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Saturday, June 30, 2012

"Run While The Sun Is Shining" (Sound Files & Lyrics)

Edited by Azizi Powell

Latest Update: January 6, 2022

This pancocojams post features two sound files of the Gospel song "Let Us Run While It's Running Time" ("Run While The Sun Is Shining"). This post also includes my transcription of that song and my explanation of the meaning of that song's lyrics.

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

My thanks to the composer of this song. My thanks also to the vocalists and musicians who are featured in these sound files. Thanks also to the producers and uploaders of these sound files. All copyrights remain with their owners.

INFORMATION ABOUT THIS SONG
"Let Us Run While It's Running" ("Run While The Sun Is Shining") is a Gospel song that was made popular by Bessie Griffin & The Vans Gospel group and The Caravans Gospel group probably in 1954 or 1955. While this song has two different titles, it has the same lyrics and tune.

According to a summary statement for Albertina Walker's [The Caravans'] recording "Run While The Sun Is Shining" [given here as Example #2] and Bessie Griffin's "Let Us Run While It's Running" [given here as Example #1] were competing renditions of the same song which were both released around the same time "in the early 1950s". Also according to that summary statement, Bessie Griffin's rendition won the competition for which group's version of the song was the most popular. If indeed Bessie Griffin's recording was the most popular, it's ironical that the Caravans' title "Run While The Sun Is Shining" appears to be the most well known title for this song.

The Wikipedia page for the Caravans' http://en.wikipedia.org/wiki/The_Caravans indicates that "Bessie Griffin joined the [Caravans] group in 1953, but left after a year."

The Wikipedia page for Bessie Griffin http://en.wikipedia.org/wiki/Bessie_Griffin indicates that "After moving to Chicago in 1951, she worked briefly with The Caravans, a gospel group led by Albertina Walker, making a session with them for States in 1954. She left the group later that year, recording as a soloist for Al Benson's Parrot label."

-snip-
That Wikipedia page makes no mention of The Vans Gospel group. Perhaps this is the group for which she is mentioned as soloist for the Parrot label.

-snip-
Given these references, both of these renditions of "Let Us Run While It's Running Time" ("Run While The Sun Is Shining") were probably recorded in the same year of 1954 or 1955.

Unfortunately, I've not been able to find out who composed the lyrics or music to "Run While The Sun Is Shining" and the year in which that song was composed.

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FEATURED SOUND FILES

Example #1: Bessie Griffin: It's Running Time / Savoy 1968/9



Cussin' and Carryin' on, May 12, 2013 

I am not sure about the exact release date of this LP. Traditionally assigned to 1968, it might have been released only the following year.

Bessie recorded this song for the first time, together with the Caravans, in January 1954, under the title »Let Us Run (While It's Running Time)«. The title often appears also as »Run While The Sun Is Shining«.

Notes and supervision: Fred Mendelsohn

Recording: Rev. Lawrence Roberts

Mastering: Medallion Studios

Fabricated by Modern Album of New Jersey Inc., Flemington, N.J.
-snip-
This sound file replaces one that is no longer available.

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Example #2: "Run While Sun Is Shining" - The Caravans feat, Albertina Walker



Uploaded by MrChoirDirector87 on Jun 23, 2011

The Caravans with Albertina Walker on lead
Run while sun is shining, Where He Leads Me, Album
This song was done by The Vans in the early 50's with Bessie Griffin (Let Us Run)

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LYRICS: RUN WHILE THE SUN IS SHINING
(composer? , 1954?)

Chorus
Let us run while the sun is shining
You know we gonna run on in His name.
Run while the sun is shining
I said we gonna run on in His name.
Well, you know we gonna run while the sun is shining
Run on in His name.
You know when the rain falls
You can’t run.
When the storm rise
You can’t run.
When the wind blows
You can’t run.
Well we gotta run on
While it’s runnin time.

[repeat chorus]

Verse 1: Lead singer (Background singers hum)
Matthew, Mark, Luke and John
All of those prophets they are dead and gone.
Back in the days of the Philistines
God said it wouldn’t be water
But fire next time.
Read about Samson from his birth
He was the strongest man
Who ever lived on earth.
Delilah told Samson - Don’t you know
The Holy Bible tells us so -
She came to Samson down on her knees
“Tell me where you strength lie
if you please.”
He looked at Delilah. She looked so fair.
He said “My strength lies in my hair”.
She shaved his head clean as his hand.
Samson was weak as any other man.

Chorus

Verse #2: Lead singer; background singers hum:
Well, I remember one day walkin along
Whole in body but burdened down*
I looked around to see what I could see
Nothin but my Jesus talkin to me.

Background singers: “When the rain falls" etc.

Lead singer & background singers: Well, we gotta run on while it’s runnin time.

[Transcription by Azizi Powell, 6/30/2012 from listening to the sound file Bessie Griffin "Let Us Run...", given as "Example #1 on this page.

This transcription doesn't include all of the beginning words such as "Well" and "Let's".

*I'm unsure about the words to this line. This is my best guess, one which I believe fits the spirit of the verse.]

SONG MEANING
The chorus of "Run While The Sun Is Shining" means that we need to do all we can do [to be saved in the Biblical sense of that word] while we can because there will come when it will be too late, and we won't be able to be saved.

The line "Run on in His name" in the chorus means that we can keep on going because of the promise that God gave us that He would never forsake us.
"His name" in that chorus probably refers to Jesus' name. That same message about Jesus being with people when they are experiencing difficult times is repeated in the last verse of this song.

In the first verse the lead singer reminds those listening of the old time prophets and what they had written. The first verse also reminds listeners of the judgement that God promised would come to the wicked world - "It wouldn't be water [the flood] but fire next time."

The first verse also tells the cautionary Old Testament tale of Samson who yielded to temptation and lost his strength.

The second verse reminds those listening that they are never alone because Jesus walks and talks with them (meaning, He helps them make it through good times and bad times).

-snip-
On a personal note, I remember "Run While The Sun Is Shining" being sung in the 1950s and/or early 1960s by the Gospel choir that my mother belonged to in Atlantic City, New Jersey. I believe "Run While The Sun Is Shining" was a staple for a lot of African American Gospel choirs of those decades. And throughout my life, I have sung this song to give me the push that I need when times got rough. I'm glad to have found these sound files of the original Gospel group who sang "Run While The Sun Is Shining".

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Viewer comments are welcome.

Videos Of The Wolaytigna Dance (Ethiopia)

Edited by Azizi Powell

This post features four videos of traditional and adapted versions of the Wolaytigna dance of Southern Ethiopia.

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

My thanks to those persons featured in these videos Thanks also to the producers and uploaders of these videos.

FEATURED VIDEOS

Video #1: Wolayta



Uploaded by lekee on Oct 4, 2009

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Video #2: Aw Bade - Mamila And Kichini - Full Version



Uploaded by diretube10feb on Feb 15, 2010

http://diretube.com - Latest Ethiopian Videos

-snip-
From this video's viewer comments, it appears that this song quickly became a big dance hit in Ethiopia when it was released in 2011.

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Video #3: Tejle Milkiase - Wolayta Enhede



Uploaded by NIN9ART on Sep 9, 2010

Wolayta music.

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Video #4: Awassa, Ethiopia, 2009 dance_0001.wmv


Uploaded by mathewsdita on Apr 3, 2010

Especial event in city of Awassa, Southern Ethiopia, August, 2009

-snip-

Here are two comments from this video's viewer comment thread that were written in response to a comment that these dances look like street dances: http://www.youtube.com/all_comments?v=pJ9tor8QsU4

**
"This dance is called "Wolaytigna dance". In this video, the daces were mixed with Wolytigna dances and modern daces. Only the girls here actually were dancing Wolytigna but others do mix Wolytigna with modern dances. Any dances danced on the street are street dances. On this video, dance was recorded during especial events on the street of Awassa in 2009. Thanks for visiting this video site. To see actual song and dance, search under “ AW Bade" by-Mamila And Kichini ” . Good luck
-mathewsdita; 2005

**
"This dance is called "Wolaytigna dance" came from Wolyta tribes in Southern Ethiopia about 400 km South of Addis Ababa, Ethiopia. Walaytigna dances were normally a type of dance that involves parts of your body below the waist twisting waistline and shaking butts. Also the dancers hold long stick and jump very high and pull their legs back and forth following the beat and the rhythm of the songs."
mathewsdita; 2012

-snip-
The video that mathewsdita recommended is Video #2 of this post. My thanks to that commenter for that recommendation.

