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Showing posts with label Hop High Lulu. Show all posts
Showing posts with label Hop High Lulu. Show all posts

Tuesday, October 22, 2013

What "Cutting Monkey Shines" & "Cut A Shine" Mean

Edited by Azizi Powell

This post provides information & speculations about the meanings of "cutting monkey shines" ("making monkey shines"), "cut a shine" ("cut shine), "cuttin up" and "cut a monkey".

This post is part of a continuing series that presents information and speculation about the meanings of certain words & phrases that are found in American Old Time Music and other music genres.

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

All copyrights remain with their owners.

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MONKEY SHINE (MONKEYSHINE)
Definition #1 (verb)
"cutting" monkey shines (later "monkeyshines")
Acting silly (as monkeys are said to do), acting mischievously, making a prank out in public, making a public spectacle of yourself acting like a monkey

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Definition #2: (noun)
From http://www.merriam-webster.com/dictionary/monkeyshine
"prank—usually used in plural
Examples of MONKEYSHINE

First Known Use of MONKEYSHINE
circa 1832"
-snip-
This statement probably refers to the Minstrel song "Jump Jim Crow". Information about that song is found below.
-snip-
Definition #3:
Monkeyshines [noun] mischievous or playful tricks, including jokingly making funny faces or gestures
From

http://www.grammarphobia.com/blog/2007/03/monkeyshine.html
"TheGrammarphobia Blog"
"Monkeyshine! March 29th, 2007
Q: I’ve been curious about the word “monkeyshines” since I was a child and visited my grandmother, who was born in the early 20th century in a small town in Kansas. As we drove away, she’d make odd gestures and call out “monkeyshines.” I know that the word means acting up, but I wonder where it comes from. Does it have its origins in vaudeville or minstrel shows?

A: The word “monkeyshine” (often “monkeyshines”), referring to a mischievous or playful trick, has a very interesting and disturbing history.

It first appeared in 1828 (as “munky shines”) in a song by Thomas “Daddy” Rice, a popular white comedian who performed in blackface. In the song, called “Jump Jim Crow,” Rice sings and dances as an old plantation slave: “I cut so many munky shines, I dance de gallopade.” (The gallop, or gallopade, was a 19th-century dance.)

The song also gave us the term “Jim Crow” for segregation and other discrimination against African-Americans. But the use of the word “shine” as an abusive term for a black person may have nothing to do with Rice’s song. The usage didn’t appear in print until the early 20th century, well after the song’s heyday, according to the Oxford English Dictionary.

Your guess that “monkeyshine” comes from minstrel shows was right on target. In fact, some people consider “Daddy” Rice to be the father of minstrelsy.
-snip-
Italics added to highlight that sentence.

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Song Example For "Cut Monkey Shines" - "Jump Jim Crow" [1828]
From http://en.wikipedia.org/wiki/Jump_Jim_Crow
"Jump Jim Crow" is a song and dance from 1828 that was done in blackface by white comedian Thomas Dartmouth (T.D.) "Daddy" Rice. The first song sheet edition appeared in the early 1830s, published by E. Riley.

...Come, listen, all you girls and boys, I'm just from Tuckahoe;
I'm going to sing a little song, My name's Jim Crow.
Chorus: Wheel about, and turn about, and do just so;
Every time I wheel about, I jump Jim Crow.
I went down to the river, I didn't mean to stay,
But there I saw so many girls, I couldn't get away.
I'm roaring on the fiddle, and down in old Virginia,
They say I play the scientific, like master Paganini,
I cut so many monkey shines, I dance the galoppade;
And when I'm done, I rest my head, on shovel, hoe or spade.
-snip-
Italics added by me to highlight that line.

My interpretation of the line which includes a reference to the gallop dance is that that dance was just a part of "cutting monkey shines". I don't believe that line means that "cutting monkey shines" always meant doing any dance.
-snip-
Here's an example of conversational use of the phrase "making monkey shines"
From http://www.folkstreams.net/principal,58http://www.folkstreams.net/principal,58 "Othar Turner, Cane Fife Maker" by William Ferris
[Otha Turner describing how he and other musicians attract a crowd for the community picnic he sponsors]
“Then I start the drums to playing and the cane fifes to blowing. We play "Shimmy She Wobble,"8 "My Baby Don't Stand No Cheating On Her."9 "Granny, Will Your Dog Bite?" "Rolling and Tumbling,"10 "Glory Hallelujah,1111 "When the Saints Go Marching In." We play all stuff like that you know. We got a whole lot of different pieces we play. You know, you can sing to the drums, we've sung to them many times and played. It just depends on what you want to do. But now ordinary playing in a picnic, that's just for drawing a crowd. We go out there and. go to playing the drums, sometimes go to hollering and playing and making monkey shine with the drums, just cutting up, you know. That's what will draw your crowd. That's what that's for."
-snip-
In the context of this conversation, "making monkey shine" means
having fun playing the drums, without any serious intent to perform any particular song, for instance, playing chords before an actual musical performance. The expression "monkeying around with ___" has a similar meaning.
From http://onlineslangdictionary.com/meaning-definition-of/monkey-around
"Monkeying around:
verb - intransitive
to mess around, waste time."
-snip-
Information about "just cutting up" is found below.

