Tag Archives: songs

In the Stone Signal

The informant is a third year in the USC Trojans Marching Band.

The gesture is, using my left hand to make kind of a fist, you’re holding it upright. And then you take the other hand, you point your pointer finger (laughs) and then you stick that finger in the hole that your fist makes. But it’s important that it’s standing up.

-Informant Describing the Gesture

[How do you use this gesture?] I’m in the band. The Trojan Marching band of USC, Fight On. [Fight on] And this (hand gesture) is what the director would make when he is trying to call this song. Often times you can’t really hear Jake (the director) over the crowd noise, so he’ll make the gesture so we can know what we’re playing even if we can’t hear him. And it’s passed down. I can turn around and make the gesture at someone behind me and they’ll get it and pass down the gesture (to people behind them). [For the studio audience here, what song does it signifying you’re playing?] It signifies that we are playing in the stone. [Do you know how it came to be?] I assume that the fist is meant to be the stone (laughs) and the finger is meant to be the sword in the stone, so that brings it together to the name-sword in the stone (laughs). [Finger in stone, got it]

-Interview with the Informant

The gesture is one of many that the USC Marching Band uses during games. Someone who is not in band would not know any of the hand gestures as they would have no use for them. The band has an incredible strong bond as a group, which is reflected in the oodles of folklore it contains. Even in the interview with this informant, there was a demonstration of the band’s unique atmosphere. The informant referred to Dr. Jacob Vogel as Jake, something that only band members second year or up are allowed to do. People outside of band probably don’t know its director by name (Dr. Jacob Vogel), and certainly wouldn’t know him by the name Jake.

Additionally, this gesture demonstrates how some folklore is spawned as a solution to a problem. In this instance, the problem that the band faces with communication. Because of how hectic the games, both football and other sports, are, they are unable to hear what the director calls next. They have to rely on each other to pass back the song called both verbally with hand signals and this reliance strengthens their bond as a folk group. The informant’s understanding of why the gesture is the way it is draws upon a well known legend of King Arthur. The informant says that the finger signifies a sword in the stone, the stone being made up of the other fist, a clear reference to the sword in the stone which is a central part of the King Arthur legend. The song’s title, In the Stone, does not reference a sword in the stone, but instead that the love described in the song was written in stone, a reference to the Biblical story in which Moses receives the ten commandments written on stone tablets. Whether or not the gesture is a reference to the sword in the stone or just a demonstration of something being in a stone, the reference to a different very widespread piece of folklore in a much more exclusive piece of folklore was worthy of note.

Say Say Oh Playmate – Children’s Song

Text:

“Say say oh playmate, 

Come out and play with me, 

And bring your dolly’s three, 

Climb up my apple tree, 

Slide down my rainbow 

Into my cellar door 

And we’ll be jolly friends 

Forevermore more more more more more.”

Context:

JN is a 50-year-old freelance writer in Minnesota, where she grew up as well. She told me about a rhyme she used to sing as a child with her friends and said that they used to use it to jump rope to.  

Interpretation:

This is an example of children’s folklore because it is an easy song to sing and remember, so kids can grasp onto it and use it in different contexts. Beyond it being used as a jump rope song, I’ve also heard it used with a handclapping game. Based on my experience, this song seems to be relatively common around the United States, as it has been around for a few generations at least which has given it lots of time to proliferate. It is likely that beyond its different uses there are other ways of singing this song as well, as something like this is a good contender for having different oikotypes in different places. It is a fun way to connect with friends by singing it, and it is likely something more used by young girls as a way to form connections and play together, as it includes some gender stereotypes by referring to playing with dolls, which is commonly seen as an activity done mostly by young girls. 

Per Spelmann

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Background:

My informant for this piece is an American of Scandinavian descent. He lived in Norway for a time during high school and learned the language while he was there. He also still keeps in contact with his host family from his time living there, and his son recently spent a year abroad there as well. he recalls this song fondly because “we used to sing [it] when our daughter was upset or crying, and it was the only thing that could get her to sleep.”

Context:

Per is a common older name in Norway, and Spelmann is a name too but it literally means “player.” In Norway, a classical or folk musician is called a spelmann. My informant learned the song living Norway in high school when he was learning folk dance, and when they were done dancing he’d “jump up and kick the hat off the stick!” To understand this song, it’s important to know that it is about a musician who had to trade his violin in order to feed his family. Here, he gets it back:

Main Piece

“Per Spellmann han hadde ei einaste ku, Per Spellmann han hadde ei einaste ku,

Per Spellmann (Player) had only one cow, (repeat)

Han bytte bort kua fekk fela igjen, han bytte bort kua fekk fela igjen,

He traded away the cow to get the fiddle back, (repeat)

Det gode, de gamle, fiolin, det fiolin, det fela mi!