I believe that the commenter who wrote that these dances look like street dances might have meant that they look like contemporary African American Rhythm & Blues/Hip Hop dances such as break dancing, Chicago footwork, and krumping. Click http://www.jambalayah.com/node/1147 for videos of various African American R&B/Hip Hop dances.

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Viewer comments are welcome

Thursday, June 28, 2012

Ain't Gonna Let Nobody Turn Me Round (Lyrics & Videos)

Edited by Azizi Powell

Latest update: May 25, 2024

This pancocojams post showcases a version of the lyrics for the 1960s African American civil rights song "Ain't Gonna Let Nobody Turn Me Round." Examples of sound files and videos of this song are also included in this post.

This post also showcases various YouTube examples of "Don't Let Nobody Turn You 'Round, the African American Spiritual which was the inspiration for the similarly titled civil rights song.

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

Thanks to the unknown composers of the Spiritual from which this civil rights song was adapted and those who first adapted that song for use as a Civil Rights song. Thanks also to the vocalists featured in these videos, to all those who are quoted in this post and to the producers of these videos and to the publishers of these videos on YouTube.

Special thanks to those who worked then and those who work now for civil rights for all.

Click http://civilrightssongs.blogspot.com/ for a blog that I started. That blog lists and provides videos of a number of American civil rights songs.

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LYRICS: AIN'T GONNA LET NOBODY TURN ME ROUND
(Unknown composers)

Aint gonna let nobody
turn me 'round
turn me 'round
Aint gonna let nobody
turn me round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land

Aint gonna let (add the name a prominent segregationist)
turn me 'round
turn me 'round
Aint gonna let (repeat name)
turn me 'round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land

Aint gonna let no jailhouse
turn me 'round
turn me 'round
Aint gonna let no jailhouse
turn me 'round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land

Aint gonna let no policeman
turn me 'round
turn me 'round
Aint gonna let no policeman
turn me round
I'm gonna keep on walkin'
keep on talkin
marchin into freedom land

-snip-

These lyrics are from my memory of this song being sung in the mid 1960s (in Atlantic City, New Jersey).

The African American Civil Rights song "Ain't Gonna Let Nobody Turn Me 'Round" is based on an African American Gospel song with the same title. In the Gospel song, the line "marchin in to freedom land" is sung "walkin into Glory land" or "walkin into heaven land".

Like other civil rights songs, the words to this song aren't fixed. However, "Ain't Gonna Let Nobody Turn Me 'Round" was sung in unison which means that those singing it knew in advance which verses were to be sung, and in which order the verses were sung. In contrast, the earlier Gospel song was probably sung using a call & response pattern.

Click http://www.songsforteaching.com/folk/aintgonnaletnobodyturnmearound.php for other verses for this song.

FEATURED VIDEOS & SOUND FILES
(These videos/sound files are presented in no particular order.)

Video #1: Sweet Honey In The Rock - "Ain't Gonna Let Nobody Turn Me Around"



Sweet Honey In The Rock, Published on Apr 24, 2014,

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Video #2: Joan Baez - "Marching Up To Freedom Land"



Posted by Baez971 ; August 04, 2006
"Joan baez singing acapella"

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Video #3: The Roots - "Aint Gonna Let Nobody"



Uploaded by djlightbolt on Oct 1, 2010
From "Soundtrk 4 a Revolution"

-snip-
This contemporary rendition of "Ain't Gonna Let Nobody Turn Me "Round" is a jazzed up, funkier version of that Civil Rights song. This video includes documentary clips of 1960s Civil Rights marches. Those marches were also called "demonstrations".

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Video #4: The Freedom Singers "Ain't Gonna Let No Body Turn Me 'Round" | In Performance at the White House



The Obama White House, Feb. 11, 2010
.
-snip-
This video was added on May 25, 2024 as two previous embedded videos of this performance were unavailable.




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Video #5: Joyful Noise - Ain't Gonna Let Nobody



Uploaded by LadyKej on Jan 20, 2009

"This is Joyful Noise, a gospel acapella group in the DC Metro area. They sang at a popular restaurant in DC (Busboys and Poets) to celebrate MLK Day and the upcoming inauguration. The performance included singing of traditional Negro Spirituals, spoken word performances and saxophone solos."

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SPIRITUAL AND GOSPEL VERSIONS
Video #1: The Fairfield Four circa 1980s..."Don't You Let Nobody Turn You 'Round"



Uploaded by Docjive on Oct 29, 2010

"In the early 1980s after a thirty-year hiatus, the Fairfield Four with a powerhouse line-up once again began performing. This period clip features the legendary Rev. Sam McCrary leading his classic "Don't You Let Nobody Turn You 'Round." The original release was on the Bullet label circa 1947/48. B.B. King called McCrary a primary vocal influence. The Fairfield Four left to right: Willie "Preacher" Richardson, Rev. McCrary, Wilson "Lit" Waters, James S. Hill, and Isaac Freeman."

-snip-
Notice the knee patting and foot stomping motions that one of the singers does for accompaniment. This body movement is found in a number of early Gospel and non-religious songs and is evidence of the survival of 19th century "pattin Juba".

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Video #2: Albertina Walker with Olando Draper & Associates Choir - "Don't Let Nobody Turn You Round"



Uploaded by ADRIAN WILLIAMS on Jan 17, 2009

-snip-
I'm not sure about the recording date for this video, but I think it was in the 1990s or the early 2000s.

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Visitor comments are welcome.

Friday, June 22, 2012

Byron Lee & The Dragonnaires - Five Soca sound files or videos

Edited by Azizi Powell

This post showcases four sound files & one video of selected soca songs performed by the Jamaican band "Byron Lee & The Dragonnaires".

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

My thanks to Byron Lee & the Dragonnaires for their musical legacy. My thanks also to the composers of these songs, as well as to the producers & uploaders of these sound file and this video. All copyrights remain with their owners.

INFORMATION ABOUT BYRON LEE & THE DRAGONNAIRES
From http://en.wikipedia.org/wiki/Byron_Lee_and_the_Dragonaires:
Byron Lee and the Dragonaires (known as Byron Lee's Dragonaires since Lee's death) are a Jamaican ska, calypso and soca band. The band played a crucial pioneering role in bringing Caribbean music to the world...

Years active: 1950 to present
Genres: Ska, mento, reggae, calypso, soca...

From 1979, the Dragonaires output was heavily concentrated on calypso, soca, and mas, regularly performing at Trinidad & Tobago's carnival, and also touring the Caribbean and North America.[1] Throughout the 1990s they were also regulars at Jamaica's carnival, and their "Dance Hall Soca" hit (recorded with Admiral Bailey) was credited with starting the ragga-soca craze of the late 1990s...

Byron Lee died on 4 November 2008...

The band has continued since Lee's death, with the name slightly altered to Byron Lee's Dragonaires.
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FEATURED SOUND FILES AND VIDEOS
[These songs are presented in no particular order.]

Video #1: Dollar Wine - Byron Lee (FUN VID)



Born_A_Gent, Uploaded on Jan 15, 2008

vid fuh de dallawine soca song. de pics a go with de song, buh nah de wine bottle, if yuh geh one good comment of a good advice type if yuh nah geh a good one den nah badda speak.

