Below is the OCR for "Folk-song and Folk-poetry as found in the Secular Songs of the Southern Negroes: Part 1" by Odum. If you would like to verify the text, please download the PDF of the scanned pages.
THE JOURNAL OF
AMERICAN FOLK-LORE
Vol. XXIV. JULY-SEPTEMBER, 1911 No. XCIII
FOLK-SONG AND FOLK-POETRY AS FOUND IN THE
SECULAR SONGS OF THE SOUTHERN NEGROES
BY HOWARD W. ODUM
An examination of the first twenty volumes of the Journal of Amer-
ican Folk-Lore,
and a study of the published folk-songs of the Southern
negroes, reveal a large amount of valuable material for the student
of folk-songs and ballads. Investigation of the field indicates a still
larger supply of songs as yet not collected or published. Unfortu-
nately the collection of these songs has been permitted to lapse within
recent years, although there is no indication that even a majority
have been collected. In fact, the supply seems almost inexhaustible,
and the present-day negro folk-songs appear to be no less distinctive
than formerly. It is hoped that special efforts will be made by as
many persons as possible to contribute to the negro department of
American folk-lore as many of the songs of the Southern negroes
as can be obtained. That they are most valuable to the student of
sociology and anthropology, as well as to the student of literature and
the ballad, will scarcely be doubted.
Two distinct classes of folk-songs have been, and are, current among
the Southern negroes, the religious songs, or ''spirituals;" and the
social or secular songs. An examination of the principal collections
of negro songs, a list of which is appended at the end of this paper,
shows that emphasis has been placed heretofore upon the religious
songs, although the secular songs appear to be equally as interesting
and valuable. My study of negro folk-songs included originally the
religious and secular songs of the Southern negroes; analysis of their
content; a discussion of the mental imagery, style and habit, reflected
in them; and the word-vocabulary of the collection of songs. The
religious songs have already been published in the
American Journal
of Religious Psychology and Education (vol. iii, pp. 265-365). In order
to bring this paper within the scope and limits of the
Journal of
American Folk-Lore, it has been necessary to omit the introductory
discussion of the songs, for the most part, and to omit entirely the
VOL. XXIV.----NO. 93----17 255
vocabulary and discussion of the mental imagery, style and habits, of
the negro singers. In this paper, therefore, only the secular songs are
given, which in turn are divided into two classes, the general social
songs, and work songs and phrases.
To understand to the best advantage the songs which follow, it is
necessary to define the usage of the word ''folk-song" as applied in
this paper, to show how current negro songs arise and become common
property, to note their variations, and to observe some of the occasions
upon which they are sung. Each of these aspects of the Southern
negro's songs is interdependent upon the others; the meaning of the
folk-songs is emphasized by the explanations of their origin and varia-
tions; the singing of the songs by many individuals on many occasions
emphasizes the difficulty of confining any song to a given locality or
to a single form; and the value of the song is increased as it passes
through the several stages.
The songs in this collection are "negro folk-songs," in that they
have had their origin and growth among the negroes, or have been
adapted so completely that they have become the common songs of
the negroes. They are "folk-poetry which, from whatever source and
for whatever reason, has passed into the possession of the folk, the
common people, so completely that each singer or reciter feels the
piece to be his own."1 Each singer alters or sings the song according
to his own thoughts and feelings. How exactly this applies to the
negro songs may be seen from the explanations which follow, and from
the study and comparison of the different songs. It is not necessary,
therefore, in order to classify the songs as negro songs, to attempt to
trace each song to its origin or to attempt to determine how much is
original and how much borrowed. Clearly many of the songs are
adapted forms of well-known songs or ballads; others, which in all .
probability had their origin among the negroes, resemble very strongly
the songs of other people; while still others combine in a striking way
original features with the borrowed. In any case, the song, when it
has become the common distinctive property of the negroes, must be
classed with negro folk-songs. Variations of negro folk-songs among
themselves may be cited as an illustration of this fact. Likewise there
is abundant material for comparing with well-known folk-songs or
ballads of other origins. One may note, for instance, the striking
similarity between the mountain-song
"She broke the heart of many poor fellows,
But she won't break this of mine"
and the negro song "Kelly's Love," the chorus of which is,
"You broke de heart o' many a girl,
But you never will break dis heart o' mine."
1Dr. John Meier, quoted by Professor H. M. Belden, Journal of American Folk-Lore,
vol. xxiv, p. 3.
Or, again, compare the version of the Western ballad, "Casey Jones,"
which begins,
"Come, all you rounders, for I want you to hear
The story told of an engineer.
