Category Archives: Musical

Uncle Ezra Sings “I’ve Been Working on The Railroad”

Nationality: American
Age: 76
Occupation: Retired
Residence: Sacramento, California
Performance Date: 4/23/18
Primary Language: English

BACKGROUND:

A woman from Sacramento, California recounts her grandfather’s interesting take on a traditional folk song that their family used to sing. Her grandfather was a part time inventor. For the World’s Fair, he created an animatronic who would play the guitar with a dog who would wag his tail to the beat. An animatronic is a robot like sculpture that automatically moves in a pre-programmed manor. In this case the animatronic was a man named Uncle Ezra who would play the American folk song, “I’ve Been Working On the Railroad”. My source recounts her experience with the machine saying she’d never seen the traditional song ever performed in such a unique way.

INTERVIEW:

My interview with my source, B, went as follows:

ME: Could you explain your experience with the machine and how it conveyed that song?

B: Well when I was a little girl, 6 years old, we used to drive up to Decatur, Illinois to visit [my grandfather]. When we got there he took us down into his basement where, before our very eyes, we say an animatronic man and dog. The man–he was called Uncle Ezra–played a banjo and the dogs tail would flip back and forth with the music. That animatronic man was in the World’s Fair in 1932. He was quite a wonder, way before Disney and Disneyland and all the other innovations in animatronic machines with music. And yeah, he would play that song “I’ve Been Working On the Railroad”. It was quite something, I tell you that. It was unlike anything I’d ever seen. I knew the song but this was something else.

THE SONG:

The traditional lyrics to “I’ve Been Working On the Railroad”:

I’ve been working on the railroad
All the livelong day
I’ve been working on the railroad
Just to pass the time away

Can’t you hear the whistle blowing
Rise up so early in the morn
Can’t you hear the captain shouting
Dinah, blow your horn

Dinah, won’t you blow
Dinah, won’t you blow
Dinah, won’t you blow your horn
Dinah, won’t you blow
Dinah, won’t you blow
Dinah, won’t you blow your horn

Someone’s in the kitchen with Dinah
Someone’s in the kitchen I know
Someone’s in the kitchen with Dinah
Strumming on the old banjo, and singing

Fie, fi, fiddly i o
Fie, fi, fiddly i o
Fie, fi, fiddly i o
Strumming on the old banjo

The Ballad of John Henry

Nationality: African American
Age: 20
Occupation: Animator
Residence: Los Angeles, CA
Performance Date: 4/18/18
Primary Language: English

BACKGROUND:

The Ballad of John Henry was an Afro-American folk song dating back to the late 1800s. The song tells of a man who worked as a steel driver when the railroads were being built across Western America. John was so good at his job, that he was put up against a steam powered hammer in a race to see who would complete the job faster. In the end, John Henry is victorious. But the celebrations are short lived as he dies of exhaustion directly after claiming victory. It has been determined that John Henry was an actual man who worked on the railroads and died with a hammer in his hand. Whether this race actually took place is up for debate.

THE SONG:

The lyrics to The Ballad of John Henry are as follows:

When John Henry was a little tiny baby
Sitting on his mama’s knee,
He picked up a hammer and a little piece of steel
Saying, “Hammer’s going to be the death of me, Lord, Lord,
Hammer’s going to be the death of me.”
John Henry was a man just six feet high,
Nearly two feet and a half across his breast.
He’d hammer with a nine-pound hammer all day
And never get tired and want to rest, Lord, Lord,
And never get tired and want to rest.
John Henry went up on the mountain
And he looked one eye straight up its side.
The mountain was so tall and John Henry was so small,
He laid down his hammer and he cried, “Lord, Lord,”
He laid down his hammer and he cried.
John Henry said to his captain,
“Captain, you go to town,
Bring me back a TWELVE-pound hammer, please,
And I’ll beat that steam drill down, Lord, Lord,
I’ll beat that steam drill down.”
The captain said to John Henry,
“I believe this mountain’s sinking in.”
But John Henry said, “Captain, just you stand aside–
It’s nothing but my hammer catching wind, Lord, Lord,
It’s nothing but my hammer catching wind.”
John Henry said to his shaker,
“Shaker, boy, you better start to pray,
‘Cause if my TWELVE-pound hammer miss that little piece of steel,
Tomorrow’ll be your burying day, Lord, Lord,
Tomorrow’ll be your burying day.”
John Henry said to his captain,
“A man is nothing but a man,
But before I let your steam drill beat me down,
I’d die with a hammer in my hand, Lord, Lord,
I’d die with a hammer in my hand.”
The man that invented the steam drill,
He figured he was mighty high and fine,
But John Henry sunk the steel down fourteen feet
While the steam drill only made nine, Lord, Lord,
The steam drill only made nine.
John Henry hammered on the right-hand side.
Steam drill kept driving on the left.
John Henry beat that steam drill down.
But he hammered his poor heart to death, Lord, Lord,
He hammered his poor heart to death.
Well, they carried John Henry down the tunnel
And they laid his body in the sand.
Now every woman riding on a C and O train
Says, “There lies my steel-driving man, Lord, Lord,
There lies my steel-driving man.”

MY THOUGHTS:

The song is a very interesting piece in that it was one of the first cultural occurrences to feature the concept of “Man vs. Machine”. This song was written at the height of the industrial revolution where big business reigned king. In America at the time, African American’s had only just claimed their freedom from slavery. While the song does have a very strict tone of Man vs. Machine, the song can also be viewed as an allegory for the African American community’s place in America at the time; They were able to do their work better their monopolistic overlords and yet, no matter how hard they worked, they would still never gain the respect they deserve. This specific version of the legend, however, has a more optimistic ending, giving hope to those who sought for the glory they deserved.

If you hear this song, stop what you’re doing, and warm up

Nationality: American
Age: 28
Occupation: Graduate Student, Linguist
Residence: Los Angeles, CA
Performance Date: April 9, 2018
Primary Language: English
Language: n/a

“Jonathan likes to use the same warm-up song over and over again if he can, and he does these exercises that are always the same for warm-ups because they work. Tendus and other things, exercises where you work your hips while pointing your feet (still seated, he locks the fingers of both hands together, holds his arms in front of him, and moves his feet in an approximation of one of the warm-up exercises) and other actions to really build up muscle memory for the articulations that you need to have in order to do good rhythm dancing – cha cha, rumba, etc. So, whenever I hear, ‘She’s up all night ‘til the sun. We’re up all night for good fun,’ (he sings these lyric) or whatever the actual words of the song are. Get Lucky, I think. Daft Punk. Whenever I hear that on the radio, or in the supermarket, or especially next to Jonathan, I’ll immediately stop what I’m doing, stand up, put things down, and get into my warm up posture (he demonstrates the warm-up posture again), and do the stuff, because that’s the song that I warmed up to a lot a couple of years ago. He thinks it’s pretty funny. It’s ruined the song for me. Actually, it’s made the song great for me. It’s a pretty good song, and it suits the warm ups well.”

Background Information and Context:

Every coach has a different style of teaching and different preferences for warming up (if they even guide their students through warm ups at all, instead of expecting them to warm up before class). What the informant described is a pre-class ritual of sorts that seems distinctive of Jonathan’s rhythm classes. Jonathan is the rhythm coach of the SC Ballroom and Latin Dance Team, which means that he instructs cha cha, rumba, east coast swing, mambo, and bolero. His style of teaching and warm-ups are very different from those of the team’s smooth coach, who teaches waltz, tango, foxtrot, and Viennese waltz. He never skips warm ups, even when running late, and plays the full length of the song at least once, if not twice, until he feels that the students have been properly warmed up before reviewing figures from the previous class. The habit of breaking out into the warm-up routine at seemingly improper times is not unique to this informant, as it is a habit shared by multiple active members of the team.

