Category Archives: Musical

I Can See Clearly Now

CONTEXT: DM is a current USC student who attended a North Carolina Christian sleep-away camp in the summer of 2011. This is a narrative joke that she heard from the head of camp, Jimbo. She heard this during Jimbo’s “Breakfast Club” during which he talked about God and told jokes. DM interprets this as a joke and a pun.

TEXT:
Alright, so one time there was this kid named Jim who lived in the fine, fine city of
Chattanooga, Tennessee. He was just coming up into high school, and in his
sophomore year of high school he’d just started to get a little bit interested in girls. And
there was this one girl in his English class that he really liked, and her name was
Lorraine. And he thought “oh my gosh, what an interesting name.” She was beautiful,
she had, like, beautiful eyes, beautiful hair, she was smart. They start talking. They
eventually start going on dates, and at first, everything’s awesome. Y’know, they’re
going on dates, hanging out all the time, getting to know each other, and then right
around when he says, “I love you,” world stops. Everything changes. And now, she is all
over him all of the time. She does not get off his case, is blowing up his phone while
he’s in class, while he’s at home, while he’s at work. And, like, he cannot get away from
this girl and it starts driving him crazy to the point where he goes “I think I need to break
up with this girl, but I don’t know how.” Same time, about halfway through his school
year, they get a transfer student from abroad. And she’s from some hippy-dippy
European family, whatever… she shows up in school and says that her name is Clearly,
and instantly AH, by-God, Jim is just struck over with love. He is falling head over heels
in a second, and he has forgotten completely about Lorraine. He is all about Clearly. All
he has to do is do it. So, he decides “What do I have to do? How can I sweeten the
deal? How can I make this go over without her actually killing me?” And he decides
“Alright, I’ll take her to the finest site in the city of Chattanooga – the Chattanooga River.”
Which, if you’re familiar, just is laden with the most beautiful., impressive, walls and
walls of concrete and big steel churning dams, and puffs of black smoke, and trash
floating all down the river in beautiful colorful sequence. And he takes her down to the
river, and he starts going “Well, y’know, I don’t… I don’t… I don’t really know how to say
this but I, um, I’ve been feeling…” and she’s going “yes?” As they’re walking, he sees
something cool in the river and he thinks “oh my god, what a great opportunity to
change the subject, ‘cause I cannot do this right now.” And he points in the water, and
he goes “Look!” And she turns around and leans over and falls into the river. And she
floats away and eventually drowns in the river. How sad. Oh my gosh. And he’s thinking
as he starts to call the police “Oh my gosh my girlfriend just fell in the Chattanooga
River. She’s probably suffocating on some plastic right now. How sad is this.” And then,
a thought crosses his mind, and he starts singing to himself as he walks away down the
river, “I can see Clearly now, Lorraine is gone.” (To the tune of I Can See Clearly Now
by Creedence Clearwater Revival)

ANALYSIS: This is a narrative joke in which the punchline is a play on a popular song from the 1970s. It is a play on words of the concept of seeing visually versus “seeing” someone in a romantic sense. The set up uses the names of two of the characters, Clearly and Lorraine, which doesn’t seem to be important until the punchline. It also relies on the similarity in sound between “Lorraine” and “the rain.” The punchline is sung so that the audience recalls the music it is based on. The joke will only work if the audience is familiar with the song. Knowing the storyteller, it is clear to me which parts of the story were added or embellished based on her personal preferences and style. It is a great example of how details are changed through oral tradition, even when the basic premise of the joke remains the same. It is also interesting that the main character of the joke, Jim, shares a name with the person DM heard the joke from
originally. It is the only character whose name has no bearing on the punchline. I wonder if that character has a different name in other versions of this joke, or if his shared name is a coincidence. It is also a “clean” joke, suitable for an audience of children at a Christian summer camp.

Dabke

[L]: For weddings, we always have like specific instruments for like the ceremony. We have tabals, which are a certain kind of drum that will be at every wedding, every Lebanese wedding reception. There’s also the darbuka which is another type of drum and then there’s also a little like flute…I don’t really know what it’s called but if you googled “lebanese flute” you could find it. [I did google it, and it’s called a zamour] And those three instruments are essential for Lebanese weddings.

[Me]: Do you happen to know why?

[L]: Well those are just the instruments that are used for all parties, aka hafle, but those instruments are just like at the center of almost all like party music and they’ve all been used in the region forever. You’ll find variations of those instruments in every other country in the Middle East..but yeah.

[Me]: Are there particular types of songs that they play? Or even a particular mood or tone or rhythm of them?

[L]: Usually very upbeat, um, and the mood or rhythm…there’s a very iconic Lebanese party music if you look up Faris Karam, he’s a very….iconic singer and his songs will always be at weddings. There’s also a dance that we do called dabke and we do that at all of our parties and weddings.

L is 20 years old and a student at USC. She grew up in Michigan, but spent most summers in Lebanon with family. Her dad grew up in Lebanon and immigrated to the United States in his early 20s, and her mom grew up in the United States in a Lebanese immigrant family. L has been to multiple Lebanese weddings—though only in the United States—so this information comes from her first-hand experiences as well as her general knowledge of Lebanese culture from her upbringing. 

