Category Archives: Musical

Don’t B Sharp, Don’t B Flat, It’s Better to B Natural. (Gloss)

The phrase is a pun based on musical terminology:

“Don’t B sharp, don’t B flat, it’s better to B natural.”

This plays on the names of musical notes:

  • “B sharp” and “B flat” refer to accidentals in music.
  • “B natural” is both a musical note and a play on words encouraging someone to “be natural” in life.
  • The phrase suggests a balance—not being too extreme (sharp or flat), but being oneself (natural).

I first heard this phrase from M, the music director at my church. He used it in a lighthearted way while talking to the choir and musicians, emphasizing the importance of staying attentive in rehearsal with a positive attitude. He mentioned that he had heard variations of this pun before and liked using it as a joke to keep rehearsals engaging but also as a way to get members to self-check their presence in the rehearsal. Beyond the musical meaning, M explained it to me as a life lesson—encouraging people to avoid falling in uncontrolled extremes and instead be genuine and balanced. He uses this phrase both as humor and as a small piece of wisdom for his students and fellow musicians.

This phrase is a musical pun that also carries philosophical meaning. On the surface, it is a clever joke about musical notes, playing with the homophonic nature of “B” and “be” to create wordplay. However, beneath the humor, it conveys a message of authenticity and moderation.

Musically, being “sharp” or “flat” means being slightly out of tune—too high or too low in pitch. In a broader sense, these terms can symbolize extremes in behavior or emotions—being overly aggressive (sharp) or too passive (flat). By saying it’s better to “B natural”, the phrase suggests that the best approach in both music and life is to remain balanced, authentic, and in tune with oneself. As a musician who studies jazz at USC, this kind of wordplay is common in musician communities, where humor often arises from shared knowledge of musical terminology. It also reflects the tradition of using puns and idioms to pass down wisdom in a memorable way. In a church setting, this phrase could take on an additional layer of meaning, encouraging people to be true to themselves and their faith. Ultimately, this phrase highlights how language, music, and life lessons can intertwine, showing how humor can be used as both entertainment and a means of imparting wisdom.

Date_of_performance: 2/24/25
Language: English
Nationality: American
Occupation: Teacher
Primary Language: English
Residence: San Francisco, CA

Theatrical Folklore: The Macbeth Curse – “The Scottish Play”

In theatre folklore, it is considered bad luck to say the name “Macbeth” inside a theater unless one is performing the play. Instead, actors and crew refer to it as “The Scottish Play” to avoid invoking misfortune. The belief is that uttering the name in a theater will bring accidents, technical failures, or even personal injury.

If someone accidentally says “Macbeth,” there are traditional rituals to reverse the curse, which often include:

  • Stepping outside the theater, spinning around three times, and spitting over one’s shoulder.
  • Reciting a line from another Shakespeare play, often from Hamlet or A Midsummer Night’s Dream.
  • Knocking on wood or performing other symbolic actions to cleanse the bad luck.

Many theater professionals follow this superstition, even if they do not fully believe in it, simply out of tradition and respect for the craft. 

I first heard about this superstition from M, the music director at my church, who has a strong background in both music and theater. He brought it up during our conversation. M explained that many actors and stage crews take the “Macbeth” curse seriously and will quickly perform a ritual if someone accidentally says the name inside a theater. He also mentioned that he has witnessed productions where, after someone said “Macbeth,” things started going wrong—props went missing, technical difficulties occurred, or performers forgot lines.

M sees the superstition as part of the camaraderie of the theater world, where traditions help create a sense of shared identity and respect for past performers. Even though he personally doesn’t believe in the curse, he follows the tradition out of habit and to avoid making fellow performers uneasy. The superstition surrounding Macbeth is an example of folklore that persists within professional communities, shaping behavior and reinforcing tradition. This belief connects modern theater practitioners to centuries-old customs, creating a sense of continuity in the performing arts.

There are several theories about the origin of the “Macbeth curse”:

  • One suggests that Shakespeare included real witches’ spells in the play, angering supernatural forces.
  • Another theory is that the play’s themes of violence, betrayal, and ambition create a chaotic energy, leading to an increase in accidents on stage.
  • Historically, Macbeth was often performed when a theater was struggling financially, leading to an association between the play and bad luck.

Psychologically, the curse may also function as a self-fulfilling prophecy—actors who believe in it may become anxious, increasing the likelihood of mistakes, which then reinforce belief in the superstition. This pattern reflects a broader human tendency to attribute misfortune to external forces rather than coincidence or human error. Beyond superstition, the tradition of avoiding “Macbeth” shows how rituals and beliefs create a shared cultural identity within a professional community. Even in a modern, rational world, folklore continues to thrive, especially in artistic settings, offering performers a sense of connection to those who came before them. Whether taken seriously or treated as a humorous ritual, the belief in “The Scottish Play” remains an enduring part of theater culture.

Date_of_performance: 2/24/25
Language: English
Nationality: American
Occupation: Teacher
Primary Language: English
Residence: San Francisco, CA

Manchester United chant

“Hello! Hello! / We are the Busby boys! / Hello! Hello! / We are the Busby boys! / And if you are a City fan / Surrender or you’ll die / We all follow United!”

