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Excerpts from Selected Articles About Luo Naming Traditions (East Africa)

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Edited by Azizi Powell

This is Part I of a two part pancocojams series on Luo (East African) naming traditions.

Part I provides an excerpt from an article about the Luo ethnic group as well as excerpts from selected articles about Luo naming traditions.

Click https://pancocojams.blogspot.com/2017/06/the-origin-meaning-of-luo-east-african.html For Part II of this series. Part II provides excerpts from various online articles about the origin and meaning of the Luo (East African) name "Obama" with special focus on the genealogy of United States President Barack Obama.

The content of this post is presented for etymological purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
Part I

INFORMATION ABOUT LUO [ETHNIC GROUP)
From http://www.kenya-information-guide.com/luo-tribe.html
"The Kenyan Luo tribe is a subgroup of the larger Luo community that spans across Uganda, Tanzania, Sudan, Congo and Ethiopia.

The people of Kenya are comprised of 42 ethnic groups or tribes, each with its own unique values, skills, language and cultural practices.

The luo tribe is the third largest community in Kenya and makes up close to 13% of the entire population. History suggests that the Luo travelled along the River Nile from Sudan. They made entry into Kenya around 500 years ago and established settlements in the lands surrounding Lake Victoria- Africa’s biggest fresh water lake. Their arrival took place in phases.

[...]

Political History of the Luo
Under British colonial rule, the Luo people did not have their land taken from them, unlike some other Kenyan tribes. The Luo community has been a key player in the Kenyan political scene since the pre-colonial times. Some of its favored sons in the pre-colonial and post-colonial period include...

Jaramogi Oginga Odinga
Being the first vice president of Kenya, he arguably was the biggest force in the Luo political landscape at the time. He was deemed to follow a communist approach and was an exact foil of the founding father Mzee Jomo Kenyatta. His differences with the president later led him to pioneer the birth of opposition politics in Kenya. Interestingly, the Luo community still continues to stage opposition politics today. He died in 1994.

[...]

Kenya's other famous People from the Luo Tribe
Other well-known Luo people include Washington Jalang'o Okumu, James Orengo, Obama [Senior] - the late father of Barack Obama, the current president of the United States of America, was from the Luo tribe.

The Luo tribe has traditionally produced many scholars and other educated persons, including some who have graduated from very prestigious colleges around the world. As a result, Luo professionals are dominant in nearly every area of the Kenyan economy, business and government, serving as university professors, doctors, engineers and lawyers."...

****
EXCERPTS FROM SELECTED ONLINE ARTICLES ABOUT LUO NAMING TRADITIONS
These articles are quoted in no particular order. Numbers are assigned for references purposes only.

Excerpt #1:
From https://www.villagevolunteers.org/wp-content/uploads/2011/10/Luo-Cultural-Guide1.pdf
A Cultural Guide to the Luo People

"Introduction
Around the sixteenth century, the ancestors of the Luo began migrating from the Bahr alGhazal region, south of the Nile, finally settling on the eastern side of the Lake Victoria basin. They continued arriving in a steady stream until the nineteenth century. Practitioners of pastoralism, they spoke a western Nilotic language known as DhoLuo, which is distinct from the language spoken by their neighbors.

Currently, the Luo are the third most populous tribe in Kenya, comprising over 13% (2.8 million) of the country’s population and many of its most influential intellectual and political minds. Due to the supra-national states created during the scramble for Africa by European colonists in 1884-85, there is also a significant number of Luo people living in neighboring Uganda and Tanzania.

Culture
Culture permeates the daily life of the Luo. From the name one receives at birth, to the placement of one’s grave at death, culture and tradition dictate movements of the society. Because of countless deaths due to the AIDS virus, there are fewer and fewer elders to pass down customs, and the cultural fabric of the Luo society is unraveling.

An example of Luo culture, representative of life in Luoland, is the naming process of the Luo people. Luo names refer to forces or spirits that exist beyond the immediate presence of life on earth. When individuals are deceased, they are referred to as the spirits of the ancestors. The means by which children receive spirit names is tied directly to the position of the sun in relation to the earth when they are born. Different names carry different personality characteristics. So, when meeting a stranger on a dusty crossroad, one gains insight into the character of that person simply by learning the individual’s name.

Luos name their children at the time of day that they are born, for example: Atieno is a girl born at night, Akinyi is morning, Achien’g when the sun is high.

Akeyo is the name given during harvesting, and Apiyo and Adongo are twins, with Apiyo as the name of the first to be born. The first letter of a name also indicates gender: “A” signifies a woman, and “O” for a boy. For example, Otieno would be the name of a boy and Atieno for a girl, both of the same name.”...
Page 1 of 5"

****
Excerpt #2
https://friendspioneer.wordpress.com/kenya/name-giving-traditions/ Naming-traditions

"Name giving traditions in the Luo- tribe
A Luo is given three names. A first name that now more and more often is an international name, as Joseph, Leonard, Florence etc. The second name depends on the conditions of the day or time of the day of birth. For example if it was an early morning or a rainy season. The day Obama was elected as a president, many children was given Obama as their second name!. The third name, the surname, is the fathers second name. Further on the second name starts with an A if it is a girl and an O if it is a boy. Take Josephs second name: Opiyo, which means fast, normally used for the first twin, but for Joseph he was an early born, only 6 months old he wanted to come out and start living, he even bounced down on the floor, he was that eager! But if it would have been a girl instead, the name would have been Apiyo.

Below we are explaining some of the names that our children have:
Achieng: Hot sun, midday
Adiambo: Evening
Owilli: Forgetful
Awiti: Thrown away
Okoth: Rainy
Oyoo: Season for rain, but also used as a Hallo!!
Akinyi: Morning
Amondi: Early morning
Okinda: Determined
Odello: Hungry
Atieno: Night
Onyango: Daytime”

****
Example #3
From https://en.wiktionary.org/wiki/Appendix:Luo_surnames
"Appendix: Luo surnames
Main category: Luo surnames
List of Luo Surnames:

Luo names follow an order pattern of (1) a Christian given name (these used at least for the past two generations), (2) a personal surname (selected from among over 50 "special" attributes, usually relating to the circumstances of a birth, see below), and (3) a patronymic, the child’s father’s personal surname (a woman assumes her husband’s at marriage). Thus, e.g., Valentine Odhiambo Pengo or Philomena Ogwang Odede.

The commonest Luo “personal surnames” are as follows (O- always indicates a male; A- indicates a female; about 85% of Luo names include one of these). The meaning is indicated, when well known and accepted.

By spelling distortion, “personal surnames” finishing by the “lo” letters can also be find with a double “l” as Akello for Akelo or Omollo for Omolo etc.

Agina
Adida
Obong'o/Abong'o -- Only child
Ahenda
Hera -- "Love"
Obama – Twisting [flexible?, able to survive under varying circumstances?]
Obiero/Abiero -- born with the placenta (biero mean placenta)
Obonyo/[Abonyo] -- Born during locust infestation (Bonyo is locust)
Obura/Abura -- Born during a meeting (bura mean meeting)
Oburu/Aburu -- Born during a funeral (buru mean ash)
Obuo/[Abuo] -- Is a medicinal water plant
Ochanda/XXXXX -- Difficult birth (Same for male and female)
Ochieng’/Achieng’ -- Born with the sun shining (Born about Noon & after (12n –2pm)) (chieng' mean sun)
Ochola/Achola -- Born after the father’s death
Ochuka/[Achuka] --
Odede/[Adede] --
Odero/Adero -- Born during a during a period of abundance (dero mean a granary)
Odhiambo/Adhiambo -- Born in the afternoon (Born around dusk (3-6pm); Born in the evening; Born after sunset) (odhiambo mean afternoon)
Odhon’g/Adhon’g -- Very old name; Meaning "Fist"
Odek - Born when mother had gone to pick traditional vegetables from farm
Odika/[Adika] -- Something that Steps hard on the ground
Odinga - Luhya Origin
Odiwuor/Adiwuor -- Born at night Like Owuor/Awuor(11pm-2am)
Odondi/[Adondi] -- Quarrelsome
Odongo/Adongo -- Second born of a twin pair
Odoyo/Adoyo -- Born during weeding
Oduol/[Aduol] -- Born in the father's house (Duol)
Oero/Aero -- Very old name; Meaning "To Love"
Ogola -- Born outside the house, just under the eave
Ogol -- Remove
Ogolo --Striger weed
Ogot/[Agot] -- Born on a hill (Especially if the mother had taken a walk not expecting the child to come).
Ogutu/[Agutu] -- Born next to the traditional Luo Ugali Bowl (Called Ogutu or Hagudu)
Oigo/[Aigo] -- Wrestle with
Ojwang'/Ajwang' -- Born after father died
Ojuok -- Born by the intervention of a spirit (juok mean spirit)
Okelo/Akelo -- Born after a pair of twins or the third born of triplets
Okech/Akech -- Born in famine
Okeyo/Akeyo -- Born at harvest time
Okinyi or Okinyo/Akinyi -- Born at dawn (Born just after dawn (6am-10am); Male form rare
Okombo/[Akombo] --
Okomo/Akomo -- Born in prosperous times or during planting
Okongo/Akongo -- Born during celebration especially where alcohol brew is plenty
Okoth/Akoth -- Born during rainy season (koth mean rain)
Okumu/Akumu -- ‘Mysterious birth’: Conception after a birth, but before resumption of menses (kum mean punition)
Okungu/[Akungu] -- Born during the outbreak of caterpillars, which was also an indication of impending bumpler harvest.
Oloo/[Aloo] -- It's the luo name for Adam
Oludhe/[Aludhe] -- Provoking, as the case of Peninah to Hannah in the Bible
Oluoch/Aluoch -- Born during a cloudy season
Omolo/Amolo -- Born around dawn (4-6am)
Omole
Omondi/Amondi -- Born around dawn (6-10am). Mostly men, used interchangeably with Akinyi for women
Okoka/[Anoka] -- Luo for Enock
Ondiek - Monster or A wild animal especially the Leopard
Oneko/[Aneko] -- Mad or Wild
[Ong’ina]/Ang’ina -- Round
Ongonga/[Angonga] --
Onyango/Anyango -- Born in the early morning (Born before Noon (10am-12noon)
Ooko/Aoko -- Born out-of-doors (usually unintentionally!)
Ooro/Aoro -- Born during dry season (oro mean drought)
Opiyo/Apiyo -- First born of a twin pair
Opolo/Apolo -- Very old name; Meaning Heavenly
Opondo/Apondo -- born hidden (pregnancy was not visible)
Osano
Otieno/Atieno -- Born at night (7- 11pm) (otieno mean night)
Otiende/[Atiende] -- Luhya Origin
Ouma/Auma -- Infant delivered into a prostrate position on the ground
Owino/Awino -- Born with umbilical cord around neck (Born covered in meconium or caul) (
Ounda
Ouko
Ochanda
Owiti/Awiti -- ‘Thrown out’: Mother disowns infant for difficult birth as an apotropaic gesture
Owuor or Odwuor/Awuor -- Born between midnight & 2am
Oyange/Ayange -- Very old name; Meaning Discovered"
-snip-
This page also includes a list of “Other Luo surnames, not following the “classic” pattern”

****
Excerpt #4
From http://www.bbc.com/news/world-africa-37912748"Africa's naming traditions: Nine ways to name your child" By Adelaide Arthur, BBC News
30 December 2016

[...]

Day and night
Among some groups in eastern and southern Africa, certain names are selected depending on the time of the day or season a child is born.

[...]

Olweny means time of war (Luo)

[...]

While the Luos are very specific:
Omondi (dawn)
Okinyi (morning)
Onyango (mid-morning)
Ochieng' (sunny midday)
Otieno (night)
Oduor (midnight)
Girls are given the same names but starting with an A instead of an O."

****
This concludes Part I of this two part series on Luo naming traditions.

Thanks for visiting pancocojams.

Visitor comments are welcome.

The Origin & Meaning Of The Luo (East African) Name "Obama"

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Edited by Azizi Powell

This is Part I of a two part pancocojams series on Luo (East African) naming traditions.

Part II provides excerpts from online articles about the origin and meaning Luo name "Obama", with special focus on the genealogy of United States President Barack Obama.

Click https://pancocojams.blogspot.com/2017/06/excerpts-from-selected-articles-about.html For Part I of this series. Part I provides an excerpt from an article about the Luo ethnic group as well as excerpts from selected articles about Luo naming traditions.

The content of this post is presented for etymological purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
Part II
INFORMATION ABOUT THE NAME "OBAMA" (with special focus on United States President Barack Obama's descendents)

These articles are quoted in no particular order. Numbers are assigned for references purposes only.

Excerpt #1
From https://www.thoughtco.com/obama-last-name-meaning-and-origin-3860852 Obama Surname Meaning and Origin by Kimberly Powell, Updated March 03, 2017
"Obama is an ancient Kenyan surname, found most frequently among the Luo, the third largest ethnic group in Kenya. The surname is believed to be patronymic in origin, meaning "descendant of Obama." The given name Obama, in turn, derived from the root word obam, meaning “to lean or bend.”

Traditional African given names often reflect the circumstances at the time of the birth. Thus, the given name Obama may mean a child born "bent," such as with a crooked spine or limbs, or possibly refers to a breech birth.

Obama is also a Japanese word meaning "little beach."

Surname Origin: African

Surname Variations: OBAM, OBAMMA, OOBAMA, O'BAMA, AOBAMA,

WHERE DO PEOPLE WITH THE SURNAME OBAMA LIVE?

WorldNames publicprofiler indicates that individuals with the Obama last name are found in greatest numbers in the country of Japan, especially in the Okinawa and Kyushu regions. However, this site does not include data from Africa. Forebears.co.uk shows the highest distribution of the Obama surname to be in Cameroon, with the highest density in Equatorial Guinea, where it is the 10th most common surname. The name is next most common in Kenya, followed by Spain and France.

FAMOUS PEOPLE WITH THE SURNAME OBAMA
Barack Hussein Obama - 44th president of the United States
GENEALOGY RESOURCES FOR THE SURNAME OBAMA
Ancestry of Barack Obama
Learn about the deep African and American roots of Barack Obama. His African roots stretch back for generations in Kenya, while his American roots connect to Jefferson Davis.”

****
Excerpt #2
From http://forums.canadiancontent.net/hot-topics/111274-what-meaning-name-obama.html"What is the meaning of the name 'Obama'?" B00Mer, Nov 8th, 2012
""Obama" is a name from the Luo ethnic group of southwestern Kenya, where Barack Obama, Sr. was born. It was originally the given name of Barack Obama's great-grandfather. It is based on the Luo (technically, Dholuo, the name of the language of the Luo) word bam, which means "crooked, slightly bending."

The prefix O- means "he," and many Luo male names begin with it. Since most traditional Luo names were given by the baby's mother referring to something about the child's birth, the best guess is that when Obama's great-grandfather was born, one of his arms or legs looked slightly bent.”...
-snip-
This article continue with the etymology of the names “Barack” and “Hussein”

****
Excerpt #3
From https://webcache.googleusercontent.com/search?q=cache:bR8wLfqrEfIJ:blog.jaluo.com/%3Fp%3D764+&cd=6&hl=en&ct=clnk&gl=us
[This site no longer available. This is a cached version; ]

"Re: What does “obama” mean in Luo | Jaluo dot Kom
blog.jaluo.com/?p=764
Re: What does “obama” mean in Luo

3 Replies
Quoting marc bauer :

Dear Dr Odundo:

Would you please reply to this email? I am wondering what the word “obama” in Luo means. Would you please help me?

Thank you in advance.

Marc Bauer
[Great Falls Montana, United States of America]

– – – – – – – – – – –

O – male
BA – father
MA – Mother

The original name came as a result of the cry of a young woman who was having her first child, and kept screaming for days while in labor, “Ba, Ma” in reference to her father and mother. It is not uncommon for a Luo woman or man in extreme pain to remember and call for their parents. The “O” at the beginning simply denotes that the child was male.

Odundo jaKarateng’

– – –
Date: Tue, 27 May 2008 05:50:43 -0400
From: odundo@ . . .
Subject: Re: What does “obama” mean in Luo

This entry was posted in Who's Who on May 28, 2008 by alangreen.

← Re: Things have really changed! Nyambane in China? Amani on US Tour →
3 thoughts on “Re: What does “obama” mean in Luo”

achieng nya alego May 29, 2008 at 7:58 am
so if it was a girl it would it be Abama?

Okoth L. Sola May 29, 2008 at 4:34 pm
Obama.

Bam means bent or crooked.

Bama means bend me.

Obama would mean one who bends things. Just like Otiya- one who is aged, Odhera- one who is thin or Ochwea one who is fat.

I know of a bow legged person called Obama Nyopiyo because of the way he walks.

However some names are gotten from great great grand parents that i am not sure we can trace their original meanings.
Like Obado, Oselu , etc.

To emphasise their uniquiness, they dont have their feminine pairs.
Umesikia Mtu anaitwa ABAMA, ABADO, ASELU?

SOLA.

wuod omera April 30, 2009 at 11:31 pm
I concur with the meaning of the name obama to have connotations with being bent or crooked.no doubt being the name of the most powerful person on the planet it has aroused immense interest so let us who speak dhok not confuse the good people of the world who might be sitting at their computers doing Google searches on the meaning of ja alego’s name.of course the man belies the meaning of his name ,he being a straight arrow politician.

now , jothurwa ,i would like to ask the meaning of some of the following luo names:
1. Midika
2. Oronje
3. Agumba
I once knew friends with these surnames but never got to asking them about their meanings."
-snip-
I've not found this article's first explanation for the name "Obama" on any other website.

****
Except #4
From Google books
Obama Senior. A Dream Fulfilled
By Donde, Fredrick
East African Educational Publishers, Aug 6, 2015

"The Obama Patriarchs [Chapter 2, begins on page 13]

Page 14
..."The Luo regarded the land as their mother, and the tribe as a whole was the proprietor of the land of the land within its jurisdiction. Within the tribe, clan, or sub-clan, the individual laid claim to a piece of land or several pieces depending on his diligence, but he used the land for the benefit of his family, only as long as he lived in the community; as soon as he left to live elsewhere the land reverted to the community and was allocated to the nearest neighbor or given to a newcomer joining that community.

Opiyo, the great- great- grandfather of [United States] President Obama thus located suitable land that he cleared for and claimed for himself. “By the time he moved from Alego to Ka’ Rachuonyo, Opiyo had got married to two wives, one from Nyakach, and one from Mbita Wasaki, both in Nyanza. It was the latter who bore him his first born, a son that he named “Obama”, Mama Sarah explains. Obama son of Obiyo was born in Ka’ Rachuonyo.”...
-snip-
"Mama Sarah" is United States President Barack Obama's step-grandmother.
Here's information about "Mama Sarah" from https://en.wikipedia.org/wiki/Sarah_Onyango_Obama
"Sarah Onyango Obama (born 1920) is a Kenyan educator and philanthropist. She is the third wife of the paternal grandfather of U.S. president Barack Obama.[1] She is known for short as Sarah Obama; she is sometimes referred to as Sarah Ogwel, Sarah Hussein Obama, or Sarah Anyango Obama.[2] She lives in Nyang'oma Kogelo village, 30 miles west of western Kenya's main town, Kisumu, on the edge of Lake Victoria.[3][4][5]

Although she is not a blood relation, Barack Obama calls her "Granny Sarah".[2][6] Sarah, who speaks Luo and only a few words of English, communicates with President Obama through an interpreter."...

****
Example #5:
From http://www.nytimes.com/2008/02/24/opinion/24iht-edkristof.1.10333269.html
"Obama's Kenyan roots" By NICHOLAS D. KRISTOFDEC. 4, 2008
....[Barack] Obama's late grandfather is said to have been the first person in the area to wear Western clothes rather than just a loincloth. For a time he converted to Christianity and adopted the family name Johnson.

Later he converted to Islam, taking four wives. Obama's father, who apparently converted to Catholicism while attending a Roman Catholic school, was also polygamous in keeping with local custom, taking an informal Kenyan wife who preceded Obama's mother but remained a consort, according to accounts by local people and the senator himself.

The father, also named Barack Hussein Obama, was as much of a pathbreaker as his son. He went from herding goats in Kogelo to studying in Hawaii and at Harvard, even if his career as an economist was frustrated in part by ethnic rivalries.

Obama barely knew his father and does not know his Kenyan relatives well. He has visited Kenya three times, most recently very briefly in 2006."...
-snip-
This article doesn’t include the number of times that twice elected [former] President Barack Obama visited Kenya as of the date of this pancocojams’ post publication [June 1, 2016]

****
Excerpt #6
From https://en.wikipedia.org/wiki/Barack_Obama_Sr.
"Barack Hussein Obama Sr... 18 June 1936[2] – 24 November 1982) was a Kenyan senior governmental economist and the father of Barack Obama, the 44th President of the United States.

[...]

Early life
Barack Obama Sr. was born in 1936 in Rachuonyo District[3] on the shores of Lake Victoria just outside Kendu Bay, British Kenya, at the time a colony and protectorate of the British Empire. He was raised in the village of Nyang'oma Kogelo, Siaya District, Nyanza Province.[14] His family are members of the Luo ethnic group.

His father was Onyango (later Hussein) Obama (c. 1895–1979), and his mother was Habiba Akumu Nyanjango of Karabondi, Kenya, Onyango's second wife. They had two daughters and a son together, Barack Obama (Sr).

After Akumu separated from Onyango and left the family in 1945, her three children were raised by Onyango's third wife, Sarah Ogwel of Kogelo.[5][15]

As a young man, the senior Obama traveled widely, enlisting in the British colonial forces and visiting Europe, India, and Zanzibar. There, Obama converted from Roman Catholicism to Islam and took the name Hussein. He became a cook for missionaries and a local herbalist in Nairobi.

[...]

Barack Obama Sr. Parent(s): Hussein Onyango Obama and Akumu Habiba[5]

****
This concludes Part II of this two part series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Ghanaian Neo-Soul/Jazz Singer Efya - "Life" (videos and lyrics)

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dited by Azizi Powell

This pancocojams provides information about Ghanaian singer Efya (Jane Awindor) and showcases two videos of her song "Life".

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

All copyrights remain with their owners.

Thanks to Efya for her musical performances. Thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.

****
INFORMATION ABOUT EFYA
From https://en.wikipedia.org/wiki/Efya
"Jane Awindor (born 10 April 1987),[1][2][3] better known by her stage name Efya, is a Ghanaian singer, songwriter, and actress from Kumasi. She is the daughter of Nana Adwoa Awindor, a filmmaker and celebrity host of the late television show Greetings From Abroad.[4] Efya got her first exposure to fame when she participated in the maiden edition of the Stars of the Future talent show.[5] She won the Best Female Vocal Performance category at the Ghana Music Awards in four succession, beginning in 2011. Moreover, she was applauded for her performance at the 2013 Africa Magic Viewers Choice Awards.[5]

Her debut mixtape, T.I.N.T., was released on 11 November 2013. It consists of songs that were released from 2011 through 2013.[6] The mixtape was supported by the singles "Getaway" and "Best In Me". She released her long-awaited debut studio album, Janesis, on 22 April 2016.[7] It was previously scheduled for release at different times between 2013 and 2015. "Forgetting Me", the album's lead single, was released on 11 January 2014.[8][9][10] On 8 May 2016, Efya was announced as one of the newly signed acts to Wizkid's Starboy Entertainment. The announcement came following Wizkid's performance at the Ghana Music Awards.[11]

Life and music career

Efya was born in Kumasi, Ghana. She has two brothers and a sister; she obtained her secondary education from Yaa Asantewaa Secondary School.[12] She relocated to Accra when her mother enrolled at the NAFTI film school. Efya received voice trainings from some of her family members at a young age.[13] She graduated with a degree in theatre and music from the University of Ghana. In 2008, she gained national acceptance throughout Ghana by becoming the first runner up in Charterhouse’s Stars of The Future television show. She lost to Irene Logan, but secured herself a three-year recording deal.[14] The recording deal enabled her and Irene to do a collaborative album titled Unveiled, which was released in South Africa. Following the conclusion of her recording deal with Charterhouse, Efya continued to record songs and perform at local gigs. She changed her stage name from Miss Jane to Efya prior to going solo. In an interview posted on Modern Ghana, Efya said: "When I decided to go solo, it made sense at the time to reinvent myself in every way, I wanted a name that was African and unique but at the same time relevant to me in some way. My manager Jimmi helped me come up with the name Efya".*[12] In 2011, she signed a recording deal with One Nation Entertainment.[1]

Background information
Native name Jane Fara Fauzzier Afia Boafowaa Yahaya Awindor
Birth name Jane Awindor
Also known as Miss Jane
Born 10 April 1987 (age 30)
Kumasi, Ghana
Origin Accra, Ghana
Genres
Neo soul afro-soul pop jazz
Occupation(s)
Singer songwriter actress"
-snip-
*My guess is that the name "Efya" is a stylized form of this singer's traditional name "Afia". "Afia" is one form of the Akan day name "Afua" (female born on Friday").