Here's my translation of that Jamaican Patois comment:
[This is the] video for the dollar wine song. The pictures go with this song, but not [the one of] the winee bottle. If you are going to add a good comment [that is alright], but if your comment is bad, it's better that you don't leave one at all.
-snip-
Here's two comments from a discussion thread for another souund file of this song. http://www.youtube.com/all_comments?v=QUQ_nZSJ6g8:

"It doesn't matter who want to claim this song this was an intercaribbean effort, colin lucas from trinidad sing it first, byron lee remade it with a lead singer who was definitely not a jamaican so in conclusion stfu and enjoy the music and be proud to be west indian and if your not west indian come and have a good time anyhow."
-rmsutherland; 2011

**
"Collin Lucas composed and performed song in 1991. It won road March Titles in England, Canada and South Florida that year. He also recorded it with the Trinidad Band called Taxi in 1994. Byron Lee covers music and plays mostly Calypso and later Soca music already made popular by original artists for each year that the song he plays came out since the 1960's. Easy to check original recordings. Please refer to Album credits on CDS and records if you have them ."
-bujudoug1 ; 2011

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Video #2: BYRON LEE AND THE DRAGONAIRES - TINEY WINEY - (MUSIC VIDEO)

miguel palacios, Published on Dec 3, 2012

Un verdadero clasico, no podia faltar en mi lista de videos! disfrutenlo y comenten... a bailar!

Google translate from Spanish to English:
"A true classic, could not miss on my list of videos! Enjoy it and comment ... to dance!"

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Video #3: Byron Lee - Doh Rock It So



Uploaded by trinigyal15 on Jul 11, 2008

Old soca.

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Video #4: BYRON LEE - SOCA TATIE/BUTTERFLY LIVE - 50 YEARS OF THE DRAGON



miguel palacios, Published on Dec 23, 2012

Hola aqui les dejo otro video de Byron Lee & The Dragonaires espero lo disfruten es uno de mis favoritos...

Google translate from Spanish to English:
"Hello here I leave other video of Byron Lee & The Dragonaires hope you enjoy one of my favorites"

My translation of that comment into Standard American English: "Hello. Here's another upload of a Byron Lee & The Dragonaires video. I hop you enjoy one of my favoritess."

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Video #5: Byron Lee & The Dragonaires - Soca Love Songs Medley



edward spencer Published on Dec 27, 2013

Albums : Soca Engine & Socarobics

Arranged By Neville Hinds. 1996 & 1997


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Tuesday, June 19, 2012

Latin Jazz - Performances Of "El Cumbanchero"

Edited by Azizi Powell

This post showcases three videos of Latin Jazz groups' performances of Puerto Rican composer Rafael Hernandez's 1940s composition "El Cumbanchero".

The content of this post is provided for historical, recreation, and aesthetic purposes.

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FEATURED VIDEOS

Video #1: The Four Amigos - El Cumbanchero - Puerto Rico



Uploaded by wattachee on Mar 7, 2010

The Four Amigos sing Rafael Hernandez's "El Cumbanchero" on the Bill Dana Show in 1964. This Puerto Rican quartert also known as "Los Borincanos" performed with Elvis Presley in two movies; Viva Las Vegas & Girls, Girls, Girls

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Video #2: Tito Puente - El Cumbanchero



Uploaded by carlosaleon on Feb 18, 2007

Rare, non-commercial 1965 clip of Tito Puente playing "El Cumbanchero" by Rafael Hernandez, one of the most prolific and important Puerto Rican composers of the century. This is from a tribute show to Hernandez that El Banco Popular sponsored in 1965.

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Video #3: Perez Prado - El Cumbanchero



Uploaded by cesarchalon on Jan 28, 2011

...Pérez Prado ejecutó en 1947, el mambo QUE RICO EL MAMBO, usando la orquesta tipo jazzband, haciendo una reestructuración distinta del nuevo ritmo en las sonoridades de trompetas y saxos, con percusión cubana y un desarrollo melódico sobre la base de esquemas percusivos en secuencias. El uso de la voz con textos incoherentes, pero de valor percusivo también, fueron sus características más notables

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RELATED LINKS

Here's a link to biographical information about Rafael Hernandez:

http://en.wikipedia.org/wiki/Rafael_Hern%C3%A1ndez_Mar%C3%ADn.

**
Click http://cocojams.com/content/flea-fly-flow-cumala-vista-sources-and-examples for examples, and videos of and comments about the English language playground & camp song "Flea Fly Flow" ("Cumala Vista"). It's my position that the song "El Cumbanchero" is the Spanish source for the song "Flea Fly Flow" song.

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Viewer comments are welcome.

Monday, June 18, 2012

Oscar Brown Jr - "The Signifyin Monkey" (Video, Lyrics, Comments)

Edited by Azizi Powell

This post presents a video & lyrics of and information about the African American toast "The Signifyin Monkey".

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

My thanks to Oscar Brown Jr for composing & performing a "clean"* version of this African American toast. My thanks also to the producer and uploader of this video, as well as to the authors of the quoted information.

* An explanation of the term "clean" in the context of this composition is provided in the NOTES section below.

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FEATURED VIDEO

Oscar Brown Jr on Chic-A-Go-Go (1996)



Uploaded by chicagogo on Sep 20, 2009

Legendary Chicago poet/singer/playwrite/activist visits Miss Joy on the first season of our cable access dance show (for more info visit www.roctober.com/chicagogo ). He sings his version of the legendary toast Signifying Monkey

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LYRICS: SIGNIFYIN' MONKEY
(by Oscar Brown, Jr.)

Said the signifyin' monkey to the lion one day:
"Hey, there's a great big elephant down the way
Goin' 'round talkin' ,I am sorry to say,
About your momma in a scandalous way.
He's talkin' 'bout your momma and your grandma, too
And he don't show so much respect for you.
You want to chat? I sure am glad.
'Cause what he said about your momma, it made me mad".

Chorus:
Signifyin' Monkey, stay up in your tree.
You are always lyin' and signifyin'
But you better not monkey with me.

The lion said "Yeah well, I'll fix him.
I'll tear that elephant limb from limb.
Then he shook the jungle with a mighty roar and took off like a shot out of a 44.+
He found the elephant where the tall grass grows
Said "I come to punch you in your long nose."
The elephant looked over at the lion in surprise
Said, "Boy you better go pick on somebody your own size."
But the lion wouldn't listen, he made a pass.
Then the elephant slapped him down in the grass.
The lion just roared and sprung from the ground.
And that's when the elephant really went to town.
He whipped that lion for the rest of the day
And I still don't see how the lion got away.
But he dragged on off, more dead than alive.
And that's when that monkey started his signifyin' jive.

Chorus

The monkey looked down and said "Ooo-whee!
What is that beat up mess I see?
Is that you lion? Well do tell.
He beat your head to a fare-thee-well.
He gave you a beatin' that was a run for nothin'.
And you s'posed to be king of the jungle? Well ain't that somethin'.
You big overgrown pussycat, don't you roar
Or I'll hop down there and whup you some more."
The monkey got to laughin' and a-jumpn' up and down
But his foot missed the limb, and he plunged to the ground.
The lion was on him with all four feet -
Gonna grind that monkey into hamburger meat.
The monkey looked up with tears in his eyes
Said "Please Mr. Lion, I apologize.
I meant no harm, so please let me go
And I'll tell you somethin' you really need to know."

Chorus

Well the lion stepped back to hear what that monkey had to say
And the monkey scampered up a tree and got away
What I want to tell you, the monkey hollered then
"If you fool with me I'll sic the elephant on you again."
The lion just shook his head and said "You jive.
If you and your monkey children want to stay alive
Up in them trees is where you better stay."
And that's where they are till this very day.

Chorus

-snip-
Hat tip to dwditty for posting these lyrics on http://www.mudcat.org/thread.cfm?threadid=6932&messages=13 "Lyr Req: Signifyin' Monkey (Oscar Brown Jr.)"

[I made several minor corrections, and added quotation marks, some other punctuation, and italics to better clarify what was being said and how I believe that it was meant to be said.]