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Definition #4
(verb)
Black people purposely acting a fool in front of, pandering to White folks
From http://www.phrases.org.uk/bulletin_board/4/messages/1048.html"I heard an African American comic talk about being criticized by members of his race for "cutting monkey shines" in front of white people. Meaning, as I understood it, acting all jolly in a manner that would please the white folks. Acting a fool. Pandering, I guess you could call it."
-snip-
Read the same definition below for "cutting the monkey".

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Definition #5:
noun - the name of a particular type of dance

In "Harlem Shuffle" by Bob & Earl [1966]

http://www.shsu.edu/lis_fwh/book/brill_building/Dance%20Crazes2.htm "Dance Crazes" *
"Bill Black's Combo- "Monkey-Shine" (1963)

Also in "Harlem Shuffle" by the Rolling Stones**

Excerpt for the Rolling Stones song:
From http://www.azlyrics.com/lyrics/rollingstones/harlemshuffle.html
Huhuuuhuhuhuhuuuuuuh, hu!
You move it to the left, yeah, and you go for yourself.
You move it to the right, yeah, if it takes all night.
Now take it kinda slow,
with a whole lot of soul.
Don't move it too fast.
Just make it last.
You scratch just like a monkey.
Yeah ya do, real cool...
Yeah, yeah, yeah, do the Harlem Shuffle.
(Do the Monkey Shine)
Yeah, yeah, yeah, shake your tail feather, baby.
(Shake shake, shake shake yeah!)..."

* The R&B dance "The Monkey" probably came from the "Monkey Shine" dance. Visit that page for a list of other Rock & Roll/ R&B records including these songs that promoted the "Monkey" dance "Do The Monkey", "It's Monkey Time" and "Mickey's Monkey".

**Is the Rolling Stones' song a cover of the earlier Bob & Earl record?

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Editorial Comment:
I believe that the phrases "cutting a shine" ("cutting shine"), "cutting the monkey" ("cutting a monkey"; "cuttin monkey"), and "cutting up" all come from the phrase "cutting monkey shine" ("cutting monkeyshine").

DEFINITION #1: "CUT A SHINE"
Music Genres: American Minstrel, American Old Time Music
http://www.gatlinburgtnweather.com/southern_slang_dictionary.html
"cut a shine" - to dance"

Example:
From https://groups.google.com/forum/#!topic/rec.music.country.old-time/ATTT1UtigL8
"Little Lula/Lulu/Lulie"

Oldtime1 [Joe Wilson], 5/29/97
Little Lula/Lulu/Lulie

Paul asked if there are two Lulu songs. Yes. The "Bang Away Lulu" lyric he quoted is not at all like "Shout Lulu." When I interviewed G. B. Grayson's oldest daughter, Lilly Grayson Sturdivant, in 1972 near Rising Sun, MD (with Ken Irwin and Marian Leighton), she told about his compositions. She said he did not write "Shout Lulu" and that she thought it was "an old song." If it was old when Grayson recorded it in the late 1920s, it may be
from minstrelsy. It certainly has the feel and rhythm of a minstrel song:
"Takes a nickle, takes a dime, To see Little Luly, cut a shine."...*
-snip-
Italics added to highligh that line.

Click the "Shout Lula" tag found below for several pancocojams post about this Old Time Music song, including a post about the Grayson & Whittier recording of that song.

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DEFINITION #2: "CUT A SHINE"
Music Genre: American Music Hall song

Definition
From http://www.omnilexica.com/?q=cut+a+shine
"Dictionary of Slang and Colloquial English (1905)
Abridged from the Seven-volume Work, Entitled: Slang and Its Analogues by John Stephen Farmer, William Ernest Henley
to cut a shine, to make a show ; every shine, every one ; as verb, (a) to make a stir, or impression"
-snip-
I think that this definition of "cut a shine" - to make a positive impression [to shine like the sun] is a positive spin on the older meaning of "cutting a shine" in which the person showed off, making a public spectacle of himself or herself by acting like a monkey.

