Live video for "Fédon" from 'Strange Medicine' ...
Mason Jar Music - video
Kaïa Kater - vocals and banjo
Andrew Ryan - upright bass and harmony vocals
Alec Spiegelman - clarinet and effects
Jackson Hillmer - drums
**** Edited by Azizi Powell
This pancocojams post combines my interest in documenting banjo music-particularly contemporary banjo music performed by people of Black ancestry- with my interest in documenting contemporary natural hairstyles that are worn by females of Black ancestry.
This pancocojams post presents information about Caribbean-Canadian singer, songwriter, and banjo player/guitar player Kai Kater.
This post also presents ten* YouTube videos that showcase Kaia Kater's musical artistry and also showcase some of the natural hairstyles that she has worn for her performances and/or hairstyles that are shown on her album covers and for her acceptance of her 2025 Juno award.
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Kaia Kater for her roots music and thanks to her (or her hair stylist/s) for her various natural hairstyles. Thanks to all those who are also featured in these showcased videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube. -snip- *I started this post by planning on focusing on five different natural hairstyles that Kaia Kater has worn in YouTube videos or sound files of her music. I raised that number to seven, then eight, and I now am highlighting ten different hairstyles that Kaia wore in those videos/sound files. I know that there are hairstyles that aren't included in this post. Thanks, Kaia, for the expressions of creativity that you share through your music as well as through your hairstyles. **** INFORMATION ABOUT KAIA KATER
2025 JUNOS Contemporary Roots Album of the Year Nominee
2025 International Folk Music Awards Nominated
Montreal-born Grenadian-Canadian Kaia's jazz-fueled voice
and deft songcraft have garnered acclaim from NPR's Tiny Desk, The Guardian,
Rolling Stone and No Depression. Through her artful banjo playing and lush songwriting,
Kaia draws on influences rooted in Quebec, the Caribbean, and Appalachia, all
of which reflect the diversity of her background; her ties to the Canadian folk
music scene; her college years spent soaking up Appalachian music in West
Virginia, her father’s experience growing up in Grenada, and her recent work in
film composition.
Kaia Kater’s new album, Strange Medicine (coming May 2024 on
Free Dirt Records/ acrönym in Canada) was created during a period of deep
self-reflection and reinvention. Taking
the helm as co-producer, alongside Joe Grass (Elisapie, Barr Brothers), the
album finds Kater expanding her creative scope with cinematic arrangements, and
working with guest artists such as Taj Mahal, Allison Russell and Aoife
O’Donovan. The album celebrates the power of women and oppressed people
throughout history, while also sharing meditations on her own life.
Kaia released her first EP Old Soul (2013) when she was just
out of high school. Since then, she’s gone on to release several albums, Sorrow
Bound (2015), Nine Pin (2016) and Grenades (2018) and Strange Medicine (May
2024). For the JUNO-nominated and
Polaris Music Prize long-listed Grenades, Kaia leaned into a wide array of
sounds and styles in order to convey a broad range of emotions and topics, most
notably her Caribbean ancestry and her father’s experience as a refugee in
Canada.
In 2020, Kaia took part in the Slaight Music Residency at
the Canadian Film Center, leading her to write original music for The Porter
(BET+ 2022), for which she garnered a Canadian Screen Award. She also wrote and performed music for the
new film, My Dead Friend Zoe (March 2024).
[...]
“...One of the most remarkable Canadian folk records in some
time...Kater's music is somehow ancient and brand new at the same time.”
-Tom Power, CBC Radio 2
SHORT BIO
Grenadian-Canadian Kaia Kater's jazz-fueled voice and deft
songcraft have garnered acclaim from NPR’s Tiny Desk,Rolling Stone and The
Guardian. Her new album, Strange Medicine (May 2024), celebrates the power of
women and oppressed people, while also sharing meditations on her own life.
Kaia is equally recognized for her film work, winning a Canadian Screen Award
for 'The Porter' (CBC/BET+), and contributing to the new film, My Dead Friend
Zoe (March 2024) as a songwriter and singer.
[...]
“...plaintive, mesmerizing ... writes and performs with the
skill of a folk-circuit veteran...”
— Rolling Stone"...
**** SHOWCASE VIDEOS OF KAIA KATER'S MUSIC THAT ALSO FEATURE EXAMPLES OF HER NATURAL HAIRSTYLES
With the exception of Video #1 that is embedded at the top of this post, all of these videos are presented in chronological order based on their publishing date on YouTube.
SHOWCASE VIDEO #2 - Sun to Sun
Kaïa Kater, Jul 31, 2015
Provided to YouTube by The Orchard Enterprises
Sun to Sun · Kaia Kater
Sorrow Bound
℗ 2015 Kingswood Records
Released on: 2015-06-16
Music Publisher: Kaia Hurst Kater (BMI)
Auto-generated by YouTube.
****
SHOWCASE VIDEO #3 - Kaia Kater - En Filant Ma Quenouille
Beehive Productions, Nov 10, 2015
Kaia Kater - En Filant Ma Quenouille
Filmed and multi-tracked by Beehive Productions in Saranac Lake, NY, July 2015
Captured with Peluso Microphones
Part of the "Ear to the Ground" series featuring sessions and interviews exploring the artists and places that make up Roots Music Culture
**** SHOWCASE VIDEO #4-Saint Elizabeth · Kaia Kater
Kaïa Kater, May 12, 2016
Saint Elizabeth · Kaia Kater
Nine Pin
℗ 2016 Kingswood Records
Released on: 2016-05-13
Music Publisher: Kaia Kater
Auto-generated by YouTube.