+This line had been omitted. Thanks, mogliettina for this correction!

**
From http://en.wikipedia.org/wiki/Oscar_Brown:
"Oscar Brown, Jr (October 10, 1926 – May 29, 2005) was an American singer, songwriter, playwright, poet, civil rights activist, and actor."

-snip-
Oscar Brown Jr's "Signifyin Monkey" is from his 1960 album "Sin and Soul"
Source: http://www.answers.com/topic/oscar-brown.

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NOTES
Here are some explanations of words & phrases used in this post and in this composition:

"clean" version - a version of a composition that doesn't contain any profanity or sexually explicit content; the opposite of "dirty" (bawdy)

**
toasts
From http://www.louisianafolklife.org/LT/Articles_Essays/creole_art_toast_tradition.html:
"'Toasts' are performed narratives of often urban but always heroic events...As with any oral tradition, many versions of the same toast exist. The toast is a dynamic performance within the Black community of recognizable and popular central characters."

-snip-
Traditionally, African American toasts are usually bawdy ("dirty", obscene).

**
signifyin
"Signifyin" is an African American way of pronouncing and writing the word "signifying".
From http://www.straightdope.com/columns/read/498/to-african-americans-what-does-signifying-mean:
"Signifying — the origin of the term is obscure — is the process of semi-witty insults by which black American male adolescents attempt to cut their buddies down to size...As with any sort of repartee, whether you really mean it depends on the situation.

The exact definition of signifying (also known, in various times and places, as sigging, sounding, woofing, wolfing, burning, icing, joning, etc.) is a bit vague. To some it means any kind of ritual insult; to others, it must include an element of indirection — i.e., the victim doesn't realize he's being insulted, you egg the victim into a fight with somebody else, or in general you just lay on the BS. One form of signifying is "doin' the dozens," which usually means making fun of the other guy's relatives, particularly his momma"...

**
UPDATE 4/23/2016
I added this definition [which I came up with] and comment to this pancocojams post about the song "Run On For A Long Time" http://pancocojams.blogspot.com/2012/12/two-examples-of-run-on-for-long-time.html That song includes that word in its lyrics:

One meaning of the African American Vernacular English meaning of "signify" is to "talk bad about someone but blame what you are saying on another person. This is done to be spiteful and to "enjoy" the fall out when those two go after each other. The African American folktale/folk song "Signifying Monkey" is an example of "signifying".

Put-downs given in the African American insult game called "the dozens" might be a form of "signifying" but the insults that are exchanged aren't blamed on anyone else.

[End of Update]
-snip-
"Signifying jive" = signifyin talk; what you say when you are signifyin (also known as "talkin trash" (trash talk)

**
"You jive" = "You are jive." meaning "You are worthless, no good.

**
"you better not monkey with me" = ["monkey with me" means "to mess with me", "to play around with me"; "to treat me without respect"; "to fool with me"

**
"...I'll sic the elephant on you again." = to urge or incite the elephant to attack your again" [by signifyin]

**
"he really went to town" = he started doing something with a lot of energy.

**
"He beat your head to a fare-thee-well" = "He beat you up real bad". [The term "fare- thee-well" is used here for rhyming effect. It wasn't/isn't part of African American vernacular.

****
RELATED LINKS
http://en.wikipedia.org/wiki/Signifying_monkey
Signifying monkey

****
Thanks for visiting pancocojams.

Viewer comments are welcome.

Sunday, June 17, 2012

A Father's Day Video Featuring President Obama's Family (2012)

Edited by Azizi Powell

This post features a "Happy Father's Day" message from The United States First Lady, Michelle Obama.

This video of President Barack Obama, First Lady Obama, and their daughters Malia & Sasha presents a addition to present a positive image of an American family and, specificially, an African American family). In addition, this video shows images of the cornrows natural hairstyle and the high five and poung hand gestures that have been the focus on several other posts on this blog. The "Notes" section below gives the exact times for those images and the "Related Links" section gives the hyperlinks to those aforementioned blog posts.

My thanks to the BarackObamadotcom for producing this video. The copyrights remain with their owners.

****
FEATURED VIDEO

Happy Father's Day from First Lady Michelle Obama



Published on Jun 17, 2012 by BarackObamadotcom

Share this: https://my.barackobama.com/fathersdayvid
Tweet this: https://my.barackobama.com/fathersdaytwvid

First Lady Michelle Obama wishes a happy Father's Day to all the dads out there and shares why President Obama is a great dad.

Every solution the President puts forward is inspired by a desire all parents share: the need to build a better world for his kids.

In President Obama's words:

"What I think about is what kind of world am I leaving my two little girls. And what I realized is that life doesn't count for much unless you're willing to do your small part to leave our children, all of our children, a better world. Even if it's difficult. Even in the work seems great. That's our responsibility as fathers and as parents."

****
NOTES
Images of Cornrolls In The Fathers' Day Video:
0:01; 0:08; 1:46 (Malia Obama)
2:15 (unidentified child)

**
Images of "High Five" Hand Gesture In The Fathers' Day Video:
2:16 (President Obama & unidentified child)
2:33 (President Obama & unidentified child)

**
Image of "Pound" Handshake In The Fathers' Day Video:
2:42 President Obama & unidentified child)

**
In addition, there's an image of Malia Obama wearing her hair in "natural twists" at 2:59 in this video. Click http://www.ehow.com/facts_5759289_natural-twist-hairstyles.html for information about "natural twists".

****
RELATED LINKS
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html "High Five Handshake Videos"

**
http://pancocojams.blogspot.com/2012/05/fist-bump-pound-handshakes.html "The Fist Bump (Pound) Handshakes"

**
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html "Videos of African American Males (Music & Natural Hairstyles), Part 3"

**
http://pancocojams.blogspot.com/2011/10/changing-shape-of-afro-hair-styles.html "The Changing Shape Of Women's Afro Hair Styles"

****
Thanks for visiting pancocojams.

Viewer comments are welcome.

Bob Marley, Black Uhuru, & Ziggy Marley - Songs About Natty Dreadlocks

Edited by Azizi Powell

This post showcases three videos & one sound file of songs that include the phrases "natty dread" or "natty dreadlock". This post also includes information about the meaning of the terms "natty dread" and "natty dreadlock" as well as information about the history & significance of the dreadlock hairstyle.

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

My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers and uploaders of these videos & sound file, as well as the authors of the quoted information.

FEATURED VIDEOS
Video #1: Bob Marley - Natty Dread



Uploaded by nixthethalo on Aug 20, 2008

"Natty Dread captures Bob Marley's decisive transition from Wailers band member to auteur... his singing and writing now front and center, and the revamped band securely reined in to his defiant, Rastafarian worldview...; [1975]
-snip-
Click http://en.wikipedia.org/wiki/Natty_Dread for information about the song "Natty Dread."

****
Video #2:♫ ♕ Bob Marley ♕ Natty Dread Dortmund Live 1980 HD ♫



Uploaded by maurittos on May 4, 2011

♕ Bob Marley ♕ https://sites.google.com/site/maurittosnaturalmystic/

♫ King Of Reggae ♕ Bob Marley ♕ The Wailers Natty Dread Dortmund Live 1980 HD ♫

****
Video #3: Black Uhuru - Guess Who's Coming to Dinner [12'' Version]


Uploaded by RastaChaka on May 16, 2009

"Recorded in Kingston,JA
12"single,B-side of "Sinsemilla," released 1980
Produced and arranged by Sly Dunbar & Robbie Shakespear".

-snip-
Click http://en.wikipedia.org/wiki/Black_Uhuru for information about the Reggae group "Black Uhuru". [Note: The word "uhuru" is Swahili for "freedom".]
The title of this Reggae song is a reference to the 1967 American movie "Guess Who's Coming To Dinner". "Guess Who's Coming To Dinner" was the first American movie to positively portray interracial marriage. Click http://en.wikipedia.org/wiki/Guess_Who's_Coming_to_Dinner for information about that movie.

