar Brown Jr for composing & performing a "clean"* version of this African American toast. My thanks also to the producer and uploader of this video, as well as to the authors of the quoted information.
* An explanation of the term "clean" in the context of this composition is provided in the NOTES section below.
****
FEATURED VIDEO
Oscar Brown Jr on Chic-A-Go-Go (1996)
Uploaded by chicagogo on Sep 20, 2009
Legendary Chicago poet/singer/playwrite/activist visits Miss Joy on the first season of our cable access dance show (for more info visit www.roctober.com/chicagogo ). He sings his version of the legendary toast Signifying Monkey
****
LYRICS: SIGNIFYIN' MONKEY
(by Oscar Brown, Jr.)
Said the signifyin' monkey to the lion one day:
"Hey, there's a great big elephant down the way
Goin' 'round talkin' ,I am sorry to say,
About your momma in a scandalous way.
He's talkin' 'bout your momma and your grandma, too
And he don't show so much respect for you.
You want to chat? I sure am glad.
'Cause what he said about your momma, it made me mad".
Chorus:
Signifyin' Monkey, stay up in your tree.
You are always lyin' and signifyin'
But you better not monkey with me.
The lion said "Yeah well, I'll fix him.
I'll tear that elephant limb from limb.
He found the elephant where the tall grass grows
Said "I come to punch you in your long nose."
The elephant looked over at the lion in surprise
Said, "Boy you better go pick on somebody your own size."
But the lion wouldn't listen, he made a pass.
Then the elephant slapped him down in the grass.
The lion just roared and sprung from the ground.
And that's when the elephant really went to town.
He whipped that lion for the rest of the day
And I still don't see how the lion got away.
But he dragged on off, more dead than alive.
And that's when that monkey started his signifyin' jive.
Chorus
The monkey looked down and said "Ooo-whee!
What is that beat up mess I see?
Is that you lion? Well do tell.
He beat your head to a fare-thee-well.
He gave you a beatin' that was a run for nothin'.
And you s'posed to be king of the jungle? Well ain't that somethin'.
You big overgrown pussycat, don't you roar
Or I'll hop down there and whup you some more."
The monkey got to laughin' and a-jumpn' up and down
But his foot missed the limb, and he plunged to the ground.
The lion was on him with all four feet -
Gonna grind that monkey into hamburger meat.
The monkey looked up with tears in his eyes
Said "Please Mr. Lion, I apologize.
I meant no harm, so please let me go
And I'll tell you somethin' you really need to know."
Chorus
Well the lion stepped back to hear what that monkey had to say
And the monkey scampered up a tree and got away
What I want to tell you, the monkey hollered then
"If you fool with me I'll sic the elephant on you again."
The lion just shook his head and said "You jive.
If you and your monkey children want to stay alive
Up in them trees is where you better stay."
And that's where they are till this very day.
Chorus
-snip-
Hat tip to dwditty for posting these lyrics on http://www.mudcat.org/thread.cfm?threadid=6932&messages=13 "Lyr Req: Signifyin' Monkey (Oscar Brown Jr.)"
[I made several minor corrections, and added quotation marks, some other punctuation, and italics to better clarify what was being said and how I believe that it was meant to be said.]
**
From http://en.wikipedia.org/wiki/Oscar_Brown:
"Oscar Brown, Jr (October 10, 1926 – May 29, 2005) was an American singer, songwriter, playwright, poet, civil rights activist, and actor."
-snip-
Oscar Brown Jr's "Signifyin Monkey" is from his 1960 album "Sin and Soul"
Source: http://www.answers.com/topic/oscar-brown.
****
NOTES
Here are some explanations of words & phrases used in this post and in this composition:
"clean" version - a version of a composition that doesn't contain any profanity or sexually explicit content; the opposite of "dirty" (bawdy)
**
toasts
From http://www.louisianafolklife.org/LT/Articles_Essays/creole_art_toast_tradition.html:
"'Toasts' are performed narratives of often urban but always heroic events...As with any oral tradition, many versions of the same toast exist. The toast is a dynamic performance within the Black community of recognizable and popular central characters."
-snip-
Traditionally, African American toasts are usually bawdy ("dirty", obscene).
**
signifyin
"Signifyin" is an African American way of pronouncing and writing the word "signifying".
From http://www.straightdope.com/columns/read/498/to-african-americans-what-does-signifying-mean:
"Signifying — the origin of the term is obscure — is the process of semi-witty insults by which black American male adolescents attempt to cut their buddies down to size...As with any sort of repartee, whether you really mean it depends on the situation.
