Category Archives: Musical

Song – French

Nationality: French
Age: 44
Residence: San Marino, CA
Primary Language: English

Folklore Song from Nantes, France

« Dans les prisons de Nantes »
This is a variance of a very popular song from Nantes.  We used to sing it when we were young (under 10) but usually not in its entirety.  There are many variances to the end and everyone liked to change some of the lyrics to make it funnier or sometimes more vulgar (see alternate adult end in black).  This song was also sung by some famous French singers like Edith Piaf, George Brassens and more.

This is a kind of song that would really annoy my mother if we were singing it in the card during long trip!  It just would never end…
Dans les prisons de Nantes,
Y’avait un prisonnier, Y’avait un prisonnier
Que personne ne va voir Que la fille du geôlier,
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Que personne ne va voir
Que la fille du geôlier (bis)
Va lui porter à boire
A boire et à manger
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Va lui porter à boire
A boire et à manger (bis)
On dit par toute la ville
Que demain vous mourrez
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

On dit par toute la ville
Que demain vous mourrez (bis)
Las! Si demain je meurs
Déliez moi les pieds.
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Las! Si demain je meurs
Déliez moi les pieds. (bis)
Toutes les cloches de Nantes
Se mirent à sonner.
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Toutes les cloches de Nantes
Se mirent à sonner (bis)
Le fillette était jeune
Elle se mit à pleurer
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Le fillette était jeune
Elle se mit à pleurer (Bis)
Le prisonnier alerte
Dans la Loire a sauté
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Le prisonnier alerte
Dans la Loire a sauté (Bis)
Vivent les filles de Nantes
Et tous les prisonniers
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

(alternate ending for the older ones)
Trois mois après la fille
Portait gros tablier (bis)
C’est ainsi qu’sont les hommes
Quand ils sont déliés
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Quand au gars sur l’aut’ rive
Il buvait et chantait
“J’emmerde les gendarmes
Et la maréchaussée”
Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah ! Ah !

Collector’s Analysis: Upon Philippe’s request, he asked that the song not be translated because it would not carry the same meaning in English. This song is very typical of Brittany and highlights the different cultures within France that remain today. France has many different regions within itself that have their own dialects, ranging from Brittany in the west to Provence in the South.

Song

Nationality: Chinese, English, German, Italian
Age: 17
Occupation: Student
Residence: Torrance, CA
Performance Date: April 04, 2008
Primary Language: English

Jingle Bells – Batman and Joker    (Sung to the tune of “Jingle Bells”)

Batman’s in the kitchen,

Robin’s in the hall,

Joker’s in the bathroom,

Peeing on the wall!

O, jingle bells! Batman smells! Robin laid an egg,

The Batmobile lost a wheel and the joker got away!

My second cousin Zak Kolton told me that he learned this during grade school sometime.  As is customary with these sorts of rhymes, he could not remember when he specifically heard it, or from whom he had learned it from.  He has lived in the South Bay all his life, and attended a Lutheran elementary school, where he suspects he learned it.  He lamented the fact that he could not remember the entire song, as obviously this contains only a fragment covering the chorus and fragment of a verse.  He attributed this to the fact that he hadn’t sung it in years, and that his mother always got angry at him when he sang this as a child.  This was however more than I could recall, as I had no recollection of the verse section, with the chorus line sounding vaguely familiar.

This song demonstrates many characteristics of children’s rhymes, with a familiar tune and memorable imagery.  Both the verse section and the chorus illustrate elementary school age children’s fascination with bodily excrements.  In fact, the focal point of the first verse section is the fact that the villain Joker is in the bathroom “peeing on the wall.”  This is in itself quite puzzling; if he took the time to enter the bathroom, why would he pee on the wall instead of the toilet as he is supposed to?  Perhaps this verse hints a child’s simple desire to defy authority, merely for the sake of defying authority.  A child doesn’t want to defy authority on account of its difficulty or in order to prove a point; he simply wants to impose his will over that of the establishment.  In the same way, the image of the Joker peeing on the wall even though he is already in the bathroom carries this same idea.  Joker is not breaking the rules because he is forced to or because it is too inconvenient for him; he is breaking them simply because he wants to, because he feels like it.  This cavalier attitude of rebellion is something many young children harbor, and is illustrated in their rhymes.