Provided to YouTube by The Orchard Enterprises
**** SHOWCASE VIDEO #5 -Nine Pin
Kaïa Kater, Aug 23, 2016
From the album "'Nine Pin" (May 2016) more info: www.kaiakater.com
Kaia Kater - Banjo, vocals
Chris Bartos - Electric guitar
Brian Kobayakawa - Upright bass
USA - Kingswood Records
UK - Proper Distribution
**** SHOWCASE VIDEO #6 - Grenades
Kaïa Kater, Oct 19, 2018
From Kaia Kater's album Grenades (Smithsonian
Folkways/acronym Records) on 10/26/2018 and 1/11/2019 (Europe).
Kaia Kater - vocals
Alyson McNamara - organ
Aaron Goldstein - pedal steel
Anna Ruddick - electric bass
Brad Kilpatrick - drums
Mitch Fillion (Southern Souls) - video
Aaron Goldstein (Baldwin Street Studio) - mixing & audio
engineer
****
SHOWCASE VIDEO #7 - The Internet
Free Dirt Records, Jan 12, 2024
"The Internet" is Kaia Kater's new single out now
on Free Dirt ~ https://lnk.to/kaia-kater-internet
"This was a quick write, a couple of verses in a
notebook over a glass of wine during the pandemic about how weird it is to talk
to people through a screen. I was listening to Kate Bush’s 'Hounds of Love' on
repeat at the time and was heavily inspired by her song “Watching You Without
Me” about the qualities of being an observer. I took the bridge of the song in
a similar direction as her song, full of barely intelligible words, like the
ones you might hear when you’re losing your internet connection with someone:
Can you hear me? Can you see me? Don’t ignore me." - Kaia
Produced by Kaïa Kater and Joe Grass Engineered by Gautier Marinof Mixed by Ryan Freeland at Stampede Origin Mastered by Richard Addison at Trillium Sound Recorded at Studio Mixart
Written by Kaïa Kater-Hurst (SOCAN)
I can only talk to you
through the Internet
In bits and in bytes and right angles
Carved up my life just for the Internet
You take the leg, the wing, the shoulder and sing:
“All Hail To Our God The Internet”
I spilled my drink onto the Internet
Everything twitched and was gone
Who am I now without the Internet?
I’m not the saint, the fiend
the stupid machine
“Liking” likes, like I should like the Internet
I spy the satellites of the Internet
Above me like human-made stars
Concentrically circling the internet
But never enough
To touch
To feel any rush
Out beyond the pull of The Internet
Oh how I long
to just
feel any rush
Out beyond the pull of The Internet
**** SHOWCASE VIDEO #8 - Kaia Kater covers "Undone in Sorrow"
Salt Lick Sessions, Jan 14, 2024
"Undone in Sorrow" written by Ola Belle Reed
(popularized by Crooked Still)
Kaia Kater, vocals and banjo with Andrew Donavan Ryan, bass.
Recorded September 24, 2023 at Studio 9 at Porches Inn
during the FreshGrass Festival @MASSM0CA
in North Adams, Massachusetts.
@FreshGrassFoundation
**** SHOWCASE VIDEO #9 -The Witch
Kaïa Kater, May 1, 2024
Live video for "The Witch" from 'Strange Medicine'
coming May 17 on Free Dirt / acronym: https://lnk.to/kaia-kater-strange-med...
Mason Jar Music - video
Kaïa Kater - vocals and banjo
Andrew Ryan - upright bass and harmony vocals
Alec Spiegelman - saxophone and effects
Jackson Hillmer - drums
**** SHOWCASE VIDEO #10 - Kaia Kater wins Contemporary Roots Album of the
Year | 2025 JUNO Awards Gala
The JUNO Awards, Apr 8,
2025 #JUNOS #roots #Kaiakater
Kaia Kater wins Contemporary Roots Album of the Year at The
2025 JUNO Awards Gala Presented by Music Canada
DrQuickbeam, October 10, 2009 -snip- The lyrics for this version are given as Lyrics #1 below.
**** Edited by Azizi Powell
This pancocojams post presents some information, YouTube video examples, and lyrics for the Old Time Music/Bluegrass song "Hop High My Lulu Gal" (also known as "Lulu Gal" & "Lula Gal" and other titles).
The content of this post is presented for historical, folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and thanks to the singers and musicians who are featured in the YouTube video that is embedded in this post. **** SHOWCASE VIDEOS OF THIS SONG These examples are given in no particular order and are numbered for referencing purposes only.
SHOWCASE VIDEO #1 This video is embedded at the top of this post.
**** SHOWCASE VIDEO #2 - Hop High Lulu Girl (Roustabout)
Steve Allerton, Sep 26, 2022
Inspired by Dirk Powell, with a nod to Riley Baugus and Fred
Cockerham. Bottle Gourd banjo built by
the wonderful Noah Cline. Tuning here is
e-A-E-Ab-B.
**** SHOWCASE VIDEO #3 -Kaia Kater - "Lulu Gal"
World One Video, Jun 9,
2015
Kaia Kater performing a new song not yet recorded on cd
called Lulu Gal. With Scotty Leach on
fiddle and vocals.