The exact definition of signifying (also known, in various times and places, as sigging, sounding, woofing, wolfing, burning, icing, joning, etc.) is a bit vague. To some it means any kind of ritual insult; to others, it must include an element of indirection — i.e., the victim doesn't realize he's being insulted, you egg the victim into a fight with somebody else, or in general you just lay on the BS. One form of signifying is "doin' the dozens," which usually means making fun of the other guy's relatives, particularly his momma"...
-snip-
"Signifying jive" = signifyin talk; what you say when you are signifyin (also known as "talkin trash" (trash talk)
**
"You jive" = "You are jive." meaning "You are worthless, no good.
**
"you better not monkey with me" = ["monkey with me" means "to mess with me", "to play around with me"; "to treat me without respect"; "to fool with me"
**
"...I'll sic the elephant on you again." = to urge or incite the elephant to attack your again" [by signifyin]
**
"he really went to town" = he started doing something with a lot of energy.
**
"He beat your head to a fare-thee-well" = "He beat you up real bad". [The term "fare- thee-well" is used here for rhyming effect. It wasn't/isn't part of African American vernacular.
****
RELATED LINKS
http://en.wikipedia.org/wiki/Signifying_monkey
Signifying monkey
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Sunday, June 17, 2012
A Father's Day Video Featuring President Obama's Family (2012)
Edited by Azizi Powell
This post features a "Happy Father's Day" message from The United States First Lady, Michelle Obama.
This video of President Barack Obama, First Lady Obama, and their daughters Malia & Sasha presents a addition to present a positive image of an American family and, specificially, an African American family). In addition, this video shows images of the cornrows natural hairstyle and the high five and poung hand gestures that have been the focus on several other posts on this blog. The "Notes" section below gives the exact times for those images and the "Related Links" section gives the hyperlinks to those aforementioned blog posts.
My thanks to the BarackObamadotcom for producing this video. The copyrights remain with their owners.
****
FEATURED VIDEO
Happy Father's Day from First Lady Michelle Obama
Published on Jun 17, 2012 by BarackObamadotcom
Share this: https://my.barackobama.com/fathersdayvid
Tweet this: https://my.barackobama.com/fathersdaytwvid
First Lady Michelle Obama wishes a happy Father's Day to all the dads out there and shares why President Obama is a great dad.
Every solution the President puts forward is inspired by a desire all parents share: the need to build a better world for his kids.
In President Obama's words:
"What I think about is what kind of world am I leaving my two little girls. And what I realized is that life doesn't count for much unless you're willing to do your small part to leave our children, all of our children, a better world. Even if it's difficult. Even in the work seems great. That's our responsibility as fathers and as parents."
****
NOTES
Images of Cornrolls In The Fathers' Day Video:
0:01; 0:08; 1:46 (Malia Obama)
2:15 (unidentified child)
**
Images of "High Five" Hand Gesture In The Fathers' Day Video:
2:16 (President Obama & unidentified child)
2:33 (President Obama & unidentified child)
**
Image of "Pound" Handshake In The Fathers' Day Video:
2:42 President Obama & unidentified child)
**
In addition, there's an image of Malia Obama wearing her hair in "natural twists" at 2:59 in this video. Click http://www.ehow.com/facts_5759289_natural-twist-hairstyles.html for information about "natural twists".
****
RELATED LINKS
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html "High Five Handshake Videos"
**
http://pancocojams.blogspot.com/2012/05/fist-bump-pound-handshakes.html "The Fist Bump (Pound) Handshakes"
**
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html "Videos of African American Males (Music & Natural Hairstyles), Part 3"
**
http://pancocojams.blogspot.com/2011/10/changing-shape-of-afro-hair-styles.html "The Changing Shape Of Women's Afro Hair Styles"
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This post features a "Happy Father's Day" message from The United States First Lady, Michelle Obama.
This video of President Barack Obama, First Lady Obama, and their daughters Malia & Sasha presents a addition to present a positive image of an American family and, specificially, an African American family). In addition, this video shows images of the cornrows natural hairstyle and the high five and poung hand gestures that have been the focus on several other posts on this blog. The "Notes" section below gives the exact times for those images and the "Related Links" section gives the hyperlinks to those aforementioned blog posts.
My thanks to the BarackObamadotcom for producing this video. The copyrights remain with their owners.
****
FEATURED VIDEO
Happy Father's Day from First Lady Michelle Obama
Published on Jun 17, 2012 by BarackObamadotcom
Share this: https://my.barackobama.com/fathersdayvid
Tweet this: https://my.barackobama.com/fathersdaytwvid
First Lady Michelle Obama wishes a happy Father's Day to all the dads out there and shares why President Obama is a great dad.
Every solution the President puts forward is inspired by a desire all parents share: the need to build a better world for his kids.
