FIFA World Cup Songs 2014 & 2010 (Football/Soccer)

Edited by Azizi Powell

This post presents the examples of two songs that are associated with the FIFA 2014 World Cup and two songs that are associated with the FIFA 2010 World Cup 2010.

The content of this post is provided for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the featured performers of this song. Thanks also to the publishers of these videos on YouTube.

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FEATURED EXAMPLES 2014
Example #1: We Are One (Ole Ola) [The Official 2014 FIFA World Cup Song] (Olodum Mix)



PitbullVEVO, May 16, 2014

....Music video by Pittbull, featuring Jennifer Lopez & Claudia Leitte

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Example #2: Shakira-La La La (The official 2014 FIFA world cup song) - Football Version



Go Tamiza, Published June 9, 2014

Can't wait for the world cup. Until it's started. There's a mix of the best of football and Shakira.

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FEATURED EXAMPLES 2010
Example #1: Shakira - Waka Waka (This Time for Africa) (The Official 2010 FIFA World Cup™ Song)



shakiraVEVO uploaded June 4, 2010

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Example #2: FIFA World Cup 2010 South Africa Official Theme Song-Wavin' Flag



CR❼ | HD ItalianHeatTV™ ©2011, uploaded June 4, 2010

This is the official theme song for WC 2010.
-snip-
Here's a link to another video of this song that features the composer/performer of that song K'Naan: https://www.youtube.com/watch?v=WTJSt4wP2ME

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"Sally In The Garden" (Siftin Sand) Lyrics & Comments

Edited by Azizi Powell

This post presents the lyrics for the well known old fiddle tune & sea shanty "Sally In The Garden".

This post is a companion to the previous pancocojams post http://pancocojams.blogspot.com/2014/06/various-somewhat-discreetly-worded.html Various (Somewhat Discreetly Worded) Meanings Of "Hog-Eye" and "Hog-Eye Man".

Click http://mudcat.org/thread.cfm?threadid=63007#1020844 for information about "Sally In The Garden", and "Hog Eye Man" songs.

The content of this post is provided for folkloric, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the collectors and the featured performers of this song. Thanks also to all those who are quoted in this post.

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FEATURED EXAMPLES
[The first "Sally in the garden sifting sand" line in these examples is italics to highlight it.]

Subject: RE: Lyr Req: Marianne (from Harry Belafonte)
From: Gibb Sahib
Date: 13 Aug 11 - 05:46 PM

re: "sifting sand"

1906 Gilchrist, Annie G., Frank Kidson, Lucy E. Broadwood, Cecil J. Sharp, and J.A. Fuller-Maitland. "Sailors' Songs, Collected by Annie G. Gilchrist." Journal of the Folk-Song Society 2(9): 236-249.

Gilchrist got this chanty ca.1906-06 from a Mr. W. Bolton, a 66 yr old retired sailor of 35 yrs (merchant and navy), last voyage in 1887.

THE HAWK'S-EYE MAN. Capstan Chanty.

Oh, the 'awk's-eye man is the man for me,
And when he comes ashore he has a jolly spree,
And the 'awk's-eye—
Roll the boat ashore, And the 'awk's-eye—
Roll the boat ashore, And the 'awk's-eye, Ho!
She wants the 'awk's-eye man.

Scraps of other verses were recollected as follows:

Sally in the garden sifting sand,
And Jenny in the house with the hawk's-eye man.

With his hawk's-eye ...
And when he comes ashore
He rattles at my door,
Oh, Johnnie is my hawk's-eye man.

1917 Robinson, Captain John. "Songs of the Chanty-Man: IV." The Bellman 23(577) (4 Aug. 1917): 123-128.

It's possible that the words of this one were edited for publication.

The Ox-eyed Man.

The ox-eyed man is the man for me,
For he is blind and he cannot see,
With his ox-eye,
[cho.] I knew an old ni&&&r* with an ox-eye!
Row the boat ashore, with the ox-eye,
All she wants is the ox-eyed man!
…
"The girl on the shore, whose name is Sall,
Is waiting there, for the ox-eyed man.

"Sall is in the garden, picking peas,
Here long brown ringlets hang to her knees.

"Sall is on the beach, a-sifting sand,
And is thinking much of the ox-eyed man.

"Go home, Sall, he will come no more,
For he got drowned, as he rowed ashore."
-snip-
*This word that is commonly known now as the "n word" is fully spelled out in these lyrics.

Source: http://mudcat.org/thread.cfm?threadid=9916#3207494
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Example #2

Chicken in the bread tray, pecking that dough (or kicking up dough)
Sally will your dog bit, no sir no
(then straight into)
Chorus 1: Sallys in the garden, sifting, sifting
Sally’s in the garden, sifting sand

Sally’s in the garden, sifting, sifting
Sally’s in the garden sifting sand
Chorus 1: Sally’s in the garden sifting, sifting
Sally’s upstairs with the hogeye man

Sally’s in the garden, sifting, sifting
Sally’s in the garden sifting sand
Chorus 1. Sally’s in the garden sifting, sifting
Sally’s upstairs with the hogeye man

Sally will your dog bite, no sir, no
Daddy cut his biter off a long time ago
Chorus 2 Sally’s in the garden sifting sand
Sally’s upstairs with a hog-eyed man

Source: http://moldfarm.com/category/banjo/old-time-lyrics/page/2/
-snip-
This version is also known as "Granny Will Your Dog Bite" and "Chicken In The Bread Tray". A text version of that song is included in Thomas W. Talley's now classic 1922 collection Negro Folk Rhymes: Wise & Otherwise. Click http://mudcat.org/thread.cfm?threadid=123317#2714299 for that example.

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COMMENTS ABOUT THESE SONGS
The colloquial meaning of a woman "sifting sand" is an allusion to prostitution with the location of those acts being on the beach. Early examples of the Calypso song [All Day All Night] "Mary Ann" refer to Mary Ann down by the sea side sifting sand". Those examples were much more bawdy than the folk version that is most commonly known today. Read examples of those versions in the Mudcat thread on "Marianne" whose link is found above.