****
Video #4: Ziggy Marley & the Melody Makers - Natty Dread - Central Park New York 1996



Uploaded by hemi2k6 on Feb 20, 2009
-snip-
"Ziggy Marley is the oldest son of famed reggae musician Bob Marley". Click http://en.wikipedia.org/wiki/Ziggy_Marley for more information about Ziggy Marley

****
COMMENTARY: THE MEANING OF "NATTY DREAD"
http://niceup.com/patois.html

Natty, Natty Dread, Natty Congo:
1. dreadlocks 2. a person with dreadlocks

-snip-
From http://en.wikipedia.org/wiki/Natty_Dreadlocks:
Natty Dreadlocks (synonyms "Natty Dread", "Natty", "Dready" or "Dread") is a Rastafarian term used to describe a member of the Rastafari community. The term is often used in reggae music and elsewhere to represent an idealised personification of the Rastafari movement as a whole. It combines the term "natty", which means knotted (from knotty), a characteristic of the Rastafarian hair style, "dreadlocks".

-snip-
From http://www.urbandictionary.com/define.php?term=natty:
natty:
originating from rastafarian culture. meaning 'good',' cool' and most importantly, 'elite'.

"hey, natty dreads mon"
- :D ; Mar 30, 2003

-snip-
The Jamaican patois word "natty" may also include the English meaning for the word "natty" - "elegant", "dapper".

****
COMMENTARY: THE HISTORY & CULTURAL SIGNIFICANCE OF THE DREADLOCK HAIRSTYLE
From http://www.jamaicans.com/culture/rasta/dreadlocks.shtml:
"History of Dreadlocks
Dreadlocks are not unique to Jamaica and Rastafarians. The dreadlocks hairstyle originated in Africa and was worn by various tribes there. The earliest tribe this hairstyle can be attributed to is the Masai tribesmen of Kenya. Many of the warriors of this tribe wore this hairstyle. These men sometimes dyed their hair red with root extracts.

Dreadlocks in Jamaica
The dreadlocks hairstyle first appeared in Jamaica during post emancipation. It was a means of defiance for ex-slaves to rebel against Euro-centrism that was forced on them. The hairstyle was originally referred to as a "dreadful" hairstyle by the Euro centric Jamaican society. It later evolved to the term now used: Dreadlocks. Jamaicans also use the term Natty Dreadlock

Dreadlocks and Rastafari
Rastafarians grow their hair into dreadlocks because it is a part of the Nazarite Vow. (Also their dietary rules are part of the law) All Rastafarians take this vow and claim it is commanded by the Bible (Leviticus 21:5 "They shall not make baldness upon their head, neither shall they shave off the corner of their beard nor make any cuttings in their flesh")."
-snip-
That article further states that the dreadlock hairstyle is tied to the Biblical story about Samson who grew weak because his hair was cut. In addition, this article indicates that dreadlocks are associated with the lion's mane, and symbolizes the kingship of the lion over other animals. Also, the lion's mane symbolizes Haile Selassie I, Emperor of Ethiopia (ruled 1930–1974). In part this is because Haile Selassie I had a number of lions as pets, but it is also because Haile Selassie I was and is worshipped by most Rastafarians as God incarnate, the Second Advent, or the reincarnation of Jesus.
-snip-
It should be noted that while wide "afros" are traditional worn in Ethiopia, dreadlocks aren't a traditional hairstyle among males or females in Ethiopia.

****
OTHER RELATED LINKS
Click http://mudcat.org/thread.cfm?threadid=100728 Natty Dreads for a link to a discussion thread that I started in 2007 includes the lyrics to Bob Marley's song "Natty Dreads". That discussion thread includes information about the etymology of the word "natty" and also includes information about the word "nappy" (because of my initial mistaken belief that "natty" was a Jamaican way of saying "nappy"). That thread was started because of the controversy over radio host Don Imus' infamous comment about "nappy headed hos" and therefore includes comments about the afro hairstyle.

**
http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html Videos of African American Males (Music & Natural Hairstyles), Part 3
This post features videos of African American male music performers with braids, cornrows, or dreadlocks.

****
Thanks for visiting pancocojams.

Viewer comments are welcome.

Friday, June 15, 2012

Videos of African American Males (Music & Natural Hairstyles), Part 3

Edited by Azizi Powell

This is Part III of a three part series on African American male vocalists & musicians performing non-religious music. Part III features African American males with braids, cornrows, or dreadlocks.

Part 1 of this series features videos of African American males with afros (naturals).
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music.html for Part I of this series.

Part II features videos of African American males with fades (hi-top fades) and with box hair cuts.
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_15.html for Part II of this series.

This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.

These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.

My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.

PART III

THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.

It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.

Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**

That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.

*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.

**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.

****
FEATURED VIDEOS
[These videos are presented in chronological order.]

Video #1: Kris Kross - Jump



Uploaded by KrisKrossVEVO on Sep 24, 2010

Music video by Kris Kross performing Jump. (C) 1992 Sony BMG Music Entertainment
-snip-
KrissKross wear their hair in small braids.

****
Video #2: Stevie Wonder - You Are The Sunshine, Superstition (Live in London, 1995)



Uploaded by arXter on Dec 30, 2008

Stevie gives a rare studio concert at London's Teddington Studios following the release of his 'Conversation Peace' album. A sensual ride for an intimate audience of less than 200 fans.
-snip-
In this video, Stevie Wonder wears his hair braided with small beads. Click http://www.youtube.com/watch?v=FchMuPQOBwA Stevie Wonder - "Happy Birthday" for a sound file with a photograph of Stevie Wonder wearing his hair in bigger, colored beads.

****
Video #3: Stevie Wonder I wish - Isn't she lovely



Uploaded by ASSMGMS on Jul 11, 2009

Stevie Wonder - Live in London - 2009
-snip-
In this video, Stevie Wonder wears his hair in long braids.

****
Video #4: OutKast - Ms. Jackson



Uploaded by OutKastVaultVEVO on Nov 14, 2009

Music video by OutKast performing Ms. Jackson. (C) 2000 LaFace Records LLC
-snip-
In this video, "Big Boi" wears his hair in cornrows.

****
Video #5: Lenny Kravitz - Are You Gonna Go My Way



Uploaded by LennyKravitzVEVO on May 6, 2011
-snip-
In this video, Lenny Kravitz wears his hair in locks (dreadlocks).

Music video by Lenny Kravitz performing Are You Gonna Go My Way. (P) (C) 2011 Virgin Records America, Inc.. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by Virgin Records America, Inc., Capitol Records, LLC, 150 Fifth Avenue, New York, NY 10011.

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Videos of African American Males (Music & Natural Hairstyles), Part 2

Edited by Azizi Powell

This is Part II of a three part series on African American male vocalists & musicians performing non-religious music. Part II features videos of African American males with fades (hi-top fades) and with box hair cuts.

Part 1 of this series features videos of African American males with afros (naturals).
Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music.html for Part I of this series.

Part III features African American males with braids, cornrows, or dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html for Part III of this series.

This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.

These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.

My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.

****
PART II

THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES

I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.

It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.

Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**

That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.

*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.

**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.


FEATURED VIDEOS
[These videos are presented in chronological order.]

Disclaimer: I'm not an expert on Black hair styles. Consequently, I may be using the wrong names for the hairstyles/hair cuts that are featured in these videos. Corrections are welcome.

INFORMATION ABOUT HI-TOP FADES
From http://en.wikipedia.org/wiki/Hi-top_fade

"A hi-top fade is a style of haircut where hair on the sides is cut off or kept very short and hair on the top of the head is very long (in contrast, a low fade is when hair on the top is kept shorter).

The hi-top has been a trend symbolizing the Golden Era of hip hop and urban contemporary music during the late 1980s and the early 1990s. The hi-top fade was common among young African Americans between 1986 to 1993 and to a lesser extent in the mid-1990s (1994-1996). The style fell completely out of fashion by 1997."

