"Kneebone Bend" song (Lyrics & Videos)

Edited by Azizi Powell

This post provides lyrics, comments, and two videos of renditions of the African American ring shout song "Kneebone Bend".

My thanks to the unknown composer/s of "Kneebone Bend". My thanks also to the McIntosh County Shouters, other Georgia Sea Island Singers for their important work of preserving this song & ring shout movements. Thanks also to other vocalists/musicians who perform this song, and thanks to the videographers and uploaders of these sound files and videos.

All rights remain with their owners.

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LYRICS: KNEEBONE BEND
[unknown composer/s; African American -Georgia Sea Islands, 19th century or earlier]

From http://ctl.du.edu/spirituals/times/pure.cfm Spirituals as “Pure” / Spirituals as Derived from Mixed Sources

“Kneebone” Georgia Sea Island Songs, tr 2, 0:00 - 0:33 [sound file]

"And the next track, “Kneebone,” a trance-inducing ring shout led by Joe Armstrong, is similarly attractive because it is 'the oldest, the most African of the Sea Island songs.' "

Kneebone in the mornin’,
Ah-ah, kneebone,
Bend my kneebone to the ground,
O Lord, kneebone bend.

Kneebone, didn’t I tell you,
Ah, kneebone,
Kneebone, didn’t I tell you,
O Lord, kneebone bend.

Kneebone, didn’t I call you,
Ah-ah kneebone,
Kneebone, didn’t I call you,
O Lord, kneebone bend.

I call you in the mornin’,
Ah, kneebone,
Call you in the evenin’,
O Lord, kneebone bend.

FEATURED VIDEOS

Video #1: McIntosh County Shouters w Kneebone Bend_NEW.avi



Uploaded by McIntoshCtyShouters on Feb 27, 2010

Venus McKiver displays her vocal talent in this wonderful version of Kneebone Bend while visiting a local school. Teaching school children about the Gullah Geechee is a top priority for this group. It is one way in which they can keep the heritage alive. By visiting schools andand they enjoy visiting schools. The McIntosh County Shouters are recording artists with Smithsonian Folkways Recording Studios.

For more information, go to www.mcintoshcountyshouters.com

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Video #2: Kneebone.wmv



Uploaded by stevesvideo on Feb 6, 2012

"Kneebone", often performed as a shouting spiritual and one of the oldest of the Sea Island songs. Singers would bend their knees to lower themselves toward the ground/earth (characteristically a traditional African gesture and choreography) as the song invokes the bones of the ancestors, calling them morning and evening. Field recorded by Alan Lomax and included in "Georgia Sea Island Songs." Present version adds Akonting music. For more videos go to www.duelingshoes.com

-snip-

Here's some information about the akonting musicial instrument from http://www.shlomomusic.com/banjoancestors_akonting.htm

The Jola akonting (spelled ekonting in Senegal) and its siblings-- the Manjak bunchundo, Balanta kisinta and kusunde, Papel busunde and Bujogo ngopata -- are examples of the gourd-bodied variety of folk/artisan lutes that was once more prevalent in the region of West Africa which used to be referred to as The Rice Coast during the Transatlantic Slave Trade. Whereas the perpetuation of the griot lutes has been fostered by their role as exclusive caste instruments, folk lutes have been constantly under the threat of obsolescence and extinction due to the inevitable erosion of their host musical traditions. In some instances, such as the Senegambian bania-- long considered to be a possible banjo ancestor -- they simply went the way of the dinosaurs. Often as not these lutes were superseded by other local instruments; the European guitar, introduced into the various regional vernacular musical cultures in the early 20th century; and, ironically enough, the banjo, which was imported into sub-Sahara Africa, starting in the 1920s, in the form of the 4-string tenor banjo and the 8-string banjo-mandolin, along with yet another American cultural export of African American origin, jazz.

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RELATED LINKS
Click http://www.youtube.com/watch?v=uxPU5517u8c&feature=related for a 57 minute Library of Congress video of the McIntosh County Shouters.

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Click http://www.jambalayah.com/node/1140 for this post on my Jambalayah website: "Videos Of Traditional Musical Instruments A-C". That is the first post of a three part series.

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"Throw Me Anywhere, Lord" Song & The Buzzard Lope Dance

Edited by Azizi Powell

This post provides information, lyrics, sound file, and video of a performance of the traditional religious dance "The Buzzard Lope" and the song "Throw Me Anywhere, Lord" that accompanied that dance.

My thanks to the unknown composer/s of "Throw Me Anywhere Lord" & the unknown choreographer/s of "The Buzzard Lope". My thanks also to Bessie Jones and the Georgia Sea Island Singers for their important work of preserving this song and other traditional African American songs. Thanks also to the authors & commenters whose quotes are featured in this post, and the videographers and uploaders of these sound files and videos.

All rights remain with their owners.

FEATURED VIDEO, SOUND FILE, & COMMENTS

Example #1: Throw Me Anywhere Lord



Uploaded by mediageneration on Dec 12, 2009

Georgia Sea Island Singers from the DVD- The Films of Bess Lomax Hawes- available from http://www.media-generation.com

Here's a comment from that video's uploader:
"The dance is called the Buzzard Lope, and John Davis is the buzzard circling the carrion and picking it up at the end of the song."
-mediageneration; 2010

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LYRICS: THROW ME ANYWHERE LORD
[traditional African American, unknown composers, late 19th century or earlier]

Throw me anywhere, Lord.
In that ole field.
Throw me anywhere, Lord.
In that ole field.

Throw me anywhere, Lord.
In that ole field.
Throw me anywhere, Lord.
In that ole field.

Oh, throw me anywhere, Lord.
In that ole field.
Oh, throw me anywhere, Lord.
In that ole field.

Don't care where you throw me.
In that ole field.
Don't care where you throw me.
In that ole field.

Since King Jesus owns me
etc [use above pattern]

Don't care how you do me.
etc.

Since King Jesus choose me.
etc.

You may be and bang me.
etc.

Since King Jesus saved me.
etc.

Don't care how you treat me.
etc.

Since King Jesus meet me.
etc.

Throw me anywhere, Lord
etc.

Throw me anywhere, Lord.
etc.

From http://www.media-generation.com/DVD%20PAGES/Bess/master.pdf The Films Of Bess Lomax Hawes "Buzzard Lope" page 8 of 34

The notes to this song include considerable information about how the Buzzard dance is performed and the possible origin of that dance among the Ashanti-Fanti people of Ghana where the vulture is a sacred messanger to the gods. Among the information included in those notes is the statement that the dancer wanted to wear his suit coat because it would show the flapping of his wings better. However, not understanding this, the film producer [Bess Lomax Hawes] told him to take off his coat since he hadn't worn it for any other segments of the film.

My interpretation of the lyrics "Throw me anywhere, Lord" is that this statement wasn't directed to the Lord (meaning the person didn't mean for the Lord to throw him or her anywhere.) Instead, I believe that the word "Lord" was used at the end of the line in a similar manner as the phrases "my Lord" or "Yes Lord".

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Example #2: Bessie Jones - The Buzzard Lope [Throw Me Anywhere, Lord]



Uploaded by laneotc on Feb 3, 2012

The Buzzard Lope sung by Bessie Jones and backup singers a capella.
-snip-
Comment excerpt from http://mudcat.org/thread.cfm?threadid=4101#166891 posted by Stewie, January 22, 2000

Alan Lomax recorded the great Bessie Jones of the Georgia Sea Islands leading a song called 'The Buzzard Lope'. It has been reissued in the Lomax 'Southern Journey' series on Rounder - the final volume, volume 13, 'Earliest Times: Georgia Sea Island Songs for Everyday Living' Rounder CD 1713. The song itself has the words 'buzzard lope' only in its title. Lomax noted:

Bessie Jones leads a most beautiful and interesting African-American litany, which may be one of the most intact pieces of African dance in North America. It makes reference to a time when slaves were not given a proper burial. 'Throw me anywhere, Lord, in that old field' are the words of a slave identifying with Jesus at Golgotha, saying that, although he may be thrown in a field like carrion for the buzzards to eat, Jesus owns and chooses him.*

While a ring of singers claps out the refrain ['In that old field'], a coat representing carrion, is dropped in the centre. A male dancer, his shoulders hunched up around his ears, his arms spread out, dipping, waving and thrusting forward his head with fierce gestures, comes high stepping into the ring. He is the buzzard. He spots the carrion and suddenly stoops over, crouching and circling lower and lower, his head thrust forward like a bird's, approaching and fluttering away, until finally he swoops low and snatches the cloth with his teeth or fingers and whirls away like a bird of prey with its meat. The cloth is replaced and the dance repeated, each dancer enacting the part of the buzzard in his own way.

Bessie Jones gave a spoken introduction to the song:
Now this song, 'The Buzzard Lope', is one of the old plays that we had, as though the buzzard had found some carrion. And we playin' that this thing lyin' on the floor here is the carrion. And this boy here is acting as the buzzard, as he goin' around, and he goin' to pick out the carrion's eye, whether he's a cow or a dog or whatever he is. He going to pick out his eye, then he going to pull out his tail, and then he's going to [get] him after awhile, and he's going to run the dogs from him. This is not our real Buzzard Lope boy tonight, but his brother.