Click http://pancocojams.blogspot.com/2014/06/various-somewhat-discreetly-worded.html for information, comments, and examples of the phrase & song "Hog Eye Man".

I believe that the most relevant definition that fits the above songs is that a "hog eye man" (or "hawk eye man" or ox eyed man") is a womanizer, a man who is very sexually active (with women), similar to "Jody", the African American folk character & the military cadence character.
-snip-
Notice that this song refers to an interracial "relationship" between a Black man and a White woman (i.e. "Here [sic] long brown ringlets hang to her knees."):

There are a number of banjo & other instrumental versions of "Sally In The Garden" (sifting sand) that can be found online. Among those videos are https://www.youtube.com/watch?v=zcxAPN4ozJQ and https://www.youtube.com/watch?v=ipavVrFgvYg.

However, I've not yet found any vocal renditions of this song on YouTube or anywhere else online.

There are numerous parodies of the song "Sally In The Garden". Among those parodies is one that was popularized by author Kurt Vonnegut http://izquotes.com/quote/275942

Sally in the garden,
Siftin' cinders,
Lifted up her leg,
And farted like a man,
The bursting of her bloomers broke sixteen winders,
The cheeks of her ass went (blam, blam, blam)”
―Kurt Vonnegut

Click http://mudcat.org/thread.cfm?threadid=63007 for [earlier?] examples of that parody.

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Three Examples Of The Children's Song "Go Around The Corn, Sally" (with lyrics)

Edited by Azizi Powell

This is Part III of a three part series about the African American corn song "Round De (The) Corn, Sally".

Click http://pancocojams.blogspot.com/2014/06/descriptions-of-corn-husking-corn-songs.html for Part I of this series. Part I provides excerpts from two online books about corn husking in the Southern United States during slavery. Part I also includes some comments about pre-mechanical corn husking in the United States apart from United States slavery.

Click http://pancocojams.blogspot.com/2014/06/four-examples-of-round-corn-sally.html for Part II of this series. Part II presents several text examples of "Around The Corn, Sally". An Addendum to that post showcases a video example with a lengthy summary of the "Sea Shanty Around The Corner, Sally".

Part III provides video examples and lyrics of the children's song "Go Around The Corn, Sally" which is adapted from the work song "Around The Corn, Sally".

The content of this post is provided for folkloric, cultural, entertainment, and educational purposes.

All copyrights remain with their owners.

Thanks to those who created the adapted version of this corn song. Thanks also to those who are featured in these videos and thanks to the publishers of these videos on YouTube.

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EDITORIAL COMMENT
I like "Go Around The Corn, Sally". I think this adapted song is a fun way of teaching children rhythm. Each of these examples have the same tune. Kudus to the composer of this song and its lyricist. (Musical notation were given for one example of this song in Part II of this series, but since I don't read music, I'm not sure if the tunes are the same. My assumption is that "Go Around The Corn, Sally" doesn't have the same tune as the source song "Round De (The) Corn, Sally". )

I think "Go Around The Corn, Sally" could be a good way of introducing children to the concept of source songs and adapted songs. I'm concerned that even if the children are taught that "Go Around The Corn, Sally" is based on a much older song, they may think that this is the way that the source song was originally sung. I'm also concerned that the children may be taught misinformation that every African American work song was sung in order to regulate the way or the pace that the work was done. In point of fact, as the excerpts in Part II discuss, corn songs weren't sung to regulate the way the shucking corn was done, or the pace that work was done.

Also, contrary to what may be taught about this song*, it's very doubtful that the source song "Round De Corn, Sally" was sung while people harvested (picked) corn. It seems to me that children should be taught the conceptual difference between picking corn and shucking corn. *Notice the introduction to this song that is given in Example #2 below.

Even more than that, I'm concerned that this song might be used to "whitewash" the fact that those people who created it were not just "workers", they were enslaved people.

Several people who commented in the discussion threads to YouTube videos of this song-either these featured examples, or others- expressed surprise that this song came from a slavery work song. I don't think that fact should be hidden from children or from their parents/caretakers.

A commenter to the discussion thread of a YouTube video of this song indicated that since she (or he) had learned that "Go Around The Corn, Sally" came from a slavery work song, her (or his) child would no longer be allowed to sing it. I don't agree with that decision. I believe that were songs and dancing (including secular songs) helped enslaved Black people endure the horrors of slavery, and the corn husking "frolics" gave them something enjoyable to look forward to, in spite of the hard work the men did shucking and the women did cooking food for those doing that labor. I think we honor those people who sang and danced corn songs by remembering those songs-both the way they were sung, and various adaptations of those songs such as the sea shanty "Round The Corner, Sally" and the children's song "Go Around The Corn, Sally".

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FEATURED EXAMPLES
These examples are presented in chronological order based on the posting date of the video on YouTube, with the example with the oldest date given first.

Example #1: Go Around the Corn, Sally! (Danielle Solan's 08-09 BTE 2nd Grade Concert).mov



Danielle Solan, Uploaded on Dec 29, 2009

LYRICS*

Go around, go around
Go around the corn Sally
Go around go around
Go around the corn Sally
Hey now, hey now
Go around the corn, Sally
Hey now ,hey now
Go around the corn, Sally

Fly around, fly around
Fly around the corn, Sally
Fly around, fly around
Fly around the corn, Sally
Hey now, hey now
Fly around the corn, Sally
Hey now, hey now
Fly around the corn Sally

Spin around, spin around
Spin around the corn, Sally
Spin around, spin around
Spin around the corn, Sally
Hey now, hey now
Spin around the corn, Sally
Hey now, hey now
Spin around the corn, Sally

Clap around, clap around
Clap around the corn, Sally
Clap around, clap around
Clap around the corn, Sally
Hey now, hey now
Clap around the corn, Sally
Hey now, hey now
Clap around the corn, Sally
-snip-
Transcription by Azizi Powell from the video. Additions and corrections are welcome.
-snip-
This version is sung in unison. Its "zip" style" structure that substitute one verb (action word) for another provides a good opportunity to talk about how the source song's lyrics were improvised and how the designated leader of the song continued singing while others worked shucking corn until he couldn't think of any more witty rhyming verses. The group of children could then be asked to come up with other verbs to be sung with this adapted song.