****
SHOWCASE VIDEOS:
Example #1: Efya - Life



EfyaVEVO, Published on Oct 29, 2014

Efya gives life to "Life" single with a new music video.

Her new single “Life” is a mellow song chronicling her trials and rise to her present status as a music icon in the making.
-snip-
Here are a few comments from this YouTube video's discussion thread

Kwesi Gaituah, 2015
"Strong vocals + Great visuals...undeniably one of the best to ever do it in her genre!!! Long may her success continue."..

**
Melinda Kalenga, 2015
"no matter what circumstance of life I will make it through,Nelson Mandela said "Education is the most powerful weapon you can use to change the world". anything is possible if you believe in yourself"

**
NaijaCINE, 2016
"I love how creative she is that every version she does of this song is different from each other, but I must say the Lagos Jazzhole is the best I've heard, Efya is simply amazing with a live band!"

**
Bilhakoi, 2017
"Love you Efya. Keeeeppp the music going mama. From Nairobi, Kenya"

****
Example #2: Efya - Life (Live at Jazzhole - Lagos, Nigeria)



efyamusic Published on May 10, 2013

Performed at her Live showcase at Jazzhole in Lagos brought to you by Eclipse Productions. Shot by Remi (jazzhole) & 37th State.

This was the second performance of Life following her mind blowing perfomance at Africa Magic viewer's Choice Awards. Footage from both performances coming soon....

"Life" is the next single from her upcoming debut album due for release this year.
-snip-
Here are a few comments from this YouTube video's discussion thread:

1. J. Gyau Kusi, 2013
"I dont think Ghana has ever had someone like EFYA. She sings her heart yet she's always had the right punch lines whether she's singing JAZZ, SOUL, BLUES, HIGHLIFE, REGGAE ..................She's always on point"

** 
2. Emily Quarcoopome, 2013
"Efya killing it EVERYTIME!"
Reply

**
3. Lovinglyfe Osei, 2014
"Such a great addition to the music world. In love with what she does with that voice!"

**
4. Thierry Francois Michel Bodog, 2014
"Very creative, Efya, to me you are one of the best Afro-Jazz voice in Africa, I saw you performing in New York, I was more than impressed. Keep the hard work!"

** 
5. Rebecca Mabea, 2015
"Her voice live and her video no difference . This is what you call true talent"

**
6. AMATULLAH SIBY, 2015
"so glad I came across this extremely gifted and soulful artist.. Big up yuhself sister Blessings!!!"

**
7.  Nigeria Topten, 2015
"Efya's is in a class of her own. You be too much, cha!"

****
LYRICS: LIVE
(composed by Efya)*

Tryin' a tell a story
Listen to my story
24 years
Ready, yes prepared
Wasn't always easy look at me now I'm here
Breaking all the rules
So inspired music
Going deep down and your system gonna busy
Can you here me yeah
Listen to me clearly
Breaking it down for you
So sometime of you air please
Comes on within
Yes I believe!
That you will achieve
If you should percieve
All of the things that you want
Wait a minute, Stop! ×2
Take a minute please
Wait a minute, Stop!
When you did, now stop!
It takes sometime to get to the top
Make up your mind
To never ever stop
No one said it'll be easy
But this how I'm living
Make then music for the oh
For the living

This is my life
What more can I say
This is my life
Tryin' a make a way
This is my life
Won't stop today
This is my life
It's the only way

Yeah, mama was right
Listen to your heart
She will say every night
When I used to dream of being me
Taking my music that rescued me
In my nightmares
I do this for the music
That li la la li
That makes you wanna boogie
The highs and the lows
Say Do-Re-Mi-Fa-Sol
African music, up-rising music
Classical music, passionate music
Old-time is music, your love is music
The music in me
Be in drums
To the rythms of life
Everyday, after day
Din't know how I'll do without
The music today
The music todaaaaaaa-aaay
Say I'll be in drums
To the rythms of life
Everyday, after day
Din't know how I'll do without
Music today

African music, up-rising music (This is my life)
Classical music, passionate music (This is my life)
Old time is music, your love is music (This is my life)
The music in me (This is my life)

Can you feel the music?
Music in me

Source: https://www.musixmatch.com/lyrics/Efya/Life
-snip-
*I believe that Efya wrote this song, but I might be wrong about that. Please correct this information if it is mistaken.

****
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Marvin Gaye- "Mercy Mercy Me", "What's Going On" (And Three Other Songs From His 1971 "What's Going On" Album)

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Edited by Azizi Powell

This post features information about and videos/sound file examples of Marvin Gaye's now classic 1971 song cycle album "What's Going On".

This post is presented for its historical, sociological, and aesthetic values.

All copyrights remain with their owners.

My thanks to Marvin Gaye for focusing attention on social & political subjects that were important then and even more important now. Thanks to all those who are quoted in this post and thanks to the publishers of these YouTube examples.
-snip-
Additional videos have been added to this post which was originally published in 2012.

****
BACKGROUND FOR THE "WHAT'S GOING ON" ALBUM
From http://en.wikipedia.org/wiki/Marvin_Gaye
"Marvin Pentz Gay, Jr. (April 2, 1939 – April 1, 1984), better known by his stage name Marvin Gaye (he added the 'e' as a young man), was an American singer-songwriter and musician with a three-octave vocal range...

In 1971, Marvin issued his landmark album, What's Going On. The album and its tracks were responsible in the changing landscape of rhythm and blues music as the album presented a full view of social ills in America, including war, police brutality, racism, drug addiction, environmentalism, and urban decay. Beforehand, recordings of social unrest had been recorded by the likes of (Curtis Mayfield &) The Impressions, The Temptations, Sam Cooke, Sly and the Family Stone and James Brown, but this was the first album fully devoted to those issues. The album was produced under what is called a song cycle and because of its theme of "what's going on" was considered one of the first concept albums to be released in soul music...

After helping to collaborate what became "What's Going On", [Marvin Gaye] returned to Hitsville on June 1, 1970 to record the song, which was inspired by Gaye's brother's accounts of his experience at the Vietnam War and co-writer Renaldo "Obie" Benson of the Four Tops' disgust of police brutality after seeing anti-war protesters attacked in San Francisco...

Released on May 21, 1971, the What's Going On album instantly became a million-seller crossing him over to young white rock audiences while also maintaining his strong R&B fan base. Because of its lyrical content and its mixture of funk, jazz, classical and Latin soul arrangements which departed from the then renowned "Motown Sound", it became one of Motown's first autonomous works, without help of Motown's staff producers. Based upon its themes and a segue flow into each of the songs sans the title track, the concept album became the new template for soul music.

Other hit singles that came out of the album included "Mercy Mercy Me (The Ecology)" and "Inner City Blues (Make Me Wanna Holler)", making Gaye the first male solo artist to have three top ten singles off one album on the Billboard Hot 100. All three singles sold over a million copies and were all number-one on the R&B chart. International recognition of the album was slow to come at first though eventually the album would be revered overseas as a "landmark pop record". It has been called "the most important and passionate record to come out of soul music, delivered by one of its finest voices"."

****
FEATURED EXAMPLES
Example #1: Marvin Gaye - Mercy Mercy Me



DeTudo, Uploaded on Sep 6, 2007

lyrics
[written by Marvin Gaye]

Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Where did all the blue sky go?
Poison is the wind that blows
From the north, east, south, and sea
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Oil wasted on the oceans and upon our seas
Fish full of mercury
Oh, mercy mercy me
Oh, things ain't what they used to be
No, no
Radiation in the ground and in the sky
Animals and birds who live nearby are dying
Oh, mercy mercy me
Oh, things ain't what they used to be
What about this overcrowded land?
How much more abuse from man can you stand?
My sweet Lord
My sweet Lord
My sweet Lord
-snip-
Here's a note about this song that was written by Jonez, 2013 and posted on https://genius.com/Marvin-gaye-mercy-mercy-me-the-ecology-lyrics
"This song mourns the destruction of the environment in a modernized society. Oil catastrophies, radioactive waste, and overpopulation… we even Almost Lost Detroit.

It was recorded in 1971, when the public’s awareness of environmentalism was at an all-time high. Imagine how mortified Gaye would have been if he had seen what was going to happen to the environment during the next 40 years".

****
Example #2: Marvin Gaye - What's Going On + Save the Children LIVE

.

rareformulamusic, Uploaded on Sep 28, 2009

Not owned by me, I just wanted to share Marvin's greatness with everybody.

From his Live in Amsterdam in '76 concert.
-snip-
Lyrics for "What's Going On"
(Marvin Gaye, Renaldo Benson & Al Cleveland)

[Intro]
Mother, mother
There's too many of you crying
Brother, brother, brother
There's far too many of you dying
You know we've got to find a way
To bring some loving here today - Ya

[Verse 1]
Father, father
We don't need to escalate
You see, war is not the answer
For only love can conquer hate
You know we've got to find a way
To bring some loving here today

[Chorus]
Picket lines and picket signs
Don't punish me with brutality
Talk to me, so you can see
Oh, what's going on
What's going on
Ya, what's going on
Ah, what's going on

[Bridge]
In the mean time
Right on, baby
Right on
Right on

[Verse 2]
Mother, Mother everybody thinks we're wrong
Oh, but who are they to judge us
Simply because our hair is long
Oh, you know we've got to find a way
To bring some understanding here today
Oh

[Chorus]
Picket lines and picket signs
Don't punish me with brutality
Talk to me
So you can see
What's going on
Ya, what's going on
Tell me what's going on
I'll tell you what's going on - Uh
Right on baby
Right on baby

Source: https://genius.com/Marvin-gaye-whats-going-on-lyrics

**
Lyrics for "Save The Children"
(Renaldo Benton, Marvin Gaye & Al Cleveland)

"Save The Children"

I just want to ask a question
Who really cares?
To save a world in despair
There'll come a time, when the world won't be singin'
Flowers won't grow, bells won't be ringin'
Who really cares?
Who's willing to try to save a world
That's destined to die
When I look at the world it fills me with sorrow
Little children today are really gonna suffer tomorrow
Oh what a shame, such a bad way to live
All who is to blame, we can't stop livin'
Live, live for life
But let live everybody
Live life for the children
Oh, for the children
You see, let's save the children
Let's save all the children
Save the babies, save the babies
If you wanna love, you got to save the babies
All of the children
But who really cares
Who's willing to try
Yes, to save a world
Yea, save our sweet world
Save a world that is destined to die
Oh, la, la, la, la, la, la, la
Oh, oh dig it everybody

Source: http://www.azlyrics.com/lyrics/marvingaye/savethechildren.html

****
Example #3: Marvin Gaye - Inner City Blues (Make Me Wanna Holler)

MarvinGayeVEVO, Published on Jul 5, 2011

Music video by Marvin Gaye performing Inner City Blues (Make Me Wanna Holler). (C) 1971 Motown Records, a Division of UMG Recordings, Inc.
-snip-
Lyrics for "Inner City Blues (Make Me Wanna Holler)"
(Written by Marvin Gaye & James Nyx)

[Verse 1]
Rockets, moon shots
Spend it on the have-not's
Money, we make it
Before we see it, you take it

[Chorus]
Oh, make you want to holler
The way they do my life
Make me want to holler
The way they do my life
This ain't living, this ain't living
No, no baby, this ain't living
No, no, no


[Chorus]
Make me want to holler
The way they do my life
Make me want to holler
The way they do my life

[Verse 3]
Hang ups, let downs
Bad breaks, set backs
Natural fact is
I can't pay my taxes

[Chorus]
Make me want to holler
And throw up both my hands
Yeah, it makes me want to holler
And throw up both my hands

[Verse 4]
Crime is increasing
Trigger happy policing
Panic is spreading
God knows where we're heading

[Outro]
Mother, mother
Everybody thinks we're wrong
Who are they to judge us
Simply because we wear our hair long

Source: https://genius.com/Marvin-gaye-inner-city-blues-make-me-wanna-holler-lyrics
-snip-
Here's a note from that website about this song:
-posted by Damian v B, 2013
""Inner City Blues” is a chart-topping single from the landmark album What’s Going On. The song depicts the ghettos of inner-city America as it discusses how the bleak economic situation would have lead to someone wanting to holler and throw ones hands up."

****
Example #4: Marvin Gaye "What's Going On - What's Happening Brother"



Abdul Jalil, Published on May 10, 2012
-snip-
Lyrics for "What's Happening Brother"
(Marvin Gaye & James Nyx Jr.)

[Verse 1]
Hey baby, what you know good
I'm just getting back, but you knew I would
War is hell, when will it end?
When will people start getting together again?
Are things really getting better, like the newspaper said
What else is new my friend, besides what I read

[Verse 2]
Can't find no work, can't find no job, my friend
Money is tighter than, it's ever been
Say man, I just don't understand
What's going on across this land
Ah, what's happening brother?
Yeah, what's happening? What's happening my man?

[Verse 3]
Are they still getting down
Where we used to go and dance
Will our ball club win the pennant
Do you think, they have a chance?
And tell me friend, how in the world have you been?
Tell me, what's out and I want to know what's in

[Verse 4]
What's the deal man
What's happening? Tell me brother
What's happening brother?
Ah, what's happening brother?
What's happening my man?
Whoo, ah, ah, what's happening brother?
Say man, whoo, what's happening brother?

[Outro]
What's been shaking up and down the line?
I want to know because, I'm slightly behind the times

Source: https://genius.com/Marvin-gaye-whats-happening-brother-lyrics
-snip-
Here's a note about this song from that website:
(posted by morza, 2013
"The second song off of Marvin Gaye’s What’s Going On tells a story of a soldier coming back to the United States after a tour in Vietnam and the adjustments to culture that he has to make. The track was inspired by Gaye’s brother Frankie who spent 3 years serving in Vietnam."

****
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Visitor comments are welcome.

Stevy Mahy featuring James Germain - "Haitian Cherie" (video & lyrics)

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Edited by Azizi Powell

This pancocojams post provides information about Stevy Mahy and showcases a video of Stevy Mahy and James Germain singing "Haitian Cherie"["Dear Haiti"}. The English translation for that song's Haitian Creole lyrics is also included in this post.

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

All copyrights remain with their owners.

Thanks to Othello Bayard for composing the poem that became this song. Thanks also to Stevy Mahy and James Germain for their musical performances. Thanks to all those who are quoted in this post and all those who produced this video Also, thanks to the publisher of this post on YouTube.

****
INFORMATION ABOUT STEVY MAHY
From https://translate.google.com/translate?hl=en&sl=fr&u=https://www.last.fm/fr/music/Stevy%2BMahy/%2Bwiki&prev=search [translated from French to English]
"Stevy Mahy is a Folk Trilingual (English, French and Creole) native of Guadeloupe.
From a father and a mother to musicians and singers, Stevy Mahy goes early to pace recording studios or rehearsals, so naturally she will record songs such as "manman dépi ou pati" or "I want a Little brother "with [her] mother, that of the age of 9 years.

Then it is a succession of travels, meetings, musical collaborations.
And then his taste for the image, the realization will take the step.
After a short stay in London, she decided to turn to the United States ...
Always beautiful encounters ...
But finally her first love catches up with her ... She has to sing ...
An envy that coincides with her return to Guadeloupe for her who is born in Paris and spends part of her childhood in Guadeloupe.

"All my departures take me back to Guadeloupe".
A place where finally its complexity of Creole woman find a jewel case.
She finds herself, re-sources herself and rehearses buried melodies.
It is also at this moment that she meets a talented artist, Victor'O.
A friendship is born which will give birth to a song on the album of "Inspire Me":

The story of the true power of friendship that inspires strength and courage, but also the bond that is established between angel and protégé.

A beautiful encounter that hides another.

When recording "Inspire Me", Stevy meets Joel Jaccoulet (author, composer, producer).
The composition process starts almost intuitively.
A late afternoon, set on the terrace, the words and melodies of "Beautiful" take shape ...
Kreyol folk becomes the best defining term for this encounter and the musical universe of Stevy Mahy. English, Creole, French ...

A Creole woman open to the world and yet well inscribed in her environment.
[Her] album "The Beautiful Side of a Kreyol Folk Trip" is an invitation to a beautiful journey through [her] musical influences flourishing the Soul, Lauryn Hill and the sounds of Creole music.
-snip-
The pronoun "her" is in brackets because the translation feature's default is male pronoun.
****
SHOWCASE VIDEO: HAITI CHERIE - Stevy MAHY feat. James Germain (official HD video)



B Caribbean, Published on May 12, 2012

http://itunes.apple.com/fr/album/hait...
Fruit de sa rencontre avec Haïti ,Stevy MAHY nous livre aujourd'hui son premier single inédit depuis la sortie en 2010 de son album «the Beautiful side of a kreyol folk trip».

Avec la participation du chanteur haïtien James GERMAIN le titre HAITI CHERIE se veut le trait d'union entre nos histoires si proches,si riches,unies dans une même souffrance originelle et sublimées par la créativité et l'intelligence des hommes et femmes qui les ont incarnées...
«nou sé an sel pep dessan an ba kal a machan...vou epi mwen sé mem bagay...sé mem bitin...»

HAITI CHERIE qui à été enregistré en partie à Port au Prince,dans les hauteurs de Pétionville,est un mélange subtil de mélancolie et d'espoir porté par deux voix uniques unissant leur talent pour la première fois...pour nous dire ces mots simple et justes :
«Haiti cherie la vi pa fini....»
-snip-
(Google translate from Haitian Creole to English)
"Stevy MAHY is the first of its kind to be releas:ed in Haiti today, with his debut album "The Beautiful Side of a Kreyol Folk Trip".

With the participation of the Haitian singer James GERMAIN the title HAITI CHERIE wants to be the link between our stories so close, so rich, united in the same original suffering and sublimated by the creativity and intelligence of the men and women who have them incarnated ...
«Nou se an salt pep dessan an ba kal a machan ... you epi mwen se mem bagay ... se mem bitin ...»

HAITI CHERIE which was recorded partly in Port au Prince, in the heights of Pétionville, is a subtle mixture of melancholy and hope carried by two unique voices joining their talent for the first time ... to tell us these simple words And fair:
"Haiti cherie the vi pa finished ...."


****
INFORMATION ABOUT THIS SONG AND LYRICS (translated from Haitian Creole to English)
From https://en.wikipedia.org/wiki/Ha%C3%AFti_Ch%C3%A9rie
(translation corrected by @growninhaiti)

"Haïti Chérie" (French pronunciation: ​[a.iti ʃeʁi]: Dear Haiti)[1] is a traditional patriotic song of Haiti of a poem written by Othello Bayard that was initially called it Souvenir d'Haïti ("Memory of Haiti")[2] and composed to music in 1920. It is widely considered as a second national anthem,[3] and one of Haiti's most famous méringues.[2]

Haiti, my beloved, no other land is more beautiful than you.
I had to leave you, in order to better understand how valuable you are
I had to leave you, for me to appreciate you
So I could truly feel all that you were for me
There is sunshine, nice rivers and great drinks
Underneath the trees, you'll always find great shade
Where you'll find a gentle breeze to keep you cool
Haiti, is a country dear to me
In the white man's land, you're freezing and it's never good
And all day, you're forced to burn coal
You can't see clearly because the sky is always dark
And for 6 months, all trees are without leaves
In my country, there is sunshine to provide heat
All year long, the trees continue to provide shade
A soft breeze always blowing on our beaches
Haiti, is a country dear to me
Once in the white man's country, all faces are one color
There is no variety such as our different shades of Kreyòl (Milatrès, Marabou, and Grifonn)
That love beautiful dresses, powders and fine scents
Nor black beauties that know the sweetest things to say
In my country, when all of these beautiful people leave church, it's like going to the movies
you have to see this, you would remain wide mouthed and open eyed
What an amazing country Haiti is!
When you're in the white man's country, you don't see mangoes or roosters anywhere
Neither sapoti or beautiful green and purple star apples
Neither pineapples or beautiful cashew apples
that give us great cashews to make delicious brittle with
You'll find oranges that came from Italy
But that are passed ripe and half rotten
In Haiti, everything is finger licking good!
And on that note, we're better then any other country
When you're in my country, wherever you go and along your path it's: "hello sir""hello miss""how are the kids?"
without knowing, you're invited in for a drink and to play some games.
Every handshake invites a conversation
Its politics, it's a bad situation
what we need to do is accept it how it is
If God is good, he will grant us salvation
When you're in the white man's country, you're afraid to go out day or night
Everyone is walking so fast that you'd think they're crazy dogs
Where are they going? Why are they running?
They in such a hurry that they never stop to ask how you're doing
In my country, people don't go by time
You have the liberty to take your time
Wherever you go, it's "hello" and friendly handshakes
People are never in a rush, we chat along our path
When you're in Haiti, you always have enough time to whistle
what doesn't get done today, can get done tomorrow if you want
If tomorrow works, cool... If it doesn't... cool.
It doesn't matter, everyone knows that God is good
In Haiti, people are never desperate
we trust in a God that never lies
We'll do whatever we can today, because tomorrow is never certain
What a great country, my God! It's Haiti!
-snip-
Click that Wikipedia link for this song's Haitian Creole lyrics.
****
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Visitor comments are welcome.

House Slaves vs Field Slaves: An Analysis Of A Scene In The 1976 Cuban Film "La Ultima Cena" ("The Last Supper")

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Edited by Azizi Powell

This happened on June 2, 2017 on the nationally syndicated American television talk show Real Time with Bill Maher:

Quotes from http://www.huffingtonpost.com/entry/bill-maher-racial-slur-real-time-joke_us_59322e55e4b075bff0f3aaaa?ncid=inblnkushpmg00000009 :
"While discussing the state of Nebraska, his guest, Sen. Ben Sasse (R-Neb.), told [Bill] Maher, “We’d love to have you work in the fields with us.”

Apparently confused by the invitation, Maher joked “Work in the fields? Senator, I’m a house n****r!”

Sasse looked uncomfortable, and the audience reacted with a mix of claps and groans. Then Maher, a critic of political correctness, followed up his remark by pointing out the sarcasm. “No, it’s a joke,” he said.

The “Real Time” audience seemed to quickly forgive the host with a round of applause. Waving off the reaction with his hand, Maher replied, “Thank you.”

People on Twitter, however, weren’t so forgiving."

[...]