*Italics added by me to highlight the true purpose of "The Buzzard Lope" song & dance.

Here's another version of "Throw Me Anywhere, Lord" whose title is "Throw My Body Anywhere"

THROW MY BODY ANYWHERE

Throw my body anywhere, in that ol field
Throw my body anywhere, in that ol field
Don't care where you throw me, in that ol field
Don't care where you throw me, in that ol field
Go down to the levee, in that ol field
Go down to the levee, in that ol field
So long as Jesus loves me, in that old field
So long as Jesus loves me, in that ol field

From http://supersearch.mudcat.org/thread.cfm?threadid=77864&messages=64&page=1&desc=yes#1892896 Sep 1998

Here's a comment which Barry Finn wrote that prefaced those lyrics:
"From the Georgia Sea Islands comes a song from slave times on the Plantations, when the slaves were discarded after falling down on the job."
-snip-
Barry Finn also shared these record notes:

"Common enough in the West Indies, such miming dances are rare in America. The song tells of a time the slave was not properly buried when he died but was simply cast out in a field"...

Lydia Parrish also collected & reported of the dance the Buzzard Lope in her "Slave Songs of the Georgia Sea Islands". She says "This group used an old religious song with narrative lines of a suitable character. In ante-bellum days the slaves called the graveyard 'the ole field'". The song being close to what's already been given, called "Throw Me Anywhere". She also has another song "In That old Field" sung in a minor key that she relates to a dance but doesn't connect this to any dance in particular much less the Buzzard Lope even though it's clearly related to the others already given. She does mention the song being of a spiritual or religious nature but not the dance itself.

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ADDITIONAL COMMENTS ABOUT THE BUZZARD LOPE
From http://www.streetswing.com/histmain/z3buzzardlope1.htm

The Buzzard Lope (1880s)

The Buzzard Lope was similar to the more modern Eagle Rock Dance and was very popular in the South and most likely related to the W. African Buzzard dance. Sunbury Georgia was the first discovery of this dance but may not have originated there.

The Buzzard Lope used outstretched arms like a bird and consisted of a shuffle step and a little buzzard like hop. The dance is said to be similar to the West African Buzzard Dance. It's original form is representing a Turkey Buzzard getting ready to eat a dead Mule (some report a Cow). Many people in the sidelines watching the dance would do a 'Patting', or make a rhythm by slapping (patting) their thighs, etc.

while someone would call out the cues.

-snip-
For more information and comments about The Buzzard Lope, click http://supersearch.mudcat.org/thread.cfm?threadid=77864&messages=64&page=1&desc=yes#1892896 25 Nov 06 - 04:01 PM Azizi and 25 Nov 06 - 03:53 PM Azizi

Here's an excerpt from one of those posts (posted with corrected typos):

The Buzzard Lope had been known to song-collector Lydia Parrish since 1915. M. J. Herskovits told her that he had seen a similar dance done in Dahomey. She described the Buzzard Lope seen in the Georgia Island as follows:

"On Sapeko Island, I found in the Johnson family a combination fo the old dance forms with rather modern steps than the original African pantomime warranted. Of the twins, Naomi did the patting while Isaac did the dancing; an older brother rhythmically called out the cues in a sharp staccato, and another one lay on the floor of the wide veranda representing a dead cow. Anyone who has seen turkey buzzards disposing of "carr'on" will recognize the aptness of the following directions:

March aroun'! {the cow}
Jump across! {see if she's daid}
Get the eye! {always go for that first}
So glad! {cow daid}
Get the guts! {they like them next best}
Go to eatin'! {on the meat}
All right-cow mos' gone!
Dog comin'!
Scare the dog!
Look around for more meat!
Alright!-Belly full!
"Goin to tell the res'"
[Lydia Parrish, Slave Songs Of The Georgia Sea Islands, Creative Age Press, 1942]

The parenthetical asides were given to Miss Parrish by the Negroes who were performing the dance.

EDITOR'S NOTE: In my 25 Nov 06 - 04:01 PM post, I quoted a 1890 newspaper article about The Buzzard Lope. The racial slurs and statements in no way reflect my feelings. I included that quote for its historical context only.

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Click http://www.youtube.com/watch?v=_qpuwCOsLCs "The Buzzard Lope at Stan's in Goodland" (Stan's Idle Hour Seafood Restaurant in Goodland, Florida) for a video of a non-religious Anglo-American adaptation of this African American religious dance which is performed as part of that bar's Mullet Festival and Buzzard Lope Queen Contest. Here's an excerpt of a song written by Stan Goper that is sung with that Anglo-American Buzzard Lope dance:
"Going down the highway feeling fine
Doing 55 and right on time
Look up ahead and saw something in the highway, looks dead
A bunch of buzzards standing around
They all step back, with a lot of hope
Start doing the Buzzard Lope . . . .
Flap your wings up and down
Take a few steps back
Go 'round and 'round . . . ."

From: http://www.stansidlehour.net/TheBuzzardLope.html

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Various Sound Files & Videos of "Get Up Stand Up"

Edited by Azizi Powell

This post presents six examples of the Reggae song "Get Up Stand Up" as sung by Bob Marley, Peter Tosh, and Bunny Waller. The purpose of this post is to showcase the different ways that these great Reggae vocalists sang "Get Up Stand Up".

My thanks to these great Caribbean artists for their composing skills and their vocal skills. My thanks also to the other vocalists & musicians on these featured videos. Thanks also to the videographers and the uploaders of these videos.

All rights remain with their owners.

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GENERAL INFORMATION ABOUT "GET UP STAND UP"
From http://en.wikipedia.org/wiki/Get_Up,_Stand_Up:

"Get Up, Stand Up" is a reggae song written by Bob Marley and Peter Tosh.

The song originally appeared on The Wailers' 1973 album Burnin'. It was recorded and played live in numerous versions by The Wailers and Bob Marley & The Wailers, along with solo versions by Peter Tosh and Bunny Wailer. It was later included on the compilations Legend and Rebel Music, among others

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LYRICS: GET UP STAND UP
(Bob Marley and Peter Tosh; 1973)

Get up, stand up, stand up for your rights
Get up, stand up, stand up for your rights
Get up, stand up, stand up for your rights
Get up, stand up, don't give up the fight

Preacher man don't tell me
Heaven is under the earth
I know you don't know
What life is really worth
It's not all that glitters is gold
Half the story has never been told
So now you see the light
Stand up for your rights

Get up, stand up, stand up for your rights
Get up, stand up, stand up for your rights
Get up, stand up, stand up for your rights
Get up, stand up, don't give up the fight

Most people think
Great good will come from the skies
Take away everything
And make everybody feel high
But if you know what life is worth
You would look for yours on earth
And now you've seen the light
You stand up for your rights

Get up, stand up (yeah, yeah)
Stand up for your rights (oh)
Get up, stand up (get up stand up)
Don't give up the fight (life is your right)
Get up stand up (so we can't give up the fight)
Stand up for your right (lord lord)
Get up, stand up (people struggling on)
Don't give up the fight (yeah)

We're sick and tired of your ism-schism game
To die and go to heaven in Jesus' name
We know and we understand
Almighty God is a living man
You can fool some people sometimes
But you can't fool all the people all the time
And now we've seen the light (What you gonna do)
We gonna stand up for our rights

Get up, stand up
Stand up for you rights
Get up, stand up
Stand up for your rights
Get up, stand up
Stand up for your rights
Get up, stand up
Don't give up the fight

Lyrics from http://www.elyrics.net/read/b/bob-marley-lyrics/get-up,-stand-up-lyrics.html

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FEATURED VIDEOS & SOUND FILE

Example #1: ♫ BOB MARLEY & THE WAILERS Live 1973 - Get up Stand up



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Example #2: Bob Marley - Get Up Stand Up, No More Trouble, War (live at roxy 1976)HQ part1



Uploaded by SizifWasStoned on Sep 23, 2011

Bob Marley and The Wailers - Live at The Roxy Theatre, Los Angeles, CA 25.05.1976. (Rastaman Vibration Tour)

BMW (at the time) = Robert Nesta Marley (lead vocal, rhythm guitar) Aston ''FamilyMan'' Barret (bass guitar), Carlton ''Carlie'' Barret (drums), Tyrone Downie (keyboard), Alvin "Seeco" Patterson (percussions) , Earl "Chinna" Smith (lead guitar), Donald Kinsey (lead guitar).

I-THREE = Rita Marley, Judy Mowatt, Marcia Griffiths (back vocals)

TOUR CREW = Allan "Skill" Cole (Bob's football trainer), Tony "Gillie" Gilbert (cook), Neville Garick (art and light director), Dennis Thompson (soundman)

The show on May 26 at the Roxy Theatre in Hollywood, California, was a particular highlight. The American singer/songwriting legend Bob
Dylan was in the audience, and the Wailers played a scorching set. Bob Marley was a self-professed fan of Dylan's song writing, and the reggae superstar treated the folk icon to one of the band's best performances. The concert was recorded and has subsequently been released in a two-CD boxed set.