Here's the introduction to this song given by a boy from that group:
"Go Around The Corn, Sally" is an African American work song that is almost 200 years old. Workers used to sing this song while picking corn in the fields."

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Example #2: 2nd Grade "Go Around the Corn Sally"



Winding Ridge, Published on Jun 8, 2012

2nd Graders singing "Go Around the Corn, Sally" during their spring concert.

LYRICS*:
First group- Go around, round and round
Second group-Go around the corn, Sally
First group- Go around, round and round
Second group-Go around the corn, Sally
First group-Hey now, Hey now
Second group-Go around the corn, Sally
First group-Hey now, Hey now
Second group-Go around the corn, Sally

First group-Past the skillet, past the skillet*
Second group-Round and round the corn, Sally
First group-Past the skillet, past the skillet*
Second group-Go around the corn,
First group- All around, all around
Second group-Go around the corn, Sally
-snip-
Transcription by Azizi Powell from the video. Additions and corrections are welcome.
-snip-
This song is sung in a call & response style. The source song also had a call & response structure.

I'm not sure if I correctly transcribed this line.

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Example #3: River & Relic 2013 concert - Go Around The Corn, Sally



Arcege, Published on Dec 6, 2013
-snip-
The lyrics to this song appear to be the same as those given for Example #2 and this rendition is also sung in call & response style. However, the tempo is slower than the other two renditions of this song.

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Four Examples Of "Round The Corn, Sally" (African American Corn Song)

Edited by Azizi Powell

This is Part II of a three part series about the African American corn song "Round De (The ) Corn, Sally". Part II presents several text examples of "Around The Corn, Sally". An Addendum to that post showcases a video example with a lengthy summary of the "Sea Shanty Around The Corner, Sally".

Click http://pancocojams.blogspot.com/2014/06/descriptions-of-corn-husking-corn-songs.html for Part I of this series. Part I provides excerpts from two online books about corn husking in the Southern United States during slavery. Part I also includes some comments about pre-mechanical corn husking in the United States apart from United States slavery.

Click http://pancocojams.blogspot.com/2014/06/three-examples-of-childrens-song-go.html for Part III of this series. Part III provides video examples and lyrics of the children's song "Go Around The Corn, Sally" which is adapted from the work song "Around The Corn ,Sally".

The content of this post is provided for historical, folkloric, and cultural purposes.

All copyrights remain with their owners.

Thanks to the performers and collectors of this song. Thanks also to all those who are quoted in this post.

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EXAMPLES OF THE SONG "ROUND THE CORN, SALLY"
Example #1:
From http://www.traditionalmusic.co.uk/afro-american/afro-american-folksongs%20-%200148.htm Afro-American Folksongs, A Study In Racial And National Music by Henry Edward Krehbiel (1914, p. 48) [online book]
...“The paucity of secular working songs has already been commented on. Of songs referring to labor in the field the editors of "Slave Songs of the United States" were able to collect only two examples. Both of them are "corn songs," and the first is a mere fragment, the only words of which have been preserved being "Shock along, John." The second defied interpretation fifty years ago and is still incomprehensible:
Five can't ketch me and tea can't hold me—
Ho, round the corn, Sally I Here's your iggle-quarter and here's your count-aquils—
Ho7 round the corn, Sally] I can bank, 'ginny bank, 'gmny bank the weaver—
Ho, round the corn, Sally!"

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Example #2
From http://docsouth.unc.edu/church/allen/fig111.html Slave Songs of the United States edited by William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison (1867)
[Musical Notation for "Round the Corn, Sally"]
68
Five can’t catch me and ten can’t hold me
Ho, round the corn Sally
Ho, round the corn, round the corn, round the corn
Ho ,Ho, Ho round the corn Sally.

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Example #3:
From http://mudcat.org/thread.cfm?threadid=52717
Posted By: Charley Noble
23-Oct-02 - 11:27 AM
Thread Name: Origin: Johnny Come Down to Hilo
Subject: Lyr.Add. Round' de Corn, Sally
...Most of us nautical singers are familar with the old sea shanty "Round the Corner, Sally" in which the corner refered to has been ascribed to Cape Horn. Well, try this old plantation corn husking song on for size:

ROUN' DE CORN, SALLY

(corn husking song collected by slaveholder James Hungerford's The Old Plantation and What I Gathered There in an Autumn Month, c. 1832, quoted in THE MUSIC OF BLACK AMERICANS by Eileen Southern, pp. 180)

Grand Chorus:

Hooray, hooray, ho! Roun' de corn, Sally!
Hooray for all de lubly (lovely) ladies! Roun' de corn, Sally!
Hooray, hooray, ho! Roun' de corn, Sally!
Hooray for all de lubly ladies! Roun' de corn, Sally!

Dis lub's er (a) thing dat's sure to hab you, Roun' de corn, Sally!
He hole (hold) you tight, when once he grab you, Roun' de corn, Sally!
Un (an) ole (old) un (one) ugly, young un (one) pretty, Roun' de corn, Sally!
You needen try when once he git you, Roun' de corn, Sally! (CHO)

Dere's Mr. Travers lub Miss Jinny, Roun' de corn, Sally!
He thinks she is us (as) good us any, Roun' de corn, Sally!
He comes from church wid her er (on) Sunday, Roun' de corn, Sally!
Un (He) don't go back ter town till Monday, Roun' de corn, Sally! (CHO)

My interpretations in ()'s.
Cheerily,
Charley Noble

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Example #4:
[This excerpt of "Round De Corn, Sally" was documented to have been sung by Black people while they marched around the plantation as part of their Christmas festivities, after going to the main house to receive gifts from their former master/mistress.]