In President Obama's words:
"What I think about is what kind of world am I leaving my two little girls. And what I realized is that life doesn't count for much unless you're willing to do your small part to leave our children, all of our children, a better world. Even if it's difficult. Even in the work seems great. That's our responsibility as fathers and as parents."
****
NOTES
Images of Cornrolls In The Fathers' Day Video:
0:01; 0:08; 1:46 (Malia Obama)
2:15 (unidentified child)
**
Images of "High Five" Hand Gesture In The Fathers' Day Video:
2:16 (President Obama & unidentified child)
2:33 (President Obama & unidentified child)
**
Image of "Pound" Handshake In The Fathers' Day Video:
2:42 President Obama & unidentified child)
**
In addition, there's an image of Malia Obama wearing her hair in "natural twists" at 2:59 in this video. Click http://www.ehow.com/facts_5759289_natural-twist-hairstyles.html for information about "natural twists".
****
RELATED LINKS
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html "High Five Handshake Videos"
**
http://pancocojams.blogspot.com/2012/05/fist-bump-pound-handshakes.html "The Fist Bump (Pound) Handshakes"
**
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html "Videos of African American Males (Music & Natural Hairstyles), Part 3"
**
http://pancocojams.blogspot.com/2011/10/changing-shape-of-afro-hair-styles.html "The Changing Shape Of Women's Afro Hair Styles"
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Bob Marley, Black Uhuru, & Ziggy Marley - Songs About Natty Dreadlocks
Edited by Azizi Powell
This post showcases three videos & one sound file of songs that include the phrases "natty dread" or "natty dreadlock". This post also includes information about the meaning of the terms "natty dread" and "natty dreadlock" as well as information about the history & significance of the dreadlock hairstyle.
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers and uploaders of these videos & sound file, as well as the authors of the quoted information.
FEATURED VIDEOS
Video #1: Bob Marley - Natty Dread
Uploaded by nixthethalo on Aug 20, 2008
"Natty Dread captures Bob Marley's decisive transition from Wailers band member to auteur... his singing and writing now front and center, and the revamped band securely reined in to his defiant, Rastafarian worldview...; [1975]
-snip-
Click http://en.wikipedia.org/wiki/Natty_Dread for information about the song "Natty Dread."
****
Video #2:♫ ♕ Bob Marley ♕ Natty Dread Dortmund Live 1980 HD ♫
Uploaded by maurittos on May 4, 2011
♕ Bob Marley ♕ https://sites.google.com/site/maurittosnaturalmystic/
♫ King Of Reggae ♕ Bob Marley ♕ The Wailers Natty Dread Dortmund Live 1980 HD ♫
****
Video #3: Black Uhuru - Guess Who's Coming to Dinner [12'' Version]
Uploaded by RastaChaka on May 16, 2009
"Recorded in Kingston,JA
12"single,B-side of "Sinsemilla," released 1980
Produced and arranged by Sly Dunbar & Robbie Shakespear".
-snip-
Click http://en.wikipedia.org/wiki/Black_Uhuru for information about the Reggae group "Black Uhuru". [Note: The word "uhuru" is Swahili for "freedom".]
The title of this Reggae song is a reference to the 1967 American movie "Guess Who's Coming To Dinner". "Guess Who's Coming To Dinner" was the first American movie to positively portray interracial marriage. Click http://en.wikipedia.org/wiki/Guess_Who's_Coming_to_Dinner for information about that movie.
****
Video #4: Ziggy Marley & the Melody Makers - Natty Dread - Central Park New York 1996
Uploaded by hemi2k6 on Feb 20, 2009
-snip-
"Ziggy Marley is the oldest son of famed reggae musician Bob Marley". Click http://en.wikipedia.org/wiki/Ziggy_Marley for more information about Ziggy Marley
****
COMMENTARY: THE MEANING OF "NATTY DREAD"
http://niceup.com/patois.html
Natty, Natty Dread, Natty Congo:
1. dreadlocks 2. a person with dreadlocks
-snip-
From http://en.wikipedia.org/wiki/Natty_Dreadlocks:
Natty Dreadlocks (synonyms "Natty Dread", "Natty", "Dready" or "Dread") is a Rastafarian term used to describe a member of the Rastafari community. The term is often used in reggae music and elsewhere to represent an idealised personification of the Rastafari movement as a whole. It combines the term "natty", which means knotted (from knotty), a characteristic of the Rastafarian hair style, "dreadlocks".
-snip-
From http://www.urbandictionary.com/define.php?term=natty:
natty:
originating from rastafarian culture. meaning 'good',' cool' and most importantly, 'elite'.