I was fortunate enough to attend a USC Lebanese, Egyptian, Persian club crossover event with L very shortly after conducting this interview, and was able to experience and witness dabke first-hand. The dance didn’t make an appearance until about 2 hours had gone by of vibrant Arabic music blasting all around, but when it did surface, it was unstoppable. There was no distinction between those of Lebanese or Egyptian or Persian origin, this was a moment of people coming together to perform a dance that they knew as well as their own names. The most wonderful part of dabke, in my humble opinion, is that it works in a similar fashion to a conga line—participants can keep joining at the end of the chain—but instead of being linear, the front of the line begins to spiral inward to create a sort of pinwheel of people, all holding hands and united in dance. It makes perfect sense that this would be a dance performed at weddings and other celebrations alike—upon doing a little bit of research, I found that the dance has ties to community, family bonding, and resilience: “A simple message of locking arms together, stomping to the ground, and singing or chanting has left a deep mark in the culture…it unifies us against our oppressor” (Dabke Dance: A Shared Tradition of the Levant). Dabke is a folk dance known well in regions like Palestine, Lebanon, Syria, and Jordan, where people live and die by their connections to their family and community. Speaking to the specific wedding performance of dabke, a wedding is a liminal period in one’s life, and thus a dance promoting and encouraging resilience and unity would serve to reassure the newlyweds and make sure that they know they have the strength and love of the community behind them. All in all, dabke is a beautiful manifestation of the dearly held beliefs, ideals, and traditions of both Lebanese and other middle-eastern cultures.

Meatball Song

Text: On top of spaghetti, 

All covered with cheese,

I lost my poor meatball, 

When somebody sneezed.

It rolled off the table,

And on to the floor,

And then my poor meatball,

Rolled out of the door.

It rolled in the garden,

And under a bush,

And then my poor meatball,

Was nothing but mush.

The mush was as tasty

As tasty could be,

And then the next summer, 

It grew into a tree.

The tree was all covered,

All covered with moss,

And on it grew meatballs,

And tomato sauce.

So if you eat spaghetti,

All covered with cheese,

Hold on to your meatball,

Whenever you sneeze.

Context: The informant is from Del Mar, CA and first heard this song when she was “deep in her childhood…like 7 or 8”.  She doesn’t remember who she learned it from, but thinks it was somewhere on TV or “some sort of kid show”. She would sing the song when she ate spaghetti as a joke with her younger sister. She believes the song is just a fun kid song. 

Analysis: I believe that this legend about a meatball is meant to teach the children about health and wellness. More specifically, about covering your sneezes because if you don’t you could lose something (perhaps your good health). Additionally, the song may be commenting on protecting your valuables, taking good care of them, and not letting others take them away from you or mess them up somehow. It teaches children to value what they have before it is gone. 

Johnny Verbeck

Text: Once I knew a Dutchman, his name was Johnny Verbeck. He used to deal in sausages and sauerkraut and spec. He made the finest sausages that ever you have seen, and one day he invented a machine.

Oh Mr. Mr. Johnny Verbeck how could you be so mean? I told you you’d be sorry for inventing that machine.

Now all the neighbors’ cats and dogs will never more be seen. They’ll all be ground like sausages in Johnny  VerBecks machine. 

Once a little fat boy came walking in the store he bought a pound of sausages and set them on the floor. The boy  began to whistle, he whistled up a tune, and soon the little sausages were dancing around the room. 

Oh Mr. Mr. Johnny Verbeck how could you be so mean? I told her you’d be sorry for inventing that machine. Now all the neighbors’ cats and dogs will never more be seen. They’ll all be ground like sausages in Johnny Verbeck’s machine.

Once the darn thing busted, the blame thing wouldn’t go, so Johnny Verbeck he jumped inside to see what made it slow. His wife was having a nightmare and while walking in her sleep, she gave the crank a hell-of-a yank and Johnny Verbeck was meat.

Oh Mr. Mr. Johnny Verbeck how could you be so mean? I told you you’d be sorry for inventing that machine. Now all the neighbors’ cats and dogs will never more be seen. They’ll all be ground like Johnny Verbeck in Johnny Verbeck’s machine. Bang!

Context: The informant grew up in Las Vegas, NV and learned this song from his mom and dad as a little boy. He fondly remembers that his parents only sang it to him when he was on the chairlift with them while skiing as a young boy. Because of the somewhat scary nature of the song, he thinks his parents used it to distract him from the ski lift, which was scary to him as a child because of the heights and speed of it. He believes that the song is meant to warn kids about the dangers of technology.

Analysis: I believe that this tale, told in the form of a song, is commenting on two elements of society. Firstly, I believe it being used to warn kids about the dangers of technology. In the tale, Johnny Verbeck invents a machine that makes his work easier, however, it’s his very machine that was intended to be helpful, that turns out to be harmful and brings about his demise. I think this is meant to scare children into understanding the dangers that advancing technology may have. Secondly, I believe that this tale is commenting on the dangers of falling victim to the machine of society. I think it is suggesting that we, as humans, can fall into a sleep-like state, and continue to operate within the machine (without even realizing it) taking down the people that are, unfortunately, stuck inside of it as we do. 

“No More Monkeys Jumping on the Bed!”

Text: Three little monkeys jumping on the bed
One fell off and bumped his head
Mama called the doctor and the doctor said
“No more monkeys jumping on the bed!”Two little monkeys jumping on the bed
One fell off and bumped his head
Mama called the doctor and the doctor said
“No more monkeys jumping on the bed!”One little monkey jumping on the bed
He fell off and bumped his head
Mama called the doctor and the doctor said
“Put those monkeys right to bed!”

Context: PS grew up in Las Vegas, NV with an older brother and a twin sister. He remembers his mom and dad singing this song to him when it was time to go to bed. Often, he and his siblings would be jumping on the bed and take turns jumping off of the bed into their parents arms before eventually being sent to bed. He thinks it was a tactic his parents used to tire him and his siblings out before bed so that they would sleep better.

Analysis: I believe that this tale, told in song form, is used as a cautionary tale for children about the dangers of being rambunctious. Often, little kids have the urge to jump and play on their beds, which is potentially dangerous, and this song serves as a fun way of reminding children that foolish actions have repercussions (injury). I believe it is also used a way to wrangle and tire kids out so that they are more likely to sleep throughout the night.