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Song Examples from http://mudcat.org/thread.cfm?threadid=129161
[hereafter known as "Mudcat: McGuiness"]
posted by Joe Offer, Date: 30 Apr 10 - 02:28 AM
"Here are the lyrics from the 1880 sheet music at the American Memory Collection (Library of Congress):

WHEN MCGUINESS GETS A JOB
(Jim O'Neil & Jack Conroy)

CHORUS:
Then cheer up, Missus Reiley, don't give 'way to the blues,
You and I will cut a shine, new bonnets, and new shoes,
As for me, I'm done a-crying, no more will I sigh or sob,
I'll wait till times get better, when McGuiness gets a job.

Copyright 1880 by Mrs. Pauline Lieder"
-snip-
This song is also known as "Last Winter Was a Hard One"
-snip-
Italics added by me to highlight that line.

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"Mudcat: McGuiness" posted by Joe Offer, Date: 30 Apr 10 - 12:28 AM
"...Here's the Traditional Ballad Index entry on this song:
Last Winter Was a Hard One
DESCRIPTION: Two Irish women lament the hard times. Neither woman's husband could find a job, and both families suffered. They curse the Italians who have arrived to take Irish jobs. They look forward to better times when their husbands find work
AUTHOR: Words: Jim O'Neil / Music: Jack Conroy
EARLIEST DATE: 1880 (sheet music)

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Music Genre: British Music Hall song
From http://mudcat.org/thread.cfm?threadid=126008
Lyr Req: I Do Like A S'Nice S'Mince S'Pie, posted by Jim Dixon, 24 Jan 11 - 03:18 PM
"The British Library [London] has the sheet music, described thus:

I DO LIKE A S'NICE S'MINCE S'PIE.
Written and composed by W. David and B. Lee.

Author: Worton David; Bert Lee
Publisher: London : Star Music Publishing Co, [1914]
Edition/Format: Musical score
My Old Red Vest
Chorus
I never get the knocker when the boys shout cock, cockly, cock, cock robin
With my old red vest I mean to cut shine.
Walking down the street, they call me danger on the line.
And the more they call out robin red breast, I'll wear it longer still.
I will have a red waistcoat, I will,
I will, I will, I will, I will, I will.
-snip-
Italics added by me to highlight that line.

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RELATED WORDS AND EXPRESSIONS:
CUTTING UP [CUTTIN UP] (Usually given as "just cuttin up")
Definition: verb; acting silly, "actin a fool", (meaning purposely acting like a fool.

Example: Read the excerpt about Othar Turner above.

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CUTTING [THE] MONKEY
Definition #1
(verb) acting silly, acting [like] a fool

From http://www.cliffsnotes.com/literature/t/their-eyes-were-watching-god/study-help/full-glossary-for-their-eyes-were-watching-god
All them dat's goin' tuh cut de monkey in other words, if everyone has finished acting silly.
-snip-
From http://poetry.rapgenius.com/Zora-neale-hurston-their-eyes-were-watching-god-chap-16-lyrics

[WARNING - This book includes the n word fully spelled out and colorist language about dark skinned Black people.]

Italics were added by me to highlight that portion.

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Definition #2
(verb) showing off in front of White people, pandering to White people*

From http://poetry.rapgenius.com/Zora-neale-hurston-their-eyes-were-watching-god-chap-16-lyrics "Zora Neale Hurston – Their Eyes Were Watching God (Chap. 16)"
"We’se uh mingled people and all of us got black kinfolks as well as yaller kinfolks. How come you so against black?”

“And dey makes me tired. Always laughin’! Dey laughs too much and dey laughs too loud. Always singin’ ol’ n&&&er songs! Always cuttin’ de monkey for white folks."
-snip-
Italics were added by me to highlight that portion.

The second paragraph in this excerpt is spoken by a Black women who is sharing why she doesn't like dark skinned Black people.
-snip-
WARNING: The n word is fully spelled out in this book.

**
This usage is the same as Definition #4 for "cutting monkey shines"
which is found above.

*I believe that the expression about Black people "cutting the monkey" can be connected to, but isn't necessarily integral to the stereotype of Black people as monkeys. Click for information about that old & still current very negative stereotype.