The second image of excrement deals with Robin and his laying of an egg.  Besides the fact that the song now has both forms of human waste covered, this contains a simple symbol.  Although it is obviously a piece of poop, the song says that Robin “laid an egg.”  By not explicitly spelling it out, it gives first graders a chance to interpret this symbol for themselves.  When they all arrive at the same obvious conclusion, that this egg is in fact a piece of poop, they are instantly overwhelmed with excitement and pleasure.  I know this from firsthand knowledge; upon hearing this song, I remembered back when was young.  Probably sometime in grade school, I had recited this song to my little brother, who was two years younger than me.  With a great amount of smugness I then had confided that Robin didn’t really lay an egg, but pooped.  Because of me, I felt, my brother was now “in the know.”  My brother was also quite pleased with his enlightenment, and proceeded to tell every individual around him of his new knowledge.

This rhyme was created sometime after the creation of the Batman comic books.  Since Robin and the Joker are mentioned, this rhyme could have been created anytime after 1940.  If it was created when Zak and I heard it in the 1990’s, it was probably sparked by the heightened increase in the character of Batman as sparked the by movies Batman (1989), Batman Returns (1992), and Batman Forever (1995).

Song – California

Nationality: Chinese
Age: 19
Occupation: Student
Residence: Hermosa Beach, CA
Performance Date: April 04, 2008
Primary Language: English

Joy to the World – Barney version

Joy to the world, Barney’s dead.

We barbequed his head!

What happened to his body

We flushed it down the potty

And round and round it goes,

And round and round it goes,

And round and round, and round it goes.

This gruesome song is sung to the tune of the well known Christmas carol “Joy to the World.”  It makes reference to the children’s character of Barney pictured to the right.  Generally aimed at younger audiences, Barney is a large purple dinosaur who stars in his own television show called Barney and Friends. In this show, Barney and various other dinosaurs lead a class full of kids through various educational activities.

I learned this song sometime during preschool, and have not forgotten it since.  This is possibly because of the familiarity and commonness of the tune “Joy to the World;” it is played everywhere during the Christmas season, and many families including my own even sing it themselves.  Whenever I hear the “real” song, I am reminded of the first version I learned in preschool.  I attended a Lutheran preschool in Palos Verdes, California for two years, where this song was widespread.  I presume it spread during the Christmas season when they teachers tried to teach us traditional Christmas carols. I accepted the song with great glee, and even recall teaching it to my friends at my church in Hermosa Beach.  In this way I believe I helped spread this particular piece of folklore.  It is strange that my church friends did not know this song; while my cousins did; my cousins were much farther away than my church friends.  However, I suspect their lack of knowledge was because their particular group did not accept this song.  I have even talked with a friend who has grown up in Portland, Oregon.  The fact that even she knew this song shows the true widespread nature of this parody.

What is interesting is that even though I learned it during preschool, the entire television series itself is produced to appeal to preschoolers.  I even remember watching the show myself with great interest.  If I remember correctly, I even performed some of the activities portrayed in the show on my own with my mother.  The show was or significant educational value – during the program Barney led the kids through a serious of scholastic activities.  Why did I so readily accept this song which described the gruesome cannibalism of one of my television idols?  To this day I do not know.  However, I think that I may have learned this during the second year or preschool, or sometime after I had stopped watching the show.  Trying to appear cool in the presence of my friends and due to the fickle nature of children, perhaps I was more ready to turn on the innocent character of Barney then.

The creation of this song could represent a subtle rebellion against the soft, educational, utopian image as presented by Barney.  Known for his shows with overly enthusiastic and happy children, Barney ended every episode by singing the infamous “Barney Song,” which was basically a repetition of the line “I love you, you love me, we’re one happy family,” which then initiated a large group hug.  It also shows the ridiculing nature of children.  At the time I learned it, many children still adored Barney and his cast of characters.  For this very reason, we enjoyed tormenting the other children by singing this twisted song in front of them.  Perhaps we saw it as a way of separating ourselves, four year olds in pre-kindergarten, from the three year olds in the first year of preschool.  Through this unique folk song we can see not only the rebellious but also the antagonistic side of children.

Strangely enough, this bizarre song is actually acknowledged in print.  In a book entitled Greasy Grimy Gopher Guts: the Subversive Folklore of Children, authors Josepha Sherman and T. K. F. Weisskopf explore various “gross-out” rhymes.  Published in 1995 by August House Publishers, this book contains the modified Barney song in the section labeled “Dealing with Authority.”  This book has also been reviewed in prominent publications such as The Journal of American Folklore, where it appeared in Vol. 110, No. 435.  In the article, published by the University of Illinois Press on behalf of The Journal of American Folklore, the book was found to be both humorous and informative, touching on a side of folklore not often explored by modern folklore research.