[a tweet from Yashar Ali, a New York Magazine/GQ/Mother Jones/HuffPost Contributing Writer describing that incident and the audience's reaction from that same Huffington Post article]
Yashar verified account
@yashar

Bill Maher just said the n word, @BenSasse didn't look horrified, and the audience applauded."
11:23 PM - 2 Jun 2017

[...]

[that same article quoting four tweets from Senator Ben Sasse]

Ben Sasse ✔ @BenSasse
Am walking off a redeye from LAX.
3 reflections on @billmaher

1. I’m a 1st Amendment absolutist. Comedians get latitude to cross hard lines.
6:19 AM - 3 Jun 2017

Ben Sasse ✔ @BenSasse
2. But free speech comes with a responsibility to speak up when folks use that word. Me just cringing last night wasn’t good enough.

6:21 AM - 3 Jun 2017

Ben Sasse ✔ @BenSasse
3. Here’s what I wish I’d been quick enough to say in the moment: “Hold up, why would you think it’s OK to use that word?...

Ben Sasse ✔ @BenSasse
(4of4)
"...The history of the n-word is an attack on universal human dignity. It’s therefore an attack on the American Creed. Don't use it.” https://twitter.com/BenSasse/status/870949246094258177
6:27 AM - 3 Jun 2017"
-snip-
Here's a link to a YouTube video clip of that portion of the show:
https://www.youtube.com/watch?v=EiWLJEzJoUs
-snip-
UPDATE [regarding Bill Maher's comment as indicated above:
2:40 p.m. ET [June 3, 2017] ― "Following the nonstop criticism, Maher has apologized for using a racial slur on his Friday show. In a statement to HuffPost, he said:

"Friday nights are always my worst night of sleep because I’m up reflecting on the things I should or shouldn’t have said on my live show. Last night was a particularly long night as I regret the word I used in the banter of a live moment. The word was offensive and I regret saying it and am very sorry."
http://www.huffingtonpost.com/entry/hbo-calls-bill-mahers-use-of-n-word-inexcusable-and-tasteless_us_5932e442e4b075bff0f3f3ad?p4ir&ncid=inblnkushpmg00000009
-snip-
For the record, I very much agree with those who have responded to this incident by indicating that there should be lines that even comedians don't cross regarding their use of terms that are considered to be pejorative. Furthermore, Maher's use of the term "house n****r" was counterproductive as it took the spotlight away from an important discussion about climate change that Senator Sasse and Maher had.

But instead of focusing on that particular incident, I've decided to take this opportunity to provide some information about the subject of house slaves and field slaves. And since this blog focuses on examples of Black culture, I've chosen to showcase a 1976 Cuban film about slavery in Cuba and fully quote an online article that analyzes a scene in that film which reveals some of the dynamics between house slaves and field slaves in that nation. These similar conditions and dynamics occurred between house slaves and field slaves in the United States and elsewhere.

In my opinion, that article minimized the conditions of house slaves, particularly with the statement that they never received harsh punishments.

The Addendum to this pancocojams post presents an excerpt of an article about the conditions of and dynamics between house slaves and field slaves - with particular attention to antebellum United States. I believe that article more accurately describes the oppressive conditions that house slaves often experienced.

The content of this post is presented for historical and sociological purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
INFORMATION ABOUT THE CUBAN FILM "LA ULTIMA CENA" ("THE LAST SUPPER")
From https://en.wikipedia.org/wiki/The_Last_Supper_(1976_film)
"The Last Supper (La última cena in Spanish) a 1976 Cuban historical film directed by Tomás Gutiérrez Alea, produced by the Instituto Cubano del Arte y la Industria Cinematográficos (ICAIC) and starring Nelson Villagra as the Count.[1]

The film tells the story of a pious Havana plantation owner in the 1790s, during Cuba's Spanish colonial period. The plantation owner decides to recreate the Biblical Last Supper using twelve of the slaves working in his sugarcane fields, hoping to thus teach the slaves about Christianity.

In a misguided attempt to enlighten his African-originating slaves, a Count invites twelve of them to a dinner on Maundy Thursday in a re-enactment of the Last Supper with himself as Christ.[2] Whilst they eat and drink, he also feeds them religious rhetoric and attempts to instruct them in the workings of Christianity. He promises them a day off for the following Good Friday and commits to freeing one of the slaves. However, when these promises are not held up the next day, the slaves rebel. They (the twelve slaves whom he reenacted the last supper) are then all hunted down and killed by their master, except one who escapes.[1][3]"

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ANALYSIS OF A SCENE IN THE CUBAN MOVIE "LA ULTIMA CENA" ("THE LAST SUPPER")
From http://www.lehigh.edu/~ineng/sem8/sem8-scene.html
"THE LAST SUPPER (LA ÚLTIMA CENA) (1976)
Scene Analysis
Roles of the Slave: Antagonisms between House Slaves and Field Slaves

[1] No matter what time or area in the institution of slavery, the position of the house slave is always a difficult one. On one hand, the house slave is in a privileged position, free from the barbaric schedules and disciplines the field slaves are subjected to. At the same time the house slave serves as living proof for slave owners that the practice of slavery need not lay on their consciences. Household slaves were grateful to be in that position and rarely (if ever) complained, since doing so could jeopardize their situation. In The Last Supper the difference of treatment of Emundo, the Count’s house slave, and the rest of the blacks is noteworthy, particularly when Emundo is dismissed from the table at the supper (1:03:55). The goal of this essay is to show that the film, while judging Emundo’s loyalty as counterproductive to the cause of the other slaves, recognizes that the house slave’s position is impossible.

[2] The position of the house slave on the plantation served to divert many blacks from questioning their treatment and attempting to fight it. Being a household slave meant security and entitlement to the black, creating an environment where slaves yearned for a higher position in the slave system rather than pondering ways the fight the system itself. In his autobiography, Montejo Esteban, a former slave from Cuba in the 1860's, recognizes that field slaves despised the house slaves, and that house slaves believed they were more on the level of master than slave:

I don’t think the household slaves did [understand Christianity] either, although, being so refined and well treated, they all made out they were Christian. The household slaves were given rewards by the masters, and I never saw one of them badly punished. When they were ordered to go to the fields to cut cane or tend the pigs, they would pretend to be ill so they needn’t work. For this reason the field slaves could not stand the sight of them. The household slaves sometimes came to the barracoons to visit relations and used to take back fruit and vegetables for the master’s house; I don’t know whether the slaves made them presents from their plots of land or whether they just took them. They caused a lot of trouble in the barracoons. The men came and tried to take liberties with the women. That was the source of the worst tensions. (37)

Montejo’s construction of the house slaves as enemy is a valuable one for understanding the importance of the Count’s behavior toward Emundo in the supper scene. For the field slaves the house slave was not a fellow black but a creature pretending to be white, a traitor to those in the field. For the field slave in the Cuban sugarmill, life was brutal and dangerous, a world where “The mills were like huge grinders which chewed up blacks like cane. Growing old was a privilege as rare as it was sad, especially in the super-barbaric stage of slavery” (Fraginals 143). At the same time being a field slave meant a life of terror and pain, in many ways being a household slave meant living a “white” life. The household slave’s continual presence around the master meant many luxuries. The slave had to bathe constantly and wear clothes that made him look presentable to the whites. The household was a representation of how well the owner kept the plantation, making traits considered “white” at the time such as cleanliness, intelligence, and civility essential. Such a privileged life, if we may call it that, inspired antagonism among the field slaves, who knew such a life existed for only certain blacks. The field slaves’ laughter at Emundo being chastised reinforces that antagonistic dynamic.

[3] Likewise, a feeling of the household slaves that they were above working with the field slaves, that they were better or more deserving of privilege, became inevitable. Antonio’s request to be brought back in the villa earlier in the scene, indicates that there was a mutual antagonism between household and field slaves. He asks the master, “Are you going to send me back to all those dirty slaves?” (28:18). Antonio believes that what sets him apart from the other slaves is that he has worked in the villa, an experience that makes him better than those he is now forced to live with. Emundo’s placement in the background reminds Antonio of the position taken from him, a position he yearns to retrieve. Emundo’s presence inspires hatred or jealousy from all, an uncomfortable situation the admonishment makes clear.

[4] In his loyalty to the master, Emundo positions himself against the field slaves who are enjoying the master’s drunkenness. The Count’s inebriated state creates a role reversal. The slaves have an opportunity to have fun at the Count’s expense, an opportunity they realize they will probably never have again. By attempting to end the dinner before the Count embarrasses himself further, Emundo places himself firmly on the side of the Count, and, just as firmly, positions himself against the field slaves. Instead of performing the role of attending to the master, Emundo defends the master against the slaves, something he need not necessarily do. The Count’s retort is unexpected and scathing, a remark that delineates the field slaves as the Count’s privileged group and Emundo as a criminal transgressor: “And who are you to give me orders? Are you forgetting the role you have to play? Your master! Understand? Your master! Clear off” (1:03:55).

[5] The Count’s reaction becomes a triumph for the field slaves, a reversal of position in the slave hierarchy. The Count’s outburst is a doctrine practiced largely on the field slaves, the ideology that the black has been given a subservient role in his life and he must never attempt to transcend it. The insult sparks laughter among field slaves, and this humiliation may be worse for Emundo than the tongue-lashing from the Count. The Count’s participation in the field slaves’ mockery of Emundo positions the field hands in a role of intimacy with the Count, a role exclusively for Emundo until he tries to defend the Count from making a mockery of himself.

[6] The Count’s admonishment is especially acidic for Emundo, who has already been told he is a better human being than the field slaves in front of whom he is insulted. Emundo’s position is the result of the Count’s generosity, a position Emundo knows relies on the premise that he remains loyal to the Count in all circumstances. Up until this point Emundo’s loyalty merits rewards, among them the assurance that he is a friend of the Count and deserves his position above the field hands. Now Emundo is commanded to believe the exact opposite, that he is the outsider and the field slaves at the table have usurped his position. Emundo’s power and status are taken away in an instant, creating a much worse state of mind than the field slaves (except Antonio) who have never experienced Emundo’s position of privilege.

[7] But the groupings are not as simple as house slave and field slave. Antonio and Ambrosio, both field slaves who internalized feelings of worthlessness forced on them by the institution the Count defends, side with Emundo by interrupting the field slaves’ fun. The Count is unconscious, something Antonio and Ambrosio are clearly aware of when they defend the Count as a good master. This awareness of the Count’s unconsciousness puts the two slaves in the most difficult position of all, a house slave working in the field, defending a master when doing so will not result in any reward from the Count. This dialogue recognizes the difficult role of the field hands who have maintained or wish to maintain the house slave position. As the current household slave, Emundo’s position is the most difficult of all, a position the film makes sympathetic.

[8] The film recognizes that Emundo’s position during the supper is an impossible one. He can never be accepted or respected by the field slaves around him, a fact that becomes obvious when Antonio is ignored throughout the dinner after siding with the count at the beginning of the supper. Like Antonio’s position with the other field slaves, Emundo’s position of privilege with the master is also destroyed. He can no longer assume the Count will treat him as he always has, and so Emundo’s hope is that the Count will return to normal once he is sober. But the Count’s promises, promises that have saved Emundo from the field, are no longer reliable. Emundo’s place of privilege now depends on a second reversal of the Count’s loyalties. The consequences if the Count does not reestablish his bond with Emundo could be as disastrous as Antonio, the humiliating and brutal role of field slave substituted for the role of the household slave that has left Emundo spoiled. When asked to have the field slaves convey a message, Emundo responds, “I’ll go. The sugarmill blacks are too stupid" (13:58). The threat of being grouped with or below this group is a constant threat, one Emundo can only endure as the field slaves endure their daily brutality.

[9] Emundo’s difficulty serves a pattern Alea demonstrates throughout the film, showing constant division among the slaves as a weakness that plagues them throughout their existence. The field slaves at the supper are slaves because they were sold by their African enemies. During the supper they bicker about what to do if forced to work Good Friday. Barring Sebastian, the slaves who were at the supper are caught after they separate. Emundo’s attitude serves as another division, but a division the film understands and forgives. Emundo is only a traitor to some. To others, he is where they want to be.

Works Cited

Fraginals, Manuel Moreno. The Sugarmill: The Socioeconomic Complex of Sugar in Cuba, 1760-1860. New York: Monthly Review, 1976.

Montejo, Esteban. The Autobiography of a Runaway Slave. Ed. Miguel Barnet. Trans. Jocast Innes. New York: Pantheon, 1968.

Copyright (c) 2000 by Sean Patrick Magee, Graduate student at Lehigh University.

This text may be used and shared in accordance with the fair-use provisions of the U.S. copyright law, and it may be archived and redistributed in electronic form, provided that the author is notified and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the consent of the author."
-snip-
This article includes a hyperlink to this scene in that film, but that hyperlink no longer works. Here's a link to a YouTube video of that entire film (with English sub-titles) https://www.youtube.com/watch?v=g_CPbHIgnF4"The Last Supper" La Ultima Cena, Tomas Gutierrez Alea, 1976. with English subtitles"

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ADDENDUM = EXCERPT FROM ARTICLE ABOUT HOUSE SLAVES AND FIELD SLAVES IN THE UNITED STATES
http://www.encyclopedia.com/humanities/applied-and-social-sciences-magazines/house-slaves-overview House Slaves: An Overview
Gale Library of Daily Life: Slavery in America
COPYRIGHT 2008 Gale Group

..."Differences between the work of house servants and field hands led to sharp social class distinctions within the plantation system. Socially speaking, house servants were considered a privileged class among the enslaved population. Because of their physical proximity to the home of the plantation owner, they often absorbed the culture and associated material benefits of the master (Ingraham 1860, pp. 34-36). The overseer, to control the behavior and work habits of the enslaved, used these divisions skillfully. Plantation owners who were disgruntled with their house servants would threaten to make these servants work out in the fields. Slave owners also made an attempt to ensure that house servants and field hands would remain socially isolated, both physically and psychologically, from one another even if they shared blood ties. House servants were threatened with flogging if they were caught interacting with field hands (Williams 1838, p. 48). In many ways, the notion of the happy house slave portrayed in movies such as Gone with the Wind, and the rebellious field slave are both mythic and simplistic. The lives and social consciousness of field hands and house servants were most often extremely complex.

The life of a house servant was often harsh and demeaning. Women house servants in particular were both desired and routinely raped by the plantation owner. Because they lived in close proximity to the master's family, the house servant was naturally absorbed into its many social conflicts. The master's desire for a slave mistress caused severe problems if he was married. In many cases the mistress of the house resented the presence of female house servants. Women house servants served as a constant reminder of marital infidelity. In response mistresses would often abuse their female house servants physically by slapping their faces, boxing their ears, and flogging. House servants were required to defer socially to the members of the master's family regardless of age differences. Elder men were required to refer to the teenage and adolescent children of the master as sir and ma'am. Elder women who often served as wet nurses for white infants were required to defer to them as adults (Jacobs 1861). In addition, house servants served as informants for the master and overseer, concerning the possibility of revolt by field hands. By the same token, house servants often performed the role of spy for field hands planning a rebellion. Being in close proximity to the master, they were privy to enormous amounts of information concerning the daily habits, hopes, fears, strengths, and weaknesses of the plantation system and its managers. This information would be vital to field hands who were planning an escape or a successful revolt. Although the nature of work performed by the house servant was much different from the work performed by the field hand, the overarching presence of the slave system and its coercive, violent, and humiliating methods of socialization invariably would define the lives of the enslaved regardless of their status within the plantation system."...
-snip-
Here's a link to a Wikipedia page about house slaves and field slaves in the USA: https://en.wikipedia.org/wiki/House_slave

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Visitor comments are welcome.

Protest Chants At Two "March For Truth" Marches (June 3, 2017)

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Edited by Azizi Powell

This pancocojams post showcases a video of June 3, 2017 "March For Truth" marches in New York City and in Chicago, Illinois as a means of documenting the unison chants and the call & response chants that were said at these marches.

Some editorial comments about these marches and about these chants are also included in this post.

The content of this post is presented for socio-political and folkloric purposes.

All copyrights remain with their owners.

Thanks to all those who marched for the truth. Thanks also to all who are quoted in this post and thanks to the publishers of these videos on YouTube.
-snip-
This post is part of an ongoing pancocojams series about protest chants. Click the "protest chants" tag for other posts in this series.

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PANCOCOJAMS EDITOR'S NOTES
Why this blog includes posts on protest chants
Pancocojams is a blog that focuses on examples of African American culture and examples of other Black cultures throughout the world. Some people may therefore ask why this blog includes posts on protest chants, particularly when there appears to be very few Black people or other people of color at the protest marches that are shown in video tapes which are embedded in this blog's posts.

My interest in protest chants began with a focus on documenting the types of chants that African Americans used in the 1960s and the chants that African Americans use now. However, my interest has expanded to include the documentation of other examples of protest chants, particularly in the United States, regardless of the race or ethnicity of those people using those chants.

Part of my interest in documenting protest chants is to note how the words to chants that were used by African Americans (and others) in the 1960s might be used now. But as a self-identified community folklorist, I also am interested in documenting the chants as folkloric artifacts.

If you know other examples of chants that were used in June 3, 2017 "March for Truth" marches, please add them in the comment section below along with demographic information (city/state) and information about the type of chant (i.e. "unison" or "call & response"). Thanks!

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Why these two videos are showcased
These two videos were selected from a much smaller "pool" of possible videos than I had expected. I was most interested in videos of June 3, 2017 Marc For Truth marches and not rallies, but the few videos that were published were mostly of rallies. Other March For Truth videos either focused on protesters' signs or were very brief. I finally selecting that New York City video and that Chicago video even though more than half of that video featured a rally.

The visual quality of the two videos that are showcased in this post aren't that good. However, I'm most interested in the audio than in the visual aspects of these videos.

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General comments about the two showcase videos
The New York City video only showed a small segment of the marchers. The Chicago video seemed to show a larger cross section of the marchers, including people who were marching in the beginning of that procession. It seemed to me that all the marchers who were shown in both of these videos were White- with the exception of one Black male drummer in the Chicago video.

The marchers who were shown in the New York video were young adults, middle aged, and older- including one elderly female marcher who was holding a walker in front of her. The marchers who were shown in the Chicago group appeared to be younger as a whole than the New York City marchers. That Chicago video showed a few children in that march and at least one woman was shown pushing a baby stroller.

In the New York video some drummers could be heard. In the Chicago video, a cadre of about three drummers were close to the front of the protest march along with a number of people carrying large American flags and one rainbow colored gay pride flag. All of those drummers were young adult men and one of the drummers (who appeared to be White) played a two headed West African drum that I think was a "sangban".

All of my following comments refer to both of these featured videos:

As is standard for American protest marches, people participating in those marches actually "walked" -not "marched" in the middle of the street. Note the difference between this type of movement and the "toyi toyi" dance like movement used by Black South Africans at their protest marches https://pancocojams.blogspot.com/2014/01/toyi-toyi-south-african-protest-dance.html

Some marchers hold hand made signs and a few held small American flags. I saw no commercially made signs in either of these videos. Most of the signs were head in the marchers hands, and weren't mounted on sticks.

Most of the chants were repeated throughout the video. Chants used by one group of marchers often overlapped chants used by another group of marchers. It appeared that the chants weren't planned or even that [all of] the chant callers weren't chosen ahead of time. Rather, a person with a loud voice started whatever chant that he or she wanted to, and the group around that person joined in that chant for how ever long the chant "lived". At times, some marchers clapped their hands in accompaniment while they chanted. And sometimes, when a chant ended, the marchers who had been chanting would stand in place, and some of them clapped (for themselves), yelled "Whoo!" and/or blew whistles, or otherwise made celebratory sounds.

Most of the chants were demanding or declarative chants (in favor of something) rather than actually protesting a particular issue, law, event, or position. An example of a demanding/declarative chant is "Tell me what democracy looks like/This is what democracy looks like". Another example of a demanding/declarative chant is "Stand up!/Fight Back!". That said, a declarative chant such as ""Say it loud/Say it clear/Immigrants are welcome here." might also be considered a protest chant in that you are declaring your opposition to something [such as Trump's travel ban].

An example of a protest chant is "Hey He Ho Ho/Donald Trump has got to go". Another example of a protest chant is "No Trump/No KKK/No Fascist USA".

The term "celebratory" that I used earlier is an apt description of how these marches appeared to me. Both of these protest marches- but particularly the Chicago march- reminded me a lot of parades. My sense was that even though the participants seemed determined and committed to their cause/s, they also were much more celebratory than civil rights t protesters usually were or than the South African protesters were whose videos that I referred to earlier. Participants in these two March For Truth videos-and in the January 2017 Women's Marches throughout the United States- don't appear to be concerned or anxious about the possibility of arrests or physical consequences from the police-(who were present at those two March For Truth protest marches almost in what appeared to be an escort role). Nor do the participants in the March 3, 2017 protest marches appear to be concerned about the possibility of retaliation from any onlookers. And that's a good thing.

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SHOWCASE VIDEOS
Example #1: March For Truth front of Manhattan



Trending Live, Published on Jun 3, 2017 [38.40 minutes long]
-snip-
These chants are given in the order of their appearance in the video, with time stamps given to the first time that the chant is used and perhaps some other times that it is chanted. The type of chant (unison or call & response and the time the chant appears in the video are given in brackets. My comments about the chant are given in italics.

I've numbered these chants for referencing purposes only.

1. unison chant-[begins around .051 in the video]
"Hey hey
Ho Ho
Donald Trump has got to go"
-snip-
Another form of this "Hey Hey Ho Ho" chant was used around 19:18 in this video.
"Hey hey ho ho treason lies have got to go."

**
2. [call & response chant begins around 1:46]

Call: "[indecipherable] are under attack, what do you do?"
Response - "Stand up. Fight back"

This pattern repeats several times with the first part indecipherable. I think one of the calls is

Call -“When the constitution is under attack what do we do?
Response: "Stand up. Fight back."

This line is heard much clearer

When our LGBTQ folks attending a concert are under attack, what do we do?
Response: Stand up. Fight back"
-snip-
This chant was used other times in this video. Other examples of this chant were:
[around 7:56 in the video]
Call - "When democracy is under attack what do we do?"
Response - "Stand Up, Fight back".

[another form of this chant that begins around 8:19]
Call - "What do we do when we’re under attack?"
Response- "Stand up fight back."

**
3. [unison chant, begins around 4:23]
"The people united will never be defeated."

**
4. [unison chant begins around 5:41]
"What’s the truth? We want the truth. We want the truth."
one person chants this, but the chant doesn't "take", i.e. no one else chants along and the person who began the chant stops chanting..

**
5. [call & response chant, begins around 6:08]
Call- "Tell me what democracy looks like."
Response- "This is what democracy looks like."

repeat these words several times and then change the words to something else such as those below

Call- "Show me what America looks like"
Response "This is what America looks like"

Call - "Show me what New York City looks like"*
Response- "This is what New York City looks like".*
-snip-
Later in the video, someone figured out that "New York City" was too many words to maintain the beat, and so that was changed to "New York", which works much better.

**
6. [call & response chant, begins around 6:36]
Call-"Whose democracy?"
Response- "Our democracy"

**
7. [call & response chant, begins around 7:15}
Call- "Whose planet?"
Response - "Our planet"

**
8. [unison chant, 9:01]
"Truth. Not lies"

**
9. [call & response chant, around 10:10]
Call- 'We want the truth."
Response- "Show us the truth."
-snip-
The second line was also given in this video as "Tell us the truth".

**
10. [call & response, 16:00 in this video]
Call - "Stand up!"
Response- "Fight Back!"
-snip-
This form of the "Fight back" chant appeared to me to be the most often used chant in this video. Note its other form that is given as #2 above.

**
11. [unison chant, around 20:00 unison chant
"Resist! Resist! Resist!"

**
12. [unison chant, around 20:53]
"Say it loud
Say it clear
Immigrants are welcome here."

These words was repeated several times, then that group of marchers chanted

"Say it loud.
Say it clear
Muslims are welcome here."