Casey Jones was the rounder's name,
A heavy right-wheeler of mighty fame,"
with the negro song, "Casey Jones," which begins,
"Casey Jones was an engineer,
Told his fireman not to fear,
All he wanted was boiler hot,
Run into Canton 'bout four 'clock,"
and, having recited in a single stanza the story of his death, passes
on to love affairs, and ends,
"Wimmins in Kansas all dressed in red,
Got de news dat Casey was dead;
De wimmins in Jackson all dressed in black,
Said, in fact, he was a cracker-jack."
Thus Canton and Jackson, Mississippi, are localized; in "Joseph
Mica" similar versions are found, and localized in Atlanta and other
cities,
"All he want is water 'n coal,
Poke his head out, see drivers roll;"
and the entire story of the engineer's death is told in the verse,
"Good ole engineer, but daid an' gone."
In the same way comparisons may be made with ''Jesse James,"
"Eddy Jones," "Joe Turner," "Brady," "Stagolee," of the hero-songs;
"Won't you marry me?" "Miss Lizzie, won't you marry me?" "The
Angel Band," and others similar to some of the short Scottish ballads
and song-games of American children; and "I got mine," "When she
roll dem Two White Eyes," "Ain't goin' be no Rine," and many others
adapted from the popular "coon-songs;" together with scores of
rhymes, riddles, and conundrums. In any case, the songs with the
accompanying music have become the property of the negroes, in their
present rendition, regardless of their sources or usage elsewhere.
In the same way that it is not possible to learn the exact origin of
the folk-songs, or to determine how much is original and how much
traditional, it is not possible to classify negro songs according to the
exact locality or localities from which they come. The extent to
which they become common property, and the scope of their circula-
tion, will be explained in subsequent discussions of the songs. The
best that can be done, therefore, is to classify the songs according
to the locality
from which they were collected,1 and to give the different
1 Such a classification, by numbers, is given at the conclusion of this article.
versions of the same song as they are found in different localities.
The majority of the songs collected from Lafayette County, Mis-
sissippi, were also heard in Newton County, Georgia; and a large
number of the songs heard in Mississippi and Georgia were also heard
in Tennessee (Sumner County). From many inquiries the conclusion
seems warranted that the majority of the one hundred and ten songs
or fragments here reported are current in southern Georgia, southern
Mississippi, parts of Tennessee, and the Carolinas and Virginia. It
may well be hoped that other collections of negro songs will be made,
and that similarities and differences in these songs may be pointed
out in other localities, as well as new songs collected. The large
number of "one-verse songs "and "heave-a-hora's" were collected
with the other songs, and are representative of the negro song in the
making.
In studying the negro's songs, three important aids to their inter-
pretation should be kept in mind, first, facts relating to the manner
of singing, and the occasions upon which they are sung; second, the
general classes of negro songs, and the kinds of songs within each class;
and, third, the subject-matter, methods of composition, and the pro-
cesses through which the songs commonly pass in their growth and
development. The majority of songs current among the negroes are
often sung without the accompaniment of an instrument. The usual
songs of the day, songs of laborers, of children, and many general
care-free songs, together with some of the songs of the evening, are
not accompanied. In general, the majority of the songs of the evening
are accompanied by the "box" or fiddle when large or small groups
are gathered together for gayety; when a lonely negro sits on his
doorstep or by the fireside, playing and singing; when couples stay
late at night with their love-songs and jollity; when groups gather
after church to sing the lighter melodies; when the "musicianers,"
"music physicianers," and "songsters" gather to render music for
special occasions, such as church and private "socials," dances, and
other forms of social gatherings. Special instances in which a few
negroes play and sing for the whites serve to bring out the combined
features of restrained song and the music of the instrument. The old-
time negro with his "box" (a fiddle or guitar), ever ready to entertain
the "white folks" and thus be entertained himself, is less often observed
than formerly. The majority of younger negroes must be well paid
for their music. In the smaller towns, such negroes not infrequently
organize a small "ochestra," and learn to play and sing the new songs.
They often render acceptable music, and are engaged by the whites
for serenades or for occasions of minor importance. They do not,
however, sing the negro folk-songs.