Camp Song

Nationality: Caucasian
Age: 18
Occupation: Student
Residence: Tiburon, CA
Performance Date: April 20, 2008
Primary Language: English

Camp Song:    The Princess Pat

This is a repeat-after-me-song

The Princess Pat
Lived in a tree
She sailed across
The seven seas
She sailed across
The Channel Two
And she took with her
A rig of bamboo

CHORUS:
A rig of bamboo
Now what is that?
It’s something made
By the Princess Pat
It’s red and gold
And purple too
That’s why it’s called
A rig of bamboo

Now the Captain Jack
Had a mighty fine crew
He sailed across
The Channel Two
But his ship sank
And yours will too
If you don’t take
A rig of bamboo

[CHORUS]

Now the Princess Pat
Saved Captain Jack
She pulled him out
She brought him back
She saved his life
And his crew’s too
Do you know how?
WITH A RIG OF BAMBOO

I first learned this song at Girl Scout Day Camp when I was in 2nd grade, but I have heard it at many other camps since then.  It has always been a fun quirky song, and I always thought that it was rather nonsensical.  Not only did I sing this song as a camper for many years at many different camps as a kid, but I have lead this song many times working as a camp counselor for the past 4 years.  I didn’t learn the last verse until I was looking through a girl scout song book a few years back and saw it, and I have not hear it sung by anyone but me since.  I also have learned different motions for each of the different verses, and I have heard “A rig of bamboo” also slurred to be a Rikabamboo.

This song is generally sang “repeat-after-me-style” meaning that one person leads the song by singing the line and then everyone else repeats it back.  Songs that can be sung in the “repeat-after-me” style are particular good in camp settings because you don’t need to know the words to sing along so everyone can participate.  There are also hand motions associated with the lyrics which are fun and get everyone more involved.

After doing some research on this song, I discovered that it is actually a parody of a song sung by Princess Patricia’s Canadian Light Infantry (PPCLI), a unit of the Canadian Force.  The regiment is named after Princess Patricia, who was the Governor of Canada’s youngest daughter at the time of its creation, 1914, shortly after the outbreak of WWII.  She was very well liked in Canada and was named Colonel in chief of the regiment at its creation.  She also was responsible for designing and hand making the regimental colors that is referred to as the “Ric-A-Dam-Doo,” which is Gaelic for “cloth of thy mother.”

The original song recounts different missions and is generally used to boost morale.  In this context, one can see the parallels between the camp song and the original, however it is not known when the camp song was adapted from the original.  It is possible that the kids song might have been created by enemies of Canada in attempts to mock the army, however given the song’s prevalence in the United States, which has never been enemies with Canada, this explanation does not seem likely.  It is also possible that a Canadian adapted the song, or even former soldiers, as it is not uncommon for people to challenge authority, and take things that are very serious and turn them into something funny.  Regardless, if people knew the origins of this song, I doubt that it would be considered “politically correct” and it would stop being sung at camp.  However, due to the fact that the PPCLI is not well known in the United States, I see this song as fairly harmless.

For Original and another version with hand motions, see below.

Works Cited:

“Princess Pat’s Canadian Light Infantry.” Canadian Government Website. Last modified

April 17 2008.  Viewed April 30 2008. http://www.army.forces.gc.ca/2PPCLI/content.html

The original version is as follows:


The Ric-A-Dam-Doo

The Princess Pat’s Battalion

They sailed across the Herring Pond,

They sailed across the Channel too,

And landed there with the Ric-A-Dam-Doo

Dam-Doo, Dam-Doo.

The Princess Pat’s Battalion Scouts

They never knew their whereabouts.

If there’s a pub within a mile or two,

You’ll find them there with the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

The Lewis Guns are always true

To every call of the Ric-A-Dam-Doo.

They’re always there with a burst or two

Whenever they see the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

The Bombers of the Princess Pat’s

Are scared of naught, excepting rats,

They’re full of pep and dynamite too,

They’d never lose the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

The Transport of the Princess Pat’s

Are all dressed up in Stetson hats.

They shine their brass and limbers too

I believe they’d shine the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

Old Number Three, our company

We must fall in ten times a day.

If we fell out ‘twould never do

For then we’d lose the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

Old Charlie S., our Major dear,

Who always buys us rum and beer,

If there’s a trench in a mile or two

You’ll find him there with the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

Old Ackity-Ack, our Colonel grand,

The leader of this noble band,

He’d go to Hell and charge right through

Before he’d lose the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

Old Hammy Gault, our first PP,

He led this band across the sea,

He’d lose an arm, or leg or two

Before he’d lose the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

And then we came to Sicily.

We leapt ashore with vim and glee.