From http://books.google.com/books?id=SHRAAQAAMAAJ&pg=PA236&lpg=PA236&dq=round+de+corn+sally&source=bl&ots=7d8Yta7mK6&sig=0WAtB-T5dvoAu1mzkfKSPlnZ-3k&hl=en&sa=X&ei=aHiYU47ZFIWdyATsx4KIBA&ved=0CCwQ6AEwBQ#v=onepage&q=round%20de%20corn%20sally&f=false The Literary Digest, Volume 10 1895 “Christmas In The South Long Ago”[p 236]

Hooray, hooray, ho
Round de corn, Sally
Hooray for all de lubly ladies
Round de corn, Sally
Dere a Master Howard lub Miss Betty
Round de corn, Sally
I tell you what, she a mighty pretty
Round de corn, Sally...
-snip-
This is followed by other lines that are difficult for me to decipher. However, it appears that those lines are other complementary comments about other (White) people on the plantation.

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ADDENDUM: A RENDITION OF THE SEA SHANTY "ROUND THE CORNER, SALLY"

Round the Corner, Sally [389-390] (297-298)


hultonclint Uploaded on Mar 26, 2009

A halyard chantey, which Hugill learned from Harding. …. Of note: Hugill connects the phrase "Round the corner, Sally" to a line in a Christy's Minstrel song, "Aunt Sally" -- and "Aunt Sally" is a character in versions of "Sister Susan" chantey or another minstrel song, "Shinbone Al."

Another song is a candidate as a source for "Round the Corner, Sally." It appears in the text of a James Hungerford, in which the author describes a visit to his cousin's plantation in Maryland in 1832. With it's musical notations, it is considered to be the first extant text to contain slave songs. "Roun' De Corn, Sally" is described in the context of rowing a boat, but properly attributed as a corn-husking song. In his 1989 book, ORIGINS OF THE POPULAR STYLE, pg.206, Peter Van der Merwe makes a connection between the similar phrase in the slave song and the chantey, thinking that "round the corn" was a corruption of the chantey phrase, due to confounding the "corn" context with the original meaning. The original phrase, as supposed by Hugill, was a sort of "gal on the street," later reinterpreted as a sailor's lady-friend of locales that were around the "corner": Cape Horn. However, some recent interpreters seem to suggest that the plantation song was a source. At least that is how I interpret the inclusion of "Roun' De Corn, Sally" in the repertoire of the sea chantey group The Johnson Girls:
http://www.youtube.com/watch?v=pavLtm...

No doubt, any number of individuals made the connection between the phrase in these two songs before Van der Merwe's published statement. I actually stumbled myself upon the Hungerford text in a volume by Eileen Southern, READINGS IN BLACK AMERICAN MUSIC (1971) that I picked up by chance in a used book store in Mass. This is a supplemental text of primary sources meant to accompany her book THE MUSIC OF BLACK AMERICANS. My guess is that the chantey group Forebitter, who note a connection in one of their CD's liner notes, followed by the Johnson Girls, had discovered the plantation song in Southern's main text. However, the full set of verses is only found in "READINGS..." ("Roun' De Corn" was also reproduced, in abbreviated form, in a book by Epstein, 1977.)

For what it's worth, besides the characteristic phrase, the plantation song and the chantey don't show much similarity. They do appear to be contemporary though. The plantation song is from 1832 and the chantey is cited by name in Dana's TWO YEARS BEFORE THE MAST in which he describes events along the California coast in the 1830s.

Lyrics in available versions suggest that the chantey was used in the trade of nitrates from the West Coast ports of South America. Although a good amount of the lyrics in my rendition are my own, I've kept to that theme.

Please check out the whole chanteys project playlist, at http://www.youtube.com/view_play_list
-snip-
For those who may be interested, hultonclint posts on Mudcat as "Gib Sahib". "The Advent and Development of Chanties" http://mudcat.org/thread.cfm?threadid=128220
is one of the discussion threads on sea shanties that he started at that folk music site

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Descriptions Of Corn Husking & Corn Songs During United States Slavery

Edited by Azizi Powell

This is Part I of a three part series about the African American work song "Around The Corn, Sally". Part I provides excerpts from two online books about corn husking in the Southern United States during slavery. Part I also includes some comments about pre-mechanical corn husking in the United States apart from United States slavery. In addition, I've included a example of the corn song "Shuck That Corn Before You Eat" that was posted with commentary. I've also included my comments that disagree with the blogger's conclusion about that song.

Click http://pancocojams.blogspot.com/2014/06/four-examples-of-round-corn-sally.html. Part II presents several text examples of "Around The Corn, Sally". An Addendum to that post showcases a video example with a lengthy summary of the "Sea Shanty Around The Corner, Sally".

Click http://pancocojams.blogspot.com/2014/06/three-examples-of-childrens-song-go.html for Part III of this series. Part III provides video examples and lyrics of the children's song "Go Around The Corn, Sally" which is adapted from the work song "Around The Corn ,Sally".

The content of this post is provided for historical, folkloric, and cultural purposes.

All copyrights remain with their owners.

Thanks to the performers and collectors of this song. Thanks also to all those who are quoted in this post.

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SUMMARY OF EXCERPTS
Here's a brief summary of what I learned from reading these excerpts:

Corn shucking in the USA was a group labor activity that wasn't distinctly done by enslaved Black people.

It was common for enslaved people from different plantations to participate in various corn shuckings.

It was common for Black people and White people to shuck corn together.

Corn shucking was done by males only. However, both women and men danced to corn songs after the shucking was completed.

Corn shucking was an individualistic, competitive labor activity. Men competed to see who would be the fastest one to shuck the most corn. Corn shucking wasn't a group labor activity in the same way that working on ships, cutting trees, and laying train tracks was. Unlike sea shanties and cross cutting prison work songs, corn songs weren't sung to regulate the movements used to shuck corn. Instead, those songs were sung to help ease the drudgery of the work by entertaining the workers and getting their minds off of their labor.

Corn songs were largely improvised songs which had a call & response pattern. The songs were led by a designated singer who didn't do any shucking. The lyrics often were "rude" (bawdy/dirty) and might included comments about individual workers or others.