Of special importance as makers and mediums for negro folk-songs
are the "music physicianers," "musicianers," and "songsters." These
terms may be synonymous, or they may denote persons of different
habits. In general, "songster" is used to denote any negro who
regularly sings or makes songs; "musicianer" applies often to the
individual who claims to be expert with the banjo or fiddle; while
"music physicianer" is used to denote more nearly a person who is
accustomed to travel from place to place, and who possesses a combina-
tion of these qualities; or each or all of the terms may be applied loosely
to any person who sings or plays an instrument. A group of small
boys or young men, when gathered together and wrought up to a high
degree of abandon, appear to be able to sing an unlimited number of
common songs. Perhaps the "music physicianer" knows the "moest
songs." With a prized "box," perhaps his only property, such a negro
may wander from town to town, from section to section, loafing in
general, and working only when compelled to do so, gathering new
songs and singing the old ones. Negroes of this type may be called
professionals, since their life of wandering is facilitated by the practice
of singing. Through their influence, songs are easily carried from
place to place. There are other "music physicianers" whose fields of
activity are only local. In almost every community such individuals
may be found, and from them many songs can be obtained. From
them and from promiscuous individuals, a "musicianer" may be in-
fluenced to obtain songs new to himself, which he, in turn, will render
to the collector. Finally, a group of young negroes, treated to a
"bait" of watermelons or to a hearty meal, make excellent "songsters"
in the rendering of the folk-songs. In addition to these special cases,
it is a constant source of surprise to the observer to learn how many
songs the average negro knows; and they may be heard during work
hours, or, in some cases, by request.
The great mass of negro songs may be divided into three general
classes, the last of which constitutes the folk-songs as commonly used,
first, the modern "coon-songs" and the newest popular songs of the
day; second, such songs greatly modified and adapted partially by
the negroes; and, third, songs originating with the negroes or adapted
so completely as to become common folk-songs. The first class of
songs is heard more frequently by the whites. All manner of "rag-
times," "coon-songs," and the latest "hits," replace the simpler negro
melodies. Young negroes pride themselves on the number of such
songs they can sing, at the same time that they resent a request to
sing the older melodies. Very small boys and girls sing the difficult
airs of the new songs with surprising skill, until one wonders when
and how they learned so many words and tunes. The second class of
songs easily arises from the singing of popular songs, varied through
constant singing or through misunderstanding of the original versions.
These songs appear to be typical of the process of song-making, and
indicate the facility of the negroes in producing their own songs from
material of any sort. The third class of negro songs is made up of
the "folk-songs" proper; and while the variations of the songs of the
first and second classes would constitute an interesting study, they
are in reality not negro songs. Accordingly, only those that have
become completely adapted are given in this collection. In all of these
the characteristic music and manner prevail, and the principal char-
acteristics may be enumerated simply. The music may be reduced to
a few combinations. The harmonies are made up mostly of minor
keys, without reference to studied combinations or movement toward
related keys. There is much repetition in both words and music.
The song and chorus are adapted to an apparent mood or feeling.
Verses are sung in the order in which they occur to the singer, or as
they please the fancy. The great majority of the songs are made up of
repetitions, but they do not tire the singers or the hearers. The negro
song often begins with one conception of a theme, and ends with
another entirely foreign to the first, after passing through various other
themes. This may be explained by the fact that when the negro
begins to sing, he loves to continue, and often passes from one song to
another without pausing. In time he mingles the two or more songs.
Most of the groups and "socials," and especially the dance, require
continuous music for a longer period of time than the average song
will last. It thus happens that the negro could sing the great majority
of his songs to a single tune, if the necessity called for it; although it is
likely that the last part of his melody would scarcely be recognizable
as that with which he began. In words, as in music, variation seems
unlimited. As is pointed out subsequently, and as was true in the
case of the religious songs, there is no consistency in the use of dialect.
Perhaps there is less consistency in the social songs than elsewhere.
It is common for the negro to mingle every kind of song into one, or to
transpose the one from its usual place or origin to any other position.
Thus "coon-songs," "rag-times," "knife-songs," "devil-songs," "corn-
songs," "work-songs," all alike may become love-songs or dancing
"breakdowns." The original names given to such songs serve to
distinguish them in the mind of the negro, rather than to indicate
their separateness. However, the distinctions are often made clearly
enough for a definition of what the negro means to be made.
The "musicianer" will play many "rag-times," which he carefully
names, and calls off with pride. Usually they are not accompanied
by words, but are represented on the fiddle or guitar. When he is
through with these, he will offer to play and sing "some song." This
he does to precisely the same music as the "rag-time." With the
words, it is a song; without the words, it is a "rag-time," in which
case the negro puts more life into the music. Likewise the "knife-
song" is by origin instrumental only, but it is regularly associated with
several songs of many verses. Its name is derived from the act of
running the back of a knife along the strings of the instrument, thus
making it "sing" and "talk" with skill. Instead of the knife, negroes
often carry a piece of bone, polished and smooth, which they slip
over a finger, and alternate between picking the strings and rubbing
them. This gives a combination of fiddle and guitar. The bone may
also serve as a good-luck omen. The knife, however, is more com-
monly used. The "musicianer" places his knife by the side of the
instrument while he picks the strings and sings. He can easily take
it up and use it at the proper time without interrupting the harmony.
