Category Archives: Musical

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.

 

Thanksgiving Song

Nationality: American
Age: 18
Occupation: student
Residence: usc
Performance Date: april 17, 2018
Primary Language: English
Audio Player

What is being performed?
JJ: Have you heard the Thanksgiving song?
AA: No, what’s the Thanksgiving song?
JJ: Well, I don’t know if it’s called that but my family sings it before we eat on Thanksgiving. It
might be called Thank You for the Food.
AA: How does it go?
JJ: (singing) Thank you God for the food we eat. Thank you God for the world so sweet. Thank
you God for the birds that sing. Thank you God for everything. Amen.
Why do they know or like this piece? where/who did they learn it from? What does it mean to
them?
AA: Where did you learn the song?
JJ: My mom would make us sing it before we ate on Thanksgiving.
AA: Do you like the song?
JJ: Uhhh, I guess it’s kind of catchy, haha.
AA: It is catchy! What does it mean to you?
JJ: I guess it’s just about giving thanks. It’s nice and it reminds me of my childhood with my
brother and family.

Context of the performance- where do you perform it? History?
This is usually performed at Thanksgiving dinners before eating. It’s a catchy way of giving
grace and is Christian in nature. It could be performed outside of Thanksgiving but my informant
believes it is specifically about Thanksgiving.

Reflection
I have attached an audio of the song in the Folklore archive. My informant agreed for it to be
used for the folklore archive purpose but wants me to get rid of it otherwise. I think the song is
catchy and have never heard it before. I could see this being an important part of Thanksgiving
for religious families.

“George Fox”

Nationality: American
Age: 20
Occupation: Student
Residence: Washington, DC & Northampton, MA (college)
Performance Date: 4/17/2018
Primary Language: English

My friend Razi went to a Quaker summer camp in Virginia called Shiloh Quaker Camp for several years as a kid. She learned a number of folk songs with Quaker themes as a camper there. The following is a recording of Razi singing a song about George Fox, one of the founders of Quakerism, which she learned at camp and often sings, along with the lyrics:

Audio Player

There’s a light that was shining in the heart of man
It’s a light that was shining when the world began
There’s a light that is shining in the Turk and the Jew
There’s a light that is shining friend in me and in you (hey)

Walk in the light wherever you may be
Why don’t you walk in the light wherever you may be?
“In my old leather britches and my shaggy, shaggy locks,
I am walking in the glory of the light,” said Fox.

“There’s a bell and a steeple and a book and a key
That will bind him forever but you can’t,” said he,
“For the book it will perish and the steeple will fall
But the light will be shining at the end of it all” (hey)

Walk in the light wherever you may be
Why don’t you walk in the light wherever you may be?
“In my old leather britches and my shaggy shaggy locks,
I am walking in the glory of the light,” said Fox.

This song specifically celebrates the Quaker belief of the “inner light” or “light of God,” but its morals can be embraced by non-Quakers as well. Quakerism is a particularly open religion in terms of its acceptance of other religions, so songs that come out of the tradition can often be sung with the same conviction by people who have to particular affiliation with the religion. Razi is Jewish and agnostic, but she agrees with many of the values taught at Quaker camp, so songs like this one have stuck with her.