Corn songs were also sung by enslaved Black people in the USA as part of their Christmas festivities (Read the example given in Part II of this series.)
-snip-
Here are two conclusions that I reached as a result of reading the excerpts found below and other online material about 19th century USA corn husking in the South during slavery:

While enslaved people were mandated to participate in shuckings, given the entertainment aspects of that experience, & the opportunities to travel to different plantations, and interact with a large number of people, those enslaved people probably looked forward to participating in shuckings.

The contemporary children's song "Go Around The Corn, Sally" is adapted from the corn song "Round De (The) Corn, Sally". However, contrary to what I've read about or heard presented about that song by American elementary music teachers, it's likely that "Round De (The) Corn, Sally" wasn't sung while harvesting (picking) corn. Also, the lyrics of that song likely had very little to do with going around corn or doing any other rhythmic movements such as those mentioned in some versions of that children's song. Instead, the work song "Round De (The) Corn, Sally" was probably sung by men while they shucked corn and/or that song may have been sung during the dance portion of the corn shucking festivities (after the shucking was completed).

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EXCERPTS ABOUT CORN HUSKING & CORN SONGS IN THE UNITED STATES SOUTH DURING SLAVERY
These excerpts are presented in no particular order. They are numbered for reference purposes only.
I also want to mention that these excerpts are presented as is, with outdated referents such as the word "negro" spelled with a lower case "n". Thankfully, what is commonly known as "the n word" doesn't appear in these excerpts.

Excerpt #1: Slavery in the American Mountain South
By Wilma A. Dunaway, Date Published: May 2003
From http://books.google.com/books?id=ijMJVb9uNVgC&pg=PA210&lpg=PA210&dq=slave+culture+in+the+south+corn+husking&source=bl&ots=b8DLS-YZlQ&sig=9_uceaqAGmNdcPjE0EwcRBvg2Bw&hl=en&sa=X&ei=mvaXU_jjJoKayAT3z4CQCA&ved=0CCMQ6AEwAQ#v=onepage&q=slave%20culture%20in%20the%20south%20corn%20husking&f=false

Chapter: Cultural Resistance and Community Building, p. 210
..."Work parties were mentioned by more Appalachian slaves than any other type of owner-sponsored amusement, and most of these occurred during or after fall harvest or in the fall or in the early winter. Widespread throughout the rural United States, the corn-shucking was a popular labor pooling mechanism that was not distinctly a slave activity. Music and dance were so central to the husking that slaves referred to the work groups as ”corn hollers”. According to Callie Elder, laborers “sung all de time [they] was huckin’ corn”. Masters would send out invitations to adjacent plantations and as many as 200 blacks might attend. After the corn crop had been harvested from the field, “large bonfires were built adjoining the cribs where several bushels of corn were to be shucked by both colored and white. As the laborers arrived at the designated farm in Coosa County, Alabama

They went at once to the corn pile and began shucking, throwing the husked ear into the crib and the shucks to the rear. They commenced at the outer edge of the pile of corn, and cleaned up the corn to the ground as they went. There were usually two or more recognized leaders in singing the corn songs, and as they would chant or shout their couplet, all the rest would sing the chorus…the hands would fly with rapidity in tearing off the shucks and the feet kick back the shucks with equal vigor

[19].

Whether the husking occurred in eastern Kentucky, West Virginia, or northern Georgia, the custom was that “a song leader mounted the pile of corn and kept the shuckers busy, hand and tongue”. In Blue Ridge Virginia, laborers would

take their place along the pile, every man taking about two feet, the aim being to see who could husk their way through the pile soonest. White and black, slaves included, worked side by side. There was always a free supply of whiskey... If there were negroes enough, which was almost always the case, they would sing a corn song... One who had a gift in that line would act as a leader. He would mount the pile and improvise, the rest and many of the whites joined in the refrain. Occasionally the leader would pick someone from the crowd and improvise at his expense.

p. 211
Booker T. Washington described the corn hollers he had witnessed in southwestern Virginia and West Virginia.

When [they] were all assembled...some one individual who had already gained a reputation as a leader in singing, would climb to the top of the mound and begin at once in a clear loud tones a solo…[T]he chorus at the base of the mound would join in, some one hundred strong. The words were largely improvised, were largely simple, and suited the occasion.

Accounts from eastern Kentucky, western Carolina, northern Alabama, the Shenandoah Valley, and Appalachian Tennessee provide more detail about the structure of the singing. According to John Van Hook “the man designated to act as [corn] general would stick a peacock feather in his hat and call all the men together and give his orders. He would stand in the center of the corn pile, start the singing, and keep things lively for them.” Initially, someone would strike up and singly give a few rude* stanzas, sometimes in rhyme, and sometimes in short expressive sentences while the rest unite[d] in chorus, and this he continue[d],until some other improviser relieve[d] him.” Dancing also played at part in the corn husking. Northern Georgia, eastern Kentucky, and West Virginia accounts document two elements of dancing that were part of the husking tradition. “When the corn was shucked about two or three o’clock in the morning they would catch the owner and ring and dance around him.” After everyone had eaten and toasted the master, group dancing might begin. “There was always a negro with a banjo, would could play and others dance.” [20]
-snip-
"rude stanzas" = sexually suggestive or sexually explicit verses

