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Monday, July 13, 2026

How Black American Teen Nolan Well's Death Is Being Factored Into Conversations Black Parents Have With Their Children About Racism In The United States


 

Parents of Nolan Wells demand answers in the mysterious death of their son

ABC News, Jul 11, 2026

The parents break their silence, speaking with ABC’s Michael Strahan, for the first time about Wells’ death, as civil rights leaders call for a thorough investigation.

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Edited by Azizi Powell

This pancocojams post presents a video of and information about the death of Black American teen Nolan Wells and how that tragedy is prompting and/or reinforcing the conversations Black Americans have with their children about their need to protect themselves against the possibility of racism.

The content of this post is presented for historical and socio-cultural purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post. Rest in Peace and Power, Nolan Wells.

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EXCERPT FROM ONLINE ARTICLE ABOUT NOLAN WELL'S DEATH
From https://www.newsnationnow.com/us-news/mid-south/race-nolan-wells-death/ "Was race a factor in Nolan Wells’ death? What we know" by Damita Menezes, Jul 10, 2026
"NewsNation) — The Rev. Al Sharpton says he is not ruling out race as a factor in the death of 18-year-old Nolan Wells, telling reporters Friday that key details of the case “do not make sense” and that National Action Network will back the family “until the end.”

“He was one Black with three young white men who happened to end up with his phone, happened to end up with his keys,” Sharpton said at a news conference alongside Wells’ parents and civil rights attorney Ben Crump. “There’s just too many questions … they should not be closing the investigation.”

Wells, a community college football player, was last seen on Horn Island, Mississippi, around 3 p.m. July 4. His friends told investigators they returned home without him after he said he would find another ride. His body was found on the island July 7.

Sharpton said he has little confidence in the local investigation, criticizing authorities for concluding within days that no wrongdoing occurred. He said an argument involving Wells was captured on video, and that Wells’ phone and keys ended up in the possession of one of the friends who left the island without him.

Nolan Wells found dead after July 4 trip with friends

“So some people are saying, ‘Reverend, are y’all bringing in race?’ Well, we’re not bringing in race, but we’re not discounting race, either, because we don’t know what it is,” Sharpton said. “This does not smell right.”

He added that while he wouldn’t presume race played a role, he also wouldn’t accept assumptions that it didn’t.

“Don’t rush to judgment saying it was not racist,” he said. “Because we do not know.”

Sharpton said Wells’ mother, not the friends, was the one who tracked down his phone, and that the friends never voluntarily disclosed they had it or his keys.

Crump, who is representing the family, pointed to Mississippi’s history as part of why race can’t be dismissed as a factor.

“The history of Mississippi is something that they don’t just read about in books, but it’s a lived experience for many Black Americans,” Crump said. “We refuse to sweep it under the rug.”

Crump also disputed the theory, floated by investigators, that Wells’ death may have been an accidental drowning.

“This is a kid who knew how to swim,” Crump said. “This is a kid who was in tip-top shape. He was a superior athlete.”….

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AI OVERVIEW WRITE-UP 

[This write-up is the result of my July 13, 2026 query "How have Black Americans talked to their children about the death of Nolan Wells?]*

"
Black parents are using the tragic death of 18-year-old Nolan Wells as a painful opportunity to teach their children about safety, racial dynamics, and situational awareness.

Conversations across the Black community focus on:

Situational Awareness and Safety: Parents are emphasizing the necessity of being hyper-aware of your surroundings, especially when being the only person of color in predominantly white social settings or remote environments.

Navigating Anti-Black Racism: Many use the incident—where Wells, a Black teenager, was found dead on Horn Island, Mississippi, after a July 4th boating trip with white peers—to teach kids how to protect themselves from systemic biases, microaggressions, and racially motivated hostility.

Historical Context: The case has evoked deep generational trauma due to Mississippi's fraught racial history. Parents are highlighting these systemic realities to explain why the local sheriff's initial handling of the case is being met with scrutiny and distrust.

As the Jackson County investigation continues and Wells' parents seek transparent answers, these discussions center on empowering Black youth to trust their instincts and navigate environments where their safety may be uniquely at risk."
-snip-
I was (and still am) particularly concerned about the first point in this write-up (situational awareness and safety) particularly when Black people (or other People of Color) are the only ones or one of few other Black people or other People of Color) in a location. The potential concerns or problems that Black people (and other People of Color) have doesn't need to be as severe as loss of their life or resulting in some physical injury. Read this article excerpt immediately below.

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ARTICLE EXCERPT ON THE BURDEN OF BEING BLACK IN WHITE SPACES
https://news.yale.edu/2022/03/24/elijah-anderson-burden-being-black-white-spaces
"Elijah Anderson on the burden of being Black in white spaces"

Anderson discusses his new book on the challenges facing Black people as they navigate overwhelmingly white settings and struggle to overcome stereotypes.