That night the Wailers' set included an enthusiastic introduction by Tony "Tony G" Garnett followed by "Trench Town Rock,""Burnin' and Lootin'," "Them Belly Full," "Rebel Music," "I Shot the Sheriff," "Want More," "No Woman, No Cry," "Lively Up Yourself","Roots Rock Reggae," and "Rat Race." The band had hit their touring stride and played a wonderfully tight set. Bob spent the evening center stage with this signature Les Paul guitar, dreadlocks flying, and hands often raised defiantly in the air. The I-Threes were to Bob's left in matching black dresses and African head wraps. The show ended with an encore performance of "Positive Vibration" and a medley of "Get Up, Stand Up/No More Trouble/War."

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Example #3: Bob Marley - Get Up Stand Up (Live)



Uploaded by islandrecords on May 15, 2008

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Example #4: Peter Tosh 1979-07-16 Pt 4: Get Up, Stand Up



Uploaded by orgyfication on Feb 28, 2007

Peter Tosh Live at the Montreux Jazz Festival in Switzerland 1979-07-16. Set 1 Track 4 - Get Up, Stand Up

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Example #5: Peter Tosh - Get up stand up acoustic version



Uploaded by reggaeman91 on Aug 1, 2009

Peter tosh performing Get up stand up acoustic version

-snip-
WARNING: This version contains one instance of profanity.

Also, this version [and some versions sung by Bob Marley] substitutes the word "overstand" for "understand". Using the word "over" is a Rastafarian tradition as "over" is considered to be much more positive than "under".

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Example #6: Bunny Wailer - Get Up Stand Up



Published on May 16, 2012 by zuluonedrop

-snip-

This recording was released by Island Records, 1977.

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I Am On The Battlefield For My Lord (Videos & Lyrics)

Edited by Azizi Powell

This post presents general information about & lyrics of the African American Gospel song "I'm On the Battlefield for My Lord". This post also features five videos of this Gospel song.

My thanks to the composers of this song - Sylvana Bells and E.V. Banks. My thanks also to the arrangers of these particular renditions of this song. Thanks also to the vocalists, and musicians who are featured on these videos, and thanks to the videographers and the uploaders of these videos.

All rights remain with their owners.

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GENERAL INFORMATION ABOUT THE SONG "I'M ON THE BATTLEFIELD FOR MY LORD"
From http://oldweirdamerica.wordpress.com/2011/07/05/56-im-in-the-battlefield-for-my-lord-by-rev-d-c-rice-his-sanctified-congregation/

"I’m In The Battlefield For My Lord

This classic gospel song, written by Sylvana Bells and E.V. Banks, and performed here with lots of swing by Rev. D.C Rice, his congregation and some jazz musicians, is the perfect closing for the religious set of the Anthology. The song itself is an old favorite of Gospel singers, using the war imagery to express one’s faithful worship of God."

-snip-
This post includes a listing of various recordings of "I’m In The Battlefield For My Lord" including one by Rev. D.C. Rice 1928-30.

I woke up this morning with the song "I’m In The Battlefield For My Lord" on my mind. I know this song because I heard it during one of my visits back to the Baptist church where I was raised in my hometown of Atlantic City, New Jersey. I had no idea that this song was composed in the 1920s as it still sounds very contemporary. Judging from my experience and from renditions of this song that have been posted on YouTube, "I’m In The Battlefield For My Lord" is still very popular among African American Gospel choirs and it is also sung by non-African American congregations.

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LYRICS: I AM ON THE BATTLEFIELD FOR MY LORD
(written by Sylvana Bell and E.V. Banks; arranged by Thomas A. Dorsey)

Chorus:
I am on the battlefield for my Lord.
I’m on the battlefield for my Lord,
And I promised Him that I
Would serve Him ‘til I die;
I’m on the battlefield for my Lord.

Verse #1:
I was alone and idle,
I was a sinner too.
I heard a voice from heaven say
There is work to do.
I took the Master’s hand,
And I joined the Christian band.
I’m on the battlefield for my Lord.

Chorus

Verse #2:
I left my friends and kindred
Bound for the Promised Land.
The grace of God upon me
The Bible in my hands
In distant lands I trod.
Crying "Sinner come to God".
I’m on the battlefield for my Lord.

Chorus

Now when I met my Savior,
I met Him with a smile.
He healed my wounded spirit
And owned me as His child.
Around the throne of grace
He appoints my soul a place.
I’m on the battlefield for my Lord.

Chorus

Editor's Note:
These lyrics are from http://www.lyricsoncall.com/lyrics/hymn/i-am-on-the-battlefield-for-my-lord-lyrics.html.

These are the basic lyrics for "I'm On The Battlefield For The Lord". African American Gospel choirs usually enhance these lyrics by repeating the chorus two times in the beginning of the song and repeating the chorus mutiple times at the end of the song. Another common enhancement is the adding an interjection such as "Oh!", "Oh Yes!". "Well!", "Yeah". "I said" and "Church" to the beginning of certain lines. And in the video #4 given below, the choir changes the words of the chorus by singing "I'm on the battlefield and I'm working for Jesus". That arrangement of "I'm On The Battlefield For The Lord" ends with repeated lyrics about "working for the Lord".

Also, notice the different tempos for this song that are shown in these featured videos.

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FEATURED VIDEOS
(These videos are presented in no particular order of preference.)

Video #1: Mother Mae Etta Peterson - "I'm On The Battlefield"



Published on May 17, 2012 by ncrtodscrossing

Tods Crossing Annual Remembrance Service
Mother Mae Etta Peterson
Tods Crossing Warren OHIO

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Video #2: "I'm On The Battlefield" Pastor Eddie D. Smith Invitation To Christ



Uploaded by church4life1 on Nov 25, 2010

Pastor Eddie D. Smith Sr. sings this song after Preaching a powerful sermon "Ownership vs. Stewardship."

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Video #3: Voices Of Truth - I'm On the Battlefield for the Lord



Uploaded by truewaycooljc on Oct 25, 2009

Voices of Truth sing I am on the Battlefield for the Lord featuring Elaine Lilly

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Video #4: 2nd Baptist Church - "I'm on the Battlefield"



Uploaded by EzellEalyMinistries on Oct 27, 2009

2nd Baptist Church, Praise Ensemble sings "I'm on the Battlefield", Soloist: Bro. Sharonn Bairfield

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Video #5: Metropolitan AME - I'm On the Battlefield for the Lord


Uploaded by MetropolitanAME on Jan 18, 2011

Praise and worship with the First Family at Metropolitan AME on January 16, 2011.
-snip-
"AME" = "African Methodist Episcopal"

Editor: In this video most of the time the camera focuses on President Obama & his family who were attending that church service.

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Caribbean Song "One Solja Man"

Edited by Azizi Powell

This post presents lyrics, video, and comments about the Caribbean song "One Solja" man.

The content of this post is presented for folkloric, entertainment, and aesthetic reasons.

My thanks to the unknown composer/s of this song. My thanks also to the collector of this song, and those who have published the lyrics of & notes about this song. Thanks also to the performers on the featured video and the uploader of this video.

All rights remain with their owners.

FEATURED VIDEO
Jamaican Folk Song/ The Carifolk Singers



Uploaded by hollythomas18 on Jul 9, 2010

LYRICS: ONE SOLJA MAN
Verse 1
One solja man come fe court me,
Me sey me no ha' nobody,
Him gimme one shillin' an' quatty.
Me tek i' buy silk an' satin.

Verse 2
Me wash i' me starch i' me iron i',
Me pred i' pon pingwing macka,
An one ole un-conscionable John Crow
Come fling i' eena crevice an' corner.

Verse 3
No tear i' Jeremiah, no tear i',
No tear i' Jeremiah, no tear i',
No tear i' Jeremiah, no tera i',
No tear up me silk an' satin.

Verse 4
A weh yuh dah weel an' tun me,
A weh yuh dah weel an' tun me,
Yuh mussa wan' me fe go fall dung,
An' lick me belly pon tambourina.

Solja- Soldier
Ha'- Have
Quatty- Penny halfpenny
Pred- Spread
Pingwing macka- Cactus
John Crow- Jamaican scavenger bird, but here used in a derogatory sense, alluding to 'Jeremiah'.
Eena- In
Weh- Why
Mussa- Must
Fe go fall dung- To fall down
Tambourina- Tambourine

Also sung as 'One Bungo Man', Bungo meaning an African.
*May be sung as: 'Him gimme one cock-y'eye fourbit', 'fourbit' being one shilling and sixpence.

Pp. 58-59, With music for voice and piano.

Tom Murray, Ed. and arr., 1951, Folk Songs of Jamaica, Oxford University Press.

As posted on http://www.mudcat.org/thread.cfm?threadid=40845 by Q on October 4, 20112

ADDITIONAL COMMENTS ABOUT THESE LYRICS
"One Solja Man" is a Jamaican Mento song. Another name for this song is "Wheel And Turn Me".* Click http://www.youtube.com/watch?v=I0fMZp8Nerk for a 1952 sound clip of "Wheel And Turn Me" by Lord Flea with The Jamaican Calypsonians. (A number of Jamaican Mento songs are miscategorized as the more popular in the USA category "calypso". Subsequently, some Jamaican Mento singers used the descriptor "Calypso" and "Calypsonian" for their music and their groups.)

*Hat tip to Q from Mudcat for his July 22, 2012 comment on the Mudcat thread whose link is given above for sharing information that connects the Mento song "Wheel And Turn Me" to "One Solja Man".