****
Excerpt #2:
From http://books.google.com/books?id=idktzKdgb7YC&pg=PA146&lpg=PA146&dq=corn+husking+us+slavery&source=bl&ots=9WaCl3Ehev&sig=Uzsb7orqbQ4hMz3WTu1FT8EXDog&hl=en&sa=X&ei=nUSYU9HTKMywyAT6joCQDA&ved=0CC0Q6AEwAg#v=onepage&q=corn%20husking%20us%20slavery&f=false Dictionary of Afro-American Slavery
edited by Randall M. Miller, John David Smith
Greenwood Publishing Group, p. 146
“By a wide margin, the most frequently mentioned form of corn-related activity in slave accounts was the “shucking” or “husking” frolic. It combined work and play and was one of the most common forms of recreation in America during the slave era. The shucking bee was a harvest festival at each farm or plantation. Each slave might attend many such frolics each autumn. The activity combined competitive work- singing, feasting, dancing- and the consuming of corn liquor or cider at the bottom of each corn pile. Blacks and whites commonly participated together in the shucking contests, and some slaves recalled that “patterollers” (slave patrollers) did not bother them at such gatherings. But shucking was by no means all play. It was drudgery, especially hard on the hands, despite the universal use of an old and simple Indian device, the shucking peg, throughout the slave era. Husking was often done indoors on rainy days in order to get more work out of slaves."
-snip-
Also, read this sentence from p. 715 of that book:
"Picking cotton, husking corn, stripping and prizing tobacco were occupations that lent themselves to individual tasks."
-snip-
Collectors succeeded in documenting only a few African American secular songs such as "fiddle sings, jig-tunes, corn songs" because formerly enslaved Black people believed that those songs were wicked "devil songs" that shouldn’t be sung or dance by people who have religion.
Hee's a comment from Sinful Tunes and Spirituals: Black Folk Music to the Civil War by Dena J. Epstein [p. 175, Google Books]
“When the teachers from Hampton Institute attempted [to collect examples of those songs] in 1974, they were unsuccessful [because the old people who were enslaved didn’t want to admit that they knew anything about “devil songs”.]
-snip-
However, African American professor Thomas W. Talley succeeded in collecting some examples of secular songs from his Fisk University students. Those examples and others that he remembered in his now classic book Negro Folk Rhymes, Wise & Otherwise. Click http://www.gutenberg.org/files/27195/27195-h/27195-h.htm for a Project Gutenberg digital edition of that book. [Warning: That book includes "the n word" fully spelled out.]

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RELATED EXCERPTS ABOUT CORN SHUCKING
From http://en.wikipedia.org/wiki/Cornjerker
"In times before modern machinery, sweet corn was pulled or jerked from the stalk. The leaves were shucked off and the golden ears were thrown in a wooden wagon pulled by a team of mules. This was Cornjerking, In other parts of the United States, this harvesting process may have been known as corn snapping, corn shucking, or corn husking. The many laborers who walked the fields to harvest the crops were called Cornjerkers.

The invention of the corn picking machine has made this hand harvesting process obsolete. By using modern machines, a farmer is capable of tending larger fields, thus producing more food with less effort. As a result, the term Cornjerker as used in the agricultural industry has become a colloquialism."

****
From http://www.farmcollector.com/farm-life/husking-corn-before-mechanical-pickers.aspx#axzz34FtsARsH Husking Corn Before Mechanical Pickers
"Beginning in the 1920s, labor-saving machinery was available for the corn harvest. But even into the '40s, horses still plodded along on many farms, as men hand-husked corn, then threw ears into a high-sided wagon. A hand-husked field was picked clean, and the ears were virtually free of shucks, which meant the ears could be air-dried in cribs. Plus, horses had the easy work, so feed wasn't as heavy a requirement. It's hard to imagine improving the efficiency of the process ... unless, of course, you were the one doing the hand husking.

More than 50 years have passed since Chester Larson last husked corn by hand. But memories of the work have not faded for the retired Griswold, Iowa, farmer.

"A little wrist or thumb hook was used to rip the husk open, so the ear could be easily broken off the shank leading to the stalk, making the ear ready to throw into the wagon," he recalled. It was tedious, exhausting work.

Husking corn is very tiring," Chester said. "I haven't worked so hard since, and we did more things by hand then, such as some of the haying."...

A husker's day began at first light. Most huskers arrived at the field as soon as they could see, and didn't quit until sundown."...

****
ADDENDUM
Here's an example of a corn song that was posted with commentary:
From http://www.history.org/history/teaching/enewsletter/volume2/september03/primsource.cfm

Slave Work Song: "Shuck That Corn Before You Eat"

Caller: All dem purty gals will be dar,
Chorus: Shuck dat corn before you eat.

Caller: They will fix it for us rare,
Chorus: Shuck dat corn before you eat.

Caller: I know dat supper will be big,
Chorus: Shuck dat corn before you eat.

Caller: I think I smell a fine roast pig,
Chorus: Shuck dat corn before you eat.

Caller: I hope dey'll have some whisky* dar,
Chorus: Shuck dat corn before you eat.

Caller: I think I'll fill my pockets full,
Chorus: Shuck dat corn before you eat.

To make harvesting tasks less monotonous slaves created songs to match the rhythm of the actions required to complete the harvest. Some of these songs are known as "call and response," in which one individual sings a line and the rest of the group answers in chorus.

The lyrics of the song "Shuck Dat Corn Before You Eat" mention what the slaves could look forward to in return for their labor. The word 'shuck' and the second syllable in 'before' were stressed to provide a rhythm for the activity. At these points in the song, slaves knew to step forward on the right foot, grab the top of the corn with the left hand, and cut the top off with the right hand. In this way, all members of the group worked together to efficiently and quickly complete the task."
-snip-
I disagree with the conclusions that the blogger made about that song. Firstly, from what I've read about this subject, corn songs weren't sung "to match the rhythm of the actions required to complete the harvest". I've not read about corn songs being sung while picking corn. And wasn't corn shucking done while seated? If so, then the movements that the blogger is incorrect about the actions he or she describes the shuckers making.

Furthermore, corn songs weren't sung "to help "all members of the group worked together to efficiently and quickly complete the task." From what I've read corn shucking was a tedious job that people knew would last a long time. It wasn't done in unison. Individuals competed to see who would be the fastest to shuck the most corn.

The purpose of these corn songs were to relieve some of the drudgery of the work by leading songs that took the workers' minds off of what they were doing. In that sense, corn songs were songs sung during work but not songs that helped direct work.

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Five Additional "Ride On King Jesus" Spirituals

Edited by Azizi Powell

This post provides several lyric, audio, and video audio examples of African American Spirituals with the words "Ride On King Jesus" in addition to the examples that are found in these two previous pancocojams posts:

http://pancocojams.blogspot.com/2014/06/african-american-choir-directing-styles.html for examples of "Ride On King Jesus" (second line: "No man can hinder me" or "No man can hinder Thee").

http://pancocojams.blogspot.com/2014/06/two-examples-of-ride-on-king-jesus-ride.html for two examples of "Ride On King Jesus" (with the second line "Ride On King Emmanuel").