In this way the instrument can be made to "sing," "talk," "cuss,"
and supplement in general the voice and the ringing of the fiddle or
the tinkling of the guitar. It is undoubtedly one of the negro's best
productions, and defies musical notation to give it full expression.
The "train-song" derives its name from its imitation of the running
train. The most popular name for it is "The Fast Train." The
negro's fondness for trains and railroad life has been observed. In the
railroad-songs that follow, the extent to which the train appeals to
the negro may be seen. In no way is this spirit better portrayed
than in the train-songs, which picture to the vivid imagination the
rapidly-moving train. This imitation is done by the rapid running of
the fingers along the strings, and by the playing of successive chords
with a regularity that makes a sound similar to that of the moving train.
The train is made to whistle by a prolonged and consecutive striking
of the strings, while the bell rings with the striking of a single string.
As the negroes imagine themselves observing the train, or riding, the
fervor of the occasion is increased; and when "she blows for the sta-
tion," the exclamations may be heard, "Lawd, God, she's a-runnin'
now!" or, "Sho' God railroadin'!" with others of a similar nature.
The train "pulls out" from the station, passes the road-crossings,
goes up grade, down grade, blows for the crossing, blows for smaller
stations, blows for the operators at the stations, rings the bell for
crossings and for stopping the train; this train meets the "express"
and the mail-train, blows for the side-track, rings the bell; the mail-
train in turn whistles, rings the bell, passes; both bells ring, and they
continue on their run; the wheels are heard rolling on the track and
crossing the joints in the rails. If the song is instrumental only, the
man at the guitar announces the several stages of the run. If the
song is one of words, such as the railroad-songs cited subsequently,
the words are made to heighten the imagination, and between the
stanzas there is ample time to picture the train and its occupants.
I. GENERAL SOCIAL SONGS
A study of the social songs current among the Southern negroes
shows that they have arisen from every-day life, and that they portray
many of the common traits and social tendencies. The majority may
be said to have sprung up within comparatively recent years. For
the subject-matter of his songs, the negro has drawn freely upon his
favorite themes; and the growth and development of his songs have
been spontaneous and natural. The singers are often conscious that
they are singing folk-songs, and they attempt to pose as the authors;
others give interesting stories to show how they learned the songs;
while many negroes are averse to singing or collecting such songs for
those desiring them. The accounts given by negroes concerning the
origin and authorship of their songs, while most interesting, are quite
misleading, for the most part. One negro affirmed that he had heard
a song "played by a white lady in New York," and that, from hearing
it there, he had learned to reproduce the music on his guitar and sing
the song to accompany it. Another affirmed that he got the same
song from a neighboring town, and that he had been forced to pay
dearly for it (therefore he should be rewarded accordingly). The song
was one of the widest known of the negro songs. So, too, negro singers
may often purposely mislead the investigator by misquoting the song,
or by giving verses which they have got from books or papers, or
heard from "coon-songs." Many negroes maintain that they are the
original authors of the songs they sing, and they are able to give
apparent good evidence to substantiate the statement. Even if one
were inclined to accept such testimony, it would be a difficult matter
to select the author from a number who thus claim to have composed
the song. This is well illustrated by the young negro who wished to
call out his name before each song which he was singing into the grapho-
phone. "Song composed by Will Smith of Chattanooga, Tennessee,"
he would cry out, then begin his song; for, he maintained, these songs
would be sung all over the world, and he deserved the credit for them.
His varied song furnished excellent material for getting the character-
istic notation of the music. Once or twice he hesitated before giving
his name as the author, and several times said he guessed that the
song was composed by some other person whose name he wished to
give. This person was a "partner rounder" of his acquaintance; and
when told that the origin of a song which he was singing was not that
which he gave, but was well known, he begged to have his name taken
away, adding that he only meant to say, "Song sung by Will Smith."
This may be cited as an illustration of the difficulty of getting at the
origin of a song through the negroes. In no case could the general
testimony be accepted for any purpose other than to give an insight
into the negro's own conception of the possible origin of songs.
The negroes have many songs which they call "one-verse songs."
By this they mean a single line, repeated again and again, constituting
the entire song. Usually the line is repeated with regularity, so that
it makes a stanza of two, four, or six lines, sometimes three and five.
In such cases the last repetition adds some word or exclamation, as
"oh," "my," "yes," "well," "and," "so," and others. The great
majority of negro songs which are current now are "one-verse songs,"
and almost all have arisen and developed along the one-verse method.