-snip-
I've been told that Black males in the USA are wearing their hair in fades (hi-top fades) again, at least in Pittsburgh, Pennsylvania. Also, I've been told that another term for "fades" is "pumper" (from "pumping your hair up?)

FEATURED VIDEOS
[These videos are presented in chronological order.]

Video #1: Big Daddy Kane - Aint No Half Steppin (1988)



Uploaded by ass3678 on Jul 26, 2009

From the "Long Live The Kane" album.

-snip-
Some of the men in this video have their fades cut in a box. There also are men in this video with cornrows (hair braided close to their scalp) and other hairstyles.

****
Video #2: Kid N Play - Rollin With Kid N Play



Uploaded by KangK on Mar 3, 2006

Old School classic, Kid N Play havin fun in this video, this classic video is a shoutout to ole boy Kore [1989]

-snip-
"Kid", the lighter skinned member of this duo, wears his hair in a hi-top [box] fade. "Play", the darker skinned member of this duo, wears his hair in a "high low".

****
Video #3: Kwame - Only You



Uploaded by nedmann on Apr 3, 2010

Kwame and a New Beginning - Ownlee Eue Album : A Day in the Life A Pokadelick Adventure 1990

-snip-
Kwame wears his hair in a hi-top fade with a section of hair in the front dyed blond. Other male haircuts are found in this video.

****
Video #4: Another Bad Creation - Iesha



Uploaded by AnotherBCreationVEVO on Oct 8, 2009

Music video by Another Bad Creation performing Iesha. (C) 1990 Motown Records, a Division of UMG Recordings, Inc.

-snip-
Various types of hi-top fades are shown in this video.

****
Thanks for visiting pancocojams.

Viewer comments are welcome.

Videos of African American Males (Music & Natural Hairstyles), Part 1

Edited by Azizi Powell

This is Part I of a three part series on African American male vocalists & musicians performing non-religious music. Part I features videos of African American males with afros (naturals).

Part II features video of African American males with fades (hi-top fades) and with box hair cuts. Part III features African American males with braids and with dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_15.html for Part II of this series.

Part III features African American males with braids, cornrows, or dreadlocks. Click http://pancocojams.blogspot.com/2012/06/videos-of-african-american-males-music_1192.html for Part III of this series.

These posts aren't meant to be a comprehensive overview of the hairstyles worn by the general category of African American male vocalists/musicians who perform non-religious music. Nor do these posts mean to imply that the hairstyles shown in the videos were the only hairstyles that were ever worn by those featured performers.

This post is presented for historical, entertainment, and aesthetic purposes to showcase the music and the performers' hairstyles. The copyrights remain with their owners.

My thanks to the composers, vocalists, and musicians who performed this music. My thanks also to the producers of these videos and the video uploaders.

PART I

THE PYCHO-SOCIAL IMPLICATIONS FOR AFRICAN AMERICANS OF NATURAL HAIR STYLES
I believe that the hairstyles worn by African American men, like the hairstyles worn by African American women, reflect how much African Americans in general agree with or reject the position that White standards of beauty are the only acceptable standards of beauty. This is definitely not to say that individual African Americans (or other Black people) don't like themselves or other Black people if they don't wear their hair in natural styles.* However, I believe that a greater acceptance of natural hair styles among African Americans and other Black people signifies more than an expansion of the definition of which hair styles Black people and also non-Black people might consider to be attractive.

It's my opinion, that a greater acceptance among African Americans and other Black people of natural hair styles signifies our increased acceptance of and increased valuing of ourselves. It was no coincidence that "afro" hairstyles became popular in the United States in the 1970s during the rise of the Black consciousness and afro-centric Black nationalist movement. Since the 1970s, apart from the jheri curl look of the 1970s and 1980s which will be the subject of a future post on this blog, it has become the standard practice for most African American men to wear their hair un-straightened and relatively un-processed. And most African American men wear their hair in a close cut natural style such as that worn by President Barack Obama, or they have a bald head.

Up to the age of seven years, I believe that most African American females wear their hair naturally. However, between the ages of seven and eighteen years old, it seems to me that most African American girls wear their hair chemically straightened. However, since the 1990s, an increasing number of African American women, appear to have chosen to wear their hair in natural hairstyles, though that is still a small percentage of that population. As a person who was a young adult in the 1970s, it's interesting to see the return in popularity of the "big afros" with Black females & Black men. I believe that the afro and other natural hair styles are legitimate general indicators of African American group esteem. By "group esteem" I mean how much African Americans see their group as capable of intrinsic attractiveness with regard to hair without the application of strategies which attempt to mimic what White people consider to be standards of beautiful hair such straight hair or lightly curled hair, and light hair color.**

That said, I also believe that African American females (and perhaps, other Black females) may be more accepting of and have a higher value toward females having mutiple ways they can wear their hair within short periods of time (i.e. having different hair styles) then other populations of females. In that regards, "natural hairstyles" may be just one of an increasing number of hair style possibilities that Black women may choose. But in my opinion, "natural hair styles" as a possible "neutral" choice (having neither positive or negative implications), is in and of itself a positive change for Black people, given the overwhelming beliefs in the pre-1960s that the only standards of beauty were those standards that fit some White people.

*By natural hair styles I mean the "tightly curled" hair texture which is characteristic of most sub-Saharan African people and most people of sub-Saharan African descent) are worn without chemical or hot comb processing. Other terms for naturally Black hair are "frizzy", "nappy", and "kinky". However, because of their historical and racist usage, some Black people (including African Americans) may find these terms to be loaded with negative connotations. Because of that, I tend to avoid using those terms.

**With regards to African American women (and other Black women), as to what constitutes White standards of beauty in hair, I would also add "long hair" to the previously given descriptors of "straight hair" or "lightly curled hair", and "light color hair" such as blond hair.

****
FEATURED VIDEOS
[These videos are presented in chronological order by their publishing date on YouTuvbe with the oldest dated videos given first.]

Video #1: Jimi Hendrix --- Voodoo Child, Live '69



33Pictures, Published on Jan 16, 2014

An incredible live performance of Voodoo Child (Slight Return) by Jimmy and his band in Stockholm, 1969.

****
Video #2: Billy Preston Sings "Will It Go Round in Circles" on "The Tonight Show"



upoaded by johnnycarson on Jul 19, 2011

Billy Preston Performs "Will It Go Round in Circles" on "The Tonight Show Starring Johnny Carson" in 1973.

****
Video #3: The Jackson 5 & Little Janet Jackson On 70s TV (High Quality)



Uploaded by Jackson5Videos on Aug 3, 2010

The Jackson 5 perform a tribute to The Mills Brothers, The Andrews Sisters, and The Supremes on The Carol Burnett Show 1975

****
Video #4: War - Me and Baby Brother [HQ]



Uploaded by koomugtoo on Aug 24, 2010 [1974]

****
Video #5: The Ohio Players - Fire



Uploaded by aalkounis on May 30, 2009

The Ohio Players @ The Midnight Special 1975

****
Video #6: Stevie Wonder - Superstition (Live 1982 Japan)



matoshun, Published on May 1, 2012

****
Video #7: Lenny Kravitz - Are You Gonna Go My Way (Live At Letterman 1993)



The412T2 さんのチャンネル, Uploaded on Apr 5, 2010

****
RELATED LINK
http://pancocojams.blogspot.com/2011/10/changing-shape-of-afro-hair-styles.html "The Changing Shape Of Women's Afro Hair Styles"

****
Thanks for visiting pancocojams.

Viewer comments are welcome.

Thursday, June 14, 2012

O Berta (Prison Work Song) With Lyrics


thegreatnoise1, Dec 31, 2011

First recording by Alan Lomax, 1947-1948. Bull & Group.

Second by Branford Marsalis, 1992.  "I Heard You Twice the First Time", Columbia.