-snip-

Comments about certain words in "One Solja Man":
In my opinion, "John Crow" in this song is a derogatory referent to a dark skinned Black man. The phrase "An one ole un-conscionable John Crow" doubles down the derogatory meaning of the description (an unconscionable dark skinned Black man"). That meaning is substantiated by the note that the song is also sung as "One Bungo Man", Bungo meaning an African." Also, read the notes for the song "Bungo Moolatta" given below the Caribbean song of that name on http://cocojams.com/content/caribbean-folk-songs Caribbean Folk Songs

The origin of the name "John Crow" comes from the black color of the crow. In the USA "John Crow" became "Jim Crow" and much later was used as a referent for discriminatory practices against Black people in the United States South and elsewhere in that nation.

-snip-
The word "tear" in the lyrics "No tear i' Jeremiah, no tera i'/ No tear up me silk an' satin" in the "One Solja Man" song appears to have the clear meaning of "Jeremiah, don't cause me to tear [cut] my silk and satin dress. But I think that word "tear" may also have have the added meaning of "tearing around [moving fast, wheeling and turning] on the dance floor.

As to how the woman in the song might cut her dress, the subsequent verse has her cautioning Jeremiah not to wheel & turn her so fast on the dance floor.

In the version of "One Solja Man" found above, the verse that includes the word "tambourine" is given as
"Yuh mussa wan' me fe go fall dung
An' lick me belly pon tambourina."

A contemporary American English translation of that verse is "You mustn't want me to fall down and smack my belly upon the tambourine".

Mudcat blogger Q shared a verse from a 1965 ska track by the Wailers that includes the lyrics:
"Now why you come wheel and turn me
Fi go lick a mi head 'pon you tambourine".

A contemporary American English translation for that verse is "Now how come you're dancing with me so hard that you're going to make me hit my head on your tambourine?"

Maybe a "tambourine" is just a "tambourine". But maybe "lick a mi head 'pon you tambourine" was a slang saying that meant "get all jacked up" ("get all messed up"). Or perhaps generally speaking "lick my head (or "my belly") on your tambourine" may have meant something like "fall flat on the dance floor".

-snip-
It’s also my position that the "no tear I Jeremiah" lyrics are an adaptation - albeit for a different purpose and with a different meaning- of the words of Jeremiah 9, verses 1-18. Here are two verses from that chapter:

Jeremiah 9:1 - 1 "Oh, that my eyes were a fountain of tears; I would weep forever! I would sob day and night for all my people who have been slaughtered"

Jeremiah 9:18 - 18 "Quick! Begin your weeping! Let the tears flow from your eyes"

-snip-
Because of those verses and other verses in that book of the Bible, "Jeremiah" is now known as the "weeping prophet". The entire chapter of Jeremiah 9 is found online at http://www.biblestudytools.com/nlt/jeremiah/9.html.

By the way, I found Jeremiah 9 to be particularly poignant in the context of the horrific massacre of movie attendees that occurred on July 20, 2012 in Aurora, Colorado.

Click http://pancocojams.blogspot.com/2012/07/president-obamas-comments-dark-knight.html President Obama's Comments "The Dark Knight Rises" Shooting Aurora Colorado (Video & Transcript) for a Pancocojams post about that massacre.

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RELATED LINK
Click http://cocojams.com/content/caribbean-folk-songs for additional lyrics and videos of Caribbean folk songs.

****
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President Obama's Comments "The Dark Knight Rises" Shooting Aurora Colorado (Video & Transcript)

Edited by Azizi Powell

This post presents a video & my transcription of President Barack Obama's comments addressing the "The Dark Knight Rises" movie theater shooting in Aurora, Colorado during a campaign visit to the Harborside Event Center in Fort Myers, Florida. Friday, July 20, 2012.

The content of this post is presented for historical, folkloric, sociological, and aesthetic reasons.

All copyrights remain with their owners.

My thanks to the President, the audience members, and the video uploader.

My deepest condolences to the family and friends of all those who lost their lives or were injured by this terrible tragedy.

FEATURED VIDEO

Colorado Theater Shooting President Obama Addresses Nation Full Speech



Published on Jul 21, 2012 by billdeniro888

-snip-
Information about this tragedy is included in the YouTube video uploader's summary statement.

TRANSCRIPTION*

President Obama "The Dark Knight Rises" Shooting Aurora Colorado (July 20, 2012)

News reporters talk about the upcoming speech.

President Obama:
Thank you Thank you. [President gestures with his right hand for people to be seated]
Well ah, let.. let me first of all say

[some members of crowd still cheering, saying his name]

Le-let me first of all say [holds right hand up chest height while very briefly turning to face the audience in back of him as a means of quieting the audience]

Let me first of all say ah how grateful I am for all of you being here

[someone [a male?] in audience yells "Ohh!"] and for how how much

we appreciate all that you have done. Um I know that there are a lot of people here who have been so engaged in the campaign and ah have sacrificed so much. People who have been involved back since 2007 [a number of people in audience cheer in response] And so I want you to know how appreciative I am. And I know many of you came here today for a campaign event. Uh I was looking forward to havin a fun conversation with yah about uh some really important matters that we face as a country

[some members of the audience respond in confirmation; President Obama stops for a moment and holds up hand for audience silence]

and the differences between myself and my opponent in this election.

But this morning ah we woke up to news of a tragedy [one audience member faintly says “Yeah”] that reminds us of all the ways that we are united as one American family.

[Some audience respond. President Obama again holds right hand up and briefly looks around before continuing his comments.]

By now many of you know, many of you have heard that a few miles outside of Denver in a town called Aurora at least 12 people were killed when a gunman opened fire in a movie theater. And dozens more are being treated for injuries at a local hospital. Some of the victims are being treated at a children’s hospital.

[sound of some audience members murmuring something like "Oh!" or "No!"]

Now we’re still gathering all the facts about what happened in Aurora, but what we do know is that the police have one suspect in custody [faint response from audience] and that the federal government stands ready to do whatever is necessary to bring whoever is responsible for this heinous crime to justice. And

[audience verbal responses, moderately loud clapping, one person male? yells something].

We will take every step possible to ensure the safety of all of our people. We’re gonna stand by our neighbors in Colorado ah during this extraordinarily difficult time [President begins the next sentence hurridly without his characteristic pause] And I had a chance to speak with the mayor of Aurora as well as the governor of Colorado ah to express not just on behalf of Michelle and myself but the entire American family how heartbroken we are.

[faint audience response]

Now even as we learn how this happened and who’s responsible ah we may never understand what leads anybody to terrorize their fellow human beings like this.

[faint audience murmuring]

Ah such violence, such evil ah is senseless. It’s beyond reason. But while we never know fully what causes someone to take the life of another ah we do know what makes life worth living.

[faint audience response]

The people we lost in Aurora loved and they were loved.

[one faint woman’s voice “Yeah”.]

They were mothers and fathers

[It appears to me to be the same woman faintly says “Yeah”.]

They were husbands and wives

[same woman makes faintly confirmatory murmur]

sisters and brothers, sons and daughters, friends and neighbors. They had hopes for the future and dreams that were not yet fulfilled. And if there is anything to take away from this tragedy is the reminder that life is very fragile. Our time here is limited and it is precious.

[faint audience confirmatory response “Yes it is”.]

And what matters at the end of the day is not the small things. It’s not the trivial things which so often consume us and our daily lives. Ultimately it’s about how we choose to treat one another and how we love one another.[loud audience agreeing response "Yeah!" and loud hand clapping] It’s what we do on a daily basis to give our lives meaning

[faint audience member “Yeah”]

and to give our lives purpose.

[faint audience member “Yeah”.]

That’s what matters. You know at the end of the day what we’ll remember ah will be those we loved and what we did for others.

[faint audience members responses "Yeah".]

That’s why we’re here.

I’m sure that many of you who are parents here had the same reaction that I did when I heard this news. Ya’know my daughters go to the movies.

[faint audience murmuring]

What if Malia and Sasha had been at the theater as so many of our kids do every day. Ah, Michelle and I will be fortunate enough to hug our girls ah little tighter tonight and ah I’m sure you will do the same with your children

[President begins the next sentence hurridly without his characteristic pause]

But for those parents who may not be so lucky ah we have to embrace them ah and let them know that we will be there for them as a nation. So ah again I’m I’m so grateful that all of you are here.

[faint response yeah]

Ah I’m I’m so moved by your support

[faint response from one audience member which sounded to me like “Only you.”]

But there are going to be other days for politics.

[one audience member says "Yeah".]

This I think is a day for prayer and reflection.

[loud audience response, one man yells something, audience claps, some audience members yell something.]

So what I’d what I’d ask everybody to do ah I’d like ah I’d like us to pause in a moment of silence for the victims of this terrible tragedy for the people who knew them and loved them for those who are still struggling to recover and ah for all the victims of less publicized acts of violence that plague our communities every single day. So if everybody can just take a moment

[President and audience members shown behind him and presumably the rest of the audience bow their heads, You can hear a baby crying in the background, one woman behinds President makes the sign of the cross which Catholics make after praying, President Obama raises his head and continues his speech.]