A close examination of the songs that follow in subsequent pages will
show the processes. In this way the origin of song is simple and
natural. Any word may lead to a phrase which itself becomes a
one-verse song, and naturally calls for a rhyme and additional verses.
A negro is driving a delivery-wagon; the weather is cold, and the wind
is blowing with a drizzling rain. He pulls his coat around him, and
says, "The wind sho' do blow." Not having any special song which
he wishes to sing at the moment, he sings these words and others:
"Sho' God is cold dis mornin'," "Ain't goin' to rain no mo'," "Goin'
where chilly win' don't blow." In the same way he sings whatever
happens to be foremost in his mind. Perhaps it is, "I bin workin' so
long hungry as I kin be;" "Where in de worl' you bin?" "I'm
goin' 'way some day;" "Jus' keep a knockin' at yo' do';" "Had a
mighty good time las' night;" or as many others as there are common
scenes in the negro's life. The examples given in the list of one-verse
songs will serve to illustrate further this common origin of many of the
negro songs. In the same general way the prose or monotone songs have
arisen. The negro often talks to himself; his singing is simply a
musical "thinking out loud." His monologues uttered in a monotone
manner lead to song. Perhaps he will talk to himself a while, then
sing the same words that he has been uttering. Pleased with this
effect, he may then introduce his chant into a group. Such a song is
given farther on.
I. DONY GOT A HOLE IN DE WALL
"A girl was luvin' a coon," so the story goes, "an' she thought he
did not go to see any other girl; she found out he did, an' she made a
hole in the wall of her house so she could watch an' see did her lover
go to see any other coon. Her luvin' man found this out an' it made
him laugh; an' he wus sorry, too." Thus is given the origin of a
bit of song. The lover makes a song, and says,
"Dony got a hole in de wall,
Dony got a hole in de wall,
Dony got a hole in de wall,
Oh, my Dony got a hole in de wall.
"Baby weahs a number fo' shoe,
Baby weahs a number fo' shoe,
Baby weahs a number fo' shoe,
Oh, my baby weahs a number fo' shoe."
In this way the negro makes a story back of the song. If it is a lover's
song, he tells of a particular man and his woman. If it is Railroad
Bill, he tells when and where he lived and what he did, then sings the
song. If it is another "bully boy," the same is true. If the song be
that of the wanderer, he tells of the adventures; if it is of a murder,
he narrates the story of arrest and trial. A study of the songs reveals
the immense possibilities for stories back of the song. No song is
enjoyed so much as when the singer has told his story before singing it.
In theory at least, then, the negro song is based on incident; in prac-
tice it develops through the common events of negro life. Indeed,
one may accept the statement that many of their songs are actually
derived from story; but there may be as many variations to the song
and story as there are negroes who sing it.
Individuals among the negroes take pride in making secular songs,
as they do in claiming the composition of religious songs. Enough has
been said to indicate this habit. But undoubtedly the negro has a
consciousness of power or ability to create new songs when he wishes to
do so. This very feeling enables him to make his boasts true. Most
negroes are bright in composing songs of some kind. Besides being
led to it by their own assertions, they enjoy it. It matters little what
the theme is, the song will be forthcoming and the tune applied. Nor
would one suspect that the song was a new one, were it not for its
unfinished lines and the lack of characteristic folk-song qualities. In
the examples here given it will be seen that the lines do not have the
finished form of the older songs. In time they too may become good
folk-songs.
2. MULE-SONG
The negroes have much to say about the mule in their work, and
have much to do with him in actual life. Their songs also contain
references to him. A mixture of parts of song added to experience
and imagination produced the following "mule-song:"
"I went up Zion Hill this mornin' on a wagon,
I went on a wagon up Zion's Hill this mornin',
The durn ole mule stop right still this mornin', this mornin', so soon.
"I got out an' went 'round to his head this mornin',
I got out an' went 'round to his head this mornin',
The durn ole mule was standin' there dead, this mornin', so soon.
"Yes, I hollow at the mule, an' the mule would not gee, this mornin',
Yes, I hollow at the mule, an' the mule would not gee,
An' I hit him across the head with the single-tree, so soon."
The negro expected that his song would be a humorous one, as indeed
it is. Such songs lack the rhyme and more regular measures, and
employ words at random to fill out the lines.
3. THE NEGRO AND HIS MULE
In the following song the same characteristics may be observed:
"Say, look here, Jane!
Don't you want to take a ride?"
"Well, I doan care if I do."
So he hitch up his mule an' started out.