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks also to all of the vocalist and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos and other audio files.

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FEATURED EXAMPLES
I've attempted to present these examples in chronological order with the oldest examples presented first.

Example #1:
From http://mudcat.org/thread.cfm?threadid=39229
Subject: Lyr Add: RIDE IN, KIND SAVIOUR
From: Dicho
Date: 21 Sep 01 - 05:54 PM
Higginson (1867) has a Civil War time version.

RIDE IN, KIND SAVIOUR

Ride in, kind Saviour !
No man can hinder me (we).
O, Jesus is a mighty man !
No man can hinder me (we).

2 We're marching through Virginny fields,
No man etc.
And he has his sword and shield,
No man etc.
O, old Secesh done come and gone !
No man can hinder me (we).

Higginson states the use of "done" suggests Virginia. "Been" would suggest South Carolina (farther south). He suggests that "we" is more in keeping with "the usual head-over-heels arrangement of their pronouns."
-snip-
Although this Spiritual is titled "Ride In, Kind Savior", its lyrics are close enough to versions of "Ride On, King Jesus" that this may be an early version of that song.

"Secesh" means rebel soldiers.
From http://www.merriam-webster.com/dictionary/secesh
"a U.S. secessionist; Origin of SECESH by shortening & alteration from secession & secessionist"

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Example #2:
From http://mudcat.org/thread.cfm?threadid=39229
Subject: RE: Lyr Add: RIDE ON KING JESUS/NO MAN CAN HINDER
From: masato sakurai
Date: 22 Sep 01 - 03:08 AM

"There's a recording of "Ride On, King Jesus" by William Brown, Terrel Conley, Eugene Blacker, and Alvin Brown (rec. State Penitentiary, Huntsville, Walker Couty, Texas, 5/13/1939) in The John and Ruby Lomax 1939 Southern States Recording Trip. This seems to be a different song. Their performance is much more different from concert spiritual singers' style.
-snip-
Here are information about and a link to an audio file of that song:
From http://lcweb2.loc.gov/diglib/ihas/loc.afc.afcss39.2603b1/default.html

Title: Ride On, King Jesus [Field recordings]
Performance Note: "Ride On, King Jesus" performed by Eugene Blacker, Alvin Brown, Terrell Conley and William Brown (vocals) at State Penitentiary ("The Walls"), Huntsville, Texas, on May 13, 1939…
Exhibitions: Also included in The John and Ruby Lomax 1939 Southern States Recording Trip.
-snip-
LYRICS*

Chorus [2x]
Oh won’t you ride on, ride on, King Jesus [3x)
Cause I want to go to heaven in the morning

If you see my mother
Oh yes
Please tell her for me
Just to ride her horse
on the battlefield
Cause I want to go to heaven in the morning

Chorus (2x)
If you see my father [etc]

Chorus [2x]
-snip-
Transcription by Azizi Powell, from the recording. Additions and corrections are welcome.
This song was sung in a slow tempo. The way that the song is sung sounded to me like an old time locomotive chugging up the tracks with the last line at the end evoking how a train whistle sounds.

****
Example #3:
Here are the lyrics that I posted in 2005 in that same Mudcat thread whose link is given above.
This is the version of "Ride On King Jesus" that I learned in the 1950s or early 1960s at Union Baptist Church, Atlantic City New Jersey: (given with minor spelling corrections)

Ride on, King Jesus
Ride on King Emmanuel
Ride on King Jesus
No man can-a* hinder Thee.

Ride on, King Jesus
Ride on King Emanuel
Ride on King Jesus
No man can –a* hinder thee.

King Jesus rides a milk wide horse
No man cannot hinder Thee
The Jordan river He did cross
No man can-a* hinder Thee

chorus

I went to the valley but I didn't go to stay
No man can-a*t hinder Thee
My soul got happy and I stayed all day
No man can-a* hinder Thee

If you don't believe I been redeemed
No man can-a*t hinder Thee

Just follow me down to Jordan stream
No man can-a*t hinder Thee

Chorus

(Add other floating verses that fit this pattern. This is an uptempo song.)
*The line that I remember singing is “No man cannot hinder Thee”. However, that meaning doesn’t fit the implied unconquerable power of Jesus. Therefore that was probably an example of folk etymology- me changing the unfamiliar word “can-a” [that is found in many online transcriptions of this song] to the familiar word "cannot".

****
Example #4:
From http://www.people.carleton.edu/~lburnett/2011_MISSOTA_MUSIC_FESTIVAL_SELECT_CHOIR_REHEARSAL_NOTES.htm

Composer
Moses George Hogan [March 13, 1957 – February 11, 2003], best known for his arrangements of concert spirituals, was an internationally renowned pianist, conductor and arranger. Born in New Orleans, Louisiana, he studied at the New Orleans Center for Creative Arts, the Oberlin Conservatory, the Juilliard School of Music, and Louisiana State University. In 1993, he was appointed Artist-in-Residence at Dilliard University in New Orleans.

...He began his exploration of the choral music idiom in 1980 when he formed the Moses Hogan Chorale to perform for a Black History Month concert with the New Orleans Symphony Orchestra. Later downsized to the Moses Hogan Singers, his choral groups preformed extensively throughout the United States and recorded most of his settings of African American spirituals....

Composition and Historical Perspective:
Ride On, King Jesus is an African-American spiritual (formerly called Negro Spiritual) that can be traced to enslaved blacks prior to the Civil War. It is in the category called jubilee because it contains a text whose purpose is to be uplifting with the words [Jesus] "died for the rich and He died for the poor" and “no man can a-hinder me.”

Commissioned and premiered by the Spelman College Glee Club, the original setting was for women’s voices. The arrangement for mixed voices soon followed and has become a standard for high school, college and university, church, community and professional choirs around the world. Hogan’s arrangement takes on gospel music characteristics with the inclusion of a piano accompaniment.