Thank you, everybody. Ah I hope all of you will keep the people of Aurora in your hearts and minds today, May the Lord bring them comfort and healing in hard days to come. Ah I’m grateful to all of you and I hope that as a consequence to this day’s events uh uh as you leave here you spend a little time thinking about the incredible blessings

[loud male voice yelling something]

that God has given us.

[loud crowd responses including handclapping.]

Thank you very much everybody!

[President waves goodbye, audience loud handclapping]

God bless you. God bless the United State of America.

[audience loud handclapping].

Thank you

[continued handclapping]
-snip-
*This transcription doesn't attempt to capture President Obama's intonations and speech pattern, particularly his custom of having spaces within his sentences between words. This transcription also doesn't attempt to capture all of President Obama's body gestures which are important elements of his speech. Also, this transcription doesn't attempt to capture all of the exact words of the audience.

I have placed my description of President Obama's gestures as well as my descriptions of some of those gestures and/or some of his speech patterns in brackets after those gestures or speech patterns occurred during this speech. I have also included in brackets my descriptions of audience responses or reactions to the President's remarks, categorizing some of them as "faint" or "loud" responses or murmurings. In some cases have given what I think are those responses or murmurings.

Corrections and additions to this transcription are welcome.

MY COMMENTS ABOUT THIS SPEECH
The conversational nature of the speech

This speech by President Obama seemed to me to be much more like part of a conversation between people who know each other, or at least between people who have a lot in common even if they are strangers, than a speech by a United States' President. I think this in part was because the President used colloquial speech patterns such as starting sentences with "And", and including vernacular words and speech elements such as "gonna" and "uh". In addition to speaking "like a regular person", President Obama brought the topic of the conversation down home to convey how he feels about what happened not only as the President, but as an American among other Americans, and as a father. This is not to say that the speech was random in any way. On the contrary, it was masterful in conveying its unity and Americans are a family themes from beginning to end.

Themes of unity and family

Much of this speech had a themes of "unity" and "family". President Obama mentioned that "we are united as one American family." The President indicated that "We will take every step possible to ensure the safety of all of our people. We’re gonna stand by our neighbors". President Obama spoke of those in Aurora, Colorado who lost husbands and wives, sisters and brothers, sons and daughters, and friends and neighbors". And although the focus was on the tragedy in Aurora, Colorado, President Obama also referred to the need to embrace the families and friends of victims of less publicized tragedies. President Obama also spoke of his two daughters by name and shared that he and [First Lady] Michelle would hug their daughters tighter that night. In this way and others, the President bridged any gap that - given his position as one of the most powerful man in the world - could have been between him and his audience.

The President's speech as sermon - call & response

At the same time that President Obama's speech seemed to me like a conversation, it also reminded me of a sermon that could have been given by a Black minister. In large part that was due to the responses that the audience members made to portions of that speech.

Although the camera didn't show who spoke those words, because this is an enduring and widespread tradition among African Americans, I attribute most if not all of the spoken responses to the President during this speech to be from African Americans in the audience. It should be noted that the video camera only showed those audience members seated in back of President Obama and that audience appeared to be made up of more White (and perhaps also Latino/a) people than Black people. Those audience members shown didn't initiate the spoken responses to the President's words [which I categorize as the "call" in the call & response pattern.] That said, those audience members shown in the video did participate in some of the handclapping, which I also consider to be a part of the response part of this call & response pattern. Although I could not see her, because of my church experience, I pictured the woman who appeared to make repeated responses to some of President Obama's remarks, as an older, avid church going Black sister, one who need not be Baptist but might be COGIC (Church of God In Christ) or Methodist, or non-denominational. At least that woman, and some other [I believe] Black audience members were comfortable with President Obama enough to respond in traditional Black ways to his words - and that doesn't always happen in integrated audiences. Instead, often Black people aren't sure that we should do what we usually do and respond (by clapping or exclamations or othewise) during a speech or performance and not just at the end as is done in the mainstream White tradition. And I find that quite remarkable and a tribute to President Obama's manner of presentation more than his natural charisma.

Furthermore, it wasn't just how President Obama said what he said, it was what he said, that resulted in the audience responses. The content of most of President Obama's speech evoke traditional "Black church" responses because most of that speech could have been one given by a minister, Black or othewise. In addition to the direct references to prayer, "the Lord", and "God", I'm referring to comments such as these:

And what matters at the end of the day is not the small things. It’s not the trivial things which so often consume us and our daily lives. Ultimately it’s about how we choose to treat one another and how wee love one another. It’s what we do on a daily basis to give our lives meaning and to give our lives purpose. That’s what matters. You know at the end of the day what we’ll remember ah will be those we loved and what we did for others. That’s why we’re here.

Other speech patterns, body gestures, and more

Unlike Black ministers, President Obama didn't ask for any audience response - in a "Can I get a witness?" or "Can I get ah Amen?" (to what I said) Black minister kind of way. But I believe that the measured way Pres Obama speaks allows space for audience responses. By "measured way of speaking" I'm referring to the way that President Obama has of pausing between words or phrases within a sentence. This doesn't appear staged to me, but seems like President Obama's natural way of speaking (although it may not be).

And when audience responses occurred during that speech, President Obama didn't speak over those responses. He showed his audience respect by pausing his remarks, and thus recognizing those responses, although he didn't directly refer to them. In addition, President showed his audience that he cared about them by including an "audience participation" time in his speech. That "audience participation" time was when he asked the audience to join him in a moment of silence for the victims of that "Dark Night Rising" tragedy.

As a public speaker, I also liked the way that President Obama remained in control of his audience. And I liked how he regained that control after audience response incidences by holding up his right hand just so, sometimes while briefly turning to his body to look directly towards some audience members.

While I would so much prefer that there not have been a reason for that speech. But regardless of whether President Obama wrote all of that speech, some of it, or none of it, it was he who gave that speech in the way that he did. And I for one very much appreciate his words and how he said them.

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RELATED LINKS

http://jessicaredfield.wordpress.com/2012/06/05/late-night-thoughts-on-the-eaton-center-shooting/

This is a link to a blog posting written by 24 year old Jessica Ghawi. Jessica was one of the twelve persons who lost their lives in the Aurora, Colorado massacre. A mohth before this Jessica Ghawi was nearly involved in a tragic shooting in Toronto. What she writes about that experience is very eloquent and inspirational.

Her brother's blog http://www.jordanghawi.com/denver-theatre-shooting-jessica-ghawi/ also includes this link to a YouTube video of Jessica to "to show what type of person she was" http://youtu.be/SY8l1gZTPoA.

Thank you Jessica. The light of your life still shines brightly and inspires us all.

****
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Fats Waller - Shortnin Bread (Sound File, Lyrics, Comments)

Edited by Azizi Powell

This post showcase Fats Waller's 1941 version of the song "Shortnin Bread".

The content of this post is presented for folkloric, entertainment, and aesthetic purposes. All copyrights remain with their owners.

My thanks to Fats' Waller, and the other vocalists and musicians featured in this sound file. My thanks also to the YouTube uploader of this sound file.

FEATURED SOUND FILE
Fats Waller - Shortnin' Bread



Uploaded by TheBluesfan12 on Nov 17, 2010

LYRICS: SHORTNIN BREAD
(Fats Waller - 1941)

Chorus
Shortnin bread.
Shortnin bread.
Shortnin bread.
Mama’s gonna make some shortnin bread.

Shortnin bread.
Shortnin bread.
Shortnin bread.
Mama’s gonna make some shortnin bread.

Verse #1
Get that wood out out of the shed.
Oh mercy! Lookee there.
Boys, mother’s gonna make some shortnin bread.*

Verse #2
Two Senegambians** layin in bed.
One turned over to the op*** and said
“Fine, fine, fine fine bread”
Spoken “Serve it. Serve it mama. Serve it!”

Verse #3
Hey delivery man, where have you been?
Oh mercy, it sure is a sin.
Mama mama don’t be fast.
Do not show your big fine……shortnin bread.

Chorus

Instrumental portion

Yelled over instruments playing
Come on mama!
Open it up!
Open it!

Spoken at the end of the recording
What kind of bread is that?
It must be good bread.

[Transcription by Azizi Powell, July 16, 2012 from sound file]

*Shortnin bread = also known as 'shortening bread' is bread mixed with bacon bits or bacon gravy. "Shortnin bread" was sometimes called 'cracklin' bread.

**Senegambians = a general referent for "Black people"

*** turn over to the op = [a vernacular way of saying "turned over to the other", with "op" [pronounced "ohp" and meaning the word "other"]

(Thanks William for your comment below that emphasizes this point.)

MORE NOTES ON THESE LYRICS
In a number of ways Fats Waller's Shortnin Bread significantly diverges from the song as attributed to the early 20th century United States black faced minstrel and/or southern African American folk tradition. In contrast to those who adhere to the traditional words of the song, the African American jazz artist Waller pointly doesn't use the referent "mammy", a word which had come to be seen [at least by Black people] as disrespectful to Black women. Instead Fats Waller used the words "mama" and "mother". Furthermore, as another sign of respect for Black people, Waller uses the African geographical/cultural term "Senegambians" to refer to the people laying in the bed. Click http://www.accessgambia.com/information/senegambia-meaning.html for information about "Senegambia". In most versions of "Shortnin Bread" that line is usually now given as "two little children" or "two little boys" laying in bed. However, previously that same line was given as "two little chilluns" and even earlier what is now known as "the n word" was used instead of the words "black boys".