**
13. unison chant, around 26:13]
"USA! USA! USA!"

**
14. [unison chant, around 26:35]
"We will not go away
Welcome to your everyday."

**
15. unison chant, 34:40
"No hate
No fear
Immigrants are welcome here"

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Example #2: Anti-Donald Trump protesters gather for a "March for Truth" rally in Chicago



Mrs Ann Published on Jun 3, 2017
-snip-
The actual march begins around 39:11 in this video.

These chants are given in the order of their appearance in the video, with time stamps given to the first time that the chant is used. The type of chant (unison or call & response and the time the chant appears in the video are given in brackets. My comments about the chant are given in italics.

I've numbered these chants for referencing purposes only.

1. [unison chant around 39:13 in this video]
"No Trump, no KKK, no fascist USA
-snip-
As part of this chant was indecipherable to me, I googled "no trump no kkk chant" to find out the missing word or words to this chant. Here's what I found:
From https://www.theguardian.com/us-news/shortcuts/2017/jan/31/no-trump-no-kkk-no-fascist-usa-green-day-punk-chant-protest-soundtrack
"‘No Trump! No KKK! No fascist USA!’ – the punk chant that soundtracks the protests
A 1980s protest against racism in Texas has been brought back to life – and on to the streets – with help from Green Day

Dorian Lynskey
Tuesday 31 January 2017 08.31 EST Last modified on Friday 19 May 2017 09.49 EDT
There were many chants at the anti-Trump demonstration outside Downing Street on Monday night, but one was particularly satisfying. It has a bracing staccato energy, like a weaponised cheerleader chant, and it has already been heard at protests across the US: “No Trump! No KKK! No fascist USA!” Try it. It feels good.

The chant’s popularity took off at the American Music awards last November, 12 days after the US election. Midway through a furious performance of their single Bang Bang, the politically minded band Green Day broke the song down to a tense dirge and frontman Billie Joe Armstrong barked the chant six times. “We didn’t rehearse it,” he said later. “We’re just as much in shock as everybody else is about this.” He also clarified that the chant originated more than 30 years earlier with the band MDC."
-end of quote-

**
2. [unison chant, around 44:31]
"Hey Hey
Ho Ho
Donald Trump has got to go"
-snip-
This chant was repeated at 46.37.

**
3. [call & response chant, 45:23]
Call - "Tell me what democracy looks like"
Response - "This is what democracy looks like"
-snip-
These words were chanted for some time without any other "verses".

**
4. [call and response] Sorry I didn't write down the time for this chant
Caller – "What do we want?"
Response- Truth !
Caller – When do we want it?
Response – Now!"
-snip-
This chant has the same pattern as the 1960s civil rights chant "What do we want?/ Freedom!/When do we want it?/ Now!"

**
5. [unison chant] Sorry I didn't write down the time for this chant
"Hands too small
Can’t build the wall"
-snip-
Hands too small" refers to Donald Trump."

Some chanters clapped along with this chant.

**
6. [call & response chant, around 54:36]
Call – a man’s voice"Her body. Her choice."
Response – "Her body. Her choice."
-snip-
This chant is in support of a female's right to birth control.

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Mahalia Jackson - "Trouble In My Way" (But That Don't Bother Me") sound file & lyrics

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Edited by Azizi Powell

This pancocojams provides information about Mahalia Jackson and showcases a YouTube sound file of Mahalia Jackson's recording of "Trouble In My Way" (But That Don't Bother Me"). The lyrics for that song are also included in this post.

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

All copyrights remain with their owners.

Thanks to Mahalia Jackson for her musical legacy. Thanks to all those who are quoted in this post and thanks to the publisher of this examples on YouTube.

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INFORMATION ABOUT MAHALIA JACKSON
From https://en.wikipedia.org/wiki/Mahalia_Jackson
"Mahalia Jackson …; October 26, 1911 – January 27, 1972) was an American gospel singer. Possessing a powerful contralto voice,[2] she was referred to as "The Queen of Gospel".[1][3][4] She became one of the most influential gospel singers in the world and was heralded internationally as a singer and civil rights activist.[5] She was described by entertainer Harry Belafonte as "the single most powerful black woman in the United States".[5] She recorded about 30 albums (mostly for Columbia Records) during her career, and her 45 rpm records included a dozen "golds"—million-sellers.
"I sing God's music because it makes me feel free", Jackson once said about her choice of gospel, adding, "It gives me hope. With the blues, when you finish, you still have the blues."[6]

[...]

A writer for Down Beat music magazine stated on November 17, 1954: "It is generally agreed that the greatest spiritual singer now alive is Mahalia Jackson."[25] ...

With her mainstream success, Jackson was criticized by some gospel purists who complained about her hand-clapping and foot-stomping and about her bringing "jazz into the church”...

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LYRICS: TROUBLE IN MY WAY*
(as sung by Mahalia Jackson)

I used to always wonder why
All good fortune always pass me by.
But now I’m blessed
That don’t bother me.
Just to know He saved my soul
He put my name down on
Heavenly roll.
Trouble Lord, it's trouble Lord, keep getting in my way.
Oh! But that don’t bother me.

Chorus
Trouble, Lord trouble, Lord, keep getting in my way.
That don’t bother me
Trouble Lord, trouble Lord, keep getting in my way
That don’t bother me.

I don’t understand
How He hold this whole world right in the palm
of His hand
It's trouble Lord, it’s trouble, Lord keep getting in my way.
Oh, but that don’t bother me.

And now, when things get in my way
I fall down on my knees and I pray.
And I don’t let the devil bother me.
And all the while I’m growing in His grace
And I know to heaven I’ll stay.
It's trouble, it's trouble keep getting in my way,
Lord, but that don’t bother me.

Ooh! Trouble Lord, trouble, Lord
Keep getting in my way.
That don’t bother me.
Oh! Trouble, Lord, trouble, Lord
keep getting in my way
That don’t bother me.
I know that, wooh, I understand
And He holds this whole world right in the palm
of His hand.
Trouble Lord, trouble, Lord keeps getting in my way
But that don’t bother me.

-snip-
*This is my transcription of this song from the recording on YouTube. Additions and corrections are welcome.

The line "It's trouble, Lord" may be "This trouble, Lord."

The interjections "wooh", "ooh!" and "oh" are sometimes included in this transcription, but I don't believe that these interjections necessarily need to be sung in those lines.

I'd love to learn more about this song (i.e. who composed the lyrics and the music, and when.) If you know this information, please share it in the comment section.

Note: This is not the same African American Gospel song as "Trouble In My Way (I Have To Cry Sometimes.)
A pancocojams post about that song will be published ASAP and the link to that post will be added here.

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SHOWCASE EXAMPLE: Mahalia Jackson - Trouble In My Way



AdolescentFunk, Uploaded on Feb 18, 2010

From the Sunday Morning Prayer Meeting With Mahalia CD © Sony , which contains unreleased recordings from 1956 - 1965.
-snip-
Here are a few selected comments from this video's discussion thread, with some explanatory editorial comments

1. Kendall King, 2012
"There is no one better. Truly classic!"

**
2. receive JESUSCHRIST, 2012
"this song makes me want to shout, dance, twirl all around. It has a little jazz to it. Yeah!!!"
-snip-
"Shout" here may mean "speak with a loud voice". However, "shout" (i.e. "ring shout") was a "transcendent religious ritual, first practiced by African slaves in the West Indies and the United States, in which worshipers move in a circle while shuffling and stomping their feet and clapping their hands. Despite the name, shouting aloud is not an essential part of the ritual."
-snip-
later, the religious meaning of "shout" was "to feel the Holy Spirit" (and as a result, to "get happy", "do the Holy dance", "speak in tongues", etc.)
Click https://pancocojams.blogspot.com/2013/05/african-american-ring-shouts-origins.html for more information about the term "shout" and "ring shout".

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Delores Randallm 2013
"Old school gurl living in a #21st century world. Let's go to #church virtual family."
-snip-
"Old school" here is a positive reference for something or someone from the past.

"gurl" is a purposely misspelling of the word "girl" to conform to that word's downhome (Black Southern United States) pronounciation.

In this comment "Let's go to church" doesn't refer to an actual church building, but means replicating the experience of worshiping God and feeling the Holy Spirit where ever you are.

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knowledgeincubator, 2013
"Mahalia Jackson is, and always will be, The Queen of Gospel."

**
Reply
RaineSky1984, 2013
"The best. None compares to her. When she sang she SANG."
-snip-
The second use of the word "sang" in this sentence is an African American Vernacular English expanded [usually present tense] meaning of "sang" which means "to sing very well, particularly to sing soulfully very well".

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Visitor comments are welcome.



Examples Of The Cheer "Razzle Dazzle" (with comments & explanations of verrnacular terms)

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Edited by Azizi Powell

"Razzle Dazzle" is a bragging, confrontational cheer which appears to be quite popular with American (United States) children's cheerleading squads.

It's my belief that "Razzle Dazzle" and many other children's cheerleading cheers originated as an African American foot stomping cheer. Footing cheers are a sub-set of cheerleader cheers with a distinguishable textual pattern and (at least originally) a characteristic performance activity. These foot stomping cheers were (are?) usually informally performed by girls ages 5-12 years old. By "informally" I mean that these cheers were performed for recreational purposes only with no formal audience and apart from any formal squad/team that is affiliated with a school or community athletic team.

This pancocojjams post provides information about foot stomping cheers and presents several text (word only) examples of the foot stomping cheer "Razzle Dazzle". Explanations about some of the vernacular terms that are included in these cheers are also included in this post. In addition, a video of "Razzle Dazzle" cheer is also included in this post.

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

Thanks to all those who are shared examples of this cheer and all those who are quoted in this post.

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COMMENTS ABOUT THE CHEER "RAZZLE DAZZLE" AND SIMILAR CHEERS
"Razzle Dazzle" is a self (or later) group bragging, confrontational cheer. I don't know when this cheer was first performed, but my guess is that it was in the late 1970s/early 1980s. I base this guess on four things:
1) The earliest known date for what I refer to as "foot stomping cheers"; 2) The date of the hit Broadway song "Razzle Dazzle"; 3. The earliest date (that I've collected) for the very similar (in structure and words) foot stomping cheer "Hula Hula", and 4. The examples of "Razzle Dazzle" American vernacular terms from the late 1970s and the 1980s.

1.
"Foot stomping cheers" is the term that I coined in 2000 for a relatively new category of children's recreational play that is (was?) performed mostly by preteen and younger girls and that involves chanting and choreographed foot stomping combined with (individual) clapping movements.

I believe that foot stomping cheers are an updated form of African Americans' (and other Americans') "show me your motion" circle games. "Going To Kentucky" is a widely known example of a "show me your motion" circle game."Foot stomping cheers" is the term that I coined in 2000 for a relatively new category of children's recreational play that is (was?) performed mostly by preteen and younger girls and that involves chanting and choreographed foot stomping combined with (individual) clapping movements.

The 1978 vinyl/LP record Old Mother Hippletoe-Rural And Urban Children's Songs (New World Records ‎– NW 291) is the earliest recording or print documentation that I have found of a new style of children's recreational chanting and performance activity that I have termed "foot stomping cheers". "Foot stomping cheers" have a textual structure and traditionally* have a performance style* that is distinct from hand clap rhymes, jump rope rhymes, other cheerleader cheers, and other categories of children's recreational rhymes. That record featured four examples of African American girls from Washington D. C. performing cheers in 1973-1975.

Foot stomping cheers "traditionally"* have a signature group call & consecutive soloist response structure. "Group call" means that the entire group (or the group minus the first soloist) is heard first. "Consecutive soloist"' means that in that cheer is immediately repeated from the beginning so that every member of the squad can an opportunity to be the soloist. Each soloist's performance is the same length. Some foot stomping cheers have several group calls followed by brief responses by the soloist before the soloist has a somewhat longer verbal and/or movement response. Other foot stomping cheers have one or two group calls followed by the soloist's verbal and/or movement response.

*By traditional, I mean the way that foot stomping cheers were performed by African American girls in the 1980s and 1990s, and perhaps in the early 2000s. I've noticed changes in the way that these cheers are performed as they become more mainstream (i.e. are performed by White or predominately White cheerleader squads.)

Click https://pancocojams.blogspot.com/2016/06/examples-of-hula-hula-who-think-they.html for more information about "foot stomping cheers".

2.
I believe that the cheer title "Razzle Dazzle" was lifted from the song "Razzle Dazzle" that is featured in the 1975 hit Broadway musical Chicago show (and later, the 2002 movie) "Chicago". Here's a quote from http://www.songfacts.com/detail.php?id=16609 about the song "Razzle Dazzle".
"Like the rest of the score from the 1975 musical Chicago, "Razzle Dazzle" has music by John Kander and lyrics by Fred Ebb. This is a tongue-in-cheek song performed by the lawyer Billy Flynn to his client, accused murderess Roxie, explaining how to bamboozle a jury and make a silk purse out of a sow's ear to secure the acquittal of an obviously guilty defendant. Or maybe just to boost her confidence.
In the original Broadway production it was performed by Jerry Orbach, and in the 2002 film by Richard Gere."

The term "razzle dazzle" is both a noun and an adjective. Two adjectival definitions are a good fit for (what I think is) the meaning of "razzle dazzle") in children's cheers:
adjective
"impressively opulent or decorative, especially in a new way; showy; flashy; eye-catching:
a shopping center lined with razzle-dazzle boutiques.

"energetic, dynamic, or innovative":
razzle-dazzle technology; a razzle-dazzle sales pitch.

That said, girls performing the "Razzle Dazzle" cheer, probably aren't focused on the meaning of the term "razzle dazzle" other than as a "cool" rhyming term, and may not know what "razzle dazzle" means.

3.
"Hula Hula" is a foot stomping cheer that is very similar in words and textual structure, (and probably also performance) to the "Razzle Dazzle" cheer.

The earliest example of "Hula Hula" that I found is from Barbara Michels' and Bettye White's 1983 book Apple On A Stick, The Folklore of Black Children. The "rhymes" that are featured in this book are from Houston, Texas. Here's that cheer (which was categorized along with other examples in that book as a "rhyme")
Hula hula
Now who thinks they bad
Hula hula
Now who thinks they bad
I think I’m bad
‘Cause Acie my name
And toys is my game
Take a sip of my potion
And dance in slow motion
Uh-huh
She thinks she bad
Baby baby don’t make me mad
Un-huh
She thinks she cool
Baby baby don’t act a fool
Uh-huh
She think she sweet
Sweetest person you ever meet
Uh-huh
She thinks she fine
Baby baby I’ll blow your mind
-Barbara Michels and Bettye White, editors: Apple On A Stick, The Folklore of Black Children (Putnam Juvenile; First Edition November 11, 1983
-snip-
I also collected an example of "Hula Hula" in the early to mid 1980s from my daughter and her friends (in Pittsburgh, Pennsylvania). Click the pancocojams link that is given above for that example, for other examples of "Hula Hula", and for examples of some other cheers (including one example of "Razzle Dazzle") that are similar to "Hula Hula".

https://pancocojams.blogspot.com/2016/06/examples-of-hula-hula-who-think-they.html includes several other text examples of "Hula Hula" as well as a YouTube video of two sisters saying this cheer.

Although I have heard examples of "Hula Hula", I've never heard any examples of "Razzle Dazzy". However, the very close textual and structural similarities between these cheers lead me to believe that "Razzle Dazzle" cheers probably sound the same as "Hula Hula" cheers.

4. As I suggested earlier in this post, the title "Razzle Dazzle" is probably lifted from the song "Razzle Dazzle" in the 1975 Broadway show Chicago. In addition to that vernacular term, examples of "Razzle Dazzle" cheers usually include such American Vernacular English terms from the late 1970s and early 1980s, as "macho" (from the Village People's Pop song "Macho Man" which was released on February 27, 1978 and the term "fly" which was popularized by The Boogie Boy's 1985 Hip Hop song "A Fly Girl".

Additional explanations about some vernacular terms that are included in examples of "Razzle Dazzle" are found below.

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TEXT EXAMPLES OF "RAZZLE DAZZLE"

I. EXAMPLES FROM MY COCOJAMS.COM WEBSITE
These four examples of "Razzle Dazzle" were posted to my (no longer active) cocojams.com website. I chose not to publish the last names of people submitting material to that cultural website because it appeared that so many of the people posting material on that site were children and preteens.

That cocojams website transferred all "lined" entries into sentences. I've reformatted this example and the following three examples in this post (back) into a (cheer/poetry) lined structure.

These examples are given in chronological order according to the date that they were published online. Numbers are assigned to these examples for referencing purposes only.

RAZZLE DAZZLE (Version #1)
"I hate these cheers, they are for like the 1st grade, here is a good chant:

Razzle Dazzle, razzle dazzle
hi we are the Hornets and we are number one
and in this razzle dazzle has just began
so if you see us step aside cause we dont take no jive,
razzle dazzle razzle dazzle
Oh she thinks she bad,
lord honey we know we're bad
our skirts are green our shirts are white,
step to us be ready to fight,
razzle dazzle razzle dazzle."
-Cassie and Becca ; 5/22/2006, cocojams.com

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RAZZLE DAZZLE (Version #2)
"*=one clap razzle dazzle (***)
razzle dazzle (***)
our names are cats (or any other team)
we're number one
our reputation has just begun.
so if u see us just step aside,
cats (or other team) baby dont take no jive.
(GROUP 1) ohhh they think their bad.
(GROUP 2) correction baby we know we're bad.
(GROUP 1) ohh they think their hot.
(GROUP 2) ladies....PLEASE!!! "
-Hannah, 9/25/2006, cocojams.com

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RAZZLE DAZZLE (Version #3)
"Razzle Dazzle (all the girls are in a circle, one girl goes in the middle to sing)
my name is ____ i'm number 1,
my razzle dazzle has just begun
so if you see me better step aside
cause this bad girl don't take no jive
(everybody else in the cirle:) ooh. she thinks she's bad
correction baby, i KNOW i'm bad
ooh. she thinks she's fine
fine enough to blow YOUR mind
razzle dazzle uh huh uh huh
razzle dazzle uh huh.
WOO WOO razzle dazzle uh huh
uh huh razzle dazzle uh huh.
WOO WOO (repeat with everybody in the circle) "
-liz ; 6/22/2007, cocojams.com

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RAZZLE DAZZLE (Version #4)
"Hiya great site! Here is a cheer: (Where it says Emily change it to your name)

Razzle Dazzle(clap clap clap) Razzle Dazzle(clap clap clap)
My name is Emily
I'm number one
My Razzle Dazzle has just begun
So when you see me step aside.
You know Emily Don't take no Jive
(Everybody) OOh She thinks she's bad
(person speaking previously) No, baby I know I'm bad."
-Emiii; 5/21/2007, cocojams.com
-snip-
Click https://pancocojams.blogspot.com/2016/09/foot-stomping-cheers-alphabetical-list_22.html
for an alphabetical listing of foot stomping cheers beginning with the letters (P-Z). The links for four other pages of foot stomping cheer examples are given on that page.

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II. AN ONLINE EXAMPLE AND COMMENTS ABOUT THE "RAZZLE DAZZLE" CHEER FROM STACKEXCHANGE.COM
From https://literature.stackexchange.com/questions/1634/what-does-m-o-in-the-razzle-dazzle-cheer-song-mean [asked] Christian Feb 13 (2017); [edited] Skooba, March 21 (2017)

"I would like to know what a particular line in the following cheer poem is a reference to.

Razzle Dazzle

Leader: My name is (your name)
I'm number one
My reputation has just begun
So if you see me
Step aside
Cause I ain't got the time

Response: Ooh! She thinks she's bad!

Leader: Shut up girls, don't make me mad!

Response: Ooh! She thinks she's cool!

Leader: Cool enough for all these fools!

Response: Ooh! She thinks she's fine!

Everyone: Fine enough to M O
Fine enough to macho
Fine enough to hula hoop
Fine enough for all yall fools!

Razzle Dazzle (3 claps)
Razzle Dazzle (3 claps)

The line I particularly do not understand is "Fine enough to M O" and "Fine enough to macho." This cheer poem is extremely common in summer camps and I've heard it so many times, but no one seems to know what "M O" is."
-snip-
Here's a link to an example of "Razzle Dazzle" that might have been the source for that example of that cheer: http://ohevbbg.weebly.com/bbg-cheers.html.

As of the date of this pancocojams post, one respondent referred the person asking these questions to "song lyrics". Although it wasn't mentioned, presumably that referral was for the Broadway song "Razzle Dazzle".

Another person responded by writing that the words to cheers "might have any number of iterations and variations". While that's true, it doesn't explain what "Fine enough to M O" and "Fine enough to macho." mean.

A third person responded by asking what country this cheer is from and a fourth person shared a link to a camp version of "Razzle Dazzle" which includes the term "Mambo". That example is given below.

All of these comments were written in February 2017 or March 2017 under the tag "oral tradition".

Read my comments below about the meanings of those terms and some other vernacular terms in some Razzle Dazzle cheers.

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III. AN ONLINE EXAMPLE OF "RAZZLE DAZZLE" FROM CAMPKESEM.ORG
From http://campkesem.org/wp-content/uploads/2014/12/Camp-Kesem-Stony-Brook-Winter-Newsletter1.pdf
"Camp Song “Razzle Dazzle”
My name is _____ I’m number 1
My reputation has just begun
So if you see me just step aside
cause I
don't take no jive!
(All):
OO (S)HE THINKS (S)HE'S COOL
(One): Cool enough for all y'all fools
(All): OO (S)HE THINKS (S)HE'S BAD
(One): Hush now, don't make me
mad
(All):
OO (S)HE THINKS (S)HE'S FLY
FLY ENOUGH TO MAMBO
FLY ENOUGH TO MACHO
FLY ENOUGH TO HOOLA HOOP
FLY ENOUGH FOR ALL Y'ALL FOOLS
(Razzle Dazzle (*clap clap clap*) ) X2
Heeeeey.... ______
(call on next person to be "it")"

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IV. EXAMPLE OF RAZZLE DAZZLE FROM AN ONLINE SITE FOR CHILDREN'S CHEERLEADERS CHEERS AND CHANTS
From http://dragoncheertx.tripod.com/id8.html (retrieved June 6, 2017)
Razzle Dazzle [title]
"Fire it up and up And up and up and up Razzle Dazzle, razzle dazzle, raz-zle, daz-zle
My name is Lindsey and I'm lots of fun
Score 6 And my razzle dazzle has just begun
Touchdown, Dragons, Let's score 6 You'll feel the groove down to your feet
My dragon pride just can't be beat
Ooh, she thinks she's bad
Correction, I know I'm bad
Ooh, she thinks she's sweet
Sweetest girl you'll ever meet!"
-snip-
Here's a link to a similar version of "Razzle Dazzle" from another cheerleader cheer site: https://www.thoughtco.com/hello-cheers-for-cheerleaders-588630

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AFRICAN AMERICAN VERNACULAR ENGLISH TERMS IN "RAZZLE DAZZLE" CHEERS
These definitions are given in alphabetical order. The definitions given are in the context of this cheer, and often have other meanings in standard English and in African American Vernacular English.

1. "bad" (adjective) = means "very good"

2. "blow your mind" = really impress you

3. "cool"= (adjective) hip, up to date with the latest African American urban culture (including language & fashions)

4. "fine" (adjective) = very good looking

5. "fly" (adjective) = a person [but usually a female] who is looking good and is up to date with the latest African American urban culture (i.e. The Boogie Boys' 1985 hit song "Fly Girl").