The good, the old, violin, violin, that fiddle of mine, (repeat)

Per Spellmann han spelta aa fela hu laat, (repeat)

Per Spellmann played and the fiddle laughed

Saa gutterne dansa, aa jenterne graat, (repeat)

The boys danced and the girls cried.

Det gode, de gamle fiolin, det fiolin, det fela mi!”

Analysis:

This old Norwegian folk song tells us a great deal about the culture and beliefs of Norway’s people. Its basic concept–a man trading his violin to support his family and trading it back for his last cow–is not hard to understand, but it’s very valuable. It might seem that the man simply doesn’t love his family very much, but this isn’t the case. At first, he does trade away his instrument for them, showing how much he cares. But in the end, he trades his last possession of value–his only cow–to get his fiddle back. Although it’s sad for his family, the song shows that this culture values happiness over everything because life is nothing without it. This cultural value is still reflected in Norway’s present-day laws, which factor citizens’ happiness into other national measures of success, ensuring that the people are well taken care of.

The British War Song: It’s a Long Way to Tipperary Song

Piece:

It’s a long way to Tipperary
It’s a long way to go
It’s a long way to Tipperary
To the sweetest girl I know
Goodbye Piccadilly
Farewell Lester Square
It’s a long, long way to Tipperary
By my heart’s right there

Background: My informant learned this song from her husband who was in the British Navy. Typically this song was sung by sailors on the ship as a way of bonding. Later my informant recounted that her husband would sing it to their children while they were brushing their teeth to make sure that they spent long enough on the activity.

Context: My informant and I were discussing childhood experiences and she remembered when she had children she used to sing them songs along with her husband. She then sang those same songs to her grandchildren.

Thoughts: I have heard this song before but I never knew it came from soldiers singing to pass the time. The song appears to be about returning to a loved one that the soldier has missed very much, and since that loved one lives in Tipperary the song, likely, has Irish origins. Tipperary is a county in Ireland and across the British channel from Piccadilly, certainly a ‘long, long way’ to go.

The Fudgy Wudgy Man

  • Context: The informant (A) is a 15 year old high school student who spends his summers at the Jersey Shore in South New Jersey. He explains a summer job that mainly men, but some women, have that is a staple of South Jersey culture – the Fudgy Wudgy Man. The conversation arose when speaking about what summer jobs for which he should apply. He not only explains the job itself, but the song sung by the Fudgy Wudgy Men. 
  • Text:

A: “The Fudgy Wudgy man… he pushes the ice cream cart… uh… there’s the Spongebob bar, the… uh… Chipwhich, the… uh… um… cookie sandwich… Choco Taco!”

Me: “So he pushes the cart? When?”

A: “On the beach… from like a certain time period. I don’t know when it starts or when it ends.”

Me: “What do you mean? He pushes the cart on the beach?”

A: So… this man, well men… and women… um… he pushes an ice… well like a cart, that has ice in it and it has ice cream in it and he sells the ice cream to people… on the beach…

They go…

‘FUDGY WUDGY… CHOCO TACO… CHIPWICH… HOW ABOUT AN ICE CREAM'”

Me: “And just anyone can do this?”

A: “I think you have to apply for it, but I’m not quite sure…”

Me: “How do you know they’re the Fudgy Wudgy Man?”

A: “‘cus their shirts say ‘The Fudgy Wudgy Man’ and they have a flag that says ‘The Fudgy Wudgy Man’… uh… they also have 2 Ball ScrewBalls, Fudgesicles, Orange Creamsicles, Banana bars, Strawberry bars, Lemon Water Ice, Cherry Water Ice… water… that’s some good water…”

  • Analysis: The Fudgy Wudgy Man is a constant in the Jersey shore culture. The Fudgy Wudgy man sells shirts with the job title and a smiling popsicle graphic. He sings a song about his job to boost morale and notify the children of the ice cream cart. This phenomenon is similar to that of Ice Cream Man and Ice Cream Trucks, but instead the carts are pushed along the beach by hand. Many kids apply for the job in order to get a tan and get buff while walking up and down the beach, but their participation prolongs an essential part of South Jersey culture.