Recorded 'In The Moment' on Friday May 15, 2015 at the Southeast Regional Folk Alliance Conference near Asheville, North Carolina.
Adapted from Miss McLeod's / Hop Light Ladies / Did You Ever See the
Devil, Uncle Joe written by [Traditional] – Lyricization
[...]
Adaptations
An adaptation is a musical work, which uses elements (music
or lyrics) from another musical work.
[Some early recording dates for this song]
Titles Performers Release Dates
Miss
McLeod's Reel Victor Dance Orchestra December 1906
Miss
McLeod's Reel Prince's Orchestra March 1914
Hop Out
Ladies and Shortenin' Bread Medley Henry Whitter May 1924
Hop Light,
Lady Fiddlin' John Carson and
His Virginia Reelers December 2025
Hop
About LadiesOliver SimsDecember 1926
Hop High Ladies, the Cake's All Dough Uncle Dave Macon and His Fruit-Jar Drinkers May 1927
Did You Ever See the Devil, Uncle Joe? Fiddlin' Powers & Family 1928 "...
**** LYRICS FOR VERSIONS OF THIS SONG These examples of lyrics for this song are given in no particular order and are numbered for referencing purposes only.
VERSION #1 HOP HIGH, MY LULU GIRL (traditional; composers unknown/ performed by Dirk Powell in Hand Me Down; released in 1999)
Where did you get those high top shoes
And the dress that you wear so fine
I got my shoes from a railroading man
And the dress is from a driver in the mine
CHORUS
Oh hop high, hop high
Hop high, my Lulu girl
Oh hop high, hop high
Hop high, my Lulu girl
I'll pawn you my watch and I'll pawn you my chain
I'll pawn you my gold wedding ring
To pay my little Lulu's fine
I'll pawn you my wagon and my team
CHORUS
Where have you been my pretty little girl
Where have you been so long
I've been in the pen with them rough and rowdy men
And honey I'm goin' back again
CHORUS
-snip-
https://www.youtube.com/watch?v=KyuojxLhCy8
This example is given as Showcase video #1 in this pancocojams post.
1. Subject: RE: Help: Say, Darlin', Say From: GLoux Date: 12 Apr 05 - 08:00 AM
"The liner notes to Dirk's recording of 'Hop High My Lulu Gal' say that it is known to come from Fred Cockerham. I don't have a recording of Fred doing it, though...
Auto-generated by YouTube. -snip- The lyrics for this example doesn't include "the n word".
**** Edited by Azizi Powell
This pancocojams post presents some information and comments about the 19th century United States minstrel song "Miss Lucy Long" (also known as "Lucy Long" and "Lucy Neal").
A sound file of a 2006 recording of that song is embedded in this post.
This post only includes a sample of lyrics for "Miss Lucy Long". However, "complete" lyrics for certain examples of "Miss Lucy Long" can be found on some of the online sources whose links that are included in this post.
WARNING- "Miss Lucy Long"songs, like many minstrel songs, often include the derogatory referent that is usually given nowadays as "th n word".
The content of this post is presented for historical, folkloric, and cultural purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and thanks to the group that is featured in the YouTube sound file that is embedded in this post. -snip- Click https://pancocojams.blogspot.com/2023/11/information-about-examples-of-19th.html for the pancocojams post entitled "Information About & Examples Of The 19th Century Minstrel Song "Miss Lucy Long", The Source Of "Miss Lucy" In The Rhyme "Miss Lucy Had A Baby".
That pancocojams is on the same subject as this 2025 post but includes some different content.
**** PANCOCOJAMS EDITOR'S NOTE ABOUT MINSTREL SONGS Since this pancocojams blog focuses on African American culture and other Black cultures throughout the world, I would like to share the reason why I'm publishing posts on 19th century minstrel songs.
My focus on 19th century minstrel songs in this pancocojams blog shouldn't be interpreted to mean that I believe that Black Americans composed these songs.
However, I believe that some themes, terms, and some previously existing floating verses that Black Americans did compose (largely as Southern plantation secular dance/work songs) were taken from those sources by White composers and used in a number of minstrel songs. White men are named as the composers of those songs without any acknowledgement of those Black sources.
I recognize those Black contributions through these posts and I also recognize that some blackfaced minstrels were Black Americans. The influence of Black Americans in minstrelsy extends from the United States South to music traditions in other parts of the world including Great Britain and South Africa.
**** INFORMATION AND COMMENTS ABOUT THE MINSTREL SONG "MISS LUCY LONG" These online sources are given in no particular order and are numbered for referencing purposes only.
ONLINE SOURCE #1 From https://en.wikipedia.org/wiki/Miss_Lucy_Long "Miss Lucy Long", also known as "Lucy
Long" as well as by other variants, is an American song that was
popularized in the blackface minstrel show.
After its introduction to the stage by the Virginia
Minstrels in 1843, "Miss Lucy Long" was adopted by rival troupes.
George Christy's cross-dressed interpretation standardized the portrayal of the
title character and made the song a hit in the United States. "Miss Lucy
Long" became the standard closing number for the minstrel show, where it
was regularly expanded into a comic skit complete with dialogue.
Versions were printed in more songsters and performed in
more minstrel shows than any other popular song in the antebellum period.