Well, it's whoa, mule, git up an' down,
Till I say whoa-er, mule.
Well it's git up an' down
Jus' fas' as you can,
Fer I goin' to buy you
All of de oats an' bran.
An' it's whoa-er mule, git up an' down,
Till I say whoa-er mule:
Ain't he a mule, Miss Jane 'm
huh.
4. POOR JOHN
In the next song may be observed a peculiarly mixed imagery.
Quite a number of phrases are borrowed from other songs, but the
arrangement is new. "Poor John" is a common character with the
negro; stabbing and running are common accomplishments with
the criminal. The other scenes, losing his hat, falling down the
steps, the cry of murder, and the policemen, all appeal to the imagery
of the negro. He sings, with a combination of vaudeville rhyme,
"Yes, he caught poor John with his hawk-tail coat,
An' he stab him to the fat;
He ran the race an' he run so fas',
Till he bust his beaver hat.
"Poor John fell down them winding steps,
Till he could not fall no further;
An' the girls all holler murder;
Go tell all policemen on this beat to see,
Can't they catch that coon.
"'What coon am you talkin' about?'
'The coon that stab po' John;
I'm goin', I'm goin', to the shuckin' o' de corn,
I'm goin' jus' sho's you born.'"
5. AT THE BALL
An adopted form of an old song, "Won't you marry me," but equally
as true in its representative features, is the song "At the Ball." Here
the rhyming effort is clearly felt, and the picture is definitely portrayed.
The negro's idea of courtship may here be hinted at, as it has been in
many of the songs that follow.
Yes, there's going to be a ball,
At the negro hall;
Ain't you goin'?
Lizzie will be there,
Yes, with all her airs;
Don't you want to see the strolling?
Ha, ha, Miss Lizzie, don't you want to marry me marry met
I will be as good to you as anybody
anybod-e-e,
If you'll only marry me.
Yes, I goin' to the negro hall,
Have a good time, that's all,
For they tell me Miss Lizzie will be there;
An' you bet yo' life,
I goin' win her for my wife,
An' take her home to-night.
Well, Miss Lizzie could not consent,
She didn't know what he meant,
By askin' her to marry him;
Well, Miss Lizzie couldn't consent,
She didn't know what he meant,
By askin' her to marry him.
So he got down on his knees,
"O Miss Lizzie, if you please,
Say that you will marry me;
An' I'll give you every cent,
If I git you to consent,
If you'll only marry me."
6. WHEN HE GITS OLD OLD AN' GRAY
There are apparently a good many sayings current among the
negroes about the whites. Few of these, however, are heard by any
save the negroes themselves. Likewise the songs of this nature
would scarcely be sung where the whites could hear them. Two of
these are here given. The first is a reply to the accusation that the
negroes are nothing more than apes or monkeys. As the story goes,
it is likely that the song originated with a bright negro's retort behind
the back of a white who had called him an ape. "That's all right,"
said the negro in the proverbial phrase; but
When he gits old,
old and gray,
When he gits old,
old and gray,
Then white folks looks like monkeys,
When dey gits old, old an' gray.
It is needless to say that the song struck a responsive note as well as
appealed to the negro as a very bright song for the occasion. In
fact, it must be admitted to be a good rejoinder. The subtle and sulky
manner in which it is sung is a powerful comment on the negro's
growing sense of race feeling. Whether there are other verses to this
comment on the aged whites has not been ascertained.
7. ain't it hard to be a nigger
The second song which is now well known is composed of two
popular rhymes about the negro and the white man, together with
other verses composed to make an agreeable song and to make suitable
rhymes and combinations. The effort to make a complete song is
easily felt as one reads the words. The tune may be one that the
singer happens to think of; it matters little which he chooses. The
theme "Ain't it Hard?" is one that is common in negro life and song.
He sings,
"Ain't it hard, ain't it hard,
Ain't it hard to be a nigger, nigger, nigger?
Ain't it hard, ain't it hard,
For you can't git yo' money when it's due.
"Well, it make no difference,
How you make out yo' time;
White man sho' bring a
Nigger out behin'.
"Nigger an' white man
Playin' seven-ups;
Nigger win de money
Skeered to pick 'em up.
"If a nigger git 'rested,
An' can't pay his fine,
They sho' send him out
To the county gang.
"A nigger went to a white man,
An' asked him for work;
White man told nigger,
'Yes, git out o' yo' shirt.'
" Nigger got out o' his shirt
An' went to work;
When pay-day come,
White man say he ain't work 'nuf.
"If you work all the week,
An' work all the time,
White man sho' to bring
Nigger out behin'."