Text and Translation:
Ride on King Jesus,
Ride on, the conquering king.
Ride on King Jesus,
No man can hinder thee.

I was but young when I begun.
No man can hinder thee.
But now my race is almost done.
No man can hinder thee.

King Jesus rides a milk white horse.
No man can hinder thee.
The river Jordan he did cross.
No man can hinder thee.

He’s the king and the Lord.
No man can hinder thee.
He’s the first and the last.
He’s the Lord of Lords.

Jesus is the Prince of peace.
No man can hinder thee.
Oh, ride on, King Jesus.
No man can hinder thee.

****
Example #5: Kathleen Battle 1982 "Ride on King Jesus"



Opera Buff Published on Jun 13, 2013

Kathleen Battle - Soprano
James Levine - Piano

Lyrics*
Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
Ride On
No man can-a hinder me

For He is King of Kings
He is Lord of Lords
Jesus Christ, the First & Last
No man works like Him

[repeat chorus]

King Jesus rides a milk white horse
No man works like Him
The River Of Jordan He did cross
No man works like Him

For He is King of Kings
He is Lord of Lords
Oh Jesus Christ, the first & last
No man works like Him

Oh King Jesus in the middle of the air
No man works like Him
Oh he saw the people coming from everywhere
No man works like Him

Ride on King Jesus
No man can-a hinder me
Ride on King Jesus
Ride On
No man can-a hinder me

Ride on, King Jesus, ride on

Oh He is King Jesus
He is the Lord
Oh Jesus Christ the first and last
No man works like Him

Ride on, oh-
Ride on, oh
Ride on Jesus
-snip-
*Transcription by Azizi Powell from this video. Additions & corrections welcome.
This arrangement combines the Spiritual Ride On King Jesus with the Spiritual "He Is King Of Kings

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Two Examples Of "Ride On King Jesus" (Ride On King Emmanuel)

Edited by Azizi Powell

This post provides two examples of arrangements of the African American Spiritual "Ride On King Jesus" (with the second line: "Ride On King Emmanuel").

Click http://pancocojams.blogspot.com/2014/06/african-american-choir-directing-styles.html for examples of "Ride On King Jesus" (second line: "No man can hinder me" or "No Man can hinder Thee").

Also, click http://pancocojams.blogspot.com/2014/06/five-additional-ride-on-king-jesus.html for historical versions of this Spiritual.

The content of this post is provided for religious, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks also to all of the choir directors, vocalists, and musicians who are featured in this post and thanks to all those who are quoted in this post. In addition, thanks to the publishers of these YouTube videos.

****
FEATURED EXAMPLES
Example #1: "Ride On King Jesus" - The Roberta Martin Singers feat, Roberta Martin



Emmanuel Jones, Uploaded on Jul 21, 2011

The Roberta Martin Singers
Ride On King Jesus
With the one and ONLY Roberta Martin on Lead
-snip-
I believe that Example #1 (which was recorded in 1947) is the oldest recording of this gospelized arrangement of "Ride On King Jesus" (second line "Ride On King Emmanuel").

"Gospelized Spirituals" is my term for Spirituals which are performed in a "gospelized" style. Contrast these "old school" gospelized styles with the much more contemporary styles of the arrangements that are showcased in the "Ride On King Jesus" renditions that are found in the pancocojams post whose link is given above.

Here are the lyrics to this arrangement*:

Chorus:
Lead: Ride On
Group- Ride On
Lead: King Jesus
Group-King Jesus
Lead- Ride On
Group- Ride On
Lead: King Emmanuel
Group-King Emmanuel
Lead- Ride On
Group- Ride On conquering King
Lead-I wanna go to heaven
Group - I wanna go to heaven in the morning

[repeat 2x]

Lead- Oh You're coming one day to carry me home
Group & Lead - I wanna go to heaven in the morning
Lead- When my trials are finished, no longer here I'll roam
Group & Lead - I wanna go to heaven in the morning

Lead- Well you came by one day and took my mother away
Group & Lead - I wanna go to heaven in the morning
Lead- And I promised I'd meet here on the resurrection day
Group & Lead - I wanna go to heaven in the morning

Chorus

Group- Ride on
Lead- I got a mother there
Group- Ride on
Lead- And a father there
Group- Ride on
Lead- And a sister there
Group- Ride on
Lead- I got to see them there
Group & Lead - I wanna go to heaven in the morning

Lead- Some times I'm up
Group -Ride on
Lead - Some times I'm down
Group- Ride On
Lead- Some times I'm almost
Group- Ride On
Lead- To the ground
Group & Lead - I wanna go to heaven in the morning

Lead- Some times sick
Group -Ride on
Lead - So distressed
Group- Ride On
Lead- Some times I'm so weary
Group- Ride On
Lead- I cannot rest
Group & Lead - I wanna go to heaven in the morning

Group- Ride on
Lead - Jesus
Group- Ride on
Lead - Jesus
Group- Ride on
Lead - Jesus
Group- Ride on
Lead - Jesus
Group- I wanna go to heaven in the morning

Lead: [Yes] Ride On
Group- Ride On
Lead: King Jesus
Group-King Jesus
Lead- Ride On
Group- Ride On
Lead: King Emmanuel
Group-King Emmanuel
Lead- Ride On
Group- Ride On conquering King
Lead-I wanna go to heaven
lead and group - In the morning
-snip-
*Transcription by Azizi Powell from this video. Additions & corrections welcome.

Here's a comment about the photograph that was used in this YouTube sound file:
Ronald Greer, 2013
"The photo is a 1947 photo [of the Roberta Martin Singers] prior to the passing of Sadie Durrah-Nolan. TOP: Roberta Martin, Willie Webb and Delois Barrett BOTTOM: Norsalus McKissick, Sadie Durrah Nolan, Bessie Folk and Eegene Smith"

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Example #2: St. James Mass Choir - Ride On King Jesus, Ride On King Emmanuel



Marcel West, Uploaded on Dec 12, 2008

Mass Choir singing Ride On King Jesus, Ride On King Emmanuel.
-snip-
This arrangement is given without transcription

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