"hey, natty dreads mon"
- :D ; Mar 30, 2003
-snip-
It's possible that the Jamaican patois word "natty" has its source in the word "knotty" and has nothing to do with the English word "natty" meaning "neat, "elegant", "dapper". However, it's also possible that "natty" also had those complimentary meanings as well as the "knotty" meaning.
****
COMMENTARY: THE HISTORY & CULTURAL SIGNIFICANCE OF THE DREADLOCK HAIRSTYLE
From http://www.jamaicans.com/culture/rasta/dreadlocks.shtml:
-snip-
This article further states that the dreadlock hairstyle is tied to the Biblical story about Samson who grew weak because his hair was cut. In addition, this article indicates that dreadlocks are associated with the lion's mane, and symbolizes the kingship of the lion over other animals. Also, the lion's mane symbolizes Haile Selassie I, Emperor of Ethiopia (ruled 1930–1974). In part this is because Haile Selassie I had a number of lions as pets, but it is also because Haile Selassie I was and is worshipped by most Rastafarians as God incarnate, the Second Advent, or the reincarnation of Jesus.
Source: http://en.wikipedia.org/wiki/Rastafari_movement. Therefore, the lion's mane therefore suggests all of this.
-snip-
It should be noted that dreadlocks are not a traditional hairstyle among males or females in Ethiopia.
****
OTHER RELATED LINKS
http://mudcat.org/thread.cfm?threadid=100728 Natty Dreads
This is a link to a discussion thread that I started in 2007 includes the lyrics to Bob Marley's song "Natty Dreads". That discussion thread includes information about the etymology of the word "natty" and also includes information about the word "nappy" (because of my initial mistaken belief that "natty" was a Jamaican way of saying "nappy"). That thread was started because of the controversy over radio host Don Imus' infamous comment about "nappy headed hos" and therefore includes comments about the afro hairstyle.
**
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html Videos of African American Males (Music & Natural Hairstyles), Part 3
This post features videos of African American male music performers with braids, cornrows, or dreadlocks.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This post showcases three videos & one sound file of songs that include the phrases "natty dread" or "natty dreadlock". This post also includes information about the meaning of the terms "natty dread" and "natty dreadlock" as well as information about the history & significance of the dreadlock hairstyle.
The content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. The copyrights remain with their owners.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers and uploaders of these videos & sound file, as well as the authors of the quoted information.
FEATURED VIDEOS
Video #1: Bob Marley - Natty Dread
Uploaded by nixthethalo on Aug 20, 2008
"Natty Dread captures Bob Marley's decisive transition from Wailers band member to auteur... his singing and writing now front and center, and the revamped band securely reined in to his defiant, Rastafarian worldview...; [1975]
-snip-
Click http://en.wikipedia.org/wiki/Natty_Dread for information about the song "Natty Dread."
****
Video #2:♫ ♕ Bob Marley ♕ Natty Dread Dortmund Live 1980 HD ♫
Uploaded by maurittos on May 4, 2011
♕ Bob Marley ♕ https://sites.google.com/site/maurittosnaturalmystic/
♫ King Of Reggae ♕ Bob Marley ♕ The Wailers Natty Dread Dortmund Live 1980 HD ♫
****
Video #3: Black Uhuru - Guess Who's Coming to Dinner [12'' Version]
Uploaded by RastaChaka on May 16, 2009
"Recorded in Kingston,JA
12"single,B-side of "Sinsemilla," released 1980
Produced and arranged by Sly Dunbar & Robbie Shakespear".
-snip-
Click http://en.wikipedia.org/wiki/Black_Uhuru for information about the Reggae group "Black Uhuru". [Note: The word "uhuru" is Swahili for "freedom".]
The title of this Reggae song is a reference to the 1967 American movie "Guess Who's Coming To Dinner". "Guess Who's Coming To Dinner" was the first American movie to positively portray interracial marriage. Click http://en.wikipedia.org/wiki/Guess_Who's_Coming_to_Dinner for information about that movie.
****
Video #4: Ziggy Marley & the Melody Makers - Natty Dread - Central Park New York 1996
Uploaded by hemi2k6 on Feb 20, 2009
-snip-
"Ziggy Marley is the oldest son of famed reggae musician Bob Marley". Click http://en.wikipedia.org/wiki/Ziggy_Marley for more information about Ziggy Marley
****
COMMENTARY: THE MEANING OF "NATTY DREAD"
http://niceup.com/patois.html
Natty, Natty Dread, Natty Congo:
1. dreadlocks 2. a person with dreadlocks
-snip-
From http://en.wikipedia.org/wiki/Natty_Dreadlocks:
Natty Dreadlocks (synonyms "Natty Dread", "Natty", "Dready" or "Dread") is a Rastafarian term used to describe a member of the Rastafari community. The term is often used in reggae music and elsewhere to represent an idealised personification of the Rastafari movement as a whole. It combines the term "natty", which means knotted (from knotty), a characteristic of the Rastafarian hair style, "dreadlocks".