The above song illustrates the method of making song out of rhymes,
fragments, sayings, and improvised rhymes. The song as heard in
its present form was collected in Newton County, Georgia. In a negro
school in Mississippi, at a Friday afternoon "speaking," one of the
children recited for a "speech" the stanza "Nigger an' white man
playin' seven-ups," etc., exactly as it occurs in the song. The stanza
ending "white man sho' bring nigger out behin'" incorporates the
exact sentiment of an old ex-slave who maintained that in slavery and
out of slavery the white man always brought the nigger out behind.
So also it is a most common saying among the negroes that "if
nigger git 'rested, he sho' be sent to gang." The other two stanzas
are clearly made to order in the effort to make song and rhyme.
However, this mixed assortment of verses and sentiments made a most
attractive song when sung to a common tune.
Just as in the religious songs many verses are composed with the
avowed intention of contributing a song, so in the secular songs original
"poems" are turned into songs. One thrifty teacher wrote verses
on the sinking of the "Maine," to be sung to the tune of "John Brown's
Body," etc.; another, called "Hog-killin' Time," to be sung to the
tune of "The Old Oaken Bucket." While such songs do not ordi-
narily become standard folk-songs, they illustrate the ease with which
any sort of song may arise and become current. Thus the "songster"
closes his description of a day's ploughing in the hot month of June:
"Dem skeeters dey callin' me cousin,
Dem gnats dey calls me frien',
Dem stingin' flies is buzzin',
Dis nigger done gone in."
Enough has been pointed out to show something of the environ-
ment of the negro songs. Further explanations and analysis must
be made in connection with the songs themselves. It was pointed
out that the negro's religious songs did not lend themselves to exact
classification. The social songs can be classified with no more exact-
ness than can the spirituals. The best that can be done is to arrange
the songs according to a partial analysis of the subject-matter; but
any such classification must be considered entirely flexible, just as,
for instance, work-songs may be sung on occasions where no work is
done, and just as any popular song may be adapted to become a
work-song. Themes are freely mingled; verses, disjointed and incon-
sequential, are sung to many tunes and variations. Repetition of
words and thought is thus most common. Each song may consist of
a number of themes, which in turn are sung to other songs of other
subject-matter. Thus it happens that it matters little what the song
is called, provided it is given its proper setting. In the songs that
follow, not infrequently a song is reported as having only three or
four stanzas, whereas stanzas already reported are included by the
singer until his song is as long as desired. The effort is made to
avoid as much repetition as possible, and at the same time to report
the songs in such a way as to do justice to the characteristic qualities
of the song. Hence stanzas that have been given in one song will
generally be omitted in others in which they are found. The dialect
is that of the average singing; for the negro, in his social and secular
songs, even more than in his religious songs, uses no consistent speech.
The language is neither that of the whites nor that of the blacks, but
a freely mingled and varied usage of dialect and common speech.
Colloquialisms are frequent. The omission of pronouns and con-
nectives, assyndeton in its freest usage, mark many negro verses, while
the insertion of interjections and senseless phrases go to the other
extreme. Such peculiarities may be best noted when the songs are
studied. In the songs that follow, the words of the chorus are itali-
cized. It should be remembered that in addition to beginning and
ending the song with the regular chorus, each stanza is followed by
the same chorus, thus doubling the length of the song.
Perhaps no person is sung more among the negroes than the home-
less and friendless wanderer, with his disappointments in love and
adventure; but here the negro sings of woman, and the desire for pity
and love, as the accompanying feelings of the wanderer. These refer-
ences must be added to those songs of the next division which tell of
woman, sweetheart, and love. In no phases of negro life do the
negro's self-feeling and self-pity manifest themselves more than in the
plaintive appeals of the wandering negro. With his characteristic
manner, he appeals to both whites and blacks for pity and assistance.
As the tramp invents many ingenuous stories in order to arouse the
pity of those whom he meets; as the cook tells of many misfor-
tunes in the family, thinking thus to secure more provisions, so
these songs portray the feelings of the negro vagrant. He especially
appeals to his women friends, and thus moves them to pity him. His
appeals to their sympathy are usually effective; and the negro thus
gets shelter, food, and attention. The wandering "songster" takes
great pride in thus singing with skill some of his favorite songs; then
he can boast of his achievements as "a bad man" with his "box."
As he wanders from negro community to community, he finds lodging
and solace. So the negroes at home take up the songs, and sing them
to their companions, this constituting perhaps the most effective
method of courtship. In these songs the roving, rambling thoughts of
the negro are well brought out by the quick shifting of scenes; so his
rambling and unsteady habits are depicted with unerring though un-
conscious skill.