6. "hot" = popular

7. "jive" = (noun) something that is nonsensical, foolish, lies, unsubstantial, fake, cheap, meaningless; or someone who talks nonsense, is fake, lies, talks big but can't back it up etc.

"don't take no jive" (term) = in the context of this cheer, [a person who] "don't take no jive" (doesn't take any jive) is one that won't allow anyone to "mess" with her (or him) by lying to her, or disrespecting her, and/or trying to trick her, or otherwise not taking her seriously. Anyone who tries to do any of these things will suffer negative consequences.

8. macho = (adjective) = the ability to win any physical confrontation; from the Pop song "Macho Man":
My guess is that the term "M.O." that is found in some versions of "Razzle Dazzle" cheers is a folk processed form of this vernacular meaning for "macho".

9. "razzle dazzle" = actions that are taken that really impress people; also "razzle dazzle" is a highly complimentary description of the way a person looks (including the way they move, i.e their cheerleading performance and energy

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Visitor comments are welcome.

Dottie Peoples - "On Time God" (video, lyrics, comments)

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Edited by Azizi Powell

This pancocojams post provides information about the Gospel song "On Time God" and showcases a YouTube video sound file of of Dottie Peoples and other members of the assembled Gospel legends singing Dottie Peoples' award winning song "On Time God". "The Gospel legends" are noted African American Gospel singers/musicians.

The lyrics for "On Time God" are also included in this post along with selected comments from two YouTube viewer discussion threads about this song.

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

All copyrights remain with their owners.

Thanks to Dottie Peoples for her musical legacy. Thanks to all those who are quoted in this post and thanks to the publisher of this examples on YouTube.

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INFORMATION ABOUT THE TERM "ON TIME"
The Gospel song "On Time God" is based on the African American folk saying "God may not come when you want Him [to], but He's never late."

"On Time" means [someone doing something or something occurring] not too early or too late, but exactly at the right time.

An American folk saying that reinforces the view that people shouldn't worry about when something will happen is "Patience is a virtue".

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INFORMATION ABOUT THE GOSPEL SONG "ON TIME GOD"
According to her Wikipedia page https://en.wikipedia.org/wiki/Dottie_Peoples"On Time God" was composed by Dottie Peoples (born August 12, 1950 in Dayton, Ohio).

Here's another excerpt from that Wikipedia page:
"Peoples's 1995 album, On Time God, would change her role in gospel music. At the Stellar Awards, she won Female Vocalist of the Year for traditional music, Choir of the Year for traditional music, Album of the Year, and Song of the Year for "On Time God". That same year, Peoples would receive a Vision Award by Bobby Jones Gospel of Black Entertainment Television and Gospel Today Magazine. ``On Time God would also win the Atlanta Gospel Choice Award for Song of the Year."

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LYRICS- ON TTME GOD
(Dottie Peoples)

Chorus:
Lead: He's an on time God, Yes he is Oh.........
Choir: On time God...... Yes he is
Lead: Job said
Choir: He may not come when you want him
Lead: But He'll
Choir: Be there right on time
Lead: I'll tell ya he's an
Choir: On time God, yes he is

Lead: You can ask the children of Israel, trapped at the red sea, by that mean old Pharoah, and his army. They had water all around them, and Pharoah on their track. From out of nowhere, God stepped in and cut a highway, just like that, now let me tell you he's an...

(Chorus)

Lead: You can ask the five thousand, hungry souls he fed, on the banks of the river, with two fish and five loaves of bread, what a miracle, he performed for the multitude, Oh what he did, way back then he'll do today for me and you.

Repeat Chorus

Lead: He's on time
Choir: On Time

Repeat as directed

Source: https://www.lyriczz.com/lyrics/dottie-peoples/38845-he's-an-on-time-god/
-snip-
Here's some information about I don't know who composed the Gospel song "On Time God" and when it was composed. If you know this information, please share it in this post's comment section below or in the YouTube video discussion thread. Thanks!

SHOWCASE VIDEO: On Time God - Gospel Legends Volume 2 soloist Dottie Peoples



Pannellctp Traditional Gospel Music, Uploaded on Apr 26, 2011
-snip-
Here are some comments from this video's discussion thread. Comments are given in chronological order based on their publishing date, with the oldest comments given first, except for replies. Numbers are assigned for referencing purposes only.

1. audreT45, 2012
"THANK YOU SO MUCH FOR POSTING THESE VIDEOS. I LOVE THE OLD GOSPEL"

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Reply
2. Michelle D, 2012
"I AGREE I LOVE THE OLD SONGS IT REMINDS ME OF TGHE SMALL CHURCHS THAT I ATTENDED IN MISSISSIPPI"

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3. HunnyLuv82, 2012, 2012
"Charles Fold was in the back like "Really, y'all gonna do the slow clap... I guess." LOL.... We miss You Charles!!!"

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4. Genabeadirect, 2012
"is it me or does this seem extremely slow???? And the clap on the opposite beat than we're accustomed to... yeah.. I know.... but it was very distracting to me..."

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Reply
5. Darius Witherspoon, 2013
"To be honest, it's not slow at all - The accents are on the opposite beats. If you listen to the original, the tempo hasn''t changed - just the rhythm style. That's Dottie...A good drummer can switch up the style without losing the tempo...I played this song with my choir on an outing, and a guest drummer kicked it off like that. The director gave me funny looks, but it wasn't technically wrong, just different - like Shirley Caesar's "I Feel Like Praising, Praising, Him" - strikingly similar"

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6. Vernard Mays, 2013
"This is one of my fav songs....God knows I sing the mess out of this at church!!!!!!"
-snip-
"sing the mess out of [a song] = sing it a lot (implying that the singer really likes this song)

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7. Tina Hubbard, 2015
"Mother Dottie stay sharp!!!! Sing it!"
-snip-
"Mother" is a title of respect for women-particularly older women- in the Church Of God In Christ churches and some other Black American churches.

In this comment the word "sharp" is a highly complimentary description of a person's fashion style (clothing, hair, shoes etc.).

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8. TheValvacious, 2015
"GURRRL you know you can sang. Every time you come to visit at my church, I am always seating in the front. LUV YOU DOTTIE!!!
-snip-
"Gurrrl" = "girl". That word is spelled that way on purpose to evoke the flavor (spirit) of the "downhome" (Black Southern) way that "girl" was/is pronounced.

In contrast "luv" (love) is a contemporary (perhaps) African American originated spelling of the word "love".

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9. Melody Sanger, 2016
"HE'S never late!!!!"

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9. shoeladyt, 2016
You can not rush God and you show nuff can't slow Him down, He just on time.

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10. nyekurity, 2016
"Who is the second soloist?"

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Reply
11. Del Knight, 2017
"Paul Jones is the second artist."

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12. Sabrina Freeman, 2016
"He is a on time God yes he there when my money is funnie and my change is strange and my friends are few I depend on Jesus"
-snip-
"My money is funnie [funny], my change is strange, and my friends are few" sounds like an African American folk saying, but I don't recall ever saying it, hearing it, or seeing it in print before.

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13. Angela Singleton, 2016
"GOD IS ALWAYS RIGHT ON TIME!"

**
14. Marie Iacullo, 2016
"He's always on time."

**
15. Jose CoronA, 2017
"I lOVE THIS!!! I FEEL THE FIRE!!"
-snip-
"Fire" here is a referent for the presence of the Holy Ghost (Holy Spirit).

**
16. Quida Clay, 2017
"Take me back to the day when you song along with the choir you could feel the holy Spirit in the church."
-snip-
Here are a few selected comment another YouTube example of Dottie Peoples singing "On Time God" [sound file] https://www.youtube.com/watch?v=kmzuekCLqZM Dottie Peoples entitled, "He's an on time God.
icelady107,Published on Oct 6, 2012

This is track 3 from the 1994 CD entitled "He's an On Time God".

1. Rodney Wise, 2016
"He's never too early. He's never too late. HE'S ALWAYS ON TIME. GOD DOES EVERYTHING IN THE FULLNESS OF TIME."

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2. Sandra Watson, 2016
"GOD IS ALWAYS ON TIME,HE MAY NOT COME WHEN YOU WANT HIM BUT HE'S BE THERE RIGHT ON TIME"

**
3. Johnie Porterfield, 2016
"AMEN!!!! B THERE RIGHT ON TIME....."

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Visitor comments are welcome.

Lloyd Price & Little Richard - Lawdy Miss Clawdy (information, lyrics, YouTube examples)

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Edited by Azizi Powell

This pancocojams post provides information about and lyrics for the hit 1952 Rhythm & Blues song "Lawdy, Miss Clawdy".

This post also showcases a sound file of Lloyd Price singing his composition "Lawdy Miss Clawdy" and a video of Lloyd Price & Little Richard performing that song.

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

All copyrights remain with their owners.

Thanks to Lloyd Price and Little Richard for their musical legacies. Thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
-snip-
The subject of this post was inspired by former FBI Director James Comey's "Lordy, I hope there are tapes" statement during his Senate Intelligence hearing (June 8, 2017). That statement was in reference to Donald Trump's tweet that he taped the dinner conversation that he had with Comey in January 2017.
http://www.cbsnews.com/news/james-comey-calls-for-release-of-memos-possible-recordings-of-white-house-conversations/

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INFORMATION ABOUT THE SONG "LAWDY MISS CLAWDY
From https://en.wikipedia.org/wiki/Lawdy_Miss_Clawdy
"Lawdy Miss Clawdy" is a rhythm and blues song by New Orleans singer/songwriter Lloyd Price that "grandly introduced The New Orleans Sound".[1] It was first recorded by Price in 1952 with Fats Domino and Dave Bartholomew during his first session for Art Rupe and Specialty Records. The song became one of the biggest selling R&B records of 1952 and crossed over to other audiences. "Lawdy Miss Clawdy" inspired many songs and has been recorded by a variety of artists.

Background
While still in high school, Lloyd Price was working for New Orleans radio station WBOK.[2] He provided jingles (music for radio advertisements) for various products, including those hawked by disc jockey James "Okey Dokey" Smith. One of Smith's catch phrases was "Lawdy Miss Clawdy",[3] which he used in ad slogans such as "Lawdy Miss Clawdy, eat Mother's Homemade Pies and drink Maxwell House coffee!"[4] Price's accompanying tune proved popular with the radio audience and he developed it into a full-length song.[2]...

"Lawdy Miss Clawdy" follows an eight-bar blues progression and has been notated in 12/8 time in the key of A♭.[9] The song's melody is derived from Fats Domino's 1950 hit "The Fat Man",[10] which he explained "came from an ol' blues tune called "Junkers Blues".[11] Price's song also features most of the same backing musicians as Domino's song.[12]...

Releases and charts
Specialty Records released "Lawdy Miss Clawdy" in April 1952 and on May 17, 1952 it entered Billboard's R&B chart, staying there a total of 26 weeks.[13] The song reached number one, where it spent seven weeks.[13] According to Art Rupe, the single sold nearly one million copies and record distributors reported that it was selling well outside of the usual R&B market,[5] but it did not appear in Billboard's pop charts.[13] "Lawdy Miss Clawdy" was also one of the top records for 1952 and the 1950s decade.[14]"...

****
LYRICS- LAWDY MISS CLAWDY
(music and lyrics by Lloyd Price)

Well now lawdy, lawdy, lawdy, Miss Clawdy
Girl, you sure look good to me
Well, please don't excite me baby
Know it can't be me

Because I gave you all my money
Girl, but you just won't treat me right
You like to ball in the mornin'
Don't come back till late at night

I'm gonna tell, tell my mama
Girl I'm gonna tell what you doing to me
I'm gonna tell everybody
That I'm down in misery

Well lawdy, lawdy, lawdy, Miss Clawdy
Girl you sure look good to me
You just wheel and rockin' baby
Just as fine as you can be

Well so bye, bye-bye, baby
Girl, I won't be comin' no more
Bye darlin', I'm dying
Down the road I go

Source: https://genius.com/Lloyd-price-lawdy-miss-clawdy-lyrics
-snip-
"Lawdy" is an African American Vernacular English form of the word "Lord" (meaning "God"). In the context of this song, "Lawdy" means "My Lord" and "My Lord" means "My Goodness".

"Clawdy" is probably a nickname for "Claudine".

I can recall saying -and hearing other people say - "Lawdy Miss Clawdy" when I (and they) really meant "Oh, my goodness" or a profane way of saying the same thing.

****
YOUTUBE EXAMPLES
Example #1: Lloyd Price "Lawdy Miss Clawdy"



blacksoul1969, Uploaded on Apr 15, 2008

"Lawdy Miss Clawdy" is a song by Lloyd Price. It was first recorded by Price at the New Orleans recording studio of Specialty Records in March of 1952. It was released under the Specialty label in April and was number one on the Billboard rhythm and blues chart for seven weeks and stayed on the chart for six months. An 8-bar blues with a rolicking piano backup, with the words written by Price, but the melody adapted from the older Junker Blues (Champion Jack Dupree, 1941), it became the biggest rhythm and blues hit of the year and sold over one million copies by crossing over to the white record-buying market. It was the first hit from New Orleans to be accepted into rock and roll.The word lawdy means lord.
-snip-
This is a re-recording of the original song which may be from the 1970s (as indicated in a comment from another clip of this same song.) Click https://www.youtube.com/watch?v=OYNluUqmJew for a sound file of the original record which is rather scratchy.

****
Example #2: Little Richard & Lloyd Price - Lawdy Miss Clawdy (Live 1994)



James Power Published on Aug 18, 2014

Words & Music by Lloyd Price (1952)

Broadcast: March 23, 1994

****
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Visitor comments are welcome.

The REAL Meaning Of The Saying "Comey Don't Play That" (with source information & examples),

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Edited by Azizi Powell

This pancocojams post provides a definition and examples of the saying "Comey don't play that".

The content of this post is presented for linguistic, cultural, and political purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

****
WHAT "I [or person's name] DON'T PLAY THAT" MEANS
"I don't play" is a response that a person makes to a suggested action/ideas (or actions and ideas) which is (are) rejected because it (they) would be contrary to or beneath that person's values, lifestyle, image, and/or dignity.

"[another person's name] don't play that" is a statement that other people make regarding someone else which reflects their perception that the person is taking a principled stand against or for something/s, someone, or multiple people.

****
WHAT "COMEY DON'T PLAY THAT" MEANS
"Comey don't play" is an adapted form of the 1990 saying "Homey don't play that".

"Homey don't play that" (also given as "Homey don't play dat") is the signature saying for "Homey D. Clown", a recurring character on the 1990s African American sketch comedy television series In Living Color.

Homey D. Clown frequently said "Homey don't play that" when asked to do something that he considered beneath his dignity or lifestyle. In contrast, other people -but not James Comey himself- have used the saying "Comey don't play that" to reflect their perception that James Comey has refused or is refusing to do something that is against his principles (values). As such, "Comey don't play that" is a usually complimentary statement about former acting Attorney General and now former FBI Director James Comey.

It's my sense that "Comey don't play that" did not originally mean “[James] Comey isn't playing games” or "Comey is serious [about something or another.] That said, one or both of those meanings may be simultaneous implied in early or current usages of this saying along with the original African American Vernacular English meaning of "___ don't play that" which is given above.
-snip-
Information about the character "Homey D. Clown" is given in the Addendum below.

****
AFRICAN AMERICAN VERNACULAR ENGLISH
The sayings "Homey don't play that" (also given as "Homey don't play da." and "Comey don't play that" use African American Vernacular English grammar and vernacular.

"Homey" is a form of the words "home boy" which means a male from your neighborhood and by extension, your city, state, or nation.

The word "don't" in these African American Vernacular English constructed sentences instead of the standard American English word "doesn't".

In the context of both the sayings "Homey don't play that" and "Comey don't play that" the word "play" simply means "to do" [something]".

Here's an urban dictionary.com entry that gives this definition of "play" [Note that this urban dictionary definition is one of many other vernacular meanings for "play", and some of them may not be suitable for
children].

From https://www.urbandictionary.com/define.php?term=play&page=3
"play
doin it
we playin
by true playa April 24, 2003"

**
Therefore "Homey don't play" means that "Homey doesn't do [something specified]" or "Homey won't do [something.specified]". When "Homey D. Clown says these words, they mean "I won't do that".

Another African American Vernacular English ways of saying "I don't play that" are "I'm not down with that". "I'm not down with that" later was shortened to "I'm not with that".

****
[PARTIAL] TIMELINE FOR THE SAYING "COMEY DON'T PLAY THAT"
May 17, 2017 - The Daily Show with Jon Stewart episode (Season 12, Episode 0, May 17, 2007).

Here's my partial transcription of this episode video from http://www.cc.com/video-clips/xupj3c/the-daily-show-with-jon-stewart-comey-don-t-play-that

[from 1:52 to 2:53]
"But McNulty is only one of Gonzales’ deputies that is making headlines. McNulty’s predecessor testified Tuesday at the Senate Judiciary Committee about a 2004 incident involving then White House Counsel Alberto Gonzales, President Bush’s secret White House wiretap program, and John Ashcroft’s inflamed pancreas.

[audience laugh]. If that didn’t get your attention, well. [audience laughs] You’re going to love this story.

Back in 2004 the Department of Justice, headed up by acting Attorney General James Comey, loyal Republican, decided that the President’s national security domestic wiretapping program was ah….-What’s the opposite of constitutional? Um…[audience laughs] – UNCONSTITUTIONAL! And Comey would not renew the program.

But the President no likey that. [audience laughs]

Now Comey was sitting in for the acting attorney general John Ashcroft because Ashcroft was uh- What’s the word for “nearly comatose?” NEARLY COMATOSE [audience laughs] in the hospital recovering from gall bladder surgery.

What comes next will blow your mind"...

**
JUNE 18, 2013 - https://foreignpolicy.com/2013/06/18/comey-dont-play-that/" Comey Don’t Play That
How Obama's pick to lead the FBI tried to put the brakes on the NSA's surveillance dragnet." BY MARC AMBINDER


**
September 1, 2015 - https://www.amazon.com/Comey-Dont-Play-That-T-shirt/dp/B072LT2CZ9
"Comey Don't Play That T-shirt
Funny James Comey T Shirt- Comey Don't Play That T-shirt

[...]

Date first available at Amazon.com: September 1, 2015"

**
May 30, 2017 - https://untappd.com/b/defiant-brewing-co-comey-don-t-play-that/2121133
"Comey Don't Play That
Defiant Brewing Co.
Pale Ale - American"
-snip-
I think that this is a "made up" name of beer.

**
June 8, 2017 - various news articles about former FBI Director James Comey's testimony under oath at the televised open hearing of the United States Senate Intelligence Committee

There are multiple examples of online news articles with the title "Comey Don't Play That", including this article:

From http://www.mediaite.com/tv/comey-dont-play-that-van-jones-says-comey-is-basically-running-d-c-now/"‘Comey Don’t Play That!’ Van Jones Says Comey Is ‘Basically Running D.C.’ Now" by Justin Baragona | 10:49 pm, June 8th, 2017 [excerpt]
"I am truly shocked that this phrase hadn’t gotten any play before tonight.

While discussing today’s much-hyped Senate testimony by former FBI Director James Comey, CNN political commentator Van Jones explained that since Comey is no longer the head of the FBI, he now can go right after President Donald Trump. And, thus, he is no longer playing.

“The big story here is that Trump is [sic] completely lost control of this town and of the narrative,” Jones stated. “And the guy he thought he had swiped off the board is basically running D.C.!”

He continued, “Basically Comey is saying, ‘Comey don’t play that. Comey don’t play that! I’m not even the FBI director!'”...
-snip-
There's also at least one YouTube video with that title of a portion of that Senate hearing.

Comey don't play that.



Adam Longo Published on Jun 8, 2017
-snip-
Please add any pre-2017 examples of the saying "Comey Don't Play That" in the comment section below. Thanks!

****
ADDENDUM- INFORMATION ABOUT THE TELEVISION SERIES "IN LIVING COLOR" AND THE CHARACTER "HOMEY D. CLOWN"
From https://en.wikipedia.org/wiki/In_Living_Color
"In Living Color is an American sketch comedy television series that originally ran on Fox from April 15, 1990,[1] to May 19, 1994. Brothers Keenen and Damon Wayans created, wrote and starred in the program. The show was produced by Ivory Way Productions in association with 20th Century Fox Television and was taped at stage 7 at the Fox Television Center on Sunset Boulevard in Hollywood, California. The title of the series was inspired by the NBC announcement of broadcasts being presented "in living color" during the 1960s, prior to mainstream color television. It also refers to the fact that most of the show's cast were black, unlike other sketch comedy shows such as Saturday Night Live whose casts are mostly white. It was controversial due to the Wayans' decision to portray African-American humor from the ghetto in a time when mainstream American tastes regarding black comedy had been set by more upscale shows such as The Cosby Show, causing an eventual feud for control between Fox executives and the Wayans."...

****
From https://en.wikipedia.org/wiki/List_of_In_Living_Color_sketches
"Homey D. Clown – Damon Wayans plays an ex-con who works as a clown (real name Herman Simpson) for his parole agreement, but lashes out at anyone (usually by hitting them on the head with a sock full of pennies) who attempts to make him perform the standard antics of the role - "I don't think so! Homey don't play that!". His goal in life is to get even with "The Man", a personification of the white males who are "holding him down". Near the end of most sketches, Homey would lead a group of children (played by the cast members) in a call and response sing-along, which would end with him degenerating into a rant, then intimidating the children into repeating after him. Homey was also the first, and only, In Living Color character to get his own video game.[2]"
-snip-
The letter "D" in the name "Homey D Clown" stands for "da" = "the".

A pancocojams post on the first In Living Color segment of Homey D. Clown will be published ASAP and the link to that post will be added here.

**
In Living Color's Homey D. Clown character served as the inspiration for the name of The Simpsons character Krusty The Clown.
From https://en.wikipedia.org/wiki/Homie_the_Clown
""Homie the Clown" is the fifteenth episode of The Simpsons' sixth season. It originally aired on the Fox network in the United States on February 12, 1995. In the episode, Homer becomes a Krusty the Clown impersonator, but is mistaken for the real Krusty by the Springfield Mafia. Joe Mantegna returned as Fat Tony, while Dick Cavett and Johnny Unitas guest starred as themselves.

[...]

Cultural references
The episode's title is reference to the character Homey D. Clown from the sketch comedy show In Living Color.”...

****
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Visitor comments are welcome.

"Homey Don't Play That" - In Living Color 's Homey D. Clown's Birthday Party Comedy Sketch

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Edited by Azizi Powell

This pancocojams post provides information and comments about the saying "Homey don't play that" (spoken as "Homey don't play dat".)

This post also showcases a YouTube video of the first comedy sketch of Homey D. Clown that was featured on the 1990s television series In Living Color. Selected comments from that video are also included in this post.

The content of this post is presented for linguistic, cultural, and entertainment purposes.

All copyrights remain with their owners.

Thanks to the writers, actors, and actresses that were involved with this showcased Homey D. Clown segment. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
-snip-
Click for the related pancocojams post
https://pancocojams.blogspot.com/2017/06/the-real-meaning-of-saying-comey-dont.html"The REAL Meaning Of The Saying "Comey Don't Play That" (with source information & examples)".

Some of my editorial comments that are given below are also found in that post.