***
Edited by Azizi Powell

Latest Revision: September 13, 2018

This pancocojams post showcases a sound file of the prison work song "O Berta". My partial transcription of the lyrics for that song is also included in this post.

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

All copyrights remain with their owners.

Thanks to all the singers who are featured in these sound files, Thanks also to the composers and collectors of these songs. Thanks also to the publishers of these examples on YouTube. 

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SUMMARY STATEMENT ABOUT "O BERTA" (with slight revisions: July 2, 2016)
"O Berta" is an African American cane field work song that is sung by Hollie (Bull) Dew and unidentified prisoners (11-12/1947) at the infamous Parchman farm in Mississippi. http://research.culturalequity.org/get-audio-detailed-recording.do?recordingId=10706

The percussive sound of the singers' swinging their hoes is the only accompaniment to the men's voices in this song.

In that song, "Berta" symbolizes the women they left behind. The men imagine seeing Berta walking toward them, give advice to Berta on who she should marry, and sing about other things they remember about their lives outside of the prison.

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LYRICS: O BERTA
(Hollie (Bull) Dew & unidentified prisoners, Parchman Farm Prison, Mississippi, 1947)

O Berta
Well, Lord gal.
Lord, Berta
Well Lord gal, well.

Ain’t that Berta comin, down that road, well.
She walk like Berta but she, want you so, well.
She want you so baby, she want you so, well.
She walk like Berta but, she want you so, well.

O Lord Berta, well.
Lord gal.
Lord Berta.
Lord, gal, well.

I been called Berta but, the whole day long, well.
And how can she hear me when she,
She ain’t at home, well.
She ain’t at home, Berta
She ain’t at home, well.
And how can she hear me when she,
she ain’t at home well.

Well, O Berta.
Lord, gal.
(Hum, hum, hum it!)
Lord Berta.
Lord gal, well.

Saturday when you marry, marry to the railroad man, well.
well Saturday when you marry, marry to the railroad man, well.
Saturday when you marry marry to the railroad man, well.
‘Cause he gonna find you a dollar, to lay your hand, well.
To lay your hand, baby, to lay your hand well.
'Cause he gonna find you a dollar
To lay your hand well.

Saturday when you marry, don’t marry no farmin man, well.
Saturday when you marry, don’t marry no farmin man, well.
‘Cause Saturday when you marry don’t no farmin men well.
‘Cause he never gonna did find yoou any how*
To lay your hand baby, lay your hand, well.
Lay your hand baby, lay your hand well.
'Cause he’ll never gonna find you a dollar
To lay your hand well.

Well O, Berta.
Lord gal.
Lord, Berta.
Lord gal, well.

????
????
cause I’m gonna find somebody
To roll’em down, baby.
To roll' em down, well.
Mama won’t let nobody
To roll’em down well

Lord Berta, well.
Lord gal.
Lord Berta.
Lord gal, well.

???? ???
To hang around, well.
????
When I’m down baby
????
When I’m down, well
When I’m down, baby
When I’m down, well

Well O Berta.
Lord gal.
Lord, Berta.
Lord gal.

-snip-
Transcription by Azizi Powell, 6/14/2012 from sound file. Except for the lyrics in parenthesis, this transcription doesn't include any of the overlapping, echoed words that are sung throughout this song.

*unsure about the word or words
? unable to transcribe these words

Corrections and additions welcome.

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VARIOUS COMMENTS ABOUT THE SONG "O BERTA" [UPDATE May 15, 2015]
"O Berta" is part of the family of "Alberta" ("Roberta") family of songs. One relatively common example of this song family is "Alberta, Let Your Hair Hang Low".

The song "Berta Berta" that is included in August Wilson's 1995 play "The Piano Lesson" is a form of "O Berta". (Hat tip to mrks for information about the following song)

Here's the lyrics to "Berta Berta" as published by Matt_R, 18 Feb 01 on http://www.mudcat.org/thread.cfm?threadid=31028

BERTA, BERTA

O Lord Berta Berta O Lord gal oh-ah
O Lord Berta Berta O Lord gal well

Go 'head marry don't you wait on me oh-ah
Go 'head marry don't you wait on me well now
Might not want you when I go free oh-ah
Might not want you when I go free well now

O Lord Berta Berta O Lord gal oh-ah
O Lord Berta Berta O Lord gal well now

Raise them up higher, let them drop on down oh-ah
Raise them up higher, let them drop on down well now
Don't know the difference when the sun go down oh-ah
Don't know the difference when the sun go down well now

Berta in Meridian and she living at ease oh-ah
Berta in Meridian and she living at ease well now
I'm on old Parchman, got to work or leave oh-ah
I'm on old Parchman, got to work or leave well now

O Lord Berta Berta O Lord gal oh-ah
O Lord Berta Berta O Lord gal well now

When you marry, don't marry no farming man oh-ah
When you marry, don't marry no farming man well now
Everyday Monday, hoe handle in your hand oh-ah
Everyday Monday, hoe handle in your hand well now

When you marry, marry a railroad man oh-ah
When you marry, marry a railroad man well now
Everyday Sunday, dollar in your hand oh-ah
Everyday Sunday, dollar in your hand well now

O Lord Berta Berta O Lord gal oh-ah
O Lord Berta Berta O Lord gal well

Taken from the play The Piano Lesson by August Wilson, as written in the text and as sung in the Hallmark Hall of Fame by Charles S. Dutton, Courtney B. Vance, Carl Gordon and Lou Myers.
-snip-
Here's that sound file:
"Berta, Berta" by Branford Marsalis



jazzman amos, Uploaded on Mar 21, 2009

From his 1992 release titled "I Heard You Twice The First Time",...here is the GREAT Branford Marsalis featuring vocals by Charles Dutton, Carl Gordon and Roscoe Rocky Carroll from "The Roc". This classic track is from August Wilsons outstanding play "The Piano Lesson".
-snip-
Except for a change in names, "O Berta" has the same chorus as the African American Blues (prison song)"Rosie", and the "every Sunday dollar in your hand" line in "Rosie" is similar to the "lay dollar in your hand" lines in "O Berta". The tunes used for these two songs are also similar. Click http://pancocojams.blogspot.com/2015/05/rosie-african-american-prison-work-song.html for a post about that song.

Also, click http://mudcat.org/@displaysong.cfm?SongID=8067 for the lyrics to another version of "Rosie" that is entitled "Rosie O Ho".

"Old Dollar Mamie" is another prison Blues song
that is related to "O Berta". Click http://www.mudcat.org/thread.cfm?threadid=14515 for the lyrics to that song.

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With regard to the word "well" at the end of a number of lines in this song such as "O Lord Berta, well" and "Lord, gal, well":

African Americans still use "well" as an affirming word in religious & non-religious songs. In those contexts, I believe that "well" has the same or a similar meaning as "yeah". "Well" is also used as a response to speech, including conversations and sermons. A longer form of this affirming use of "well" is the phrase "Well, alright now".

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[Slight revision July 2, 2016]
I wrote this comment on that sound file's YouTube discussion thread in response to the song's uploader's comment that it's a shame that African Americans aren't more familiar with this song (and presumably, other prison work songs)
"I think that some of the blame for this is that we African Americans don't treasure most of our old time music - in part because we are forward looking people more interested in new music forms instead of old ones and in part because we don't want to be reminded of the memories of terrible times such as slavery & chain gangs. But there is so much richness of spirit in many of these songs.I appreciate them and honor their composers/performers."
-snip- Revision ended

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As an aside, I wonder if the words "Berta but" in the line "She walk like Berta but she, want you so, well" had any influence whatsoever on the Jimmy Castor's 1975 Pop & Funk song "Bertha But Boogie".

Among African Americans, a person with a "Bertha Butt" usually means a female teenager or woman (usually a Black female) with a large, protruding behind (butt). I wonder if that phrase has its source in this "O Berta" song.

Click http://www.youtube.com/watch?v=4LQJYgs1sxc for a sound file of the "Bertha Butt Boogie".