By Mike Cummings, Mar 24, 2022

…"Since the end of the civil rights movement of the 1950s and 1960s, large numbers of Black people have made their way into settings previously occupied exclusively by whites. They have received mixed receptions.

Many neighborhoods, schools, workplaces, universities, and other public spaces remain overwhelmingly white. Blacks perceive such settings as the “white space,” which they often consider to be informally “off limits” to them, said Elijah Anderson, Sterling Professor of Sociology and African American Studies at Yale and winner of the 2021 Stockholm Prize, the world’s most prestigious prize in the field of criminology.

The challenges Black people face while navigating white spaces are the subject of Anderson’s latest book, “Black in White Space: The Enduring Impact of Color in Everyday Life,” (University of Chicago Press, 2022), which draws on his 40-some years of qualitative fieldwork, including many interviews with local Black and white people, his previous four distinguished books of urban ethnography on race relations, as well as his lifetime of experiences as a Black man in America.

In the book, Anderson documents the unique challenges facing Black people as they navigate “white space” — a perceptual category, defined by the overwhelming presence of white people and the relative absence of Blacks — and their struggle to overcome stereotypes that continue to stigmatize them.

He explained that despite the growth of an enormous Black middle class, many whites assume that the natural Black space is what he calls the “iconic ghetto” — the symbol of that destitute and fearsome locality so commonly featured in the media.

“White people typically avoid Black space, but Black people are required to navigate the white space as a condition of their existence,” Anderson said. “When an unfamiliar  Black person enters the ‘white space,’ often the people there immediately try to make sense of him or her — to determine ‘who that is,’ or to figure out the nature of the person’s business and whether they need to be concerned. Stereotypes can rule perceptions, creating a situation that can estrange the Black person.

“In these circumstances, almost any Black person can experience such distance, especially a young Black male — not as a measure of his merit as a person but because of his Black skin and its indication of ‘outsider’ status in the white space. Thus, such a Black person is often burdened with a negative presumption he or she must disprove before being able to establish trusting relations with others.”

Anderson recently spoke with Yale News about the lived experience of Black people and the structural underpinnings of racism in America. The interview has been edited and condensed.

How do anonymous Black people try to overcome “the negative presumption” they often encounter upon entering white spaces?

Elijah Anderson: In my study, I found that this negative presumption may be minimized or tentatively overcome by a performance, a negotiation, or what some Black people refer to derisively as a “dance,” through which individual Blacks may be inclined to show white people and others that ghetto stereotypes do not apply to them personally; in effect, they may feel the need to perform for credibility or for acceptance. This performance can be as deliberate as dressing well and speaking in an educated way or as simple as producing an ID or a driver’s license in situations in which this would never be demanded of white people. Around predominantly white college campuses, especially when ghetto areas are nearby, Black students often wear school paraphernalia to distinguish themselves from ordinary Black people from the local ghetto. With this strategy, college students try to avoid being profiled, but on occasion, they get stopped by campus security nonetheless.

Do white people wittingly treat Black people this way?

Anderson:  Yes and no.  In white spaces, white people dominate, and compared to their Black counterparts, enjoy an implicit power along with a degree of moral authority that Black people fundamentally lack. Moreover, white people tend to take their white-skin privilege for granted, and to be dismissive of the complaints by Black people, or they show incredulity and “horror.” In this context, it is very hard for white people in general to understand and appreciate the experience of being Black.

What’s at stake for Black people during these awkward encounters?

Anderson: Black people typically want to be treated the way they assume white people are treated, without racial animus, without being regarded as “suspicious characters” on the basis of their skin color while navigating civil society, and especially when they navigate white spaces. They want to be able to get through their day uneventfully, without experiencing arbitrary treatment based on their Blackness.

How does this “dance” typically unfold?

Anderson: Almost by definition, the Black person performs before a distant, judgmental, and unsympathetic audience of gatekeepers, such as security guards, salespeople, fellow patrons. They are distant because of the extant racial divide, and judgmental and unsympathetic because their minds are typically already made up about the Black person’s “place” and the threat they believe he or she poses to the white space, and perhaps to some of the people standing in judgment. Depending on how effectively the Black person performs or negotiates, he or she may “pass inspection.” But there are no guarantees, for some members of the audience are inclined at times to weaponize their prejudices, to put the Black person in their “place.” Moreover, others in the white space may require additional proof on demand.

When the unfamiliar Black person can demonstrate that he or she has business in the white space, the defending gatekeepers may relax their guard, at least for the time being. The Black person may then advance from a “deficit of credibility” to a “provisional status,” suggesting a conditional “pass,” with the person having something “more to prove” on demand.

Are all Black people at risk of these encounters when they enter white spaces regardless of their socio-economic status?

Anderson: Yes, because racial bigotry is not social class specific. When venturing into or navigating the white space, Black people endure such challenges repeatedly. In white neighborhoods, Black people may anticipate racial profiling or harassment by the neighborhood watch group, whose mission is to monitor the “suspicious-looking.” Any unfamiliar Black male can qualify for close scrutiny, especially at night. Defensive whites in these circumstances may be less consciously hateful than concerned and fearful of “dangerous and violent” Black people “from the ghetto.”