****
INFORMATION ABOUT THE TELEVISION SERIES "IN LIVING COLOR" AND THE CHARACTER "HOMEY D. CLOWN"
From https://en.wikipedia.org/wiki/In_Living_Color
"In Living Color is an American sketch comedy television series that originally ran on Fox from April 15, 1990,[1] to May 19, 1994. Brothers Keenen and Damon Wayans created, wrote and starred in the program. The show was produced by Ivory Way Productions in association with 20th Century Fox Television and was taped at stage 7 at the Fox Television Center on Sunset Boulevard in Hollywood, California. The title of the series was inspired by the NBC announcement of broadcasts being presented "in living color" during the 1960s, prior to mainstream color television. It also refers to the fact that most of the show's cast were black, unlike other sketch comedy shows such as Saturday Night Live whose casts are mostly white. It was controversial due to the Wayans' decision to portray African-American humor from the ghetto in a time when mainstream American tastes regarding black comedy had been set by more upscale shows such as The Cosby Show, causing an eventual feud for control between Fox executives and the Wayans."...

****
From https://en.wikipedia.org/wiki/List_of_In_Living_Color_sketches
"Homey D. Clown – Damon Wayans plays an ex-con who works as a clown (real name Herman Simpson) for his parole agreement, but lashes out at anyone (usually by hitting them on the head with a sock full of pennies) who attempts to make him perform the standard antics of the role - "I don't think so! Homey don't play that!". His goal in life is to get even with "The Man", a personification of the white males who are "holding him down". Near the end of most sketches, Homey would lead a group of children (played by the cast members) in a call and response sing-along, which would end with him degenerating into a rant, then intimidating the children into repeating after him. Homey was also the first, and only, In Living Color character to get his own video game.[2]"
-snip-
The letter "D" in the name "Homey D Clown" stands for "da" = "the".

This comedy sketch that is showcased below is a parody of a children's birthday party whose paid entertainment is a clown. The clown is supposed to entertain the children by doing magic tricks, singing, telling stories, and engaging in other activities. The video shows how those expectations are turned upside down when Homey is the clown.

**
In Living Color's Homey D. Clown character served as the inspiration for the name of The Simpsons character Krusty The Clown.
From https://en.wikipedia.org/wiki/Homie_the_Clown
""Homie the Clown" is the fifteenth episode of The Simpsons' sixth season. It originally aired on the Fox network in the United States on February 12, 1995. In the episode, Homer becomes a Krusty the Clown impersonator, but is mistaken for the real Krusty by the Springfield Mafia. Joe Mantegna returned as Fat Tony, while Dick Cavett and Johnny Unitas guest starred as themselves.

[...]

Cultural references
The episode's title is reference to the character Homey D. Clown from the sketch comedy show In Living Color.”...

****
WHAT "DON'T PLAY THAT" MEANS
"[Person's name] don't play that" is a statement that is made regarding a suggested action which is rejected because acting that way would be contrary to or beneath that person's values, lifestyle, image, and/or dignity.
-snip-
Hat tip to this urban dictionary poster for this definition of which helped me conceptualize what "[person's name] don't play means:
From https://www.urbandictionary.com/define.php?term=homey%20don%27t%20play%20that
"homey don't play that

A disagreement or protest to a suggested idea or action.
Carlton said, "Let's watch American Idol!", and Will was like, "Homey don't play that."
by colin April 05, 2005

****
[MORE SPECIFICALLY] WHAT THE SAYING "HOMEY DON'T PLAY THAT" MEANS
"Homey don't play that" (also given as "Homey don't play dat") is the signature saying for "Homey D. Clown", a recurring character on the 1990s African American sketch comedy television series In Living Color. The full saying that Homey D. Clown used was "I don’t think so. Homey don’t play that."

Homey D. Clown responds with that saying when he is asked to do something that he considered beneath his dignity or his lifestyle as doing those things would make him look or feel foolish.

Here are three selected lines from the first In Living Color sketch that features Homey D. Clown hired to entertain children at a birthday party (video below) which illustrate this point:

Machinegod88 in 2010 "lets get something straight, homie may be a clown, but i dont make a fool outa myself".

freshprincess in 2012) "Let's get something straight kids. Homey may be a clown but he don't make a fool outta hisself.

Cameron cole, 2014
"girl: Do a silly clown dance for us!!!
Homie: Degrade myself huh. *Smacks girl* I dont think so. Homie dont play that! LMFAO!!!"

****
AFRICAN AMERICAN VERNACULAR ENGLISH TERMS AND GRAMMAR IN THIS SAYING
The saying "Homey don't play that" (also given as "Homey don't play da.") uses African American Vernacular English grammar and vernacular.

"Homey" is a form of the words "home boy" which means a male from your neighborhood or, by extension, a male from your city, state, or nation. "Homey" could also be used for females (i.e. "home girl"), although it appears to me that this feminine usage was/is much less frequently found than the masculine usage.

The word "don't" is used in these African American Vernacular English constructed sentences instead of the standard American English word "doesn't".

In the context of both the sayings "Homey don't play that" the word "play" simply means "to do" [something]".

Another African American Vernacular English ways of saying "I don't play that" is "I'm not down with that". "I'm not down with that" later was shortened to "I'm not with that".
-snip-
The saying "Comey don't play that" (as a reference to former United States Assistant Attorney General and former FBI Director) is an adaptation of "Homey don't play that". However, unlike Homey D. Clown, other people and not James Comey himself have used that saying (as the titles of news articles and videos or within news articles and videos among other usages).

****
SHOWCASE VIDEO

[WARNING: Although many children watched the television series In Living Color, some of the content of this series, including some of the content in this showcase Homey D. Clown" video may not be suitable for children.]

Introducing Homey D. Clown



Alexander Ross, Uploaded on Dec 20, 2007

Here's Homey!

****
SELECTED COMMENTS
These comments are given in chronological order based on their publishing date, with the oldest comments given first, except for replies. Numbers are assigned for referencing purposes only.

A number of these selected comments quote what Homey D. Clown says in this comedy sketch.


2009
1. oRuTRa45
"This is still funny after all these years lol. And those story illustrations were excellent, I never noticed that yo."

**
2. Imucknukchuck
"I don't know about the audience but how did the cast manage to keep straight faces? God that musta been tough."

**
3. BalugnugJones
"We were at the taping of this. This clip was actually the 5th take of the skit. They had to keep doing it over and over because we, the audience, were laughing too hard.."

**
4. Kristen DeVore
"homy dont play dat that dude is funny i wonder if they follow the play by script or just make it up as they go"

**
Reply
5. mleonsmith
"that was a real smile at 4:34!! then he had to improvise with the " you made homey smile after all" line"

**
6. SinnMaschine
"the best moment:
"Why did you become a clown then?"

"I guess it's because I have so much love to give." - and that face expression! :D"

**
7. freshPrincess626
"homey is a classic. what 90s kid DIDN'T know the phrase "homey don't play dat"?"

**
8. professorlip
"I've put this comment on another video but I have to say it again...

Homie D Clown is one of the greatest and most unique TV characters ever created. Whoever would have thought to create a militant, Afrocentric, anti- establishment clown? That's pure genius."

**
9. IHeartYYH
""Fall down, bust my skull open and have my blood abd brains ooze out on the carpet so you can get a couple of cheep laughs huh? I don't think so.""

**
10. vibrantone220
"So I can degrade my self? (BAM) I don't think so! Homey don't play that!!!!
LMAO"

****
2010
11. Machinegod88
"lets get something straight, homie may be a clown, but i dont make a fool outa myself"

**
[The following two comments refer to the story that Homey D. Clown tells the "children" at the birthday party about when he went to a fancy white [people's] restaurant named "Chez Whitey"]

12. Thradix
"he tells him that "a tie is required in order eat in this establishment" so homey says "man get them damn ties outa my face before a kick yo ass!" LMAOOOOO!!!!"

**
13. George Stickle
"...but unfortunately Monsieur Snowflake didn't quite hear Homey correctly, so Homey had no choice but to keep his word. The end."

**
14. cocopatrice
"Crazy when i found out paul mooney penned this character. He's a genius. From Richard Pryor to Dave Chappelle, he's been behind some of the funniest stuff ever made. And Homey don't play dat!!! LMFAO!"

**
15. Adamguy2003
"LOL! Good old Homey!
The Homey the Clown shorts were such a bad influence for my brother and I when we were really little (Much younger than the intended audience for the show)! We used to make our own versions of that black jack thing that he uses on everyone (Usually by taking one of our socks and putting something hard in it, like a plastic or metal toy or something), and smack each other in the head with them! Fortunately, we never did it hard enough to really hurt.
Good times, good times."

****
2011
16. D Walker
"A prison work-release clown! Genius!"

**
17. optimusidol
"best skit everrrrr...btw u knoe a skit is great when the characters have to hide that they wanna laugh"

**
18. Kev J
""I think you got it backwards son."

/kick

"Now how do you feel about yourself?"

Kid: "totally dissed Homey :("

LMFAO!!!"

**
19. ~bekah~
"homey: who got a dollar?
kid:i do homey! (gives him the dollar) here you go homey!
homey: alright i fold it once.
kids:ooooooh
homey: twice
kids:aaaaaah
homey:now it's gone ta-da XD"

**
20. rang3r34
"Man, this takes me waaay back! I even had a Homey D. Clown T-shirt! Man, this is from the days when there STILL was good tv on..."

****
2012
21. MrEasy12
"This is the Funniest Homie the Clown Skit"

**
22. dhom100
"homey the clown was one of the best characters of this show."

**
23. freshprincess
"Let's get something straight kids. Homey may be a clown but he don't make a fool outta hisself."

**
24. Kayla Monos
"god i remember watching this when i was little i even had a homey the clown shirt XD but whats sad is my parents LET me watch it lol"

**
25. morgan Sanders
"lol my favorite part."WHO WANTS TO SEE A MAGIC TRICK.WHO GOT A DOLLAR...NOW I FOLD IT ONCE TWICE AND NOW ITS GONE!!!"

**
26. Domino G
""y did u become a clown then?"
"i guess its because i got so much love to give, and its part of my prison work release program so i got about 5 more years of this clown crap!""

**
27.Dustin Pearson
"Its been 22 yrs. It came out n 1990"

**
28. missystar013
""Now how do you feel about yo self, son?"
"...totally dissed, Homey."
"That's why Homey don't play dat.""

**
29. Cash Crop
"Tommy Davidson is wearing some cement Air Jordan 4's ......sick"
-snip-
"Tommy Davidson" is one of the In Living Color's stars that is playing the role of a little boy in this segment. This is just one of a number of commenters in this discussion thread who are sneaker collectors commented on these sneakers. #31 is another selected comment about those sneakers [tennis shoes].

"Sick" means "very good".

**
30. T Davis
"One day Homey will break all the chains
then he'll fly away
but until that day
Homey don't play...I said sing the damn song!!
very good children, you actually put a smile on Homey's face
LOL!! By far THE best show of the 90's when it came to comedy, no doubt!!"

****
2013
31. jay trix
"that kid in the striped shirt has on the orginal air jordan cement 4s owwwwww"

**
32. Matt Lipton
"Thumbs up if you looked this up after seeing this on the Fox 25th Annversary special."
-snip-
The "In Living Color" series aired nationally on the Fox channel.

**
33. freshPrincess626
"lol, yup, exactly. we used to say it all the time at school, too."
-snip-
This comment refers to the "Homey don't play dat" saying.

****
2014
34. Superman hero
"Homey the clown is played by damon wayans"

**
35. Shaun1gza
"HOMEY HOMEY HOMEY HOMEY HOMEY....(BOOOMM)...u betta sit down. I fell to the floor laughing my ass off. The funniest tv show ever."

**
36. tt336100
"Why are the actors playing the children adults?"

**
Reply
37. Vicki EastVan
"If you've watched any episodes of "In living in colour" you'd understand why kids are not part of the show lol.

**
Reply
38. KC DA MOST
"And it wouldn't sit well with adults to see little kids hit in the head with a tennis ball filled sock that's why they have adults playing the kids"

**
39. Cameron cole
"girl: Do a silly clown dance for us!!!
Homie: Degrade myself huh. *Smacks girl* I dont think so. Homie dont play that! LMFAO!!!"

**
40. skbwolverine
"I had a 'Homey don't play dat' t-shirt when I was a kid. Oh, the memories. lol."

**
41. burx18
"The good ole days I remember stayin up late with my bro watching this show"

**
42. Justin Widle
"This one single sketch is better than most anything SNL has done in 25 years. #BringHomieBack
-snip-
SNL = long running United States comedy sketch series "Saturday Night Live"

****
2015
43. Mojebi
"This is racist as f&&k*...thumbs up anyway made me laugh hard. "
-snip-
*This word is fully spelled out in this comment.

**
44. MusicFanatic1958
"115 people feel totally dissed by Homey"
-snip-
"115 people" probably refers to the number of people who gave that video a "thumbs down" rating as of the time of that comment's posting. Here are the statistics for this video as of June 6, 9:30 pm EDT [around the time of the publication of this pancocojams post:

2,357,775 [total number of views]

thumbs up - 9,221; thumbs down- 264

total number of comments - 790

**
45. sluggotg
"AAAH yes, I remember the introduction of Homey D. Clown..... I knew exactly what I would be hearing the next day, from My Black Buddy who worked for me in The Navy... and yes he, (Legaurd), Hammered me with Homey D. Clown references from then on. But it was all in good fun! I miss this show and my friends at SIMA Alemeda! Absolute Classic TV!"

**
46. Lindsay W
"Is it sad I only know of homie the clown because of Drake? Lol."
-snip-
Drake is a Black Canadian rapper.

Read comment #49 below that also refers to Homey D. Clown being mentioned in rap music.

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2016
47. Nick Diel1
"Homey for president"

**
Reply
48. Tyrone Thompson
"Nick Diel heeeeeeeeeeeeeeeeell yeah! better than trump! cause homey don't play dat! he sho nuff don't play dat!"

**
49. Yoda on DMT
"This explains a few rap verses that reference this for those of us that didn't get american channels or internet back then."

**
Ryan Laustsen
"homey da man"
-snip-
"Da man" (the man) probably means something like "the ruler"/"the best".

****
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Visitor comments are welcome.

Bessie Jones - I'm A Rollin Through This Unfriendly World (African American Spiritual) with sound file and lyrics

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Edited by Azizi Powell

This pancocojams post showcases the African American Spiritual "I'm A Rollin Through This Unfriendly World" as sung by Bessie Jones.

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

All copyrights remain with their owners.

Thanks to the unknown composer/s of this Spiritual and thanks to Bessie Jones for her musical legacy. Thanks to Alan Lomax for recording this song and thanks to the publisher of this sound file on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2017/06/two-examples-of-im-rollin-through.html for a pancocojams post that showcases two examples of "I'm A Rollin Through An Unfriendly World". The title for those versions use the word "an" instead of "this" and have different verses than the version that is sung by Bessie Jones.

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SHOWCASE SOUND FILE: Bessie Jones - I'm A Rollin', I'm A Rollin' (Everybody's A Rolling Stone)



TheBWJohnson, Published on Jul 5, 2014

recorded at Alan Lomax's apartment, 3rd Street
10/12/1961

****
LYRICS: I'M A ROLLIN
(African American Spiritual as sung by Bessie Jones)

Chorus
I'm a rollin', I'm a rollin'.
I'm a rollin' through this unfriendly world.
I'm a rollin', I'm a rollin',
Rollin' through this unfriendly world.

I'm a rollin', rollin', Lord.
I'm a rollin' through this unfriendly world.
I'm a rollin', rollin',
Rollin' through this unfriendly world.

Verse:
Every since I been newborn,
(Rollin' through this unfriendly world.)
Everybody's a rolling stone
(Rollin' through this unfriendly world).

Chorus
I'm a rollin', rollin'
Rollin' through this unfriendly world.
I'm a rollin', rollin'
Rollin' through this unfriendly world.

Ah just rollin', rollin', Lord
Rollin' through this unfriendly world.
I'm a rollin', rollin'
Rollin' through this unfriendly world.

Verse:
Lord, every since I been redeemed,
(Just rollin through this unfriendly world).
I toss and I heard God's burnin steam.
(Rollin through this unfriendly world).

Just rollin, rollin, Lord
Rollin through this unfriendly world.
I'm a rollin, rollin
Rollin through this unfriendly world.

Verse:
Lord, a mother's child has a hard time
(Just rolling through this unfriendly world.)
He's sometime up and sometime down.
(Rollin through this unfriendly world.)

Chorus:
Just keep rollin, rollin Lord
Rollin through this unfriendly world
I'm a rollin, rollin,
Rollin through this unfriendly world.

Verse:
Lord, father will do the best he can
(Rollin through this unfriendly world)
But yet poor father don't understand
(Just rollin through this unfriendly world.)

I'm Just rollin, rollin
keep rollin through this unfriendly world
I'm a rollin, rollin,
Rollin through this unfriendly world.

Verse
Lord, I'm sometimes up and sometimes down.
(Rollin through this unfriendly world)
But I know my soul is heaven bound.
(I'm rollin through this unfriendly world).

Chorus
I'm just rollin, rollin, Lord,
Rollin through this unfriendly world.
Just rollin, rollin
Rollin through this unfriendly world.

Rollin, keep rollin,
Rollin through this unfriendly world.
Rollin, keep rollin
Rollin through this unfriendly world.

This is the end of this rendition of this Spiritual, but in that recording Bessie Jones is heard saying "Um hum. Yes, I am."

-snip-
Transcribed by Azizi Powell from the recording.

I think the first word that Bessie Jones says in this recording is "It's" (meaning "This is how I sing this song."

A transcription for Bessie Jones' recording of this song can be found at http://research.culturalequity.org/get-audio-detailed-recording.do?recordingId=23461. However, that transcription is inaccurate. I've tried to fully transcribe this recording.

Editor's Notes:
I placed the refrain "Rollin through this unfriendly world" in parenthesis to indicate that this line is what a group sings after the soloist sings the preceding line.

Notice the slight differences in the words that are sung in the chorus. These changes reflect the fact that the lyrics -including verses, verse order, and chorus- of American Spirituals aren't fixed. That's the reason why I didn't number these verses.

The word "every" in the line "Lord, every since I been redeemed" means "ever".

I believe that the word "father" in these lyrics doesn't mean "God" (the Heavenly Father.)

I'm less sure about the lyrics "I toss and I heard God's burning steam" then I am about the other transcribed lyrics. If those lyrics are correct, then I think that "I toss" means that "I tossed and turned" i.e. struggled trying to do God's will. The words "and I heard God's burning steam" may refer to hearing God's Holy Spirit (which is often described as Holy Fire.)

Additions and corrections to this transcription are welcome.

Here's the information that is found at that research.culturalequity.org website:
:: Title :: I'm A Rollin', I'm A Rollin' (Everybody's A Rolling Stone)
:: Genre :: religious song, slavery song, spiritual
:: Performers & Instruments :: Jones, Bessie
:: Setting :: Alan Lomax's apartment, 3rd Street
:: Location :: Greenwich Village, New York City (New York), New York (United States)
:: Language :: English
:: Culture :: Southern U.S., African American, Sea Islands, Georgia
:: Session :: Bessie Jones VII 10/61
:: Date :: 10/12/1961
:: Text :: "I'm a rollin', rollin' (repeats), / I'm rolling through this unfriendly world. // Ever since I been newborn, / Rolling through this unfriendly world. // Everybody's a rolling stone, / Rolling through this unfriendly world?.// Mother's child has a hard time / Rolling through this unfriendly time. // Father will do the best he can ? " (etc.) With foot tapping."
-snip-
Unlike some other versions of this Spiritual, Bessie Jones' version of "I'm A Rollin" includes the words "Everybody's a rolling stone". This line from that Spiritual wasn't the source of the name of the Rock band the "Rolling Stones" and the Rolling Stones magazine. The source for that band name and magazine name was a Blues song recorded in 1950 by Muddy Waters entitled "Rollin Stone".

****
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Two Examples Of "I'm A Rollin Through An Unfriendly World" (Fisk Jubilee Singers & The Five Blind Boys Of Alabama)

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Edited by Azizi Powell

This pancocojams post showcases two renditions of the African American Spiritual "I'm A Rollin Through An Unfriendly World as sung by The Fisk Jubilee Singers and The Five Blind Boys Of Alabama.

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

All copyrights remain with their owners.

Thanks to the unknown composer/s of this Spiritual and thanks to The Fisk Jubilee Singers and The Five Blind Boys for their musical legacy. Thanks to Alan Lomax for recording this song and thanks to the publisher of this sound file on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2017/06/bessie-jones-im-rollin-african-american.html for a pancocojams post that showcases Bessie Jones singing a version of "I'm A Rollin Through This Unfriendly World". The title for that version uses the word "this" instead of "an" and has different verses than the version that is sung by The Fisk Jubilee Singers and The Five Blind Boys.

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LYRICS
Version #1
from American Negro Spirituals
by J. W. Johnson, J. R. Johnson, 1925

I’m a-rollin’, I’m a-rollin’
I’m a-rollin’ through an unfriendly worl’
I’m a-rollin’, I’m a-rollin’
I’m a-rollin’ through an unfriendly worl’
I’m a-rollin’, I’m a-rollin’
I’m a-rollin’ through an unfriendly worl’
I’m a-rollin’, I’m a-rollin’
I’m a-rollin’ through an unfriendly worl’

O, brothers, won’t you help me
O, brothers, won’t you help [me] to pray
Oh, brothers, won’t you help me
Won’t you help me in de service of de Lord

O, sisters, won’t you help me
O, sisters, won’t you help e to pray
Oh, sisters, won’t you help me
Won’t you help me in de service of de Lord

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Version #2:
"I’M A-ROLLIN"
from Spirituals
by William Stickles, 1948

I’m a-rolling
I’m a-rolling
I’m a-rolling
Thro’ an unfriendly world
I’m a-rolling
I’m a-rolling
Thro’ an unfriendly world

Oh, brothers, won’t you help me?
Oh, brothers, won’t you help me to pray?
Oh, brothers, won’t you help me?
Won’t you help me in the service of the Lord?

Oh, sisters, won’t you help me?
Oh, sisters, won’t you help me to pray?
Oh, sisters, won’t you help me?
Won’t you help me in the service of the Lord?

Oh, preachers, won’t you help me?
Oh, preachers, won’t you help me to pray?
Oh, preachers, won’t you help me?
Won’t you help me in the service of the Lord?

-snip-
Internet source for both of these versions: https://www.negrospirituals.com/songs/i_m_a_rolling.htm

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SHOWCASE YOUTUBE EXAMPLES
Example #1: I'm A-Rolling Through an Unfriendly World



Fisk Jubilee Singers - Topic , Published on May 23, 2015

Provided to YouTube by Smithsonian Folkways Recordings

I'm A-Rolling Through an Unfriendly World · Fisk Jubilee Singers
℗ 2004 Smithsonian Folkways Recordings / 1955 Folkways Records

Released on: 1955-01-01

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Example #2: I'm A Rolling (Vinyl LP) - Five Blind Boys, "I'm A Rolling"



Pannellctp Traditional Gospel Music Published on Jun 12, 2013

Five Blind Boys Of Alabama - "I'm A Rolling" Album

The Blind Boys of Alabama are a gospel group from Alabama that first formed at the Alabama Institute for the Negro Blind at Talladega, Alabama in 1939. The three main vocalists of the group and their drummer/percussionist are all blind.

As of 2010, The Blind Boys of Alabama continue to tour nationally and internationally, with Jimmy Carter singing lead vocals. In 2006, Clarence Fountain, the group's former long-time lead vocalist and founding member limited his touring for health reasons. Founding member George Scott died on March 9, 2005 at the age of 75. Another founding member, Johnny Fields, died on November 12, 2009.

Releases by the group in recent years have been favorites at the Grammy Awards-they won the Grammy Award for Best Traditional Soul Gospel Album every year between 2002 to 2005. The Blind Boys of Alabama were inducted into the Gospel Music Hall of Fame in 2007. In 2009, they were awarded the Grammy Lifetime Achievement Award."...
-snip-
I don't know when this album was released.

The Five Blind Boys Of Alabama shouldn't be confused with The Five Blind Boys Of Mississippi.