In blackface minstrelsy, the name Lucy came to signify any
sexually promiscuous woman.
History
The first published edition of "Miss Lucy Long" is
uncredited in an 1842 songster called Old American Songs. Billy Whitlock of the
Virginia Minstrels later claimed the song in his autobiography: "I
composed ... 'Miss Lucy Long' (the words by T. G. Booth) in 1838."[1]
Despite predating the minstrel show, "Miss Lucy
Long" gained its fame there.[2] The song was the first wench role in
minstrelsy. The Virginia Minstrels performed it as their closing number from
their earliest performances. Dan Gardner introduced what would become the
standard Lucy Long costume, skirts and pantalettes.[3] George Christy's
interpretation for the Christy Minstrels became the standard for other troupes
to follow.[4] The New York Clipper ignored Gardner completely and wrote "George
[Christy] was the first to do the wench business; he was the original Lucy
Long."[5]
By 1845, the song had become the standard minstrel show
closing number,[6] and it remained so through the antebellum period.[7]
Programs regularly ended with the note that "The concert will conclude
with the Boston Favorite Extravaganza of LUCY LONG."[8] The name Lucy came
to signify a woman who was "sexy, somewhat grotesque, and of suspect
virtue" in minstrelsy. Similar songs appeared, including "Lucy
Neal".[9] In the late 1920s, a dance called the Sally Long became popular;
the name may derive from the minstrel song.[10]
Musicologist Robert B. Winans found versions of "Miss
Lucy Long" in 34% of minstrel show programs he examined from the 1843–52
period and in 55% from 1843 to 1847, more than any other song.[11] Mahar's
research found that "Miss Lucy Long" is the second most frequent song
in popular songsters from this period, behind only "Mary Blane".[12]
The song enjoyed a resurgence in popularity from 1855 to 1860, when minstrelsy
entered a nostalgic phase under some companies.[13]
[…]
For nineteenth-century audiences, the comedy of "Lucy
Long" came from several different quarters. Eric Lott argues that race is
paramount. The lyrics are in an exaggerated form of Black Vernacular English,
and the degrading and racist depictions of Lucy—often described as having
"huge feet" or "corncob teeth"—make the male singer the
butt of the joke for desiring someone whom white audiences would find so
unattractive.[17] However, in many variants, Lucy is desirable—tall, with good
teeth and "winning eyes".[18] Musicologist William J. Mahar thus
argues that, while the song does address race, its misogyny is in fact more
important. "Miss Lucy Long" is a "'public expressions of male
resentment toward a spouse or lover who will not be subservient, a woman's
indecision, and the real or imagined constraints placed on male behaviors by
law, custom, and religion."[19] The song reaffirms a man's supposed right
to sexual freedom[20] and satirizes courtship and marriage.[21] Still, the fact
that the minstrel on stage would desire someone the audience knew to be another
man was a source of comic dramatic irony.[20]
[…]
"Miss Lucy Long and Her Answer", a version
published in 1843 by the Charles H. Keith company of Boston, Massachusetts,
separates the song into four stanzas from the point of view of Lucy's lover and
four from Lucy herself. She ultimately shuns "de gemman Dat wrote dat
little song, Who dare to make so public De name ob Lucy Long" and claims
to prefer "De 'stinguished Jimmy Crow."[26]
Structure and performance
"Miss Lucy Long" is a comic banjo tune,[9] and
there is little melodic variation between published versions.[12] Nevertheless,
the tune is well-suited to embellishment and improvisation. The verses and
refrain use almost identical music, which enabled troupes to vary the
verse/chorus structure and to add play-like segments.[9] A repeated couplet
binds the piece together and gives it a musical center around which these
embellishments can occur.[27]
The lyrics of the comic banjo tune, are written in
exaggerated African American Vernacular English and tell of the courtship or
marriage of the male singer and the title character. "Miss Lucy Long"
satirizes black concepts of beauty and courtship and American views of marriage
in general. The song is misogynistic; the male character dominates Lucy and
continues his sexually promiscuous lifestyle despite his relationship with her.
Minstrels usually performed the song as part of a sketch in
which one minstrel cross dressed to play Lucy Long. The blackface players
danced[9] and sang with regular interruptions of comic dialogue. The part of
Lucy was probably not a speaking role and relied entirely on pantomime.[21]”…
"Miss Lucy Long," published in 1842 by George Willig, was the primary
source for all "Lucy Neal" minstrel songs. The song details the
relationship between the singer and the character of the song. Misogynistic and
satirical, this song represents American perceptions of black sexuality,
beauty, and relationships. The lyrics suggests casual and dominant sexual
promiscuity between the assumed white male singer and Lucy. “Lucy” is a
commonly racist name given to blackface performers that stereotypes a woman who
was sexy and of questionable virtue. This song not only narrates white
male-black female slave sexual fantasies, but celebrates the blatant misogyny
and perverted sexual dominance found in minstrel versions of “Lucy Long/Neal.”
-snip-
The next page in that website is for the song “Miss Lucy Neal” which was
published in 1846.
**** ONLINE SOURCE #3 From https://tunearch.org/wiki/Annotation:Miss_Lucy_Long
The Traditional Tune Archive- Miss Lucy Long …”MISS LUCY LONG. AKA - "Lucy Long (1)." American, Air (2/4 time). C
Major. Standard tuning (fiddle). One part. A minstrel-era comic love song
popular in the mid-19th century composed in 1842 by William M.