What isn't recognized about the traditional versions of "Shortnin Bread" is that the story is about Black children suffering from near starvation. That is why the boys are laying in bed "one just sick and the other 'most dead". That is why the doctor recommends that they be fed shortnin bread, and that is why the boys are revived after eating that bread.

With regard to that point, I believe that it's important to recognize that the large number of 19th century African American slave songs that mention chicken pies, or stealing the master's chicken, and shortenin bread and other such songs that mention food point back to the insuffient rations that those enslaved people had. And if, as some people indicate, the song "Shortnin Bread" was a post slavery composition (the first composition being collected in the early 20th)*, the nutrition levels for many Black people living in the South weren't that much better after slavery ended.

Rather than focus on children laying in bed near starvation, in verses #2 & #3 Fats Waller departs from the traditional "Shortnin Bread" storyline by adding sexual allusions. In both of those verses, the term "mama" is used in placed of "woman". In verse #2, the implication is that a man and a woman are laying in bed and the woman's buttocks referred to as bread. And verse #3 uses the then popular profanity avoidance technique of setting up a rhyme that ends with a taboo word but then saying a politically correct word. In that line the word "ass" is the obvious word that rhymes with the word "fast". The remainder of the song continues this sexual allusion with plausible deniability up until the very last lines of the song when Waller asks "What kind of bread is that? It must be very good bread".

I'm not sure how many people recognize how risque this Fats Waller song is. But, in my opinion, this type of risque song is far preferable to the just come right out and say it songs about sex of the early 21st century.

*http://mudcat.org/thread.cfm?threadid=51174 The folk song "Shortnin Bread" was first collected from "Tennessee mountain whites" in 1912.

RELATED LINKS
Click http://cocojams.com/content/food-beverages-mentioned-thomas-w-talley%E2%80%99s-negro-folk-rhymes for a page on my cultural website for a text version of "shortnin' bread" and other songs/rhymes that mention food & beverages in Thomas W. Talley's 1922 book Negro Folk Songs: Wise & Otherwise

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Delta Rhythm Boys and The Andrews Sisters - Gimme Some Skin My Friend (Videos & Lyrics)

Edited by Azizi Powell

This post showcases videos and lyrics of the 1940s Jazz song "Gimme Some Skin, My Friend" that was first sung by the African American group The Delta Rhythm Boys and then adapted & sung by the Anglo-American trio The Andrews Sisters. Both of these songs appear to be instructional in nature, implying that "giving some skin" may have been a new custom, at least outside of African American communities.

This content of this post is presented for historical, folkloric, entertainment, and aesthetic purposes. All copyrights remain with their owners.

My thanks to the composers, vocalists, musicians, and producers of these film clips. My thanks also to the uploaders of these clips.

FEATURED VIDEOS
The Delta Rhythm Boys - Gimme Some Skin My Friend



Uploaded by SyberkaPL on Nov 15, 2008

Next excellent song by the Delta Rhythm Boys!
-snip-
This recording by The Delta Rhythm Boys song was first released in March 1940.
Source: http://www.vocalgroup.org/inductees/delta_rhythm_boys.html

LYRICS: GIMMY SOME SKIN MY FRIEND
(Composer ?; as sung by The Delta Rhythm Boys)*

Spoken: Voice #1: I dig this jive now, man
Voice #2: Yeah! Yeah!
Voice #3 Come on who's this [?]

[Sung]
Ah gimmy some skin.
You dig me.
Gimmy some skin.
It’s easy.
Ah gimmy some skin.
All you do, Jack
Is slip your hand in mine.

Well gimmy some skin.
Hold hands out.
Gimmy some skin.
Then you’ll shout
Ah gimmy some skin.
You’ll know you
met a pal that’s really fine, boys.
Shakin hands is all taboo
when you come to Harlem town.
Boy!
There is one thing you must do.
Don’t be ah break down.

Gimmy some skin.
Do uptown.
Gimmy some skin.
To your gal.
Gimmy some skin.
Now you know how.
Come on and fall in line.

Voice #1 [spoken] Yeah!
Voice #2 [spoken/rapping] – Now the thing is very graceful [?] and is easy to do.
Why do you ball uptown and meet some jive and do [?]
You’ll find the hep cats do’s it and even squares
If you don’t dig it, you ain’t nowhere.
If you said something clever or tell a big lie
Or catch a fly wink from ah chick passin by.
When you know you’re so sharp in the game that you play.
You’re so smooth, they got to say

Well, gimmy some skin.
You dig me.
Ah gimmy some skin.
It’s easy.
Ah gimmy some skin.
All you do, Jack, is slip your hand in mine.

Well gimme some skin.
Hold hands out.
Gimmy some skin
then you’ll shout
Gimmy some skin
You’ll know you
met a pal that’s really fine, boy.

Oh who would ever knew that shaking hands was so taboo.
No matter who
They all give skin.
Soon in Argentina and in Porta Catalina
They’ll all be sayin

Well gimme some skin
Well in a while it will be the style
Gimmy some skin
The whole world hip to a fad that is the style.
Gimmy some skin.
It’s the new beat
It’s the swing when you sing
My pal, my gal
My skin.
And you are my friend
Gimmy some skin!

-snip-
*Transcription by Azizi Powell, 7/11/2012 from the video. Corrections and additions are welcome. A question mark within brackets means that I'm uncertain what was said or sung. I used the spelling "gimmy" for the word "gimme" (give me) as it was spelled that way in the title given in the film clips.

-snip-
I consider the spoken lines in this song to be an early example of rap.

Notice the backhanded "low five" (skin) at 1:50.

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FEATURED VIDEO: Andrews Sisters - Gimme Some Skin, My Friend



Uploaded by aSmokersDelightI on May 8, 2007
-snip-
This film clip is from the 1941 American movie In The Navy starring Abbott & Costello.

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LYRICS: GIMME SOME SKIN MY FRIEND
Gene Vincent De Paul (music) Don Raye (lyrics), 1941
as recorded by The Andrews Sisters, 1941

You like my smile,
You like my style,
Well, why don't you make me know it?
You like my walk,
You like my talk,
Well, there's only one way to show it!

If you want to shake my hand
like they do it in Harlem,
Stick your hand right out and shout,
"Gimme some skin, my friend!".

Step right up and take your stand,
You don't have to be timid!
Stick your hand right out and shout,
"Gimme some skin, my friend!".

Smack it!
Wack it!
Let your hand rotate.
Show it!
Blow it!
Put it in your pocket till a future date!

If you want to shake my hand
like they do it in Harlem,
Stick your hand right out and shout,
"Gimme some skin, my friend!".

If you like my style,
Well show it!
If you like my smile,
Let me know it!
If you like my walk,
Please tell me!
If you like my talk,
Well, skin me papa, skin me!

If you want to shake my hand
like they do it in Harlem, baby,
Stick your hand right out and shout,
"Gimme some skin, my friend!".

Step right up and take your stand,
You don't have to be timid, baby!
Stick your hand right out and shout,
"Gimme some skin, my friend!".

Smack it!
Wack it my friend!
Let your hand rotate.
Show it!
Blow it!
Put it in your pocket till a future date!

Step right up (what for?) and shake my hand,
Like they do it in Harlem today, (how do they do it?)
just stick your hand out and give out with the shout,
"Gimme some skin, my friend!".

If you want to shake my hand
like they do it in Harlem,
Stick your hand right out and shout,
"Gimme some skin,
Gimme some skin,
Gimme some skin, my friend!".

Source: http://lyricsplayground.com/alpha/songs/g/gimmesomeskinmyfriend.shtml

****
RELATED LINK
http://pancocojams.blogspot.com/2012/05/five-on-black-hand-side-handshake.html Five On The Black Hand Side [Part I of a four part series on African American hand shakes].

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Viewer comments are welcome.

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Lady Love Iwueze featuring Destined Kids - Che Ne Me Mma (Video & Lyrics)

Edited by Azizi Powell

This post presents a video & lyrics of the Nigeria Gospel group Destined Kids and their mother Lady Love Iwueze. This post also provides some information about this Nigeria Gospel group.

My thanks to the composer of this song Deacon Stephen Iwueze. Thanks also to the vocalists Lady Love Iwueze and Destined Kids (Destiny Kids). My thanks also to the videographer and the uploader of this video.

All rights remain with their owners.

INFORMATION ABOUT DESTINED KIDS
"Destined Kids" is group of six siblings who sing Gospel music. The Onitsha, Nigeria based group is also known as "Destiny Kids". "Destined" may be a result of faulty English.

According to http://www.nairaland.com/253368/fans-onitsha-based-destined-kids-lets, the father of the group Deacon Stephen Iwueze, is "the composer of all the songs of the Destiny Kids". That 2009 blog post also identified then 13 year old Rejoice Iwueze as the "lead vocalist of the Destiny Kids". That blog post also indicated that Rejoice Iwueze continued to sing with her siblings but also recorded a solo Gospel song.

http://www.boysoloist.com/artist.asp?VID=4983 included the names of two more members of that brother & sister Gospel group: Joshua and Caled Iwueze.