****
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"At The Playground" - A Foot Stomping Cheer That Combines Words From A TV Commercial, The "Homey Don't Play That" Saying, & A Kiddie Hip Hop Record

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Edited by Azizi Powell

This pancocojams post presents text of and comments about the early 1990s foot stomping cheer "At The Playground" that was collected by my daughter at a Pittsburgh, Pennsylvania children's summer camp.

This post examines how words from a television commercial, and a television show, and a Hip Hop record that was performed by a young boy's group were combined to make up this cheer.

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

All copyrights remain with their owners.

Thanks to all those who are quoted in this post and thanks to the publisher of these videos on YouTube.
-snip-
Click https://pancocojams.blogspot.com/2017/06/homey-dont-play-that-in-living-color-s.html for the related pancocojams post ""Homey Don't Play That" - In Living Color 's Homey D. Clown's Birthday Party Comedy Sketch".

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GENERAL INFORMATION ABOUT FOOT STOMPING CHEERS
"Foot stomping cheers" is the term that I coined in 2000 for a relatively new category of children's recreational play that is (was?) performed mostly by preteen and younger girls and that involves chanting and choreographed foot stomping combined with (individual) clapping movements.

I believe that foot stomping cheers are an updated form of African Americans' (and other Americans') "show me your motion" circle games. "Going To Kentucky" is a widely known example of a "show me your motion" circle game."Foot stomping cheers" is the term that I coined in 2000 for a relatively new category of children's recreational play that is (was?) performed mostly by preteen and younger girls and that involves chanting and choreographed foot stomping combined with (individual) clapping movements.

The 1978 vinyl/LP record Old Mother Hippletoe-Rural And Urban Children's Songs (New World Records ‎– NW 291) is the earliest recording or print documentation that I have found of a new style of children's recreational chanting and performance activity that I have termed "foot stomping cheers". "Foot stomping cheers" have a textual structure and traditionally* have a performance style* that is distinct from hand clap rhymes, jump rope rhymes, other cheerleader cheers, and other categories of children's recreational rhymes. That record featured four examples of African American girls from Washington D. C. performing cheers in 1973-1975.

Foot stomping cheers "traditionally"* have a signature group call & consecutive soloist response structure. "Group call" means that the entire group (or the group minus the first soloist) is heard first. "Consecutive soloist"' means that in that cheer is immediately repeated from the beginning so that every member of the squad can an opportunity to be the soloist. Each soloist's performance is the same length. Some foot stomping cheers have several group calls followed by brief responses by the soloist before the soloist has a somewhat longer verbal and/or movement response. Other foot stomping cheers have one or two group calls followed by the soloist's verbal and/or movement response.

*By traditional, I mean the way that foot stomping cheers were performed by African American girls in the 1980s and 1990s, and perhaps in the early 2000s. I've noticed changes in the way that these cheers are performed as they become more mainstream (i.e. are performed by White or predominately White cheerleader squads.)

Click https://pancocojams.blogspot.com/2016/06/examples-of-hula-hula-who-think-they.html for more information about "foot stomping cheers".

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COMMENTS ABOUT "AT THE PLAYGROUND" FOOT STOMPING CHEER
"At The Playground" is a dance style foot stomping cheer (i.e. - a cheer whose main purpose is to serve as a vehicle for "steppers" to show how well they can dance). The cheer combines lines from the following sources
1. the line "I'm fallin and a can't get up" - from a television commercial for a medical alarm and protection company called LifeCall.

2. various lines [read below] from a kiddie Hip Hop song "Playground" by ABC (Another Bad Creation). These lines are taken out of the order that they appear in the record.

3. "Homey don't play that" line from the recurring "Homey D. Clown" sketches on the American television comedy series In Living Color. The preface to that line "Smack, Jack" refers to Homey's custom of smacking (bopping) annoying children over the head with a sock filled with tennis balls (Note taht the Wikipedia article indicates that Homey D. Clown's sock was filled with pennies.)

***
CHEER PERFORMANCE DIRECTIONS
This is how this cheer performance was explained and demonstrated to me)
1. Girls call out the order of the soloists - the first person to call out #1 is the first soloist, #2 is the second soloist, and so on.

2. Girls stand in a semi circle facing (usually) their pretend audience or their actual audience.

3. Girls start the stomp beat that will be continued throughout the entire cheer. The synchronized stepping routine alternates (individual) hand claps with bass sounding foot stomps (starting with the right foot), using the pattern "stomp stomp clap/stomp stomp clap".

4. Girls start the cheer. Instead of saying the soloist's first name or nickname, the girls use the first letter of that name or nickname.

5. When it is her turn as soloist, each girl is supposed to perform a dance movement from a different (then currently popular) Hip Hop dance.

6. After the soloist begins to perform that dance movement, the other girls also do that same dance step the same way that the soloist does it.-(This is a retention of the old children's singing games "Show me your motion" element.)

7. The soloist says "I swing my beat at the playground" and the cheer immediately begins again with the next soloist. This pattern continues with the same words (except for the first letter of the soloist's name or nickname) until every one in the group has had one turn as the soloist.

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TEXT OF "AT THE PLAYGROUND" [foot stomping cheer]
All: I’ve fallen. I can‘t get up.
I’ve fallen. I can‘t get up.
Smack, Jack! Homie don’t play that.
Kick off your shoes (or "Put up your dukes")
And let’s get loose!
We kick our beat at the playground.
Playground...You Know.
All except the soloist: Kick it "T", Kick it "T"! Kick it "T"!
Bust it "T", Bust it "T", Bust it!
Swing it "T", Swing it "T", Swing it!
Soloist: I swing my beat at the playground!
-African American girls ages 7-12 years old; Lillian Taylor Camp; Pittsburgh, Pennsylvania; collected by Tazi M. Powell (camp counselor), 1992 or 1993

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EXPLANATIONS OF VERNACULAR TERMS IN THE "AT THE PLAYGROUND" CHEER
1. Smack Jack = "Smack" = hit (refers to Homey D. Clown's habit of hitting annoying children on the head with a sock filled with tennis balls ; "Jack" = a referent word for a male, but just used in this case as rhyming word for "Smack"

2. Homie= the In Living Color's clown character's name

3. "don't play that" = doesn't do that (i.e. doesn't do something that makes him look foolish)

4. "Put up your dukes" = "dukes" are your balled up fists that are used for fighting. In this cheer that word is said to rhyme with "loose" and simply means "start competing" (by showing off your dancing skills)

5. "Let's get loose" = in the context of this cheer, "let's dance very well, without any restrains")

6. "kick our beat" = do our dance and/or do our foot stomping step routine

7. "Kick it, Bust it, Swing it" = exhortations which mean "Dance very well" or "Continue to dance very well".

8. "Swing my beat" = do our dance and/or do our foot stomping step routine

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SHOWCASE VIDEOS
Example #1: I've fallen, and I can't get up!



DarkstarDCB, Published on Jan 1, 2013

The original.
-snip-
Click https://www.youtube.com/watch?v=bQlpDiXPZHQ for this entire YouTube television commercial [Life Call Commercial "I've fallen and I can't get up!"
hauntedgeorge, Aug 10, 2007]
Here's the summary from that YouTube video:
"...I've fawlin' and I can't get up!..."
"This line was spoken in a television commercial for a medical alarm and protection company called LifeCall, in ads that began running in 1987. The motivation behind these medical alarm systems is that many senior citizens today live at home alone, and may find themselves suddenly in medical danger with no one (and no phone) nearby to help them. The product addressed this concern by providing its subscribers with a small pendant, worn around the wrist or neck; when needed, the wearer presses the button on it, and he or she is immediately put into contact with a dispatcher who can send a paramedic, fireman, or other emergency assistance.

The TV advertisement featured, in part, a fictional elderly lady named "Mrs. Fletcher" who has fallen, with her walker, in the bathroom.

On its face, the commercial illustrates a serious situation for a senior with dire consequences (elderly people with no one to care for them may fall in their homes and be on the floor for hours or even days, unable to get help).

The "I've fallen and I can't get up" ad had the double misfortune of being unintentionally campy and appearing often on cable and daytime television. The combination made "I've fallen... and I can't get up!" a recognized, universal punchline that applied to many comedic situations. All of these factors made the ad memorable, ensuring the line's place in pop culture history."

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Example #2: Homie Don't Play That



Cadaveric Mutilation, Published on Oct 3, 2012

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Example #3: Another Bad Creation - Playground



Uploaded by AnotherBCreationVEVO on Dec 24, 2009

Music video by Another Bad Creation performing Playground. (C) 1991 Motown Records, a Division of UMG Recordings, Inc.
-snip-
Text from Another Bad Creation's (ABC's) Hip Hop Song "Playground" that is used in this cheer:
[...] "This is what I see at the playground .. ya know!

[...]

And guess who's up next..kick it!

[...]

Group:
Kick it D kick it D kick it
Pump it D pump it D pump it
Swing it D swing it D swing it


GA:
I swing my beats .. at the playground..ya know!

[...] "

Source: https://genius.com/Another-bad-creation-playground-lyrics

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Blind Willie Johnson - A Motherless Child Has A Hard Time (1927 Gospel song)

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Edited by Azizi Powell

This pancocojams post showcases the song "Motherless Child Has A Hard Time" Information about Gospel and Blues singer/guitarist Blind Willie Johnson is included in this post along with the lyrics of that song and two YouTube sound files of Blind Willie Johnson performing that song. The second sound file is particularly featured on this post for its vintage photographs.

The Addendum To this post features a sound file of the Five Blind Boys Of Alabama singing Blind Willie Johnson's composition "A Motherless Child Has A Hard Time".

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

All copyrights remain with their owners.

Thanks to Blind Willie Johnson for his musical legacy. Thanks also to The Five Blind Boys of Alabama for their musical legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of these two YouTube examples of this song.

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INFORMATION ABOUT BLIND WILLIE JOHNSON
From https://en.wikipedia.org/wiki/Blind_Willie_Johnson
"Blind Willie Johnson (January 25, 1897 – September 18, 1945) was an American gospel blues singer and guitarist and evangelist. His landmark recordings completed between 1927 and 1930—thirty songs in total—display a combination of powerful "chest voice" singing, slide guitar skills, and originality that has influenced later generations of musicians. Even though Johnson's records sold well, as a street performer and preacher he had little wealth in his lifetime. His life was poorly documented, but over time music historians such as Samuel Charters have uncovered more about Johnson and his five recording sessions.

[...]

Recording sessions (1927–1930)
By the time Johnson began his recording career, he was a well-known evangelist with a "remarkable technique and a wide range of songs", as noted by the blues historian Paul Oliver.[12] On December 3, 1927, Johnson was assembled along with Billiken Johnson and Coley Jones at a temporary studio that talent scout Frank Buckley Walker had set up in the Deep Ellum neighborhood in Dallas to record for Columbia Records. In the ensuing session, Johnson played six selections, 13 takes in total, and was accompanied by Willie B. Harris on his first recording, "I Know His Blood Can Make Me Whole".[7] Among the other songs Johnson recorded in Dallas were "Jesus Make Up My Dying Bed", "It's Nobody's Fault but Mine", "Mother's Children Have a Hard Time", "Dark Was the Night, Cold Was the Ground", and "If I Had My Way I'd Tear the Building Down".[13][14] He was compensated with $50 per "usable" side—a substantial amount for the period—and a bonus to forfeit royalties from sales of the records.[13]

The first songs to be released were "I Know His Blood Can Make Me Whole" and "Jesus Make Up My Dying Bed", on Columbia's popular 14000 Race series. Johnson's debut became a substantial success, as 9,400 copies were pressed, more than the latest release by one of Columbia's most established stars, Bessie Smith, and an additional pressing of 6,000 copies followed.[15] His fifth recorded song, "Dark Was the Night, Cold Was the Ground", eventually the B-side of Johnson's second release, best exemplifies his unique guitar playing in open D tuning for slide. For the session, Johnson substituted a knife or penknife for the bottleneck and—according to Harris—he played with a thumb pick.[16] His melancholy, indescribable humming of the guitar part creates the impression of "unison moaning", a style of singing hymns that is common in southern African-American church choirs.[17] In 1928, the blues critic Edward Abbe Niles praised Johnson in his column for The Bookman, emphasizing his "violent, tortured, and abysmal shouts and groans, and his inspired guitar playing".[18]"...

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LYRICS
The lyrics to this song are included in the summary statement for the sound file given as Example #1 below.

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SHOWCASE VIDEOS
Example #1: Blind Willie Johnson “Mother's Children Have A Hard Time” Columbia 14343-D December 3, 1927



Tim Gracyk Published on Nov 3, 2014

Well, well, well, ah
A motherless children have a hard time
Motherless children have a hard time, mother's dead
They'll not have anywhere to go, wanderin' around from door to door
Have a hard time
Nobody on earth can take a mother's place when, when mother is dead, Lord
Nobody on earth takes mother's place when, mother's dead
Nobody on earth takes mother's place,
When you were startin', paved the way
Nobody treats you like mother will when
Your wife or husband may be good to you, when mother is dead, Lord
They'll be good to you, mother's dead
A wife or a husband may be good to you,
But, better than nothing has proved untrue
Nobody treats you like mother will when, when mother is dead, Lord
Lord, Lord, Lord
Yeah, well, ah
Well, some people say that sister will do, when mother is dead
That sister will do when mother's dead
Some people say that sister will do,
But, as soon as she's married, she turn her back on you
Nobody treats you like mother will
And father will do the best he can, when mother is dead, Lord
Well, the best he can when mother is dead
Father will do the best he can,
So many things a father can't understand
Nobody treats you like mother will
A motherless children have a hard time, when mother is dead, Lord
Motherless children have a hard time, mother's dead
They'll not have anywhere to go,
Wanderin' around from door to door
Have a hard time


This African-American singer and guitarist was a pioneer in mixing blues and spirituals. Lyrics of all his songs were religious, but his music drew from both sacred and blues traditions. He was one of the greatest slide (bottleneck) guitarists of his generation.

When singing, he sometimes used a gravelly false-bass voice, but other times he makes use of a tenor voice.

Blind" Willie Johnson lived from 1897 to 1945.

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Example #2: Blind Willie Johnson ~Motherless Children Have A Hard Time~



ween jeep Uploaded on Oct 23, 2011

This video was uploaded from an Android phone.
-snip-
Here are two comments from this YouTube video's discussion thread:
Mary Hollingsworth, 2014
"organic beautiful music -- literally touches my soul --- and the video is unbelievable love the little boy on the couch and the dancing girls"

**
Kelly Susan Israel, 2015
"agree this is the real deal here ! Nice footage as well would love to know more about the video here if you care to tell? Thanks for uploading this :)
-snip-
Unfortunately, as of the publication date of this pancocojams post, no information is given in the summary or in the comments about the film clips that are featured in this video.

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ADDENDUM
Blind Boys Of Alabama - Mother’s Children Have a Hard Time



Alligator Records Published on Feb 26, 2016
...GOD DON'T NEVER CHANGE: THE SONGS OF BLIND WILLIE JOHNSON. A stunning collection of artists and performances celebrate the timeless music of legendary gospel bluesman Blind Willie Johnson. From the Blind Boys Of Alabama's soul-baring "Mother's Children Have A Hard Time" to Tom Waits' virtual embodiment of Johnson himself on "The Soul Of A Man" and "John The Revelator." From Derek Trucks' and Susan Tedeschi's reverent reading of "Keep Your Lamp Trimmed And Burning" to Lucinda Williams' slide guitar-fueled lament in "Nobody's Fault But Mine" to Luther Dickinson's spirited take on "Bye And Bye I'm Going To See The King" (with The Rising Star Fife & Drum Band). This record is packed with incomparable recordings that speak as much to the greatness of the performers as they do the enduring legacy of Blind Willie Johnson."

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RELATED LINK
Bessie Jones' version of "I'm A Rollin" includes the line "motherless child has a hard time"

Verse:
Lord, a motherless child has a hard time.
(Just rolling through this unfriendly world.)
He's sometime up and sometime down.
(Rollin through this unfriendly world.)

Click https://pancocojams.blogspot.com/2017/06/bessie-jones-im-rollin-african-american.html for a pancocojams post that showcases Bessie Jones singing a version of "I'm A Rollin Through This Unfriendly World".

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If you know of other songs that included this "motherless child has a hard time" floater, please share those songs/performers in the comment section below. Thanks.

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Visitor comments are welcome.

Internet Article Excerpt - "Cryin' Blind: Situating the Blind Blues Musician in History" (with additional article excerpts & five YouTube videos)

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Edited by Azizi Powell

This pancocojams post provides an excerpt from the 2010 internet article "Cryin' Blind: Situating the Blind Blues Musician in History" by Rachel Lee.

This post also presents excerpts from three other articles or internet blog posts about the high proportion of African American singers/musicians in the early to mid 20th century who were blind, particularly in the Blues music genre.

Five YouTube examples of African American Bluesmen who were blind are also showcased in this post.

The content of this post is historical, cultural, and aesthetic purposes.

Excerpts from online articles are featured on this blog as a means of publicizing those articles and sharing the information that is included in those articles. Pancocojams readers are encouraged to read those entire articles.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post. Thanks also to all those who are featured in these YouTube examples, and thanks to the publishers of these two YouTube examples of this song.
-snip-
Pancocojams Editor's Comment
This pancocojams post was inspired by my recent post about Blind Willie Johnson and my recent post about the Five Blind Boys Of Alabama. Those posts and other pancocojams posts about African American singers/musicians who are blind can be found by clicking the "African American singers and musicians who are blind" tag that is found below.

By at least the mid 20th century, it has been considered to be socially incorrect to use the word "blind" as a preface to someone's stage name because a person's disability shouldn't be use as his or her descriptor.

Also, by at least the mid 20th century it has been considered to be socially incorrect to use the word "boy" to refer to Black men (or any other men) in group names such as the Gospel singers "The Five Blind Boys of Alabama" and "The Five Blind Boys of Mississippi". Nevertheless, some blind recording artists continued/continue to use those names because their fans knew/know them by those names.

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ARTICLE EXCERPTS ABOUT BLIND AFRICAN AMERICAN SINGERS/MUSICIANS
These excerpts are given in no particular order.

Excerpt #1:
From http://www.bostonblues.com/features.php?key=storyCryingBlind"Cryin' Blind: Situating the Blind Blues Musician in History" By Rachel Lee
May 2010
"Before World War II, the black population of the United States had a blindness rate five times that of its white counterpart.

The facts of their lives—including highly dangerous working conditions, social diseases spread by slum overcrowding and malnutrition—made them more susceptible to injuries and afflictions, and their general poverty and lack of health care access made it nearly impossible to receive the early treatment necessary to prevent blindness. While treatment and work opportunities for both black people and the blind have advanced over the years, there was a time when being a poor, blind black man meant having to sing for your supper.

That is why American culture is stamped with the iconic image of the blind blues musician.

From Blind Pig Records to the Blues Brothers, nothing quite screams blues louder than a pair of shades. Why do blind people wear sunglasses? Isn’t that about as useful as deaf people wearing ear plugs? The reasons for the shades are as myriad as the reasons for blindness. In some circumstances they're worn to hide eyes that have been disfigured. In other cases, bright light can be painful to the eyes. Many blind people have varying degrees of sight and though they may be legally defined as blind, they can make out shapes and colors.

W.C. Handy, named “The Father of the Blues,” described the musicians he saw around Clarksdale as “blind singers and footloose bards.” Handy himself went blind at the age of 30 due to an accidental fall from a subway platform in New York City."...
-snip-
This article includes “a list (by no means definitive) of some of the more noted blind blues musicians.”
Here are three entries from that list:

"Blind Blake (born Arthur Blake)
Born: circa 1893 in Jacksonville, Florida
Died: circa 1933
Instrument: Guitar and vocals
Cause of blindness: Unknown as much of Blake’s life is shrouded in mystery
Recordings: About 80 tracks for Paramount between 1926 and 1932
Where: Worked as a wandering musician throughout Florida, Georgia, and Ohio performing at medicine shows, parties, on streets, and at suppers and fish fries in the early 1920s

Trivia: He is not to be confused with another Blind Blake, a popular singer from the 50’s from the Bahamas who recorded calypso music.

Achievements: He was one of the greatest guitarists of his era--his ragtime based guitar style was the prototype for the piedmont style blues. His complex and intricate finger picking inspired Reverend Gary Davis, Jorma Kaukonen, Ry Cooder, Ralph McTell, Leon Redbone and many others.

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Rev. Gary Davis A.K.A Blind Gary Davis (born Gary Davis)
Born: April 30, 1896 in Laurens, South Carolina
Died: May 5, 1972
Instrument: Guitar and vocals
Cause of blindness: According to Davis: “I was taken blind when I was three weeks old. The doctor had something put in my eyes that was too strong and that was what caused me to go blind.”
Recordings: 1930s-1970s, America Record Company, Bluesville, Prestige, Folkways, Kicking Mule
Where: Carolinas and New York

Trivia: Jorma Kaukonen recorded his song “I'll Be Alright”
Achievements:
Broke his wrist as a teenager; the bones never set properly and may have inadvertently contributed to his unique guitar style
Developed a complex yet swinging approach to picking that has influenced generations of players, including Jerry Garcia, Dave Van Ronk, Jorma Kaukonen and Stefan Grossman

**
Blind Boy Fuller (born Fulton Allen)
Born: July 10, 1907 in Wadesboro, North Carolina
Died: February 13, 1941
Instrument: Guitar, steel guitar and vocals
Cause of blindness: Went blind in is teens either from ulcers behind his eyes due to snow blindness or an ex-girlfriend throwing chemicals in his face (there are multiple accounts)
Recordings: Around 120 songs ranging from ragtime to blues to novelty tunes for ARC and Decca
Where: Played on street corners and at house parties in Winston-Salem, Danville and then Durham, North Carolina

Trivia: Syd Barrett noticed the names of Pink Anderson and Floyd Council in the liner notes of a Blind Boy Fuller record, hence the name for his band Pink Floyd

Achievements:
Played slide, ragtime, pop, and blues
Several original compositions including "Lost Lover Blues" and "Step It Up and Go" have become standards of the Piedmont blues genre."...

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Excerpt #2:
From https://www.quora.com/What-explains-the-high-proportion-of-blind-Blues-musicians-in-the-early-20th-century What explains the high proportion of blind Blues musicians in the early 20th century?
Merin Thomas, The Sky is Crying
Updated May 1, 2013
"The history of blues and African-American music in general in the early 20th century is strewn with names like Blind Lemon Jefferson, Blind Boy Fuller and Blind Willie McTell. The reasons why such a high proportion of blind blues musicians flourished in this period are many.

The lives of African Americans after the turn of the 20th century was unbearably hard with few avenues for relief except gambling and drinking. The vast majority were still in the deep south, where they were still fighting the last vestiges of slavery. Work was hard to come by and usually involved manual labour in the fields. Almost invariably, their lives involved dangerous working conditions, social diseases spread by overcrowding and malnutrition and lack of access to healthcare didn't make things any easier. Hence, it was nearly impossible to receive the early treatment needed to treat blindness.

The introduction of prohibition in 1920 prompted the illegal production of moonshine. One of the by-products of distilling moonshine was methanol (or anti-freeze), which if ingested, caused blindness.

Those unfortunate enough to lose their sight couldn't work in the fields anymore, couldn't get decent healthcare if they were poor and having no other avenues for work, turned to music to earn their daily bread. They played at street corners, house parties, juke joints and labour camps, honing their craft in front of live audiences. And some of them got good. Real good. That is why today American culture is stamped with the iconic image of the blind blues musician."...