In the minds of many white people, to scrutinize and stop a Black person is to prevent crime and protect the neighborhood. Thus, for Black people, particularly young males, virtually every public encounter results in a degree of scrutiny that a “normal” white person would certainly not need to endure.”…

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Visitor comments are welcome. 

Saturday, July 11, 2026

The Twenty Most Viewed Pancocojams Posts On July 11, 2026

Edited by Azizi Powell

This post is part of a periodic series that highlights the top twenty pancocojams posts that were viewed on a particular date.

Google blogspot automatically publishes a list that the blog's editor can view of the top twenty posts in a blog that have been visited within a certain time period. Statistics for every post that has been published in this blog that I haven't deleted for one reason or another could be included in this daily top twenty list.

This post presents a list of the twenty  most viewed pancocojams post on July 11, 2026. I was moved to publish this post because I have an affinity for the number 17 and the 711 date reflects that energy. 

I published a previous post like this on July 1, 2026 for no discernable reason. Click https://pancocojams.blogspot.com/2026/07/the-twenty-most-viewed-pancocojams.htmfor that post.

I published a previous post like this on May 16, 2026  when I noticed that this pancocojams blog had reached a total of 18 million + views since I launched it on August 29, 2011. (That number doesn't included my views .)  Click https://pancocojams.blogspot.com/2026/05/the-twenty-most-viewed-pancocojams.html for that post. It's interesting to notice the differences in the subjects for the twenty most viewed pancocojams posts on these different days.

This post is presented to document meta information about this blog. This list is also presented as a way of highlighting these showcased posts.

Thanks for supporting pancocojams!

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PANCOCOJAMS EDITOR'S NOTE
The mission of pancocojams is to showcases the music, dances, language practices, & customs of African Americans and of other people of Black descent throughout the world.

At the time of this post's publication  on July 1, 2026, pancocojams has had 18,677,223 views since this blog was launched on August 29, 2011. That number doesn't include my views.

A total number of 5948 posts are available on this pancocojams blog as of July 11, 2026-including this one. 

*This list that is presented in this post presents the title for each of the top twenty posts that were viewed during July 11, 2026. in addition to the post's title, these entries include the hyperlink, and that post's publishing date.

All of the top twenty lists (such as this one on July 11, 2026 document the eclectic nature and the wide range of socio-cultural and/or folkloric topics that are featured in this blog.

I determine the subject of each pancocojams post as the Spirit (or my spirit) moves me to do so.

Publishing this list can help visitors to this blog find posts that they may be interested in visiting again or visiting for the first time. 
-snip-
Click https://pancocojams.blogspot.com/2024/12/links-to-twenty-five-pancocojams-posts.html for the post entitled "Links To The Twenty-Five Pancocojams Posts With The Highest Number Of Views (From 2011-2024)."

Last year I decided not to publish an annual "most viewed" post from this blog's launching  because the list of posts with the most views has remained very similar for a number of years. 

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A LIST OF THE TWENTY MOST VIEWED PANCOCOJAMS POST (July 1, 2026)

[The post with the highest number of views on that day is given first, and all the other posts are given in descending order.]

1. What The Word "Tether" Means To Foundational Black Americans (FBAs)

https://pancocojams.blogspot.com/2024/10/what-word-tether-means-to-foundational.html

October 22, 2024

**
2. 
Down By The Banks Of The Hanky Panky (General Information, YouTube videos, & text examples)



February 11, 2015

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3. 
The History Of The Hoochie Coochie Dance (including information about The Song "Ham Fat Man")


September 23, 2022


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4. Part II of Some "Down By The Banks Of The Hanky Panky" Rhymes" With Geographic Locations (K - Z)


March 22, 2021

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5. 
Two Versions Of The Song "Old Zip Coon" (sound file & lyrics)

https://pancocojams.blogspot.com/2013/04/two-versions-of-song-old-zip-coon-sound.html


April 25, 2013


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6. 
What "Ah Sookie Sookie Now" Means


May 14, 2013

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7. 
Reggie Stepper- "Kimbo King" What Are The Lyrics For This 1990 Jamaican Dancehall Song?