Collector’s Notes:

Traditions and associations are no less powerful because they only affect a small group of people. It doesn’t matter that nobody else knew what was going on when a handful of team members started twisting their hips and pointing their toes in perfect sync in the middle of a restaurant because it was a sign of their connection, formed through shared knowledge and experience. On a small scale, the warm-up exercises also have their own multiplicity and variation based on when one joined the team. The informant described an association with “Get Lucky,” but my friend Sara and I (who joined the team last year) have the same association with “Moves Like Jagger,” while my friend Queenique (who joined this year) associates the warm-ups with “Feel It Still.”

The Lick

Nationality: American
Age: 20
Residence: Los Angeles
Performance Date: March 27, 2018
Primary Language: English

This folk melody was performed by my friend while we ate dinner at a dining hall. He is a jazz major. The Lick is a short melody, popular in jazz improvisations, and is often treated as a joke when performed during a song. Short jazz melodies are often called licks, so this one’s name of ‘the Lick’ implies that it is somehow a more important lick than the others.

 

The friend sang this melody, using the scat-style lyrics:

“Babadooba ya boo da”

The melody follows this solfege:

Do re me fa re   te do

 

After he performed the Lick, I asked where he thought it came from.

“These are like, Charlie Parker licks, a lot of the time. Uh, there’s other famous ones, like: [vocalizes a different jazz lick]. Uh, [vocalizes The Lick] is probably Charlie Parker.”

I then asked when it evolved into the joke it often is now.

“It became a joke when it just kept happening. I still hear people play that. Unironically, yeah. Like I hear very legit people play that. And it’s like, it’s still cool if you mean it. But if you’re just playing it…that’s, that’s where the joke came from, is like, people would just play it. Like, you were like, ‘insert Lick here.’”

He added:

“There’s so many instances of that happening, so it’s like, it’s not a joke in its existence. But it’s more of, like, a comment on, like, people trying to turn jazz into math. Where it’s like, you play this, then you play a two-five-one [vocalizes another jazz lick].”

Two-five-one is a popular jazz chord progression that finishes a section or phrase.

Here is a popular mash-up of different uses of the Lick throughout the years: https://www.youtube.com/watch?v=nKL2It6XzHA

 

CAMBODIAN DANCING

Nationality: Cambodian
Age: 22
Occupation: Barista
Residence: California
Performance Date: 4-24-2018
Primary Language: English
Language: Cambodian

CAMBODIAN DANCING

 

Main Piece:

 

I was exposed to it a lot when I went to church in Los Angeles. (a Christian church). My old best friend was an active dancer of the Cambodian dancing group in Long Beach and her parents would organize dancing performances during the church service as a way to promote Cambodian culture. When the Church service had combined different languages, such as during Thanksgiving I remember my mom would be pissed that my best friend’s mom can get away with organizing a dance meant for either an ancient Cambodian king or something affiliated with Buddhism.

 

I also remember that I had attended one of their trial classes in Long Beach and I observed the elasticity of their hands bent backwards, their balance, the patience to wear heavy gold jewelry and crowns while maintaining a steady yet careful dance flow.

 

The only thing I enjoyed about these dance performances was being entertained by the demon dancer.

 

The demon dancer is probably a character in the dance performance who has intentions of kidnapping or raping or killing the female dancer or princess-like character of the performance.

 

Background Information:

Why do they know this piece?

It’s probably the most creative and representative form of art within Cambodian culture.

 

Where/Who did they learn it from?

My old best friend / the Cambodian service at the Christian church.

 

What does it mean for them?

An art form perhaps worth more exploring when visiting Cambodia.

 

Context of Performance:

Sitting inside friend’s room talking.

 

Thoughts:

I think it’s interesting here how even though the subject’s parents did not have a strong cultural root(s) in Cambodian culture, that as immigrants joining an American Christian church in Los Angeles, California (with a Cambodian service), she was able to in a way get back in touch with her Cambodian cultural roots. Interesting to see that in America, at least, today, you can still go to say, a church, a community/organization outside your traditional folklore handing-down passageway (usually just from family) to learn/get into contact/access with your forgotten cultural roots/folklore.