"Billy" Whitlock [1] (1813–1878), an American blackface performer.
Biography:Billy Whitlock was a member of the earliest minstrel troupes, the
Virginia Minstrels (with fiddler Dan Emmett, Frank Bower nd Richard Pelham),
formed in 1843. Prior to that Whitlock had a solo blackface and duet acts that
he performed at various venues, including P.T. Barnum's circus. After the
breakup of the Virginia Minstrels, Whitlock performed with a variety of
troupes, many of which were put together for a traveling season or two, only to
recombine with different personnel and different names for the next season. His
last public blackface performance was at a circus in 1855.
Whitlock's song "Lucy Long" was a hit for both the
Virginia Minstrels and the Christy Minstrels in the first decade of minstrel
performances. It acquired many sets of words, and entered oral tradition.
The Virginia Minstrels, 1843
Now I am come afore you
To sing a littel song
I play upon de banjo,
An' dey call it Lucy Long.
Chorus:
Oh, take time, said Lucy,
Oh, Miss Lucy Long;
Den take time, said Lucy,
Oh, Miss Lucy Long.
The tune is printed in one of the earliest surviving
collections of minstrel tunes, an 1848 banjo tutor written by Boston publisher
Elias Howe, whose pseudonym Gumbo Chaff, a name taken from Thomas Dartmouth
Rice's 1834 blackface character. The tutor was republished in 1851 in Boston by
Oliver Ditson who, in 1850, had purchased the rights to several of Howe's
publications, on the condition that Howe not publish any similar works for ten
years.”…
“Rock the Cradle Lucy/Lucy Long/Miss Lucy Long/Rock The
Cradle Joe
Bluegrass and Old-Time Breakdown; Galax Area, North Carolina
and Virginia; “Miss Lucy Long/Lucy Long” Widely Known Minstrel Song
ARTIST: Billy Whitlock of the Virginia Minstrels; Two
versions
CATEGORY: Fiddle and Instrumental Tunes
DATE: 1844 The first published edition of "Miss Lucy
Long" is uncredited in a 1842 songster called Old American Songs. Billy
Whitlock of the Virginia Minstrels later claimed the song in his autobiography:
"I composed . . . 'Miss Lucy Long' (with words by T. G. Booth) in
1838." “Rock The Cradle Lucy” Songs appear in the early 1900’s recorded by
the Cofer Brothers in 1929.
[…]
OTHER NAMES: Miss Lucy Long; Lucy Long; Rock That/The Cradle
Lucy
[…]
From Wikipedia, the free Encyclopedia: Miss Lucy Long is a
comic banjo tune, the lyrics, written in exaggerated Black Vernacular English,
tell of the courtship or marriage of the male singer and the title character.
The song is highly misogynistic; the male character dominates Lucy and
continues his sexually promiscuous lifestyle despite his relationship with her.
"Miss Lucy Long" thus satirizes black concepts of beauty and
courtship and American views of marriage in general.
After its introduction to the stage by the Virginia
Minstrels in 1843, "Miss Lucy Long" was adopted by rival troupes.
George Christy's cross-dressed interpretation standardized the portrayal of the
title character and made the song a hit in the United States. "Miss Lucy
Long" became the standard closing number for the minstrel show, where it
was regularly expanded into a comic skit complete with dialogue. Versions were
printed in more songsters and performed in more minstrel shows than any other
popular song in the antebellum period. In blackface minstrelsy, the name Lucy
came to signify any sexually promiscuous woman.
[…]
For Ninteenth-century audiences, the comedy of "Lucy
Long" came from several different quarters. Eric Lott argues that race is
paramount. The lyrics are in an exaggerated form of Black Vernacular English,
and the degrading and racist depictions of Lucy—often described as having
"huge feet" or "corncob teeth"—make the male singer the
butt of the joke for desiring someone whom white audiences would find so
unattractive. However, in many variants, Lucy is desirable—tall, with good
teeth and "winning eyes".
Musicologist William J. Mahar thus argues that, while the
song does address race, its misogyny is in fact more important. "Miss Lucy
Long" is a "'public expressions of male ressentment toward a spouse
or lover who will not be subservient, a woman's indecision, and the real or
imagined constraints placed on male behaviors by law, custom, and
religion." The song reaffirms a man's supposed right to sexual freedom and
satirizes courtship and marriage.[9] Still, the fact that the minstrel on stage
would desire someone the audience knew to be another man was a source of comic
dramatic irony.
[…]
The first published edition of "Miss Lucy Long" is
uncredited in a 1842 songster called Old American Songs. Billy Whitlock of the
Virginia Minstrels later claimed the song in his autobiography: "I
composed . . . 'Miss Lucy Long' (the words by T. G. Booth) in 1838."
Despite predating the minstrel show, "Miss Lucy
Long" gained its fame there. The song was the first wench role in
minstrelsy. The Virginia Minstrels performed it as their closing number from
their earliest performances. Dan Gardner introduced what would become the
standard Lucy Long costume, skirts and pantalettes. George Christy's
interpretation for the Christy Minstrels became the standard for other troupes
to follow. The New York Clipper ignored Gardner completely and wrote
"George [Christy] was the first to do the wench business; he was the
original Lucy Long."