July 13, 2023

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8. 
Children's Parodies Of "I Believe I Can Fly" (text & video examples)

https://pancocojams.blogspot.com/2013/10/childrens-parodies-of-i-believe-i-can_2.html

October 2, 2013

**

9. The Racist Roots Of The "Five Little Monkeys Jumping On The Bed" Chant

https://pancocojams.blogspot.com/2014/07/the-racist-roots-of-five-little-monkeys.html

July 22, 2014

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10. 
"Colored Aristocracy": The Old Time Music Tune & How It Got Its Name

https://pancocojams.blogspot.com/2014/08/colored-aristocracy-old-time-music-tune.html

 August 13, 2014

**
11.
Bajan (Barbados) Folk Song - "Every Time She Pass" ("The Sandpipe Song") with Lyrics

March 21, 2013

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12. 
Senegalese singer, composer Ismaël Lô - "Tajabone" (information, YouTube examples, lyrics with English translation)



December 12, 2019

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13. 
Che Che Kule - Origin, Lyrics, & Videos



 March 12, 2012

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14. 
50 Most Common African American Surnames (Allegheny County, Pennsylvania 1992-2001)

https://pancocojams.blogspot.com/2015/05/50-most-common-african-american.html


May 24, 2015

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15. 
The REAL Origin Of The Word "Ungawa" & Various Ways That Word Has Been Used In The USA

https://pancocojams.blogspot.com/2015/08/the-real-origins-of-word-ungawa-various.html

 August 13, 2015

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16. 
Gabonese Afro-Zouk Singer Oliver N'Goma - "Adia" (Part I - information & lyrics in its original languages, in English, & in French)

https://pancocojams.blogspot.com/2018/07/gabonese-singer-oliver-ngoma-adia-part.html

July 9, 2018

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17.
Elizabeth Cotten - "Shake Sugaree" (sound file, lyrics, & meanings)


February 16, 2013


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18. 
Examples Of "Shave And A Haircut" Children's Rhymes

https://pancocojams.blogspot.com/2014/01/examples-of-shave-and-haircut-childrens.html

January 4, 2014

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19. 
How "The Wobble Line Dance" Got Its Moves From Philadelphia, Pennsylvania's 1990s "The Nasty Girl" Line Dance


https://pancocojams.blogspot.com/2025/08/how-wobble-line-dance-got-its-moves.html

August 22, 2025

**
20. 
The Original Meaning of The Song That Became "Sea Lion Woman"

https://pancocojams.blogspot.com/2011/08/original-meaning-of-song-that-became.html

August 30, 2011


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Thanks for visiting pancocojams.

Visitor comments are welcome.

Five YouTube Examples Of The Mid 19th Century American Song "Old Dan Tucker" (Part II)

 

Ol' Dan Tucker From the Second South Carolina String Band.

rosestar77, Uploaded on Feb 19, 2010

Shot in Gettysburg, PA.
-snip-

This YouTube video includes lyrics captions. I believe that some of those lyrics are incorrect, for instance, the word "sucker" instead of the last name "Tucker."

****
Edited by Azizi Powell

This is Part II of a pancocojams series on the American minstrel/play party song "Old Dan Tucker" (also given as "Ole Dan Tucker").

This post showcases YouTube examples of the song "Old Dan Tucker."  This post also includes some information about and lyrics for versions of that song.

Click https://pancocojams.blogspot.com/2026/07/the-black-american-roots-of.html for Part I of this pancocojams series. That post presents information and commentary about the history of the song "Old Dan Tucker".

Much of the content of this series was published in a different format in this 2013 post: 

This 2026 post also includes the three comments that were published in that 2013 post as of July 11, 2026.* However, the videos of that song that were included in that 2013 post are now showcased in Part II of this 2026 pancocojams post. 

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

All copyrights remain with their owners.

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Thanks to the unknown early composers of this song. Thanks to all those who are quoted in this post. Thanks to the performers & musicians who are featured in these videos, and thanks to the producers of these videos on YouTube.

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ADDITIONAL VIDEOS OF "OLD DAN TUCKER"
These videos are given in no particular order and are numbered for referencing purposes only. 

SHOWCASE VIDEO #2 - Ol Dan Tucker


AMSOMmp, Uploaded on Jul 7, 2009


Andy and Opie sings Ol Dan Tucker [from the American television series "The Andie Griffin Show".]

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SHOWCASE VIDEO #3 - 
Mr. Edwards (Victor French) - Old Dan Tucker

danieljano88 Dec 30, 2012

From Little House on the Praire

Episode 4, 1st Season: Mr. Edwards Homecoming

So funny

I don't own the video. Just for entertaining.

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SHOWCASE  VIDEO #4-  Bruce Springsteen with the Sessions Band - Old Dan Tucker (Live In Dublin)


Bruce Springsteen, Mar 4, 2019



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SHOWCASE VIDEO #5-
Ol Dan Tucker


Mr.Hudspeth's Music Channel, Nov 9, 2017

Old Dan Tucker is a classic American folk song with roots deep in the 19thcentury oral tradition. The tune circulated widely before it was ever written down, and many historians connect the earliest published lyrics to Dan Emmett, a wellknown American songwriter of the 1800s. The first sheetmusic edition appeared in 1843, but the song itself is olderpassed from singer to singer long before it reached print. Because of its age and traditional transmission, Old Dan Tucker is firmly in the Public Domain.

This arrangement is created specifically for kids, classrooms, and elementary music teachers who want a simple, joyful, easytosing version of this beloved folk song. It works beautifully as a singalong, echo song, warmup, or folksong lesson for grades K5.