A chant referencing coach Matt Busby and his 1950s Manchester United squads, characterized by the youth of their players (hence, the “Busby boys” or “Busby babes”). Most of United’s 1957-58 team would die in the Munich air disaster, leading to their immortalization in United supporter lore. The “City fan” line is always said, regardless of whether or not United is actually playing Manchester City.

First encountered by informant outside of the Trafford – a common pre-game congregation point for Man United supporters – while preparing to attend a game.

This chant demonstrates the value of Manchester United’s status as a storied franchise to their supporters, as well as the obvious memorialization of a tragic loss of life.

Song for Sick Children

Nationality: American
Age: 58
Occupation: Retired
Residence: Seattle, WA
Language: German

German text: Armes häschen bist du krank, dass du nicht mehr huepfen kannst
English Translation: Poor bunny, you’re so sick that you can’t hop anymore

Context: This is a Swiss song that H.’s mother used to sing to her when she was sick. She still sings it today and it still comforts H. H. also sings it to her friends. She only sings one line of the song.

Analysis: This song holds personal significance for H., in that it serves as a comforting ritual. When she sings it to her friends, she continues this feeling of care and community. Hopping is a bunny’s fundamental movement, so the bunny’s loss of hopping in the song emphasizes that the bunny is sick. It suggests that this culture cares about their children and sees them as full of life. This song is a symbol of enduring love and connection.

Children’s Circle Clapping Game & Song

Nationality: American
Age: 18
Occupation: College student
Residence: Sudbury, Massachusetts
Language: English

Text:

Crock-a-dilly oh my
Crock, crock, crock
Say cinco cinco
Cinco cinco sock-a-lock-a
Fallow, fallow
Stick your head in Jell-o
Your face is turning yellow
1, 2, 3, 4, 5, 6, 7, 8, 9, 10

Alternatives: (Substitute for the last two lines before the numbers)

Stick your head in ink
Your face is turning pink

Stick your head in water
You look like Harry Potter

Video:

Context:

The informant is from Sudbury, Massachusetts and used this text in the early 2010s as they were growing up. The text is associated with a children’s game that is meant for 2 or more players. The informant played it at summer camps and recess in elementary school up until early middle school (ages 6-12). It acted as a bonding activity to the informant and almost every child knew how to play. To play the game, the children sit in a circle with their hands to either side. Each child in circle would put one of their hands on top of the player next to them and the other on the bottom of the player on the other side. For example, they might have their right hand on top of the hand of the player on their right, and their left hand below the hand of the player on their left. The game begins with one child moving their hand that is on top in an arc motion across their body to the other side, hitting the hand of the next player. Simultaneously, the group began to sing the song. The child who had their hand hit by the first player, repeats the motion to the next player who continues the chain. The sound of the clapping happens on beat with the song. The player who’s hand would be hit on the final beat as the song reaches “10” must pull their hand away before it is hit, making the previous player hit their own hand. If the player removed their hand successfully, they remain in the circle. If they were unsuccessful, they were eliminated from the game and the next round started without them. This continues on until only two players remained where the clapping game changes slightly. The two players sit across from each other and one puts their hands out facing up and the other places their hands above, facing down. The two move towards each other, clap in the middle, and continue moving apart. They then swap directions so the player that went down now has their hands facing up and vice versa. The two then continue the motion, again on beat with the song, with the same mechanic to eliminate the final player. If the final player is successful in removing their hands, they win. If they are unsuccessful, the other player wins. The tempo of the game is changeable and it can go as fast as the children want it to, making the game harder because there is less time to react and pull your hand away.

Analysis:

This game is common throughout many regions of the US but the song’s lyrics change. The last lyrics in this oicotype of the song make references to things that children enjoy such as the sweet dessert Jell-o and the middle-grade series Harry Potter. Other lyrics involve made-up words such as “crock-a-dilly” and “sock-a-lock-a.” Both of these lyrical choices reflect the fact that it is children who are making and adjusting this song. Adults wouldn’t focus on children’s novels or fake words in a song they made for children. Many other versions of the song include words in Spanish like this one. This may be for a few reasons. One is that Spanish is the second most spoken language in the US and is therefore the most likely to be included alongside English in songs. Another is that Spanish is a commonly learned language for children in schools, where this game is often played. The Spanish in this version is the word “cinco,” meaning five in Spanish. This is one of the first words that is learned by children as they start a new language. Since children are the ones who are singing and changing the lyrics over time, incorporating Spanish that they are just starting to learn makes sense.

The game that goes along with the song suggests some adult involvement in the overall activity as it is a way to contain children and encourage bonding with a group. Groups of children do play this game of their own accord and enjoy it but it can be co-opted by adults for their own benefit. Adults might want all the kids in a class or summer camp to sit down and play a fairly stationary and calm game instead of running around and being rowdy. This game gives them that ability. The game is also able to expand to a practically unlimited number of players, allowing for both large and small groups of children to be contained.