By 1845, the song had became the standard minstrel show
closing number, and it remained so through the antebellum period. Programs
regularly ended with the note that "The concert will conclude with the
Boston Favorite Extravaganza of LUCY LONG." The name Lucy came to signify
a woman who was "sexy, somewhat grotesque, and of suspect virtue" in
minstrelsy. Similar songs appeared, including "Lucy Neal". In the
late 1920s, a dance called the Sally Long became popular; the name may derive
from the minstrel song.
Musicologist Robert B. Winans found versions of "Miss
Lucy Long" in 34% of minstrel show programs he examined from the 1843–52
period and in 55% from 1843–47, more than any other song. Mahar's research
found that "Miss Lucy Long" is the second most frequent song in
popular songsters from this period, behind only "Mary Blane".The song
enjoyed a resurgence in popularity from 1855–60, when minstrelsy entered a
nostalgic phase under some companies.
[...]
Miss Lucy Long has been collected in West Indian Islands by Stan Hugill and
blues/jazz versions with the Lucy Long name were popular in the 1920’s-30’s.
The Rock the Cradle Lucy fiddle breakdown is different song that the Miss Lucy
Long versions sharing the title and some lyrics.”…
Subject: RE: Lyr Add: Miss Lucy Long (minstrel) From: Q (Frank Staplin) Date: 06 Apr 09 - 05:17 PM
"This minstrel song is mentioned in chanteys and was revised in presentations by several minstrel groups. It has persisted in folk use, and was collected in the John and Ruby Lomax 1939 Southern States Recording Trip (collected in Texas, recording at American Memory).
"The tune is memorable; in 1844 several claimants published
music.
(The details below I wanted for my notes, I apologise for
adding volume to this thread).
James Sanford is accepted by most writers as the composer. A
midi to his sheet music is at pdmusic, linked by Masato, 08 Feb. 04. In the
sheet music published by Fiot, Sanford is called "The celebrated NEGRO
singer and dancer." He was a blackface minstrel. Pdmusic took the midi
from sheet music in a London edition, "Lucy Neal," also pub. in 1844,
but apparently Sanford is credited.
In the Fiot copy, the master's name was 'Meal,' in the
English copy it was 'Beal.' This is the tune usu. associated with the
"Song of Texas."
Also in 1844:
"Miss Lucy Neale or the Yellow Gal" was pub. by
Geo. Willig, arr. for piano by James W. Porter. Here, the master's name is
'Deal.' The music is somewhat different. "Philadelphis concerts."
Lyrics different from those of Sanford.
"Miss Lucy Neale or the Yellow Gal" pub. Atwill,
NY, arr. for piano by N. Barckley. From the Congo Melodists. Master's name is
'Deal.' Music differs slightly from Sanford's and Porter's sheet music.
"Lucy Neale," pub. J. G. Osbourne, Philadelphia,
arr by banjoist Charles Von Bonnhorst. Master's name Beale. Music seems closer
to Sanford's. Lyrics different from those of Sanford, and Porter. American
Memory have a copy they date later.
"Oh Poor Miss Lucy Neale," pub. Oliver Ditson,
Quickstep by Edward L. White. Catalogued as 1844, but deposited Feb., 1845.
Seems more akin to the Porter arrangement; combined with "Dandy Jim."
"Miss Lucy Neale," pub. Firth and Hall, 1845, arr.
piano by W. R. Coppock. These are variations, departing from the usual melody.
"Miss Lucy Neale and Dandy Jim," 1846, Quickstep,
pub. F. D. Benteen, arr. D. Tucker.
"Miss Lucy Neale," pub. Saml. Carusi, Baltimore,
n. d., music similar to Porter. (Levy Sheet Music)
"Miss Lucy Neale," E. Ferrett & Co., Phila.,
n. d., The Virginia Minstrels Cotillions (Boatman's Dance, Dandy Jim, Lucy
Long, Dan Tucker (jig), with dance instructions). Ethiopian Serenaders, arr. by
Old Dan Tucker."... -snip- Pancocojams Editor's Note: In this comment, "Negro singer and dancer" doesn't mean a person who was Black American. Instead, this comment refers to a White man who performed minstrel songs which focused on Black Americans.
old time folk music -snip- Pancocojams Editor's Note: This actually isn't the first version of "Turkey In The Straw".
Read information about this song that is presented below.
****
Edited by Azizi Powell
Latest Update- April 23, 2025
This is Part II of a two part pancocojams series on the song "Old Zip Coon" and the song "Turkey In The Straw". Both of these songs use the same tune.
This post provides information about early sources of the song "Turkey In The Straw". This post also include lyrics & videos of versions of the song "Turkey In The Straw".
The content of this post is presented for folkloric, historical, and cultural purposes.
All copyrights remain with their owners.
Thanks to the unknown composers of this song and thanks to all those who are quoted in this post. Thanks also to all those who are quoted in this post and all those who are featured in these showcased videos. -snip- This is an April 23, 2025 reprint of a 2013 pancocojams post with some additional content. That 2013 post is still published in this blog with some added content. As of April 23, 2025 there are no comments for that 2013 post. **** PANCOCOJAMS EDITOR'S NOTE ABOUT MINSTREL SONGS Since this pancocojams blog focuses on African American culture and other Black cultures throughout the world, I would like to share the reason why I'm publishing posts on 19th century minstrel songs. My focus on 19th century minstrel songs in this pancocojams blog shouldn't be interpreted to mean that I believe that Black Americans composed these songs.