-snip-
From http://www.urbandictionary.com/define.php?term=natty:
natty:
originating from rastafarian culture. meaning 'good',' cool' and most importantly, 'elite'.
"hey, natty dreads mon"
- :D ; Mar 30, 2003
-snip-
It's possible that the Jamaican patois word "natty" has its source in the word "knotty" and has nothing to do with the English word "natty" meaning "neat, "elegant", "dapper". However, it's also possible that "natty" also had those complimentary meanings as well as the "knotty" meaning.
****
COMMENTARY: THE HISTORY & CULTURAL SIGNIFICANCE OF THE DREADLOCK HAIRSTYLE
From http://www.jamaicans.com/culture/rasta/dreadlocks.shtml:
History of Dreadlocks
Dreadlocks are not unique to Jamaica and Rastafarians. The dreadlocks hairstyle originated in Africa and was worn by various tribes there. The earliest tribe this hairstyle can be attributed to is the Masai tribesmen of Kenya. Many of the warriors of this tribe wore this hairstyle. These men sometimes dyed their hair red with root extracts.
Dreadlocks in Jamaica
The dreadlocks hairstyle first appeared in Jamaica during post emancipation. It was a means of defiance for ex-slaves to rebel against Euro-centrism that was forced on them. The hairstyle was originally referred to as a "dreadful" hairstyle by the Euro centric Jamaican society. It later evolved to the term now used: Dreadlocks. Jamaicans also use the term Natty Dreadlock
Dreadlocks and Rastafari
Rastafarians grow their hair into dreadlocks because it is a part of the Nazarite Vow. (Also their dietary rules are part of the law) All Rastafarians take this vow and claim it is commanded by the Bible (Leviticus 21:5 "They shall not make baldness upon their head, neither shall they shave off the corner of their beard nor make any cuttings in their flesh").
-snip-
This article further states that the dreadlock hairstyle is tied to the Biblical story about Samson who grew weak because his hair was cut. In addition, this article indicates that dreadlocks are associated with the lion's mane, and symbolizes the kingship of the lion over other animals. Also, the lion's mane symbolizes Haile Selassie I, Emperor of Ethiopia (ruled 1930–1974). In part this is because Haile Selassie I had a number of lions as pets, but it is also because Haile Selassie I was and is worshipped by most Rastafarians as God incarnate, the Second Advent, or the reincarnation of Jesus.
Source: http://en.wikipedia.org/wiki/Rastafari_movement. Therefore, the lion's mane therefore suggests all of this.
-snip-
It should be noted that dreadlocks are not a traditional hairstyle among males or females in Ethiopia.
****
OTHER RELATED LINKS
http://mudcat.org/thread.cfm?threadid=100728 Natty Dreads
This is a link to a discussion thread that I started in 2007 includes the lyrics to Bob Marley's song "Natty Dreads". That discussion thread includes information about the etymology of the word "natty" and also includes information about the word "nappy" (because of my initial mistaken belief that "natty" was a Jamaican way of saying "nappy"). That thread was started because of the controversy over radio host Don Imus' infamous comment about "nappy headed hos" and therefore includes comments about the afro hairstyle.
**
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html Videos of African American Males (Music & Natural Hairstyles), Part 3
This post features videos of African American male music performers with braids, cornrows, or dreadlocks.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Friday, June 15, 2012
Videos of African American Males (Music & Natural Hairstyles), Part 3
Edited by Azizi Powell
This is Part III of a three part series on African American male vocalists & musicians performing non-religious music. Part III features African American males with braids, cornrows, or dreadlocks.
Part 1 of this series features videos of African American males with afros (naturals).
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music.html for Part I of this series.
Part II features videos of African American males with fades (hi-top fades) and with box hair cuts.
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_15.html for Part II of this series.
This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.
These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
PART III
THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.
It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.
Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**
That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.
*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.
**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.
****
FEATURED VIDEOS
[These videos are presented in chronological order.]
Video #1: Kris Kross - Jump
Uploaded by KrisKrossVEVO on Sep 24, 2010
Music video by Kris Kross performing Jump. (C) 1992 Sony BMG Music Entertainment
-snip-
KrissKross wear their hair in small braids.
****
Video #2: Stevie Wonder - You Are The Sunshine, Superstition (Live in London, 1995)
Uploaded by arXter on Dec 30, 2008
Stevie gives a rare studio concert at London's Teddington Studios following the release of his 'Conversation Peace' album. A sensual ride for an intimate audience of less than 200 fans.