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ADDENDUM
I'm intrigued by the common usage of the words "cut" and "cuttin" ("cutting") to mean "doing". Examples from Old Time Music are "cuttin monkeyshines" and "cutting a shine" (as well as "cut a shine" from Music Hall songs. "Cut the rug" meaning "to dance" is probably a more familiar, albeit mostly retired example of this use of the word "cut". Here's a comment about that expression:
"The term to "cut a rug" first started to emerge as a slang term for dancing in the 1920s. Use of the phrase persisted well into the 1940s, although the popularity of the term has since faded...

Like most slang, the origins of "cut a rug" as a synonym for dancing are disputed. Several competing theories to explain the idea have been bandied about, but none have been firmly proved. This is often the case with slang, which sometimes seems to catch on overnight..."
http://www.wisegeek.org/what-does-it-mean-to-cut-a-rug.htm
-snip-
It seems likely that this vernacular use of the word "cut" and "cutting" originated with African Americans. And, as the lyrics to "Jump Jim Crow" show, this use of "cut" document, that word was used that way as early as the 1830s. But I don't know why "cuttin" came to be used that way.

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Thanks to all those who are quoted in this post.

Thank you for visiting pancocojams.

Visitor comments are welcome.

Friday, October 18, 2013

Dink Roberts Biographical Information & Other Online Comments

Edited by Azizi Powell

This is Part II of a two part series on Black banjo songster Dink Roberts. Part II of this series showcases a video clip of Dink Roberts and presents a partial transcriptions of information about Dink Roberts from the annotated notes from the 1998 compilation album Black Banjo Songsters Of North Carolina And Virginia. Selected information and comments about Dink Roberts from other blogs and websites are also included in that post.

Click http://pancocojams.blogspot.com/2013/10/dink-roberts-roustabout-also-known-as.html for Part I of this series. That post showcases a short video clip of Dink Roberts' performing the song "Roustabout". Dink Roberts called that song "Buffalo". "Roustabout" is also known as "Hop High Lulu", "Hop High Lula Gal", "Lula Girl" and other similar names.

The purpose of this post is to increase awareness and access to information about Dink Roberts.

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

I believe that it's criminal that to date there's no Wikepedia pagee for Dink Roberts and it's very difficult to find online information about this artist. I don't have the knowledge and skills to post a Wikepedia page about Dink Roberts. I hope that someone with that ability will do so.

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FEATURED VIDEO: Dink Roberts: Fox Chase / Old Rattler (1983)



AlanLomaxArchive, Uploaded on Feb 27, 2012

"Fox Chase / Old Rattler," interspersed with some floating verses, performed by Dink Roberts. Shot by Alan Lomax and crew at Dink's home in Haw River, North Carolina, late July 1983. For more information about the American Patchwork filmwork, Alan Lomax, and his collections, visit http://culturalequity.org. [03.29.05]

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NOTES FROM THE 1998 COMPILATION ALBUM BLACK BANJO SONGSTERS OF NORTH CAROLINA AND VIRGINIA [Notes by Cece Conway and Scott Odell.]*
“Everybody plays music’s got a different sound”.

“Born in Chatham County, North Carolina Dink Roberts (1894-1989) learned his early music from Blacks in Alamance County and elsewhere. When he was nine years old his mother died, and he went to live with his uncle George Roberts in Little Texas, a community of light skinned African American folks like Dink. Dink’s father was apparently a White banjo player. Dink’s maternal Black uncle George also played banjo, as well as fiddle, and later guitar, as did many of his eight children who were much older than Dink. He “caught” music from his family and at local events called “gatherings”, “sets”, and “frolics”.

As a young man Dink worked as a tenant farmer near Haw River. He played music for “eight hands around” dances and other events. He said “three nights a week for Blacks, three nights a week for Whites”. Well respected for his playing, Dink “picked up” extra money from White people and once from a visiting circus troupe. In his later years Dink played mostly at home for the listening, dancing, and fun of his wife, Lily, son James, grandson Mike, and visitors.

VISITING
On our first visit Dink Roberts seemed old, wise, and mysterious, and his music jarred us...

We visitors were used to old time string bands with tunes played by fiddlers and banjo and guitar players. Some of Dink’s tunes were fiddle melodies that we recognized, but the music came out a different way. Dink also sang on all of his pieces-even fiddle tunes-and didn’t seem to have names for them. Something didn’t fit. Much later, we would understand that our cultural view didn’t fit. Dink’s tradition originated in Africa and was unfamiliar to us.