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UPDATE September 13, 2018: LYRICS FOR THE AFRICAN AMERICAN PRISON WORK SONG "O BERTA*

O BERTA

O Berta, well, o Lord, gal
Lord, Berta, well, Lord, gal, well

Ain’t that Berta coming down that road, well
She walk like Berta but she walks too slow, well
She walks too slow, baby, she walks too slow, well
She walk like Berta but she, she walks too slow, well

Lord, Berta, Lord, gal
Lord, Berta, Lord, gal, well

I've been calling Berta, buddy, the whole day long, well
And how can she hear me when she, she ain’t at home, well
She ain’t at home, baby, she ain’t at home, well
And how can she hear me when she, she ain’t at home, well

Lord, Berta, Lord, gal
[Spoken: Hum, hum, hum it!]
Lord, Berta, Lord, gal, well

Saturday when you marry, marry to the railroad man, well
Saturday when you marry, marry to the railroad man, well
Saturday when you marry, marry to the railroad man, well
(he'll have) on Sundays a dollar to lay in your hand, well
To lay in your hand, baby, to lay in your hand, well
(he'll have) on Sundays a dollar to lay your hand, well

Saturday when you marry, don’t marry no, no farmin man,
Saturday when you marry, don’t marry no farmin man, well
‘Cause Saturday when you marry, don’t marry no farmin men-eh
‘Cause he never did have money for to, to lay in your hand, well
To lay in your hand, baby, lay in your hand
Never did have money for to, to lay in your hand, well

Lord, Berta, Lord, gal
Lord, Berta, Lord, gal, well

(Bury 'em deep) when they, they start gettin' down, well
(Mama won't never 'low to, to roll em down, well)
To roll 'em down, baby, to roll 'em down
Mama wouldn't 'low nobody to roll’em down, well

Lord, Berta, Lord, gal
Lord, Berta, Lord, gal, well

When you're gon' leave 'em, don't you hang around, well
[or they would] catch you or hang you, when I'm (down/found), well
When I’m (down/found), baby, when I'm (down/found)
[Or they would] catch you, hang you, when I'm (down/found), well


Lord, Berta, Lord, gal
Lord, Berta, Lord, well

Transcription by Lorenzo Vanelli, University of Bologna, Italy [September 13, 2018]
-snip-
Lorenzo Vanelli, thank you very much for sharing your research on this song and thanks for your transcription.

Pancocojams visitors, please read Lorenzo Vanelli's comments below about the African American prison song "O Berta". Here's two excerpts from two separate comments:
"...But this is just my interpretation: I have no intention of pushing my perspective further than it can reasonably and respectfully go. As I said, the document is very opaque, and the singers could have wanted these words to not be perfectly comprehensible, to avoid retaliation from the guards. To accept and underline the veil of opacity put up by the singers is another way of pointing at the institutionalized violence that they faced."....

"A side note: the last two stanzas are very hard, the parts in (round parentheses) are a suggestion of what I feel like could be there, but am not sure about. The very last stanza is also weird in the way the singers seem to hit a hard spot in the second verse, the one with the word "hang", which by the way you were right in your transcription, I hear it too now.
If you think about it, that's a verse that could get the singers in real trouble. They were black men imprisoned in a Jim Crow state farm singing to a white researcher from Washington D.C. and in the presence of the white guards overlooking the recording, who had absolute power over them and could hold them accountable for every single world they let out. I have the feeling that the singers stumbled "on purpose", as the line they had in mind was not convenient at that moment, and could have got them in trouble, so they murmured something nearly un-intelligible instead. But the key words "catch you" and "hang you" are more or less audible.
Also, the last repeated emistichs "when I'm down", the way the singers spell "down" sounds slightly off. Could it be "found" instead of "down"? I left the two options in the text, feel free to pick the one you deem more correct."...
-snip-
Here are links to two other examples of "O Berta" that Loresnzo Vanelli cited in his comments:

http://research.culturalequity.org/rc-b2/get-audio-detailed-recording.do?recordingId=4236 Alberta (Berta Berta)", by Leroy Miller and unidentified singers, recorded by A. Lomax in 1959 in Parchman ...around 03:40 onward

http://research.culturalequity.org/rc-b2/get-audio-detailed-recording.do?recordingId=4643; around 00:40 onward

Here's a link to a version of the very closely related prison work song "Rosie":

http://research.culturalequity.org/rc-b2/get-audio-detailed-recording.do?recordingId=10539

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OTHER RELATED LINKS
http://en.wikipedia.org/wiki/Mississippi_State_Penitentiary

**
http://www.mudcat.org/thread.cfm?threadid=121223 "Lyr & Orig: Alberta, Let your hair hang"

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Viewer comments are welcome.

Tuesday, June 12, 2012

Videos Of Vocal Performances By Audra McDonald

Edited by Azizi Powell

This post showcases seven videos of award winning vocalist and actress Audra McDonald.

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

My thanks to the Audra McDonald and vocalist/actor Norm Lewis for sharing their tremendous talents with the world. Thanks also to the composers for creating the music, and the musicians for performing it. My thanks also to the producers of these videos and the video uploaders.

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INFORMATION ABOUT AUDRA MCDONALD
From http://en.wikipedia.org/wiki/Audra_McDonald:

"Audra Ann McDonald (born July 3, 1970) is an American actress and singer.She starred in the ABC television drama Private Practice as Dr. Naomi Bennett. She has appeared on the stage in both musicals and dramas, such as Ragtime, A Raisin in the Sun, and Porgy and Bess. She maintains an active concert and recording career, performing song cycles and operas as well as performing in concert throughout the US. She has won five Tony Awards for acting, tying the record held by Angela Lansbury and Julie Harris."

FEATURED VIDEOS
[These videos are presented in no particular order of preference.]

Video #1: Audra McDonald Performs "Summertime" - The Rosie Show - Oprah Winfrey Network



Published on Mar 2, 2012 by OWN

Broadway star Audra McDonald performs "Summertime" from the Gershwin classic Porgy and Bess.

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Video #2: Audra McDonald & Norm Lewis perform "You Is My Woman Now" from Porgy & Bess



uploaded by wnycradio on Jan 18, 2012

Audra McDonald and Norm Lewis perform "You Is My Woman Now" from Porgy and Bess during a taping of Soundcheck Live in The Jerome L. Greene Performance Space.
-snip-
Here's a comment from this video's viewer comment thread:
"What truly talented people can do with a brilliant score and concept, and in a studio-type setting! Singing and acting as you rarely find it. I'm an Audra fan, but she never fails to surprise me with the range of her overall talent."
-sealove36; May 2012;

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Video #3: The Wizard of Oz - Over The Rainbow



Uploaded by pianodude on Jan 1, 2007

Audra McDonald Sings the Movies for New Year's Eve

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Video #4: Stars and Moon - Audra McDonald



Uploaded by AudraMcDonaldFan on Mar 24, 2009

Audra McDonald in Concert

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Video #5: The Glamorous Life- Audra McDonald



Uploaded by AudraMcDonaldFan on Mar 27, 2009

Here's a comment from this video's viewer comment thread:
"Some performances just bring a smile to my face. This is one of them. I absolutely ADORE this song AND this woman. Especially at 2:31.
-AtLastOnTheGround; 2010

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Video #6: I Won't Mind- Audra McDonald



Uploaded by AudraMcDonaldFan on Mar 14, 2009
-snip-
"She is the master at acting through song."
-lurvelysooz; 2010

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"If we're really lucky, someone with this kind of talent emerges every generation or so."
-ers586; 2010

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Video #7: A Little Bit in Love - Audra McDonald



Uploaded by castodivo on Apr 16, 2011

From the musical "Wonderful Town"
Music by Leonard Bernstein
Lyrics by Betty Comden and Adolph Green
Recorded in 1999
Conducted by Sir Simon Rattle

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Viewer comments are welcome.