I, David Hudspeth, arranged, recorded, and produced this entire video. This is my original educational arrangement, created to reflect how the song might have been sung in its early days—simple, rhythmic, and full of energy.

🎵 What makes this version kidfriendly?

Easy melody for young singers

Clear echostyle phrases for callandresponse

Steady beat for movement activities

Folkstyle guitar and voice arrangement

Perfect for elementary music, homeschool, parents, and classroom teachers


🎶 Why teach “Old Dan Tucker”?

It’s a traditional American folk song with strong cultural and historical value

Great for teaching steady beat, echo singing, callandresponse, and folksong form

Works well for music programs, sub plans, warmups, and singalong days

Helps students connect with early American music traditions

 

📚 Song Background (KidFriendly Summary) 

“Old Dan Tucker” has been sung for nearly 200 years. No one knows exactly who wrote the original version, but it became widely known in the 1840s and has appeared in countless songbooks, school music curriculums, and folk collections ever since. Because the author is unknown and the song predates modern copyright, it is Public Domain."...
-snip-
This "Kid-Friendly" summary doesn't include any information about the Black American origins of early versions of this song. Read Part I of this pancocojams series including this comment that I wrote on July 11, 2026:

 Azizi PowellJuly 11, 2026 at 11:38 AM

For what ever reason, I woke up today with the song "Old Dan Tucker" in my mind. I didn't remember publishing this 2013 pancocojams post, but searched for it on this blog and found this post.

More than five years later, I wish I had expanded upon my response to unknown's comment . Here's my response now:

With regard to my comment that "every person has to make up her and his mind about the use of compositions that are categorized as "minstrel songs", I realize that now (in the 2020s United States if not elsewhere, the school system's administrators determine which subjects are taught in music classes, history classes, and "social studies" classes (if "social studies classes even still exist in the United States since the beginning of the 21st century).


I still believe that the full history of the song "Old Day Tucker" should be taught to older students (i.e students in the 6th grade on up) and to intellectually advanced students. The black faced minstrel history of that song (and of many other American "old time" songs), is part of those song's full histories. Not including that history is "white washing' those songs and therefore not paying homage to their original Black composers, or their early Black composers.

Furthermore, not providing age appropriate information about America's past-including Black faced minstrelsy that was performed by White singers/musicians and by Black singers/musicians robs children and youth of opportunities to learn from this nation's past-including lessons about how people were (and still are) mistreated, treated unequally under the law, and/or ridiculed because of their race, ethnicity, gender, religion etc.

For these reasons, I support the introduction and teaching of old time music to children and youth. However, I believe that prior to university level, students should be informed-in age appropriate language-that they are learning modified versions of these songs. My sense is that those modified versions shouldn't include the n word", Ebonics dialect, and negative references to race and gender when they are sung for entertainment purpose."

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This concludes Part II of this pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

The Black American Roots Of The Minstrel/Play Party Song "Old Dan Tucker" (Part I)

Edited by Azizi Powell

This is Part I of a pancocojams series on the American minstrel/play party song "Old Dan Tucker" (also given as "Ole Dan Tucker").

This post presents information and commentary about the history of the song "Old Dan Tucker".

Much of the content of this series was published in a different format in this 2013 post: 

This 2026 post also includes the three comments that have been published in that 2013 post as of July 11, 2026.* However, the videos of that song that were included in that 2013 post are now showcased in Part II of this 2026 pancocojams post. 

Click https://pancocojams.blogspot.com/2026/07/youtube-examples-of-old-dan-tucker-part.html for Part II of this 2026 pancocojams series on the song "Old Dan Tucker". That post showcases some YouTube examples of that song along with some information and at least one version of the lyrics to that song.  

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

All copyrights remain with their owners.

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Thanks to the unknown early composers of this song. Thanks to all those who are quoted in this post. .
-snip-
*This 2026 post includes the three comments that were published  in that 2013 post as of July 11, 2026. One of those comments is from a pancocojams blog reader and one of those comments is my reply written in 2013 . The third comment is my expansion on my 2013 reply that I wrote on July 11, 2026 after reading my 2013 reply.

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INFORMATION ABOUT THE SONG "OLD DAN TUCKER"
From http://en.wikipedia.org/wiki/Old_Dan_Tucker
"Old Dan Tucker", also known as "Ole Dan Tucker", "Dan Tucker", and other variants, is a popular American song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period...

The first sheet music edition of "Old Dan Tucker", published in 1843, is a song of boasts and nonsense in the vein of previous minstrel hits such as "Jump Jim Crow" and "Gumbo Chaff". In exaggerated Black Vernacular English, the lyrics tell of Dan Tucker's exploits in a strange town, where he fights, gets drunk, overeats, and breaks other social taboos. Minstrel troupes freely added and removed verses, and folk singers have since added hundreds more. Parodies and political versions are also known...