Over the years we visited these North Carolina musicians and became friends. Each visit began with the an exchange of gifts-the bringing and sharing of food and drink; then the exchange of music. As the visits progressed we realized Dink’s music was not a sequence of individual pieces or set performances of unalterable texts. Dink created musical visits that were spontaneous, non-stop exchanges with family, friends, and visitors.

Our visits reminded us that Black Banjo songsters did much more than one thing at a time. Dink playfully and sensitively orchestrated each visit from arrival to departure and interacted simultaneously with listeners and banjo...

Dink eventually played for local community events, schools, university programs, and major festivals like the 1976 Winter Folk Festival and the Festival of Eno. The Winter Folk Festival Banjo Workshop provided a fine occasion for Dink’s interactive songster banjo style. He was content when Lily jumped up to dance uninvited in the midst of his and others performances…[For his performance style, see the film Dink: A Pre-Blues Musician, which won best –in-the-show in the first North Carolina Film Festival, 1975”.
-snip-
*These notes are transcribed by Azizi Powell for the purposes indicated earlier in this post.

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TWO OTHER ONLINE COMMENTS ABOUT DINK ROBERTS
From http://www.allmusic.com/artist/dink-roberts-mn0000217433/biography
Dink Roberts Artist Biography by Eugene Chadbourne
..."Although an old-time music enthusiast such as Conway must have appreciated the link between Roberts and Uncle Dave Macon, her book argues that the black banjo songs of artists such as [Dink] Roberts were a distinct musical genre "governed by its own African-American aesthetic standards." Of course, this argument is also made to help counter the so-called wisdom of the past, in which it was suggested black performers had ripped off this kind of material from whites. (Now there's a switch.) Scholars who seek to avoid racial conflicts have completely established another important element of Roberts' music, in that he was one of the rare banjo players whose style was formed before the fiddle became the dominant force. This aspect of Roberts' musical psyche is called "pre-fiddle exposure." It is easily heard in Roberts' clawhammer banjo style as he alternates ostinato melodic lines in a call and response relation to his vocal, a form of playing considered distinctly African."

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From http://groups.yahoo.com/neo/groups/BlackBanjo/conversations/topics/14193
Re: Dink Roberts Banjo Playing
TonyW
Message 1 of 6 , Mar 17, 2011

..."Certai9nly as noted Lucius Smith of Mississippi who was even older than Dink also played the first string up picking, actually in a more systematic way than Dink did. While Lucius played a few tunes that he called blues in field recordings I have heard of him, he was ready at a moment's notice to launch into a declamation about how the blues had ruined the world in almost every way. He reckoned things had started going down hill when folks stopped asking for Walking in the Parlor and started asking for Handy's Memphis Blues, which would have been around 1913-1914.

I think the key thing is that the process of revivalism has created orthodoxies and schemas about traditional banjo playing that traditional banjoists never observed or even heard of. All kinds of banjo players, white and black, in the tradition occassionally up picked in what was supposed to be down picking.

More of them had styles that combined up picking and down picking. While this is not my area of expertise, styles combining the two, particularly with first finger brushing, resemble the ways some West African lutes are played. Such styule can be observed among white old time banjoists and in 1920s records of Black guitarists.

I should say that Dink was a great blues guitarist and a great slide player. Folk who had the opportunity were concerned with picturing dink as a "pre blues" musician, even though during most of Dink's life the Blues and its offspring were the major vernacular music where he lived and among those whom he lived. He apparrently did not own a guitar any more and apparently believed that in his infirmity he could handle a banjo easier than a guitar.

I have absolutely no doubt that if someone had similarly wanted to type cast dink as a piedmont blues guitar player, or as a slide blues guitar player, rather than a banjoist, we might be discussing a revelation that the famous Piedmont blues guitar player Dink Roberts also played banjo"...

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My thanks to Dink Roberts for his musical legacy.

Thanks also to the publisher of this video on YouTube and those who are quoted in this post.

Thank you for visiting pancocojams.

Visitor comments are welcome.

Dink Roberts - Roustabout (also known as "Buffalo"), video, lyrics, and comments

Edited by Azizi Powell

This is Part I of a two part series on Black banjo songster Dink Roberts. This post showcases a short video clip of Dink Roberts' performing the song "Roustabout". Dink Roberts called that song "Buffalo". "Roustabout" is also known as "Hop High Lulu", "Hop High Lula Gal", "Lula Girl" and other similar names.