The Colonel said the Wops are through

Let’s chase the Hun with the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

The Ric-A-Dam-Doo, pray what is that?

‘Twas made at home by Princess Pat,

It’s Red and Gold and Royal Blue,

That’s what we call the Ric-A-Dam-Doo,

Dam-Doo, Dam-Doo.

Here is another variation that I found online with slightly different motions and hand gestures than the one that I had learned:

The Princess Pat (leader sings one line, others repeat)?(actions in brackets)

The Princess Pat (egyptian pose)

Light infantry (salute)

They sailed across (wave motion in front of body with one hand)

The seven seas (number 7 with your finger, then make a “C” with one hand)

They sailed across (wave motion)

The channel two (two hands tracing a channel, then number 2 on one hand)

And took with them (throw a sack over your shoulder)

A rick-a-bamboo! (trace a wavy figure in front of you going down, bend knees as you go)

A rick-a-bamboo (same as before)

Now what is that? (shrug shoulders, hold out hands)

It’s something made (bang one fist on top of the other)

For the Princess Pat (egyptian pose)

It’s red and gold (“twirl” one arm down by your hip)

And purple too (flip hands as if you were saying “Oh my gosh!”)

That’s why it’s called (cup hands in front of mouth, shout)

A rick-a-bamboo! (same as before)

Now Captain Dan (salute)

And his loyal crew (salute several times)

They sailed across (wave action)

The channel two (same as before)

But their ship sank (plug nose, one hand over head and waving as you bend knees)

And yours will too (point to others in the circle)

Unless you take (throw an invisible bag over your shoulder)

A rick-a-bamboo! (same as before)

A rick-a-bamboo (same as before)

Now what is that? (shrug shoulders, hold out hands)

It’s something made (bang one fist on top of the other)

For the Princess Pat (egyptian pose)

It’s red and gold (“twirl” one arm down by your hip)

And purple too (flip hands as if you were saying “Oh my gosh!”)

That’s why it’s called (cup hands in front of mouth, shout)

(everyone together) A rick-a-bamboo! (same as before)

Song – Kentucky

Nationality: Caucasian
Age: 61
Occupation: Kindergarten Teacher
Residence: Santa Barbara, CA
Performance Date: April 16, 2008
Primary Language: English

Song

“Old, Old Witch”

Old, old witch

Believe me, if you can

Jumped on her broomstick

And ran, ran, ran

Ran willy nilly with her toes in the air

Corn silk flyin’ from the old witch’s hair

Swoosh! went the broomstick!

Meow! Went the cat!

Plop! went the hopped toad

Sittin’ on her hat

Whee! Chuckled I

What fun! What fun!

HALLOWEEN NIGHT

ON THE WITCHES RUN!

This is one of Lois’ favorite songs, which she learned from her grandmother and grandfather when she was a child. Her grandparents lived in the Appalachian hills of Kentucky in cabin surrounded by the forest and removed from any neighbors.  The only entrance to their property was across the “crik,” which during the spring rains and winter snows made the farm inaccessible, at best. She would visit their small farm each summer for a few weeks, and it was always a highlight of her summer vacation.  One of her favorite childhood memories was the stories and music her grandparents would perform at night, on the porch, with the fireflies flashing in the dark sky.  This song was one of the most memorable one that she learned, due to its theatric performance.  Being a Kindergarten teacher, Lois passes this song on to her students around Halloween, and it is always one of their favorites.

Lois mentioned that it had been published by Bill Wallace and John Archaumbaut under the title “Old, Old Witch,” however, when I was searching for some sort of version of the song on the internet, I was not able to find any similar lyrics or any recordings of the song.

While the exact origins of this rather obscure song are not known, it is possible that it was originally an English ballad, as many of the first settlers in the Appalachian Mountains were peasants that came to America from England.  In fact, there has been much documentation of Appalachian music, especially at the turn of the 20th century, when famous folklorists such as Cecil Sharp started documenting the music.  This drive to document what had previously been thought of as “hill billy music” can be in part attributed to the recent development of the American Folklore Society in 1888 (which undoubtedly took some time to catch on and become a well known establishment). Sharp noted that “the Appalachian songs had a force and ethereal intensity that the mellow, sweeter versions often lacked, and the mountain people improvised with a skill that Sharp found amazing.” (Langrall).  These two factors combined may account for why it is so difficult to find a similar version of the song.

Works Cited:

Langrall, Peggy.  “Appalachian Folk Music: From Foothills to Footlights.” Music

Educators Journal. Vol. 72, No. 7, (Mar., 1986): 37-39.  JSTOR.  23 April 2008.              <http://www.jstor.org/stable/3396598>