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Excerpt #3:
From http://all-that-is-interesting.com/blind-blues-musicians
..."Blind Willie Johnson, Blind Willie McTell, Blind Lemon Jefferson…in fact, just scroll down the Blues Hall of Fame list and every third musician seems to be preceded with the word “blind.”

In the jazz and soul worlds, there wasn’t anywhere near as many blind musicians. So why the disproportionate amount of unsighted bluesmen?

“Well, there were far more blind people back at the turn of the century when these blues artists were born,” says Brett Bonner, editor of Living Blues magazine. “Several diseases that were common — and often incurable — back then caused blindness: meningitis, measles, scarlet fever, smallpox, high blood pressure, venereal disease. If the diseases were treatable, many rural poor simply couldn’t afford the doctor.”

Outside of the farmland, distilling spirits could also lead to blindness. If not performed correctly, the process could result in the production of methanol, rather than ethanol; and consumed in large qualities, it could shred the optic nerves.

Given how commonplace blindness was then, perhaps a better question to ask is — why did so many of these blind people become bluesmen?

“When you were a blind child in a poor family in the rural south,” says Bonner, “you were a burden to the family because you couldn’t work on the farm like everyone else. Playing music was something a blind child could learn to do and could, as he aged, perhaps make a living doing it. Since they had to earn their keep and there were so few other possibilities available, they simply became a bluesmen out of necessity.”

Some of the bluesmen which Bonner cites were the lucky ones, who despite their affliction, were able to forge successful recording careers. Blind Lemon Jefferson, for example, became the blues darling of Paramount Records; Blind John Davis gained a big European following after touring with Big Bill Bronzy, and Sonny Terry, a blind blues-cum-country singer, went on to star in Steven Spielberg’s The Color Purple.

But for the great many, day-to-day existence was tough, jostling to earn a nickel on filthy street corners, heckled and abused by a hostile, sectarian society and fighting a raging battle against disease and addiction. Every blind bluesman certainly had a tale to tell."...

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Excerpt #4:
From https://en.wikipedia.org/wiki/Blind_musicians
..."Though the idea of blind musicians may be even more prevalent than their actuality, it remains true that at many points in history and in many different cultures, blind musicians, individually or as a group, have made important contributions to the development of music. Some of these contributions are discussed below.

[...]

American country blues
Blind musicians have made a significant contribution to American popular music. This is particularly true in blues, gospel, jazz, and other predominantly African American forms – perhaps because discrimination at the time made it more difficult for black blind people to find other employment. In any case, the achievement of blind African-Americans in music is extensive. The first recorded gospel sanctified barrelhouse piano player, Arizona Dranes, was blind, as was Al Hibbler and Ray Charles, one of the most important figures in the creation of soul music. Art Tatum, commonly cited as the greatest jazz pianist of all time, was also almost blind. Stevie Wonder, who was blind from birth, has recorded more than thirty U.S. top ten hits and won twenty-two Grammy Awards[15] (the most ever won by a solo artist in history).

However, blind black musicians are still most strongly associated with the country blues. The first successful male country blues performer, Blind Lemon Jefferson was blind, as were many other country bluesmen, including Blind Willie McTell, Blind Willie Johnson, Sonny Terry, and Blind Boy Fuller. The figure of the black country bluesman became so iconic that when Eddie Lang, non-blind jazz guitarist, wanted to choose a black pseudonym for purposes of recording blues records with Lonnie Johnson, he naturally settled on Blind Willie Dunn.[16] Bogus Ben Covington was known for pretending to be blind.”...

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FIVE SHOWCASE YOUTUBE EXAMPLES: BLACK BLUESMEN WHO WERE BLIND
These examples are given in no particular order.

Example #1: Blind Lemon Jefferson, "Jack of Diamonds"



TheLadyEmerald, Uploaded on Jul 19, 2011

Jack of Diamonds is a traditional folk song. It is a Texas gambling song that was popularised by Blind Lemon Jefferson in 1926.

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Example #2: Blind Blake - Diddie Wa Diddie



Glenn Weiser Uploaded on Jan 18, 2009

Recorded by guitar whiz Blind Blake and later covered by Hot Tuna and Ry Cooder.

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Example #3: Blind Willie McTell - Statesboro Blues



Raiwons Uploaded on Sep 11, 2009

...Nobody can sing the blues as Blind Willie McTell ' (1), this at least is what Bob Dylan sentences in the topic who dedicated this big bluesman and who helped to increase his legend. A legend that as it usually happens often did not start blowing up even after his death, especially immediately after that in 1959 Sam Charters was including in the album that was accompanying his famous book ' The Country Blues ' one of his topics, ' Statesboro blues ', which later would be taken to the reputation in 1968 by Taj Mahal on his disc of debut and especially in 1971 by Allman Brothers Band in his mythical double album ' Live at Fillmore East ' (2).

William Samuel McTell, better known as Blind Willie McTell (May 5, 1898 (sometimes reported as 1901 or 1903) August 19, 1959), was an influential American blues singer, songwriter, and guitarist. He was a twelve-string finger picking Piedmont blues guitarist, and recorded 149 songs between 1927 and 1956.

" Writin' Paper Blues 1927"
http://youtu.be/n7J5XEG_E1g

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Example #4: Nobody's Fault But Mine - Blind Willie Johnson



Taylor Darrow, Uploaded on Feb 28, 2012

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Example #5: Truckin' My Blues Away - Blind Boy Fuller



Eric Cajundelyon, Published on Sep 24, 2012

Blind Boy Fuller (born Fulton Allen) (1907 - 1941) was an American blues guitarist and vocalist. He was one of the most popular of the recorded Piedmont blues artists with rural Black Americans, a group that also included Blind Blake, Josh White, and Buddy Moss. Enjoy and keep your blues away !!!

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Visitor comments are welcome.

Were African Americans The Originally Composers Of "I Believe I Can Fly" Parodies?

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Edited by Azizi Powell

I recently happened upon this online blog post about an example of an "I Believe I Can Fly" parody which suggested that "I Believe I Can Fly" parodies (and not just that particular example) were African American in origin. I'm quoting this entire post for folkloric purposes:

From http://folklore.usc.edu/?p=23861
"Occupation: Student
Residence: CA
Performance Date: 3/06/14

"The informant is a college-age male whose parents are both originally from Pakistan. He has lived in Southern California all his life, with frequent trips to Pakistan to visit extended family. Although he graduated from a public high school, he attended a private Islamic elementary school until the third grade. He says there were Muslims of many backgrounds at the school, and one of his friends (who also happened to be of Pakistani descent) used to sing this as a joke during rehearsals for school programs. It is a partial parody of a once-popular song by the artist R. Kelly.

I believe i can die

I got shot by the FBI

My momma hit me with a chicken wing

All the way to Burger King

Analysis: The informant (and, according to him, his other friends and classmates) always thought the song was funny, both because “the original song was about how, you know, you can do anything if you try hard and believe in yourself, and like… not letting your fears get in the way of…getting your dreams or whatever. And then it’s like, oh, I got shot by the FBI and my mom hates me…So, that was funny;” and also that the friend in question was also a bit of a troublemaker, so the just the fact of him singing the rather inappropriate song when he was supposed to be singing a school song, “made it even funnier” to the informant.

From a more objective point of view, the elementary school attended by the informant was located in South Los Angeles, which has a high population of African-American residents. It is quite possible that this parody was learned from neighbors or friends who were African-American, as it seems to give voice, through humor, to anxieties about dangers which are uniquely part of the reality of African-Americans in South LA–that is, being “shot by the FBI” or otherwise victimized by members of potentially racist law enforcement or the government. It’s also a very stark contrast between the original song’s message of hope and inspiration and this version’s obvious (justified) pessimism about American society. On the other hand, the second and third lines seem to include stereotypes about African Americans’ supposed fondness for fried chicken and fast-food and their strict parenting style.

An online search reveals that parodies of this song are common among African Americans from LA to Pittsburgh, revealing how far and wide the common anxieties of this minority group spreads.

COLLECTED BY RABIA
POSTED FRIDAY, 16TH OF MAY 2014 AT 05:32:19 PM"
-snip-
The words "parodies of this song are common" is a hyperlink that leads to Part I of a 2013 pancocojams post about "I Believe I Can Fly Parodies"https://pancocojams.blogspot.com/2013/10/childrens-parodies-of-i-believe-i-can.html.

I also recall reading a post on a blog whose name I didn't document in which the commenter noted that his or her example of "I Believe I Can Fly" parody was racial because of the reference to "chicken wings" and "collard greens". That contributor made no other comment about any racial aspect to that example.

Here's my reaction to these comments:

I very much disagree with the comments that Rabia wrote in the above quoted article that "I Believe I Can Fly" parodies "give voice, through humor, to anxieties about dangers which are uniquely part of the reality of African-Americans in South LA–that is, being “shot by the FBI” or otherwise victimized by members of potentially racist law enforcement or the government."

I also very much disagree that the boys and girls who enthusiastically and without prompting (except for my request for them to share what songs or rhymes they knew) sung "I Believe i Can Fly" parodies in the cultural presentations and recreational sessions that I held in Pittsburgh, Pennsylvania in 1999 and the early 2000s were "revealing the common anxieties" [that probably are indeed actually] "felt by [many] African Americans far and wide".

I also disagree that references to chicken wings, collard greens, and -in other examples of "I Believe I Can Fly" parodies- cornbread automatically mean that these parodies are of African American origin. While its true that those food items are considered to be "soul food" dishes - i.e. African American popular food choices- other people in the United States South and elsewhere like those food items. I believe that it's probably well meaning but still socially incorrect to imply or assert that this parody is African American because the person voiced in the rhyme wanted (or, in some versions, stole) food that have been categorized as "soul food".

I also believe that it's probably well meaning but still socially incorrect to assume that the person in some versions of this parody who is shot, killed, or chased by the FBI was Black. And I don't believe that it's true that all (or maybe even most) African Americans have a stricter parenting style than other Americans. And if some African Americans do have a stricter parenting style than other Americans, I'm not convinced that the violence against the mother (hitting the mother with a garbage can or a frying pan or other such lines that -I believe- are in later versions of these parodies) have anything to do with actual dislike of or hatred for mothers.

Furthermore, in my years of informally directly and indirectly collecting and studying African American children's recreational compositions (from the mid 1980s to date), I can attest to the fact that it's rare to find examples of African American children's rhymes that even obliquely refer to "being victimized by members of potentially racist law enforcement or the government"- even if you include such examples as the late 19th century or early 20th century "Massa Massa Don't Whip Me" (whip that other "n word" behind that tree)" and the "Bedbugs" rhymes:
"Oh, I'm walkin' round the corner
Doing little harm
Along comes a policeman
And grabs me by the arm
Oh, he walks me round the corner
Rings a little bell
Along comes a wagon
And knocks me in a cell"...

Note my assumption that both of those rhymes are probably of African American origin or adaptation.

The record "I Believe I Can Fly" record was written, produced, and performed in 1996 by [African] American American singer R. Kelly (as per https://en.wikipedia.org/wiki/I_Believe_I_Can_Fly) and the earliest examples of the "I Believe I Can Fly" parodies that I've collected (from direct interactions in Pittsburgh, Pennsylvania in 1999) were from African American boys and girls ages 5-12 years. However, these examples might not be the earliest parodies of "I Believe I Can Fly". Furthermore, most of the examples of "I Believe I Can Fly" parodies are found online on YouTube and other websites/blogs such as pancocojams. Online examples of children's rhymes -including I Believe I Can fly"- rarely include demographics. And I don't believe that any research project has been done to ascertain whether Black American children/teens know and have sung these parodies more than non-Black American children/teens.

However, "I Believe I Can Fly" parodies differ from most Black African and Black African Diaspora children's recreational compositions (rhymes, singing games, chants, and cheers) in that these examples don't have a percussive beat which facilitate the performance of some form of rhythmic body movement/s such as jumping rope, partner, group, or individual hand claps, skipping in a circle, dancing, or foot stomping (synchronized foot stepping) while the sung. rhyme is sung or chanted. It doesn't appear that "I Believe I Can Fly" parodies initially had any accompanying body movement activities, but the compositions became separated from that (or those) activity/activities, but that doesn't necessarily mean that these parodies weren't originally composed by African Americans. Also, it seems to me that few African American children's rhymes are parodies, although one group of rhymes that might fit that definition are the "I pledge allegiance to the flag/Michael Jackson makes me gag". This is in contrast to the "On Top Of Old Smokey" parodies that I believe are of White American origin and mostly chanted by non-Black Americans. Click http://playgroundjungle.com/2009/12/on-top-of-old-smokey-parodies.html for an article about those parodies.

It appears to me that "I Believe I Can Fly" parodies were sung -and continue to be sung- by children and pre-teens of all races, ethnic groups, and genders within the United States, and by extension, in some other nations. I believe these parodies remain popular with children and pre-teenagers (ages 5- 12 years) because they provide opportunities to engage in creative play (i.e. rhyming or near rhyming composing, singing/chanting) that often tests and flaunts societal limits with little or no consequences. This limit testing/flaunting societal norms includes children's and pre-teens's singing/chanting rhymes that include profanity or other taboo words -such as the "Miss Susie Had A Steamboat" rhymes in which the "taboo" word is given in such a way that there is plausible deniability. "I Believe I Can Fly" parodies and some other limit testing and flaunting children's rhymes include references to taboo violence such as hitting one's mother or teacher, and sexual or sexualized content -and often sexualized butt shaking dancing- which cause many children to describe these rhymes as "nasty" or "dirty".


If you have demographic information about late 1990s examples of "I Believe I Can Fly" parodies (including the race, ethnicity of those people chanting those parodies), please share that in the comment section below. Thanks.
-snip-
This quote and comments are included in Part I of this 2013 pancocojams post about "I Believe I Can Fly" parodies
whose link is given above.

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ADDENDUM- ADDITIONAL EXAMPLES OF "I BELIEVE i CAN FLY" PARODIES
These examples supplement examples of "I Believe I Can Fly" parodies in Part II of a 2013 pancocojams post on those parodies https://pancocojams.blogspot.com/2013/10/childrens-parodies-of-i-believe-i-can_2.html.

It's my sense that these "I Believe I Can Fly" parodies that appear below have texts (words) that are different from the examples that I collected in 1999s and the early 2000s (in the amount of references to violence, and/or sexualized references such as "dingaling", and rhyming content such as "hospital"/ "popsicle" and "chips/"dangling bits".
-snip-
All the examples that are given below are from that video's discussion thread.

WARNING: As is the case with many YouTube comment threads, a number of comments in this discussion thread include profanity, and/or explicit sexual references, and/or racist references, and other inappropriate content.

I believe can fly I got shot by the fbi



mari Published on Jun 25, 2014

Mari and mike
-snip-
Here's my transcription of part of these two African American children's introductory comments about and version of "I Believe I Can Fly":

“Hold on. This is a new song by Mike and Mari. We fixin* to sing “I believe I can fly. I got shot by the fbi” new version.

I believe I can fly
I got shot by the fbi
All I want is some chicken wings,
cornbread and collard greens.
I believe I can soar
I got a whoopin at the grocery store
I told my dad I can’t take no more
I got shot by the FBI.
-snip-
*fixin"= African American Vernacular English term meaning "getting ready to".

"whooping" = a beating

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Kris Edwards, 2016
"Real. Song. :: I Believe I Can Fly I Got Shot By The F.B.I All I Wanted Was A Chicken Wing From McDonalds Or BurgerKIng I Hit My Mom With A Frying Pan She Got Me Back With A Minivan IBelieve I Can Soar Like A Butterfly......."

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Daniela Lopez, 2015
"I believe I can fly, got shot by the FBI, all I wanted was a bag of chips, then they shot off my dangling bits..."

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Emily Sherratt, 2016
"my friends sing it like this"I believe I can die I got shot by the FBI all I wanted was a bag of chips but all I got was a hit in the bits"

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Joey Morales, 2017
"My version: I believe I can fly... I Got shot by the FBI... All I wanted was a chicken wing... So they shot me in my dingaling... And they brang me to the hospital... And They replaced it with a popsicle... Then they slammed me in an iron door... And so much more."

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

All copyrights remain with their owners.

Thanks to R, Kelly for composing and performing the song "I Believe I Can Fly" and thanks to all those who are quoted in this post.

Thank you for visiting pancocojams.

Visitor comments are welcome.

Exile One (Band)- Cadence-Lypso Music From Dominica, The Caribbean

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Edited by Azizi Powell

This pancocojams post provides information about the Caribbean nation of Dominica and provides information about the "Cadence-Lypso" music genre.

Information about and five selections by Cadence-Lypso's premier band "Exile One" are also included in this post.

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

All copyrights remain with their owners.

Thanks to Exile One for their musical legacy and thanks to all those who are quoted in this post. Thanks also to the publishers of these examples on YouTube.

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INFORMATION ABOUT DOMINICA
From https://en.wikipedia.org/wiki/Dominica
"Dominica ..., officially the Commonwealth of Dominica, is a sovereign island country.[7] The capital, Roseau, is located on the leeward side of the island. It is part of the Windward islands in the Lesser Antilles archipelago in the Caribbean Sea. The island lies south-southeast of Guadeloupe and northwest of Martinique. Its area is 750 square kilometres (290 sq mi) and the highest point is Morne Diablotins, at 1,447 metres (4,747 ft) elevation. The population was 72,301 at the 2014 census.

The island was originally inhabited by the Kalinago and later colonised by the Europeans, predominately by the French from the 1690s, who arrived long after Columbus passed the island on Sunday, 3 November 1493; the island's name is derived from the Latin for "Sunday". Great Britain took it over in 1763 after the Seven Years' War and gradually established English as the official language. The island republic gained independence in 1978.

Its name is pronounced with emphasis on the third syllable, related to its French name of Dominique. Dominica has been nicknamed the "Nature Isle of the Caribbean" for its natural environment.[8] It is the youngest island in the Lesser Antilles, still being formed by geothermal-volcanic activity, as evidenced by the world's second-largest hot spring, Boiling Lake. The island has lush mountainous rainforests, and is the home of many rare plants, animals, and bird species."...

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INFORMATION ABOUT CADENCE- LYPSO
From https://en.wikipedia.org/wiki/Cadence-lypso
"Cadence-lypso is a fusion of cadence rampa from Haiti and calypso from Trinidad and Tobago. Originated in the 1970s by the Dominican band Exile One on the island of Guadeloupe, it spread and became popular in the dance clubs of Dominica and the French Antilles.[1][2][3]
Gordon Henderson is the leader and founder of Exile One, and the one who coined the term cadence-lypso.[2][4]

[...]

The Cadence era

In the early 1960s, Haitian musicians introduced to the Caribbean, specifically, Dominica and the French Antilles (Guadeloupe and Martinique) the cadence rampa or méringue, a sophisticated form of music that quickly swept the islands and helped unite all the former French colonies of the Caribbean by combining their cultural influences.[6]

In the early 1970s, the Dominican Kadans band Exile One was born, based on the island of Guadeloupe. Its members were top rate Dominican musicians originating from bands such as Woodenstool, Voltage and De Boys and Dem. Trinidadian Calypso and Haitian kadans or méringue were the two dominants music styles of Dominica so Exile One, that featured calypso, reggae and mostly kadans or méringue, called its music Cadence-lypso however, most of the bands repertoire was kadans.

Due to the popularity of Exile One, There was a virtual explosion of kadans bands from Dominica - Grammacks, Liquid Ice, Midnight Groovers, Black Affairs, Black Machine, Mantra, Belles Combo, Milestone, Wafrikai, Black roots, Black Blood, Naked Feet and Mammouth among others. Leading vocalists of the period include Gordon Henderson, Jeff Joseph, Marcel "Chubby" Marc, Anthony Gussie, Mike Moreau, Tony Valmond, Linford John, Bill Thomas, SinkyRabess and Janet Azouz among others. Dominica kadans bands became popular in Martinique, Guadeloupe, Haiti and other islands in the Caribbean, Latin America and Africa.

The music of Santana and Osibisa also influenced this new form as evidenced in the use of guitars, keyboards, horns and percussion. At that time too, the society was in nationalist ferment. The Black Power and Rastafarian Movements, with their black pride, pro-African and anti-colonial ideological positions, influenced the young musicians tremendously. This was reflected in the music in terms of band names such as Wafrikai, Black Machine, Black Roots, Black Affairs and Black Blood, a definitive identification with blackness, with Africa. This was reflected in the melody, in the use of certain instruments such as keyboards, guitars and horns. This was also reflected in lyrical content, the positive, nationalist and social commentary of cadence-lypso.[1] Cadence-lypso reflected and exuded the nationalist ferment of the seventies.

There were a number of other important aspects of cadence-lypso music which impacted on our culture and society as well as the future direction of Dominica's contemporary music. Cadence-lypso used the Creole language as its prime means of expression, again feeding into our language traditions and our folk song traditions. Oral traditions such as proverbs were every much utilized in the music. Cadence-music was popular among the young and the old and united the generations. For the younger people, this music which was making Dominica famous overseas was also serving as a platform of protest against the ills of society and for conscious-raising. This music was popular among the older folk because of its similarity or relationship to rhythms of jing ping music and the use of the Creole language.

During the 1980s, cadence-lypso popularity declined greatly. ...

Recently, efforts have begun to revitalize cadence-lypso and Creole music generally through the holding of the World Creole Music Festival here in Dominica.”...

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INFORMATION ABOUT EXILE ONE
From https://en.wikipedia.org/wiki/Exile_One
"Exile One is a cadence musical group of the 1970s from Dominica based in Guadeloupe that was influential in the development of Caribbean music.[1]

History
In 1969, Gordon Henderson (the "creole father of soul" and "Godfather of Cadence-lypso") decided that the French Overseas Department of Guadeloupe had everything he needed to begin a career in Creole music. From there, lead singer Gordon Henderson went on to found a kadans fusion band, the Vikings of Guadeloupe – of which Kassav' co-founder Pierre-Eduard Decimus was a member. At some point he felt that he should start his own group and asked a former school friend Fitzroy Williams to recruit a few Dominicans to complete those he had already selected.[3] The group was named Exile One. During the early 1970s, they initiated a fusion of cadence and calypso "Cadence-lypso" that would later influence the creation of soca music.

The full-horn section kadans band Exile One led by Gordon Henderson introduced the newly arrived synthesizers to their music that other young cadence or compas bands from Dominica, Haiti (mini-jazz) and the French Antilles emulated in the 1970s.[5] In the early 1980s, Lead guitarist Julie Mourillon of Exile One formed a new group called Roots of Exile. Together, they launched a new beat dubbed "Island Boogie", a fusion of cadence-lypso and North American funk and soul music and toured Africa and Europe.

Exile One and Grammacks were two influential figures in the promotion of cadence-lypso in the 1970s. They were inspirational for Kassav and the emergence of zouk in the 1980s.[7] Exile One was the first kadans band to sign a production contract with a major label called Barclay Records.[8] The first to export kadans music to the four corners of the globe: Japan, the Indian Ocean, Africa, North America, Europe and The Cape Verde islands.[9]"...

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SHOWCASE VIDEOS
These videos are presented in chronological order with the video with the oldest publishing date given first.

Example #1: Exile One Jamais voir ça



CapitaineWobert Published on Nov 6, 2012

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Example #2: Exile 1_ Tout Jeu se Jeu_ Haitianbeatz.com



Jacobin Noir, Published on Dec 17, 2012

live event

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Example #3: exile one jumbolo



mashupah99, Published on Oct 4, 2013

music from exile one Gordon Henderson


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Example #4: ilyne - Exile One Gordon Henderson (cadence lypso)



Dominica CadenceLypso, Published on Apr 5, 2016

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Example #5: EXILE ONE (GORDON HENDERSON) LIVE AT TERRE DE BLUES PART I



Gordon Henderson Published on Jun 1, 2016

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