Composition
The origin of the music of "Old Dan Tucker" has always been obscure, and no sheet music edition from 1843, its year of its first publication, names a composer. The first performance of the tune (but not lyrics) may have happened as early as 1841.[40] The music may in fact be from the oral tradition or may have been a product of collaboration.[33]

...[Some of the lyrics to “Old Dan Tucker]... seem to partially derive from an earlier minstrel song called "Walk Along John" or "Oh, Come Along John", first published in various songsters in the early 1840s.[46] Some verses have clear echoes in versions of "Old Dan Tucker":
Johnny law on de rail road track,
He tied de engine on his back;
He pair's his corn wid a rail road wheel,
It gib 'em de tooth ache in de heel.

Possible slave origin
A story dating to at least 1965 claims that "Old Dan Tucker" was written by slaves about a man named Daniel Tucker who lived in Elbert County, Georgia. Tucker was a farmer, ferryman, and minister who appears in records from the late 18th and early 19th centuries. The story, as related by Mrs. Guy Rucker, the great-great-granddaughter of one of Tucker's neighbors, claims that Tucker became quite well liked by the slaves in his area through his ministry to them.[49]

According to this interpretation, the lyrics address Tucker directly. The chorus, "You're too late to get your supper" is a kindhearted taunt to a man who often arrived after dark, forcing his hosts to scrape up a meal for him.[49] The song's occasional lewdness is explained by the natural impromptu nature of its supposed origin.[50]

"Old Dan Tucker" does show evidence of black influence. For example, bizarre imagery in folk versions of the song (e.g., "toothache in his heel") may be a sign of legitimate black input (or of someone poking fun of slaves who had an incomplete knowledge of English).[45] "Old Dan Tucker" most closely resembles African music in its call-and-response refrain.[35]

Daniel Tucker was buried in Elbert County in 1818.[51] The Elbert County Chamber of Commerce today promotes his grave as a tourist attraction due to his possible connection with the character from the song."
-snip-
Here's another comment about the possible Black American origin of this song and the possible connection between the Egbert County Dan Tucker and the character mentioned in that song from http://mudcat.org/thread.cfm?threadid=27246 "Old Dan Tucker", posted by Bill D, 10 May 03 - 12:14 PM
"My wife was just looking thru some old newspapers saved by her aunt in Georgia in 1945 and found an entire article on Rev. Daniel Tucker, with photographs of the gravesite, and of Fiddlin' John Carson. ...I will try to scan the article, which claims the the original song was begun by the local Negroes, who adored Rev. Tucker...the implication being that Dan Emmett merely added to it and popularized it. (not surprising, given the loose way 'ownership' and credit was treated in those days)......THe article in the Atlanta Journal gives a LOT of history of Rev. Tucker and the area and culture

In the meantime, search found this page with this quote in it [hyperlink no longer viable]

"Old Dan Tucker"
Rev. Daniel Tucker owned a large plantation on the Savannah River and is buried near his old hometown, "Point Lookout", six miles from here. Born in Virginia, February 14, 1774, Daniel Tucker came here to take up a land grant. A revolutionary soldier, planter and minister, he owned and operated Tucker's Ferry near his home. He died April 7, 1818 - but not "of a toothache in his heel". Esteemed by his fellow planters, he was loved by the Negroes who composed the many verses of the famous ditty, "Old Dan Tucker", a favorite song at corn shuckings and social gatherings. Marker is on GA 72 southeast of Middleton."
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Click that Mudcat link for the "original" lyrics that are credited to Daniel Emmett, and other comments that include lyrics for that song. Here's a quote* followed by a comment that was posted by Dicho Date: 04 Jun 02 - 10:53 PM

" "Composed by Dan D. Emmet, and sung by him with unbounded applause in Howe's Amphitheatre of the Republic, New York." Page 622 in "Marsh's Selection, or Singing For the Million, Containing the Choicest and Best Collection of Admired Patriotic, Comic, Irish, Negro, Temperance, and Sentimental Songs Ever Embodied in One Work." Three volumes in one, New York, Richard Marsh, 374 Pearl Street, 1854. Reproduced in Newman I. White, 1928, American Negro Folk Songs, pp. 446-447 (1965 reprint)."

Some verses borrowed from Negro song, some Negro folk song verses were borrowed from Emmett. A complete version of a minstrel song. Note: Spelling preserved."
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WARNING:
Some verses of early versions of "Old Dan Tucker" include what is now known as "the n word".

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EXCERPT FROM THE 2015 ONLINE ARTICLE ABOUT THE SONG "OLD DAN TUCKER" 

Posted August 11, 2015 by Teresa Lynn in History, Music"...
Wilder Wednesday posts are inspired by the Little House on the Prairie series of books [written by  Laura Ingalls Wilder, and much later adapted into a popular American television series.]

..."

The Ingalls family loved music, most often supplied by Pa’s fiddle. Laura recorded dozens of songs that the family enjoyed. One of these is Old Dan Tucker, more strongly associated with Little House on the Prairie due to the character of Mr. Edwards, who sang it often on the TV show.