However, I believe that some themes, terms, and some previously existing floating verses that Black Americans did compose (largely as Southern plantation secular dance/work songs) were taken from those sources by White composers and used in a number of minstrel songs. White men are named as the composers of those songs without any acknowledgement of those Black sources.
I recognize those Black contributions through these posts and I also recognize that some blackfaced minstrels were Black Americans. The influence of Black Americans in minstrelsy extends from the United States South to music traditions in other parts of the world including Great Britain and South Africa.
**** INFORMATION ABOUT & EARLY LYRICS FOR THE SONG "TURKEY IN THE STRAW" Pancocojams Editor's Note: "Turkey In The Straw" is a very well known American fiddle tune (instrumental). "Turkey In The Straw" used to be a dance song for people of all ages. However, it now is mostly considered to be a children's song.
"Turkey In The Straw" 's lyrics can be rightly considered to be "nonsense" verses. While the tune for "Turkey In The Straw" is the same as that used by a song which originally had racist lyrics, it appears that the early & the later lyrics for "Turkey In The Straw" weren't and aren't racist.
Like other songs of that era, it's difficult to determine how much of the early versions of "Turkey In The Straw" originated with African Americans or with White Americans. However, it's clear from documentation that early versions of "Turkey In The Straw" contain floating verses that are found in a number of songs that were sung by (Southern) Black Americans.
Here's a lengthy quote about "Turkey In The Straw" from http://www.contemplator.com/america/turkeyis.html "Turkey In the Straw was one of the earliest American minstrel songs. It was a fiddle tune named Natchez Under the Hill befoe [sic] it was published with words in 1834 as Old Zip Coon. It was very popular during Andrew Jackson's presidency.
The first verse of Old Zip Coon is: There once was a man with a double chin Who performed with skill on the violin, And he played in time and he played in tune, But he wouldn't play anything but Old Zip Coon.
According to Linscott, the tune is derived from the ballad My Grandmother Lived on Yonder Little Green which in turn derived from the Irish ballad The Old Rose Tree
[LYRICS]
As I was a-gwine down the road, With a tired team and a heavy load, I crack'd my whip and the leader sprung, I says day-day to the wagon tongue. Turkey in the straw, turkey in the hay, Roll 'em up and twist 'em up a high tuckahaw And twist 'em up a tune called Turkey in the Straw.
[The words in italics are henceforth given "Chorus"]
Went out to milk, and I didn't know how, I milked the goat instead of the cow. A monkey sittin' on a pile of straw, A-winkin' at his mother-in-law.
Chorus
Met Mr. Catfish comin' down stream. Says Mr. Catfish, "What does you mean?" Caught Mr. Catfish by the snout, And turned Mr. Catfish wrong side out.
Chorus
Came to a river and I couldn't get across, Paid five dollars for a blind old hoss; Wouldn't go ahead, nor he wouldn't stand still, So he went up and down like an old saw mill.
Chorus
As I came down the new cut road, Met Mr. Bullfrog, met Miss Toad And every time Miss Toad would sing, Old Bullfrog cut a pigeon wing.
Chorus
Oh I jumped in the seat and I gave a little yell The horses ran away, broke the wagon all to hell Sugar in the gourd and honey in the horn
Chorus" -snip- Click http://www.gutenberg.org/files/27195/27195-h/27195-h.htm for song examples from Thomas W. Talley's 1922 collection Negro Folk Rhymes: Wise & Otherwise [henceforth referred to as "Talley: Negro Folk Rhymes"] that refer to going down a new cut road, "went to a river" etc, "milking a goat instead of a cow" etc, and dancing the pigeon wing. -snip- [Note added April 23, 2025- From https://englishteststore.net/lesson/english-idioms/cut-the-pigeon-wing-idiom-meaning-and-example-usage-in-sentences/ "Idioms often have intriguing origins, and this one is no exception. ‘Cut the Pigeon" " Wing’ finds its roots in the world of dance. In the 18th century, dancers would perform intricate moves, and one of them was the ‘Pigeon Wing.’ It was a swift, elegant motion, symbolizing grace and precision.
Meaning: Beyond Literal Interpretation
While the literal meaning of ‘Cut the Pigeon Wing’ refers to
the dance move, its figurative interpretation is quite different. It signifies
someone showing off or flaunting their skills or abilities, often in an
ostentatious manner. It’s like a peacock spreading its feathers to attract
attention."...