-snip-
In this video, Stevie Wonder wears his hair braided with small beads. Click http://www.youtube.com/watch?v=FchMuPQOBwA Stevie Wonder - "Happy Birthday" for a sound file with a photograph of Stevie Wonder wearing his hair in bigger, colored beads.
****
Video #3: Stevie Wonder I wish - Isn't she lovely
Uploaded by ASSMGMS on Jul 11, 2009
Stevie Wonder - Live in London - 2009
-snip-
In this video, Stevie Wonder wears his hair in long braids.
****
Video #4: OutKast - Ms. Jackson
Uploaded by OutKastVaultVEVO on Nov 14, 2009
Music video by OutKast performing Ms. Jackson. (C) 2000 LaFace Records LLC
-snip-
In this video, "Big Boi" wears his hair in cornrows.
****
Video #5: Lenny Kravitz - Are You Gonna Go My Way
Uploaded by LennyKravitzVEVO on May 6, 2011
-snip-
In this video, Lenny Kravitz wears his hair in locks (dreadlocks).
Music video by Lenny Kravitz performing Are You Gonna Go My Way. (P) (C) 2011 Virgin Records America, Inc.. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by Virgin Records America, Inc., Capitol Records, LLC, 150 Fifth Avenue, New York, NY 10011.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part III of a three part series on African American male vocalists & musicians performing non-religious music. Part III features African American males with braids, cornrows, or dreadlocks.
Part 1 of this series features videos of African American males with afros (naturals).
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music.html for Part I of this series.
Part II features videos of African American males with fades (hi-top fades) and with box hair cuts.
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_15.html for Part II of this series.
This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.
These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
PART III
THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.
It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.
Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**
That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.
*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.
**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.
****
FEATURED VIDEOS
[These videos are presented in chronological order.]
Video #1: Kris Kross - Jump
Uploaded by KrisKrossVEVO on Sep 24, 2010
Music video by Kris Kross performing Jump. (C) 1992 Sony BMG Music Entertainment
-snip-
KrissKross wear their hair in small braids.
****
Video #2: Stevie Wonder - You Are The Sunshine, Superstition (Live in London, 1995)
Uploaded by arXter on Dec 30, 2008
Stevie gives a rare studio concert at London's Teddington Studios following the release of his 'Conversation Peace' album. A sensual ride for an intimate audience of less than 200 fans.
-snip-
In this video, Stevie Wonder wears his hair braided with small beads. Click http://www.youtube.com/watch?v=FchMuPQOBwA Stevie Wonder - "Happy Birthday" for a sound file with a photograph of Stevie Wonder wearing his hair in bigger, colored beads.
****
Video #3: Stevie Wonder I wish - Isn't she lovely
Uploaded by ASSMGMS on Jul 11, 2009
Stevie Wonder - Live in London - 2009
-snip-
In this video, Stevie Wonder wears his hair in long braids.
****
Video #4: OutKast - Ms. Jackson
Uploaded by OutKastVaultVEVO on Nov 14, 2009
Music video by OutKast performing Ms. Jackson. (C) 2000 LaFace Records LLC
-snip-
In this video, "Big Boi" wears his hair in cornrows.
****
Video #5: Lenny Kravitz - Are You Gonna Go My Way
Uploaded by LennyKravitzVEVO on May 6, 2011
-snip-
In this video, Lenny Kravitz wears his hair in locks (dreadlocks).
Music video by Lenny Kravitz performing Are You Gonna Go My Way. (P) (C) 2011 Virgin Records America, Inc.. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by Virgin Records America, Inc., Capitol Records, LLC, 150 Fifth Avenue, New York, NY 10011.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Videos of African American Males (Music & Natural Hairstyles), Part 2
Edited by Azizi Powell
This is Part II of a three part series on African American male vocalists & musicians performing non-religious music. Part II features videos of African American males with fades (hi-top fades) and with box hair cuts.
Part 1 of this series features videos of African American males with afros (naturals).
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music.html for Part I of this series.
Part III features African American males with braids, cornrows, or dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html for Part III of this series.
This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.
These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
****
PART II
THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.
It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.
Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**
That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.
*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.
**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.
FEATURED VIDEOS
[These videos are presented in chronological order.]
Disclaimer: I'm not an expert on Black hair styles. Consequently, I may be using the wrong names for the hairstyles/hair cuts that are featured in these videos. Corrections are welcome.
INFORMATION ABOUT HI-TOP FADES
From http://en.wikipedia.org/wiki/Hi-top_fade
"A hi-top fade is a style of haircut where hair on the sides is cut off or kept very short and hair on the top of the head is very long (in contrast, a low fade is when hair on the top is kept shorter).