 

The song dates from the middle of the nineteenth century. It is not certain who wrote it, although it is often attributed to Dan Emmett (who also wrote Dixie). It is certain that his blackface troupe Virginia Minstrels made it popular.

 

Wait…did I just say “blackface?” Yes, I did, and that term should be explained for those unfamiliar with it. Merriam-Webster defines it as “makeup applied to a performer playing a black person, especially in a minstrel show; also: a performer wearing such makeup.” What the definition does not say is that blackface minstrel theater was more than just makeup; it was an exaggerated, stereotypical portrayal of caricaturized black people, meant to be humorous. (I’ll discuss minstrel shows, including Pa’s – Pa’s! – participation in one, more in a future post.)

 

In the case of Old Dan Tucker, the original words were written to be performed by a troupe, with some verses sung – and acted out, an essential ingredient in minstrels – by “Dan” and other verses sung by other members as observers of Dan’s antics. Despite some claims to the contrary, there is no doubt that Dan was supposed to be black. The vernacular of the song, particularly Dan’s own verses, was overplayed Black English (now often called Ebonics). An early playbill calls the show “a Virginian Refrain, in which is described the ups and downs of Negro life.”

 

It was the usual practice for blackface troupes to portray people of color as ignorant and uncouth, or worse. Old Dan Tucker, according to the 1843 lyrics (which can be found at the end of this post), was a fighting, drunken glutton who had no sense of, or didn’t care about, social mores. He sometimes speaks of himself in the third person, as a child might, which is to further show his simple-mindedness. Part of the appeal of this portrayal is that it allowed “lower class” whites to poke fun at the culture of the “upper class” in an analogous way, as opposed to outright finger-pointing, which would only further cement their own lesser-mannered class.

 

It is important to note that both black and white performers used blackface. Black minstrel performers often satirized the behavior of whites, including their racist attitudes, and promoted abolition. By the 1870s, white minstrel shows were giving up blackface (often incorporating other ethnic stereotypes, such as the blarney-filled, drunken Irishman, or greedy, conniving Jews, instead) and black performers were taking over blackface theater. Some African Americans saw it as a means of spreading their own culture, while others realized that it was a much easier way to earn a living than most avenues available to them (which was mostly menial labor). This does not, of course, excuse the caricaturizations of black people by white minstrel performers in blackface.

 

Old Dan Tucker was immediately successful and became a popular song across the country. In fact, it was one of the top 3 most popular songs in 1843, thanks in large part to the Virginia Minstrels.

However, its lyrics did not remain static. Performers added, deleted, and changed verses as it suited them. Hundreds of different versions have been recorded. Some of these promoted specific causes; for example, in 1844 a group called the Hutchinson Family Singers turned it into “a song for emancipation” with abolitionist lyrics. Other versions were designed to eliminate the racist portrayal of blacks and convert it into a generic, fun tune.

 

That is how we today think of Old Dan Tucker. Its history should not make us shun the song, but learn from it. Let its modernized verses bring to mind Mr. Edwards and his helpfulness and neighborliness – to everyone, regardless of their race or color – and enjoy it as an entertaining bit of Americana”…
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This article includes the lyrics for the 1843 version of "Old Dan Tucker" that were sung by the Virginia Minstrels.

This 2015 article is the only content in this pancocojams post that isn't included in the 2013 pancocojams post on this song. 

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"OLD DAN TUCKER" PERFORMED AS A PLAY PARTY SONG

From http://en.wikipedia.org/wiki/Play_party
"A play party is a social event in which people gather to sing and dance. Play parties began in the 1830s in the United States as a route around strict religious practices banning dancing and the playing of musical instruments. The areas most influenced by the practice were the Southern and Midwestern parts of the United States. Folk songs, many of European and English origin, were used as means to give the attendants choreographed movements for each phrase. No instruments were played at the events, as they were banned by the religious movements of the area. Singing and clapping were used to convey each song. Because dancing was banned, the movements took on the quality of children's games. Though the performance of play parties dwindled in the 1950s, music educators use them as ways to incorporate music and dance in their classrooms.

Some traditional examples of play-parties are: Skip to My Lou, Coffee Grows on White Oak Trees, Shoot the Buffalo, Buffalo Gals, Won't You Come Out Tonight, B.I.N.G.O., Pop Goes the Weasel, Old Dan Tucker."
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From http://mudcat.org/thread.cfm?threadid=27246 posted by Dicho, 29 Apr 02 - 09:36 PM
"...here is a "playparty" version from Missouri.

OLD DAN TUCKER
"In this game all the players choose partners and form a big circle, holding hands. An odd boy is called "Old Dan," and he stands alone in the center. Everybody sings lustily:
Old Dan Tucker down in town,
Swingin' the ladies all a-round,
First to the right and then to the left,
An' then to the one that you love best.