Bluegrass and old-time song and breakdown. Very widely known
ARTIST: by either? George Washington Dixon, George Nichols, or Bob Farrell- Old Zip Coon (1834) CATEGORY: Fiddle and Instrumental Tunes DATE: 1834 (Five publications) as “Old Zip Coon;” Fuld reports the title "Turkey in de Straw" appeared in 1861; Earliest recording c. 1901 Silas Leachman; RECORDING INFO “Old Zip Coon”: Arkansas Charlie [pseud. for Charlie Craver], "Old Zip Coon (Vocalion 5384, c. 1930); Hindermyer & Tuckerman [Goldy & Dusty], "Zip Coon" (Edison 51830, 1926)... SOURCES “Turkey in the Straw”: Ceolas; Digital Tradition; Folk Index; Traditional Ballad Index; Randolph 274, "Turkey in the Straw" (2 texts plus a fragment, 1 tune); Randolph/Cohen, pp. 234-237, "Turkey in the Straw" (1 text, 1 tune -- Randolph's 274A); BrownIII 94, "Turkey in the Straw" (1 fragment); also 511, "The Preacher Song" (1 text, a complex mix of verses from "Turkey in the Stray" and "Some Folks Say that a Preacher Won't Steal" with the "Uncle Eph" chorus)"... -snip- My focus is on the songs "Some Folks Say that a Preacher Won't Steal" with the "Uncle Eph [Got A Coon & Gone].
Click http://www.fresnostate.edu/folklore/ballads/Br3423.html for information about & some lyrics of the song "Some Folks Say that a Preacher Won't Steal". Warning: What is now known as the n word is fully spelled out on that page.
A version of that song is also found in "Talley: Negro Folk Rhymes" under the name "They Steal Gossip". There’s an ongoing debate as to whether the word “preacher” was a substitution for the "n word" or vice versa.
Click http://mudcat.org/thread.cfm?threadid=9197#1003259 for information about "Uncle Eph Got A Coon And Gone". That link is just one of the comments on that discussion thread about that song. Warning: What is now known as the n word is fully spelled out in that discussion thread.
The word "coon" in this song rerfers to "racoon". That said, it should be remembered that "coon" also was a 19th century referent for Black people that was used by some Black Americans & some White Americans, particularly in the South.
Floating verses found in "Uncle Eph Got A Coon" are also found in "Old Dan Tucker", "Possum Up A Gum Stump", "Liza Jane", "Shake Them 'Simmons" and a parody of Golden Slippers also have contributed. [from cited Mudcat link posted by Q, 2003]
**** QUOTES FROM WIKIPEDIA [added April 23, 2025] From https://en.wikipedia.org/wiki/Turkey_in_the_Straw " "Turkey in the Straw" is an American folk song
that first gained popularity in the 19th century. Early versions of the song
were titled "Zip Coon", which were first published around 1834 and
performed in minstrel shows, with different people claiming authorship of the
song. The melody of "Zip Coon" later became known as "Turkey in
the Straw"; a song titled "Turkey in de Straw" with different
music and lyrics was published in 1861 together with the wordless music of
"Zip Coon" added at the end, and the title "Turkey in the
Straw" then became linked to the tune of "Zip Coon".[1][2]
The song is related to a number of tunes of the 19th century
and the origin of these songs has been widely debated.[3][4] Links to older
Irish/Scottish/English ballads have been proposed, such as "The Old Rose
Tree". The song became highly popular and many variations of the song
exist. It was also frequently adapted and used in popular media.
Origin
"Turkey in the Straw" is thought to be originally
a tune from 19th century minstrel shows, "Zip Coon" or "Old Zip
Coon", published around 1834. The authorship of the song has been claimed
by George Washington Dixon who popularized the song, as well as Bob Farrell and
George Nicholls.[2] "Zip Coon" in turn has been linked to a number of
19th century folk songs believed to have older antecedents in
Irish/Scottish/English folk songs. Songs proposed it has links to include
"Natchez Under the Hill", "The Old Bog Hole", "The
Rose Tree", "Sugar in the Gourd", "The Black Eagle",
"Glasgow Hornpipe", "Haymaker's Dance", "The Post
Office", "Old Mother Oxford", "Kinnegad Slasher" and others.[5][6]
Eloise Hubbard Linscott believes the first part of the song
is a contrafactum of the ballad "My Grandmother Lived on Yonder Little
Green", published in 1857 by Horace Waters, which is in turn said to be a
contrafactum of the Irish/Scottish/English ballad "The Old Rose Tree"
published by at least 1795 in Great Britain.[7] The link to "The Old Rose
Tree" has been questioned,[4] but a number of musicologists suggest that
it may be a composite of "The Rose Tree" and "The (Bonny) Black
Eagle".[6] Similar tune was popular with fiddle players as early as 1820,
and the tune of "Turkey in the Straw"/"Zip Coon" may have
come from the fiddle tune "Natchez Under the Hill" believed to have
been derived from "Rose Tree".[8][9]
The title "Turkey in the Straw" later became
associated with the tune of "Zip Coon" in an unusual way. According
to James J. Fuld, Dan Bryant copyrighted a song with new lyrics and music
titled "Turkey in the Straw" on July 12, 1861, but with the wordless
music of "Zip Coon" (titled "Old Melody") attached at the
end. The tune of "Zip Coon" then became known as "Turkey in the
Straw".[2]"...
****
ADDITIONAL FEATURED VIDEOS & SOUND FILES OF "TURKEY IN THE STRAW"
Example #1:- RARE 1945 FOOTAGE! Callahan Brothers - TURKEY IN THE STRAW
OldTimeMusic, Feb 23, 2009
Callahan Brothers perform Turkey In the Straw in the 1945 Jimmy Wakely western "Springtime in Texas".
****
Example #2 - Merry Singers-Turkey In The Straw
KiddieRecordKrazy, Uploaded on Mar 26, 2010
Old MacDonald Had a Farm Merry Records
**** Example #3: The Skillet Lickers-Turkey In The Straw