The hi-top has been a trend symbolizing the Golden Era of hip hop and urban contemporary music during the late 1980s and the early 1990s. The hi-top fade was common among young African Americans between 1986 to 1993 and to a lesser extent in the mid-1990s (1994-1996). The style fell completely out of fashion by 1997."
-snip-
I've been told that Black males in the USA are wearing their hair in fades (hi-top fades) again, at least in Pittsburgh, Pennsylvania. Also, I've been told that another term for "fades" is "pumper" (from "pumping your hair up?)
FEATURED VIDEOS
[These videos are presented in chronological order.]
Video #1: Big Daddy Kane - Aint No Half Steppin (1988)
Uploaded by ass3678 on Jul 26, 2009
From the "Long Live The Kane" album.
-snip-
Some of the men in this video have their fades cut in a box. There also are men in this video with cornrows (hair braided close to their scalp) and other hairstyles.
****
Video #2: Kid N Play - Rollin With Kid N Play
Uploaded by KangK on Mar 3, 2006
Old School classic, Kid N Play havin fun in this video, this classic video is a shoutout to ole boy Kore [1989]
-snip-
"Kid", the lighter skinned member of this duo, wears his hair in a hi-top [box] fade. "Play", the darker skinned member of this duo, wears his hair in a "high low".
****
Video #3: Kwame - Only You
Uploaded by nedmann on Apr 3, 2010
Kwame and a New Beginning - Ownlee Eue Album : A Day in the Life A Pokadelick Adventure 1990
-snip-
Kwame wears his hair in a hi-top fade with a section of hair in the front dyed blond. Other male haircuts are found in this video.
****
Video #4: Another Bad Creation - Iesha
Uploaded by AnotherBCreationVEVO on Oct 8, 2009
Music video by Another Bad Creation performing Iesha. (C) 1990 Motown Records, a Division of UMG Recordings, Inc.
-snip-
Various types of hi-top fades are shown in this video.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This is Part II of a three part series on African American male vocalists & musicians performing non-religious music. Part II features videos of African American males with fades (hi-top fades) and with box hair cuts.
Part 1 of this series features videos of African American males with afros (naturals).
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music.html for Part I of this series.
Part III features African American males with braids, cornrows, or dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html for Part III of this series.
This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.
These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
****
PART II
THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.
It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.
Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**
That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.
*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.
**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.
FEATURED VIDEOS
[These videos are presented in chronological order.]
Disclaimer: I'm not an expert on Black hair styles. Consequently, I may be using the wrong names for the hairstyles/hair cuts that are featured in these videos. Corrections are welcome.
INFORMATION ABOUT HI-TOP FADES
From http://en.wikipedia.org/wiki/Hi-top_fade
"A hi-top fade is a style of haircut where hair on the sides is cut off or kept very short and hair on the top of the head is very long (in contrast, a low fade is when hair on the top is kept shorter).
The hi-top has been a trend symbolizing the Golden Era of hip hop and urban contemporary music during the late 1980s and the early 1990s. The hi-top fade was common among young African Americans between 1986 to 1993 and to a lesser extent in the mid-1990s (1994-1996). The style fell completely out of fashion by 1997."
-snip-
I've been told that Black males in the USA are wearing their hair in fades (hi-top fades) again, at least in Pittsburgh, Pennsylvania. Also, I've been told that another term for "fades" is "pumper" (from "pumping your hair up?)
FEATURED VIDEOS
[These videos are presented in chronological order.]
Video #1: Big Daddy Kane - Aint No Half Steppin (1988)
Uploaded by ass3678 on Jul 26, 2009
From the "Long Live The Kane" album.
-snip-
Some of the men in this video have their fades cut in a box. There also are men in this video with cornrows (hair braided close to their scalp) and other hairstyles.
****
Video #2: Kid N Play - Rollin With Kid N Play
Uploaded by KangK on Mar 3, 2006
Old School classic, Kid N Play havin fun in this video, this classic video is a shoutout to ole boy Kore [1989]
-snip-
"Kid", the lighter skinned member of this duo, wears his hair in a hi-top [box] fade. "Play", the darker skinned member of this duo, wears his hair in a "high low".
****
Video #3: Kwame - Only You
Uploaded by nedmann on Apr 3, 2010
Kwame and a New Beginning - Ownlee Eue Album : A Day in the Life A Pokadelick Adventure 1990
-snip-
Kwame wears his hair in a hi-top fade with a section of hair in the front dyed blond. Other male haircuts are found in this video.
****
Video #4: Another Bad Creation - Iesha
Uploaded by AnotherBCreationVEVO on Oct 8, 2009
Music video by Another Bad Creation performing Iesha. (C) 1990 Motown Records, a Division of UMG Recordings, Inc.
