Category Archives: Musical

Once a Girl went to Camp

Nationality: American
Age: 19
Occupation: Student
Residence: Los Angeles, CA
Language: English

Context: In girl scouts, they sing songs around the campfire. Most songs are call and response but the song provided by the informant is sung in unison. She pointed out that “boy scouts might have a similar but opposite version and this was a friendly rivalry between them.”

Girl scout songs are sung throughout all ages, from kindergarten to high school. The girls don’t start camping until daisy and brownie, typically around fourth grade. “As you get older and become a cadet, senior, or ambassador (6th grade plus) you start being the one to lead the younger girls, so your role changes” according to the informant.

Song: 

Once a girl scout went to camp, went to camp

Went to camp without her lamp, without her la-a-amp

When she found a spider in her bed, 

this is what the girl scout said, girl scout said:

“Spider, Spider go away, go away

You are not allowed to stay, allowed to sta-a-ayy”

This is what my le-eader said

“No two bodies in one bed, in one bed”

Once a boy scout went to camp, went to camp

Went to camp without his lamp, without his la-a-amp

Then he found a spider in his bed, 

this is what the boy scout said, boy scout said:

“AHHH”

Analysis: Before boy scouts became the gender-neutral scouts, girl scouts and boy scouts naturally had a gendered rivalry. Especially earlier in the development of children, they naturally segregate themselves by gender; boy and girl scouts institutionalized this segregation, further strengthening the divide. As children begin camping overnight with their group, they’ll sing around a campfire. On the surface, this song just seems to be a silly campfire song to entertain the kids and pass down for generations, keeping the rivalry with the boy scouts alive. 

Although the informant only points this out to be the purpose of the song, it also provides a warning to these new overnight campers. Firstly, ensure you remember your equipment or bad things might happen. Be aware of wildlife, including spiders; this will make the girls more meticulous about checking their bedding for any sort of bug or animal. Interestingly, this song has the leader warning against two bodies in one bed, suggesting that beds should not be shared at all between two people. Then, the song turns onto the boy scouts to make fun of them for being scared of the spider rather than talking to it, suggesting that the girl scouts should remain calm when facing a scary bug or animal they see in the wilderness. Essentially, this song provides a blueprint for appropriate behavior at camp through a silly song for the younger kids to remember by throwing in some rivalry. This then becomes a cycle to be passed down from the older to the younger girls. 

The girl and her games. 

Nationality: African American

Primary Language: English

Other language(s): French

Age: 49

Occupation: Digital Marketing Consultant

Residence: Upstate, NY

Performance Date: 4/18/2025

Context: 

My informant, YD, is a family member of mine who lives in the Hudson Valley area of New York. YD has always been into music, YD’s was a fantastic singer, and music was their whole thing. Though I’d never really asked about their earliest exposure to music, not like on the radio, but more like a tall tale, something that had to be passed over, like musical performances by the campfire on a lonely night with a couple of friends. So, they told me this:

Text: 

“The earliest musical experience or song attached to a personal history are the various patty cake games I played as child on the playground, after school and during the summer with a group of adolescent girls. These are songs sung between two people while hand-clapping and hand-slapping in unison, and with rhythm. These were songs like ‘Miss Mary Mack,’ or ‘Down Down Baby.’ I learned them from other girls on the playground and females in my family. They were passed down through generations with slight lyrical and rhythmic variations. I know my mother and my grandmother had their own variations. 

Why this stands out and is important to me is because of the history and impact of generations of young girls being taught my mommies, aunties and sisters; these whimsical yet deep songs are fun and have little meaning as a child, but deeper meaning as you get older and realize the things you were sing about. The socialization of kids, the fantasy and awareness of hardship and evil intent. We were so carefree and blissful, yet the world around us was dangerous, sad and we were so vulnerable. 

Here’s one those song I remember:

‘…Down down baby, down by the roller coaster

Sweet sweet baby, I’ll never let you go

Shimmy shimmy cocoa pop, shimmy shimmy pow

Shimmy shimmy cocoa pop, shimmy shimmy pow

My momma said to pick the very best one….’”

Analysis: 

Yes, this entry is a great example of children’s folklore, particularly in the form of hand-clapping games, which are rich sites of cultural transmission, memory, and performance. And so, I assume I don’t have to explain much about songs like the ‘patty cake’ one, but, in my research, the songs like “Miss Mary Mack” and “Down Down Baby” have circulated across generations, especially among young girls, often passed down orally with slight lyrical and rhythmic changes depending on region, family, or even the moment. These rhymes, on the surface, seem playful and nonsensical, but as YD notes, they often contain deeper themes that only become clear with age, even something I grew up realizing from my personal experiences as well. I love the way YD reflects on these songs too, it’s exactly what makes these pieces of folklore so powerful. They function as socializing tools, helping children build rhythm, coordination, and friendships, while also encoding cultural knowledge in a form that’s accessible and repeatable. What hits hardest for me is the idea of inter-generational bonding, something the history behind these childhood games supports heavily. This makes YD’s personal memory not just nostalgic, but part of a larger cultural practice that links them to their ancestry and community. And I think that duality, innocence on the surface, depth underneath, is what makes playground folklore so endlessly fascinating.

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.