At the words "first to the right" it is "Old Dan's" privilege to pull a girl out into the ring by her right hand, turn her around once, and thrust her back into her place again. When they sing "then to the left" he takes another girl out by the left hand and swings her as before. At the words "then to the one that you love best" every boy swings his own partner. It is at this moment that "Old Dan" tries desperately to grab a girl for himself, and if he succeeds, the man who has lost his partner must be the next "Old Dan."

The following stanza is a sort of chorus, used to keep "Old Dan" in the ring as long as possible, since he has no opportunity to get a partner while it is being sung.

Git out of the way for old Dan Tucker,
He's too late to git his supper,
Supper's over and breakfast a-cookin',
An' Old Dan Tucker standin' a-lookin'.

If "Old Dan" really wishes to expedite matters he can use one girl for all three movements of the game, and thus be sure of getting himself a partner, but this is not considered the sporting thing, and is not often done- usually not unless "Old Dan" loses his temper. Several other verses are used as filler in this game:

Old Dan Tucker down in town,
A-ridin' a goat and leadin' a hound,
The hound gives a howl an' the goat gives a jump,
An' throwed Old Dan a-straddle of a stump.

Old Dan Tucker he got drunk,
Fell in the fire and kicked out a chunk,
Fire coal got in Dan's old shoe,
Oh my golly how the ashes flew!"

From Mr. Carl Durbin, Missouri, 1927.
Found in minstrel shows as early as 1841. Often credited to Dan D. Emmett. A related piece, "Get Out of the Way, Old Johnny Tucker" (Negro Minstrel's Song Book, 1850), and many other citations.

Vance Randolph, 1982, Ozark Folksongs, Vol. 3, pp. 301-304. Several other sets of verses given from Missouri and Arkansas.
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Here are lyrics for this song from http://www.traditionalmusic.co.uk/playparty-indiana/playparty-indiana%20-%200178.htm "Indiana Play Party Song"

"Old Dan Tucker's still in town,
Swinging the ladies all around,
First to the East and then to the West,
Then to the one that you love best.

Chorus
Get out of the way of Old Dan Tucker!
He's too late to get his supper.
Supper's over and breakfast's cooking,
Old Dan Tucker's stands a-looking.

Old Dan Tucker's a fine old man,
Washed his feet (or face) in the frying pan,
Combed his hair with a wagon wheel
And died with a tooth-ache in his heel.

[version collected from] Mrs. Leslie Beall, Versailles, Indiana]
Get out o' the way for Old Dan Tucker,
He's too late to get his supper.
Some are black and some are blacker,
Some are the color of a chew a' terbacker.

Ripley County [Indiana] variants.
Swing three ladies, Old Dan Tucker [3 times]
Down in the valley.
Promenade round Old Dan Tucker [3 times]
Down in the valley"

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COMMENTS FROM THE 2013 PANCOCOJAMS POST ON "OLD DAN TUCKER"

I am curious on the author opinion about it is still permissible for one to continue using a song that its original intentions were about slave expressing their suffering and oral history. However, I feel that once the minstrel had a hold of the song it tainted and sour the song and take away the slave experiences.

ReplyDelete
Replies
  1. Unknown, I think that every person has to make up her and his mind about the use of compositions that are categorized as "minstrel songs".

    I would prefer that these songs be taught in to older students along with their music history.

    Delete
  2. For what ever reason, I woke up today with the song "Old Dan Tucker" in my mind. I didn't remember publishing this 2013 pancocojams post, but searched for it on this blog and found this post.

    More than five years later, I wish I had expanded upon my response to unknown's comment . Here's my response now:

    With regard to my comment that "every person has to make up her and his mind about the use of compositions that are categorized as "minstrel songs", I realize that now (in the 2020s United States if not elsewhere", the school system's administrators determine which subjects are taught in music classes, history classes, and "social studies" classes (if "social studies classes even still exist in the United States since the beginning of the 21st century.

    I still believe that the full history of the song "Old Day Tucker" should be taught to older students (i.e. students in the 6th grade on up) and to intellectually advanced students. The black faced minstrel history of that song (and of many other American "old time" songs, is part of those song's full histories. Not including that history is "white washing' those songs and therefore not paying homage to their original Black composers, or their early Black composers.

    Furthermore, not providing age appropriate information about America's past-including Black faced minstrelsy that was performed by White singers/musicians and by Black singers/musicians robs children and youth of opportunities to learn from this nation's past-including lessons about how people were (and still are) mistreated, treated unequally under the law, and/or ridiculed because of their race, ethnicity, gender, religion etc.

    For these reasons, I support the introduction and teaching of old time music to children and youth. However, I believe that prior to university level, students should be informed-in age appropriate language-that they are learning modified versions of these songs. My sense is that those modified versions shouldn't include the n word", Ebonics dialect, and negative references to race and gender when they are sung for entertainment purpose.

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This concludes Part I of this two part pancocojams series on the song "Old Dan Tucker".

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