-snip-
Various types of hi-top fades are shown in this video.
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
Videos of African American Males (Music & Natural Hairstyles), Part 1
Edited by Azizi Powell
This is Part I of a three part series on African American male vocalists & musicians performing non-religious music. Part I features videos of African American males with afros (naturals).
Part II features video of African American males with fades (hi-top fades) and with box hair cuts. Part III features African American males with braids and with dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_15.html for Part II of this series.
Part III features African American males with braids, cornrows, or dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html for Part III of this series.
These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.
This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
PART I
THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.
It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.
Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**
That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.
*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.
**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.
****
FEATURED VIDEOS
[These videos are presented in chronological order.]
Video #1: Jimi Hendrix- Voodoo Child
Uploaded by freitasnetto1 on Jul 17, 2011
The Jimi Hendrix Experience apresentação no programa Happening for Lulu da BBC1 em 4 de Janeiro de 1969
****
Video #2:
Billy Preston Sings "Will It Go Round in Circles" on "The Tonight Show"
upoaded by johnnycarson on Jul 19, 2011
Billy Preston Performs "Will It Go Round in Circles" on "The Tonight Show Starring Johnny Carson" in 1973.
****
Video #3:
The Jackson 5 & Little Janet Jackson On 70s TV (High Quality)
Uploaded by Jackson5Videos on Aug 3, 2010
The Jackson 5 perform a tribute to The Mills Brothers, The Andrews Sisters, and The Supremes on The Carol Burnett Show 1975
****
Video #4: War - Me and Baby Brother [HQ]
Uploaded by koomugtoo on Aug 24, 2010 [1974]
****
Video #5: The Ohio Players - Fire
Uploaded by aalkounis on May 30, 2009
The Ohio Players @ The Midnight Special 1975
****
Video #6: Stevie Wonder - Superstition (Live 1982 Japan)
Uploaded by izugarria on Feb 6, 2009
****
Video #7: Lenny Kravitz - Are You Gonna Go My Way
Uploaded by MarioIsRock on Jan 26, 2008
-snip-
A viewer of this video guessed that this concert was in 2002 in Toronto, Canada.
****
RELATED LINK
http://pancocojams.blogspot.com/2011/10/changing-shape-of-afro-hair-styles.html "The Changing Shape Of Women's Afro Hair Styles"
****
Thanks for visiting pancocojams.
Viewer comments are welcome.
This is Part I of a three part series on African American male vocalists & musicians performing non-religious music. Part I features videos of African American males with afros (naturals).
Part II features video of African American males with fades (hi-top fades) and with box hair cuts. Part III features African American males with braids and with dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_15.html for Part II of this series.
Part III features African American males with braids, cornrows, or dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html for Part III of this series.
These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.
This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.
My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.
PART I
THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.
It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.
Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**
That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.
*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.
**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.
****
FEATURED VIDEOS
[These videos are presented in chronological order.]
Video #1: Jimi Hendrix- Voodoo Child
Uploaded by freitasnetto1 on Jul 17, 2011
The Jimi Hendrix Experience apresentação no programa Happening for Lulu da BBC1 em 4 de Janeiro de 1969
****
Video #2:
Billy Preston Sings "Will It Go Round in Circles" on "The Tonight Show"
upoaded by johnnycarson on Jul 19, 2011
Billy Preston Performs "Will It Go Round in Circles" on "The Tonight Show Starring Johnny Carson" in 1973.
****
Video #3:
The Jackson 5 & Little Janet Jackson On 70s TV (High Quality)
Uploaded by Jackson5Videos on Aug 3, 2010
The Jackson 5 perform a tribute to The Mills Brothers, The Andrews Sisters, and The Supremes on The Carol Burnett Show 1975
****
Video #4: War - Me and Baby Brother [HQ]
Uploaded by koomugtoo on Aug 24, 2010 [1974]
****
Video #5: The Ohio Players - Fire
Uploaded by aalkounis on May 30, 2009
The Ohio Players @ The Midnight Special 1975
****
Video #6: Stevie Wonder - Superstition (Live 1982 Japan)
Uploaded by izugarria on Feb 6, 2009
****
Video #7: Lenny Kravitz - Are You Gonna Go My Way
Uploaded by MarioIsRock on Jan 26, 2008
-snip-
A viewer of this video guessed that this concert was in 2002 in Toronto, Canada.
****
RELATED LINK
http://pancocojams.blogspot.com/2011/10/changing-shape-of-afro-hair-styles.html "The Changing Shape Of Women's Afro Hair Styles"
****
Thanks for visiting pancocojams.
Viewer comments are welcome.