Unfortunately, to date, I've not found any other information about this group or about this song. I added a comment on this video's YouTube comment thread asking for more information about this song and this group. When I receive responses to that query, I'll add it to this post.

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FEATURED VIDEO: Che ne me mma



Uploaded by 9ija4life on Jul 1, 2009

Lady Love Iwueze ft Destined Kids

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LYRICS: CHE NE ME MMA *
(Deacon Stephen Iwueze)

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

Fine God, speaker of the whole world.
Father of the fatherless, You are God of all the gods. you have keys of life and death.
you own the whole world. and all that is in the world and under the world are in your hand.

Fine God, speaker of the whole world.
Father of the fatherless, You are God of all the gods. you have keys of life and death.
you own the whole world. and all that is in the world my dady.**[English correction: "daddy"]

I thank God he is a good working God.
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

My Daddy, you are a good shepherd.
Fountain of life, pool of Bathsida.
Giver of life, giver of child, and giver of wealth.
God the healer, thanks be to you.

My Daddy, you are a good shepherd.
Fountain of life, pool of Bathsida.
Giver of life,giver of child, and giver of wealth.
God the healer, thanks be to you.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

Jehovah Shama, you are mighty in battle.
You go to war without a physical weapon
beginning and the end Mighty in battle, you’re the Alpha and Omega.
Eye that beholds the whole world. God our confidence

Jehovah Shama, you are mighty in battle.
You go to war without a physical weapon
beginning and the end Mighty in battle, you’re the Alpha and Omega.
Eye that beholds the whole world. God our confidence

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

Thank him, thank him, thank him.
he is a good working God
Thank him, thank him, thank him.
he is God that answers prayers.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

I thank God, He is a good working God
I thank God, He answers prayers.
Thank God he is the rock of Zion.
Thank God for fulfilling all of his promises.

-snip-
*I believe that this group sings in the Igbo language.

These English translated lyrics were superimposed on the bottom of the video's screen. I've written these lyrics as they appeared in the video with some guessing about the lines of each verse.

**probable English correction: "daddy"

****
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Shared Aesthetics: West African Dozo Hunters & Chicago Footwork

Edited by Azizi Powell

Earlier this year I published this post on the similarities between certain Ivory Coast, West Africa mask dances and an African American hiphop dance called "Chicago footwork": http://pancocojams.blogspot.com/2012/02/shared-aesthetics-ivory-coast-mask.html "Shared Aesthetics: Ivory Coast Mask Dances & Chicago Footwork".

I wrote in that post that "... the similarities between how the Djoanigbe & Zaouli masking tradition dances and the African American "Chicago footwork" dance are performed- including the fast footwork and one individual at a time dancing within a circle made up of onlookers & dancers- causes me to wonder if a valid case could be made that African Americans' aesthetic preference for certain forms of dance are genetically influenced by our unconscious remembrances of similar traditional African dances.

Yesterday, I happened upon another video of West African dancers performing fast footwork done by members of the Dozo (Donso) hunters group of Mali, West Africa. According to http://en.wikipedia.org/wiki/Dozo "The Dozo (also Donzo, Bambara for hunter, pl. donzow) are traditional hunters in northern Ivory Coast, southeast Mali, and Burkina Faso, and members of a co-fraternity containing initiated hunters and sons of Dozo, called a Donzo Ton. Not an ethnic group, the Dozo are drawn mostly from Mandé-speaking groups, but are also found among Dyula-speaking communities and most other ethnic groups in Ivory Coast. Dozo societies increased in the last decades of the twentieth century, and Dozo groups came into political prominence during the Ivorian Civil War."

-snip-

Click http://www.africanoutfitter.com/backissues/2007/junejuly/selfguidedhunting.php for more information on the West African Dozo hunters.

The same statements that I made about the Ivory Coast masked dances & Chicago footwork (and other African American fast footwork dances including "the mash potato", breakdancing, krumping, and more) could be made about the Dozo hunters dance.

Generalities about African American dances being influenced by "traditional African dances" bug me. Africa is a HUGE continent. If a particular African American dance might be influenced by a traditional African dance, it would be helpful if that traditional dance would be identified by its ethnic group, nation, and more.

As I indicated in the previous "Shared Aesthetic" post, by presenting examples of the African dance and the African American dance, I'm not saying that their meanings and purposes are the same. What I am saying is that they share performance and aesthetics.

My thanks to those featured in the videos, to those who uploaded these videos. All copyrights remain with their owners.

FEATURED VIDEO: DOZO HUNTERS
Sekouba Traore

Uploaded by kaarta223 on Dec 11, 2011

-snip-
Times for scenes of fast footwork in the video:
6:42 -9:27; 28:15; and 41:04-48:54

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FEATURED VIDEO: CHICAGO FOOTWORK

Creation & Havoc vs Terra Squad Leaders (Wala Cam) www.walacamtv.com



Uploaded by WALACAM on Jul 1, 2010

-snip-

Here's some information about Chicago footwork from http://www.npr.org/blogs/therecord/2011/05/11/136209254/footwork-chicago-dance-music-with-a-need-for-speed:

"Since the mid-'90s, a style of dance and a genre of music that share the name footwork have been livening up parties and late-night public access TV in Chicago. Now footwork is reaching beyond its hometown over YouTube and through local and European music promoters."

-snip-

Click http://en.wikipedia.org/wiki/Footwork_(Chicago) for more information about Chicago footwork. That Wikipedia article indicates that "Footwork is a style of related music and street dance that originated in Chicago.[1] The dance involves fast movement of the feet with accompanying twists and turns, and usually takes place as part of a "battle".[2] The music style has evolved from an earlier musical style, juke, a change pioneered by R.P. Boo.[2] The style was popularised outside Chicago by inclusion in the music video for Dude 'n Nem's 2007 single "Watch My Feet".[3]"

ADDENDUM
With regard to the Dozo hunters, I'm struck by the similarity between the ceremonial fly wisk that many of the hunters in the procession shown in the featured video carry in one hand, and the large feathered fan or some other ornament that is carried by members of the New Orleans Social Aid & Pleasure Clubs (SAPCS). Click http://www.jambalayah.com/node/1145 for videos of those New Orlean Social Aid & Pleasure Club parades. Here's one video that is featured on that compilation post from my Jambalayah website:

Keeping It Real 2010 Second line Parade rolling on St. Bernard with The Hot 8 Brass Band



uploaded by BigRedCotton on Apr 22, 2010

-snip-
Also, I'd love to identify the type of processional dancing/strutting done by the Dozo Hunters. I'm tempted to compare that movement with New Orleans Social Aid & Pleasure Clubs (SAPCS), and second liners who join in those parades, but I'm not sure if the same type of dance/strutting steps are done during those two processional/parades.

-snip-

In addition, I wonder if the scene in which the Dozo dancer twirls his gun while dancing [at 43:47-44:00] is a traditional movement. If so, I wonder if this is a precursor of baton twirling by American (and other nations') drum majors and majorettes. Here's a link to a post on the roots of baton twirling that I published on my Cocojams website: http://cocojams.com/content/kongo-roots-baton-twirling "The Kongo Roots Of Baton Twirling".

-snip-
Finally, it occurs to me that the hats with the raffia hanging down that are worn by some of the Dozo hunters in that featured video remind me of Rastafarian dreadlocks. I just want to note that for the record.

RELATED LINKS
Here are two additional videos of Dozo hunters:
http://www.youtube.com/watch?v=siGCQfGm01kToba Seydou Traoré, Donso du Wassolon
**
Sibiri Samake - Music of the Hunters of Sebenikoro, Mali

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Good Lord (Run Old Jeremiah) Ring Shout

Edited by Azizi Powell

This post includes a song file & lyrics of the ring shout "Good Lord" (also known as "Run Old Jeremiah").

The content of this post is presented for historical, educational, and aesthetic purposes.

All copyrights remain with their owners.

My thanks to the unknown composer/s of that song. My thanks also to the vocalists who sung this song & the collectors who recorded and published this song.

Thanks also to the producers of these featured sound files & videos.

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INFORMATION ABOUT RING SHOUTS
From http://historymatters.gmu.edu/d/5759/:
"“Run Old Jeremiah”: Echoes of the Ring Shout

Spirituals and work songs, rooted in both the slavery era and the West African societies from which most African-American slaves were originally taken, provided cultural sustenance to African Americans in the midst of intense racial oppression. Folklorists first began collecting traditional southern music in the late-19th century. By the 1920s and 1930s, John and Alan Lomax were recording southern musicians (African-American, white, and Mexican-American) for the Library of Congress. “Run, Old Jeremiah,” sung by Joe Washington Brown and Austin Coleman in Jennings, Louisiana, in 1934, was a ring-shout, a religious song using a West African dance pattern, where the performers shuffled single file, clapping out a complex counter-rhythm. The ring-shout was common during slavery and remained popular well into the 20th century as a means of emotional and physical release during religious worship. The lyrics of the ring-shout spoke of escape from the travails of the present."