Part II of this series presents a partial transcriptions of information about Dink Roberts from the annotated notes from the 1998 compilation album Black Banjo Songsters Of North Carolina And Virginia. Selected information and comments about Dink Roberts from other blogs and websites are also included in that post which will be published ASAP.

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

All copyrights remain with their owners.

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SHOWCASE VIDEO
Dink Roberts: Roustabout (1983)



AlanLomaxArchive, Uploaded on Feb 17, 2012

A fragment of "Roustabout" sung and played by Dink Roberts. Shot by Alan Lomax and crew at Dink's home in Haw River, North Carolina, late July 1983. For more information about the American Patchwork filmwork, Alan Lomax, and his collections, visit http://culturalequity.org [03.29.01]

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LYRICS AND COMMENTS
From http://mudcat.org/thread.cfm?threadid=53820
Subject: Lyr Add: ROUSTABOUT
From:Stewie
Date: 24 Nov 02 - 10:33 PM

...Here are the lyrics to Dink Roberts' [1894-1989] version of 'Roustabout':

ROUSTABOUT ("Buffalo")

Where you been?
You - roustabout
Say, when you go a-courtin'
Yea, when you go a-fishin'
Carry a hook and line
Yea, when you go a-courtin'
Court with a willin' mind
Yea, who been here since I been gone?
Little bitty girl with the red dress on

Source: transcription in booklet in Various Artists 'Black Banjo Songsters of North Carolina and Virginia' Smithsonian/Folkways SFCD 40079.

The notes by Cece Conway and Scott Odell to this piece read in part:
Along with 'Coo Coo', this ['Roustabout'] is one of the important showpiece tunes in the black banjo repertory ... This tuning [gCGBD] ... was also used by the earliest minstrels. The song is likely a reminder of the older uses of this tuning that was current when whites first learned the banjo from blacks in the 1830s and later when the 5-string banjo appeared ...

Dink says that he learned this song at age 15 from his family in the Piedmont. He took it with him when he moved to Mt Airy in Surry County to farm and to work on the railroad. The 2-part structure with the striking key change is found in other black versions and also in Fred Cockerham's. An outstanding white banjo player, Fred grew up and lived most of his life in Low Gap, not far from Mt Airy, but did not remember any black musicians in the area; nor is there any indication that he and Dink ever heard each other play. Some black players, including John Tyree and Rufus Kasey, call this tune 'Hop Light' or 'Hop Along Lou', echoing the refrain used in some versions, including Cockerham's. To the best of Fred's memory, Mal Smith brought 'Roustabout' to the area from Virginia in the first quarter of the century and called it 'Long Steel Rail'. The likelihood of a Virginia source is strengthened by the complex and closely related versions of black players Rufus Kasey, Josh Thomas and others from Virginia, many of whom were working on or near the railroads during this same period.[Cece Conway and Scott Odell, pp25-26 in booklet to SFCD 40079]
-snip-
Stewie also wrote that he has an instrumental recording entitled "'Hop Along Lou' by John Tyree. This is another version of the Old Time Music song "Roustabout"/Hop High" etc.

Stewie also includes a transcription of White American banjo/singer Fred Cockerham's version of "Roustabout". It appears that that version [that begins with the words "roustabout, oh roustabout" is the one which is most familiar to most Old Time Music/Bluegrass fans.

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From http://www.youtube.com/watch?v=Vvo1OP1OJ0c [Viewer comment thread for the video embedded in this post.]

Tony Thomas, 2012
"Dink Roberts never called this song Roustabout. He called the tune Buffalo. Folklorists and folk revivalists label this song with that title, but Black players like dink called it either Buffalo or Hoo High or Hop High Lulu, save one I know who called it thus, but after a folklorist told him the song was Roustabout, added a verse from a record and started calling what he had called Hop High Lulu all his life Roustabout."

Reply
AlanLomaxArchive, 2012
"Directly after this performance, Lomax asks Roberts, "What do you call that tune?" He replies: "Oh, 'Roustabout.' "
-snip-
In the portion of the transcribed notes from the album Black Banjo Songsters Of North Carolina And Virginia that are included in Part II of this series there is a comment about Dink Roberts and the titles of the songs he played.

Although those notes don't indicate this, I wonder if Mr. Roberts could have heard that "Roustabout" was the title for this song that White people used and consequently gave the White man [Lomax] the title that he thought that Lomax wanted.

****
My thanks to Dink Roberts for his musical legacy.

Thanks also to the publisher of this video on YouTube and those who are quoted in this post.

Thank you for visiting pancocojams.

Visitor comments are welcome.