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LYRICS OF "GOOD LORD" (RUN OLD JEREMIAH)
[composer/s unknown]

Likely lyrics:

By myself. (5)
You know I've got to go.
You got to run.
I've got to run.
You got to run.
By myself. (3)
I got a letter, (2)
Ol' brownskin.
Tell you what she say.
"Leavin' tomorrow,
Tell you goodbye."
O my Lordy. (6)
Well, well, well. (2)
O my Lord. (2)
O my Lordy. (2)
Well, well, well. (2 )
I've got a rock.
You got a rock.
Rock is death.
O my Lordy.
O my Lord.
Well, well, well.
Run here, Jeremiah. (2)
I must go
On my way. (4)
Who's that ridin' the chariot? (2)
Well, well, well . . .

(New Leader:)

One mornin'
Before the evening
Sun was goin' down (3)
Behind them western hills. (3)
Old number 12
Comin' down the track. (3)
See that black smoke.
See that old engineer.
See that engineer. (2)
Tol' that old fireman
Ring his ol' bell
With his hand.
Rung his engine bell. (2)
Well, well, well. (2 )
Jesus tell the man,
Say, I got your life
In My Hand;
I got your life
In My Hand. (2 )
Well, well, well.
0l' fireman told,
Told that engineer,
Ring your black bell,
Ding, ding, ding,
Ding, ding, ding, ding.
0l' fireman say
——?—- -
——?—- -
——?—- -
That mornin',
Well, well, well, (2)
0l' fireman say,
Well, well,
I'm gonna grab my
Old whistle too.
Wah, wah, ho,
Wah, wah, wah, wah, ho,
Wah, wah, ho,
Wah, wah, wah, ho. (etc.)
Mmmmmmm
Soon, soon, soon,
Wah——— -o.
Well, well, well,
0l' engineer,
I've got your life
In my hands. (2)
Tol' your father, (2)
Well, well, well,
I was travellin', (2)
I was ridin' (3)
Over there. (2)
Ol' engineer.
This is the chariot. (2)

Source: Afro-American Spirituals, Work Songs, and Ballads, ed. Alan Lomax (Washington, D.C.: Library of Congress Archive of Folk Song, AFS L3). Sung by Joe Washington Brown and Austin Coleman at Jennings, Louisiana, 1934. Recorded by John A. and Alan Lomax.
http://historymatters.gmu.edu/d/5759/:

FEATURED SOUND FILE

Ring Shout: Good Lord (Run Old Jeremiah)



Uploaded by reverendmeds on Mar 30, 2011

By Austin Coleman, Joe Washington Brown & Group.
Alan Lomax field recording, 1934

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RELATED LINK
http://pancocojams.blogspot.com/2013/05/african-american-ring-shouts-origins.html

****
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Standard African American Funeral Songs, Part I

Edited by Azizi Powell

This is Part I of a two part series of standard songs for African American funerals.

Click http://pancocojams.blogspot.com/2012/07/standard-african-american-funeral-songs.html for Part II of this series.

I don't mean to imply that these are the only songs that are sung at home going ceremonies (funerals) for African Americans.

The content of this post is presented for religious and aesthetic purposes. The copyrights remain with their owners.

My thanks to the vocalists and musicians who performed in these videos. My thanks also to the composers, videographers, and uploaders of these featured videos.

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FEATURED VIDEOS
(These videos are posted in no particular order.)

Video #1: The Caravans - Lord Keep Me Day By Day

Uploaded by DaSourcespr06, May 07, 2008

The Original version of The Caravans flagship song "Lord Keep Me Day by Day" feat. Eddie Williams. ca.1958

-snip-

"Lord Keep Me Day By Day" was written by Eddie Williams. Click http://www.youtube.com/watch?v=m5ucx-nzuZk for the lyrics to this song.

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Video #2: Aretha FRANKLIN - "Precious Lord, Take My Hand" (1984/LIVE)

yaskam, Uploaded on Mar 23, 2009

Thanks to WADE ! Aretha reaches for Gospel. "WITH HER SOARING VOICE and sometimes fiery abandon, Aretha Franklin has had a long, variable but frequently incandescent career. She's been a queen of soul, she's sung jazz and the blues, but the basis of her style has been gospel music (...)

-snip- This song is also known as "Take My Hand Precious Lord". Click http://www.youtube.com/watch?v=kA0UV62zQFc&feature=related for a video of a rendition of this song by its composer Thomas Dorsey. Also click http://www.lyrics007.com/Gospel%20Lyrics/Take%20My%20Hand,%20Precious%20Lord%20Lyrics.html for the lyrics to this song.

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Video #3: Lauryn Hill & Tanya Blount- "His Eye Is On The Sparrow"

uploaded by melinda974 | August 19, 2007

-snip-

Click http://en.wikipedia.org/wiki/His_Eye_Is_on_the_Sparrow for information about "His Eye Is On The Sparrow". Also click http://library.timelesstruths.org/music/His_Eye_Is_on_the_Sparrow/ for lyrics to this song

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Video #4: Mahalia Jackson - Amazing Grace

Uploaded by Taddypoe on Mar 9, 2007

The Queen of Gospel breaking down Amazing Grace.

-snip-

Click http://www.gospelsonglyrics.net/a/amazing-grace.htm for lyrics to this song.

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Video #5: I'll Fly Away

Uploaded by souloptics on Sep 3, 2009

Greatness of Gospel 2009 (I'll Fly Away) -snip-

Click http://www.youtube.com/watch?v=cx-tsNTy0Ds&feature=related for a rare film clip of Rock & Roll vocalist Jackie Wilson singing a faster tempo version of "I'll Fly Away". And click http://www.youtube.com/watch?v=nC29ITqNRpY&feature=related for a montage of vintage African American photographs and a performance of "I'll Fly Away" by Blues guitarist Mississippi John Hurt.

Also, click http://www.stlyrics.com/lyrics/obrotherwhereartthou/illflyaway.htm for the lyrics to "I'll Fly Away".

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UPDATE: 1/16/2013

RELATED LINK

Click http://pancocojams.blogspot.com/2012/03/gospel-by-walter-hawkins-edwin-hawkins.html Gospel By Walter Hawkins, Edwin Hawkins, & Tramaine Hawkins, particularly for the song "Going Up Yonder".

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Standard African American Funeral Songs, Part II

Edited by Azizi Powell

This is Part II of a two part series of standard songs for African American funerals.

Click http://pancocojams.blogspot.com/2012/07/standard-african-american-funeral-songs_2737.html for Part I of this series.

I don't mean to imply that these are the only songs that are sung at home going ceremonies (funerals) for African Americans.

The content of this post is presented for religious and aesthetic purposes. The copyrights remain with their owners.

My thanks to the vocalists and musicians who performed in these videos. My thanks also to the composers, videographers, and uploaders of these featured videos.

****
FEATURED VIDEOS
(These videos are posted in no particular order.)

Video #1: Mighty Clouds Of Joy - Walk Around Heaven



Uploaded by piotrgibus on Aug 31, 2007

Montreux Jazz Festival 1981, Paul Beasley soloist and Hampton Carlton on organ

Here's a comment from this video's viewer comment thread:

this is so beautiful, my grandmother and brother would sing this song all the time. If you go to a baptist funeral this is one of the songs that will be sung. Bless your heart thank you for singing for Jesus..
-samra1116; http://www.youtube.com/all_comments?v=QiDCAXIw0yU; July 2012

-snip-
Many other viewers' comments confirm that this song was/is sung at a number of African American home going (funeral) services.

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Video #2: Patti Labelle - Then My Living Will Not Be In Vain



Uploaded by BronzeVenus on Jul 14, 2007

Patti salutes Osceola McCarty
-snip-
Click http://www.lyricsmania.com/if_i_can_help_somebody_lyrics_mahalia_jackson.html for the lyrics to "Then My Living Will Not Be In Vain".

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Video #3: Andrae Crouch - Soon And Very Soon



Posted by mightyk23; July 24, 2007

Multi Gospel Grammy winner Andrae Crouch singing "Soon and Very Soon" at one of the "Great American Gospel Sound" concert Starring Tennessee Ernie Ford
-snip-
Here's a comment from this video's viewer comment thread:
"I always loved this song and remember singing it in the choir as a child. The King is King Jesus and we are all going to see him soon and very soon. It was an appropriate song for the Michael Jackson memorial. This song is played at many black funerals, usually when the casket/coffin is being taken out of the church at the end of the service and the family is walking out. Thanks for the post and the memories."
-laarbe, 2009
-snip-
Click http://www.lyricsmania.com/soon_and_very_soon_lyrics_andrae_crouch.html for the lyrics to this song which was written by Andrae Crouch.

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Video #4: Dr Bernice Johnson Reagon Will The Circle Be Unbroken



Uploaded by whisperfight on Jun 24, 2011
-snip-
Click http://www.lyricsfreak.com/j/jeff+buckley/will+the+circle+be+unbroken_20070323.html for lyrics to this traditional song. Those lyrics include verses that Bernice Johnson Reagon didn't sing (and for what it's worth, I've never heard those particular same verses sung at any African American funeral that I've attended).

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Video #5: Trouble of the World - Mahalia Jackson



Walter Robinson, Uploaded on Oct 25, 2011

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ADDED SONG 11/1/2012

Video #6: Douglas Miller - My Soul Has Been Anchored



holyrollersoldier
-snip-
Here's a comment from this video's viewer comment thread:
"We hear it alot at funerals, but this song is an all day, every day song, and Bro. Dennis is SANGIN' it, I love how he closes it out on the live version here!!!"
-neilsoulman: September 2012

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