8. PO' BOY LONG WAY FROM HOME
In the following song, which is sometimes sung with the knife
instrumental music described elsewhere, each stanza consists of a
single line repeated three times.
| : I'm po' boy 'long way from home, : |
Oh, I'm po' boy 'long way from home.
| : I wish a 'scushion train would run, : |
Carry me back where I cum frum.
| : Come here, babe, an' sit on yo' papa's knee. : |
| : You brought me here an' let 'em throw me down. : |
| : I ain't got a frien' in dis town. : |
| : I'm out in de wide worl' alone. : |
| : If you mistreat me, you sho' will see it again. : |
My mother daid an' my father gone astray,
You never miss yo' mother till she done gone away.
| : Come 'way to Georgia, babe, to git in a home. : |
No need, O babe! try to throw me down,
A po' little boy jus' come to town.
I wish that ole engeneer wus dead,
Brought me 'way from my home.
Central gi' me long-distance phone,
Talk to my babe all night long.
If I die in State of Alabam',
Send my papa great long telegram.
In the same way the following "one-verse" songs are added:
| : Shake hands an' tell yo' babe good-by. : |
Bad luck in de family sho' God fell on me.
Have you got lucky, babe, an' then got broke?
I'm goin' 'way, comin' back some day.
Good ole boy, jus' ain't treated right.
I'm Tennessee raise, Georgia bohn.
I'm Georgia bohn, Alabama rais'.
9. ON A HOG
Very much like the above song is "On a Hog," which means the
condition of a "broke ho-bo" or tramp. By "broke" he means the
usual state of being without money, or place to sleep, or food to eat.
The song, 'like the above one, consists of lines repeated, without a
chorus. There is little sense or connection in the words and verses.
It represents the characteristic blending of all kinds of words to make
some sort of song. At the same time its verses are classics in negro
song.
| : Come 'way to Georgia to git on a hog, : | (three times)
Lord, come 'way to Georgia to git on a hog.
| : If you will go, babe, please don't go now, : |
| : But heave-a-hora, heave-a-hora, babe, heave! : |
! : I didn't come here to be nobody's dog. : |
| : I jest come here to stay a little while. : |
| : Well, I ain't goin' in Georgia long. : |
And with characteristic rhyme-making, a negro, after he had finished
the few verses that he knew, began adding others. Said he,
"I didn't come here to be nobody's dog,
Jes' come here to git off n dat hog."
10. FRISCO RAG-TIME
Even more disjointed and senseless is the song called, for convenience
at the moment, "Frisco Rag-Time," "K. C," or any other railroad
name that happens to be desired. The song may be sung by man or
woman or by both. It is expected that the viewpoint of man be
indicated in the use of woman as the object, and woman's viewpoint
be indicated in the reference to man. Such is sometimes the case;
but usually the negro sings the song through, shifting from time to time
from man to woman without so much as noticing the incongruity of
meaning. In the verses which follow the scenes will be portrayed
with clear vision by the negro singer.
| : Got up in the mornin', couldn't keep from cryin', : | (three times)
Thinkin' 'bout that brown-skin man o' mine.
| : Yonder comes that lovin' man o' mine, : | (three times)
Comin' to pay his baby's fine.
] : Well, I begged the jedge to low' my baby's fine, : | (three times)
Said de jedge done fine her, clerk done wrote it down.
| : Couldn't pay dat fine, so taken her to de jail. : | (three times)
| : So she laid in jail back to de wall, : | (three times)
Dis brown-skin man cause of it all.
| : No need babe tryin' to throw me down, : \(three times)
Cause I'm po' boy jus' come to town.
| : But if you don't want me, please don't dog me 'round, : | (three times)
Give me this money, sho' will leave this town.
| : Ain't no use tryin' to send me 'roun', : | (three times)
I got plenty money to pay my fine.
vol. xxiv.no. 9318
It will be observed that the last-named verses are practically the
same as those given in other songs, and have no connection with the
theme with which the song was begun; yet they formed an integral
part of the song. In the same way single lines repeated four times
are sung at length, although one would need to search diligently for
the connection of meaning.
If you don't find me here, come to Larkey's dance.
If you don't find me there, come to ole Birmingham.
Ain't goin' to be in jungles long.
Yonder comes that easy-goin' man o' mine.
Ain't Jedge Briles a hard ole man!
"Jedge Briles"is only a local name given to Judge Broyles of
Atlanta. His reputation is widely known among the negroes of
Georgia. Instead of this name are often inserted the names of local
characters, which serve to add concreteness to the song. So instead
of Birmingham, the negro may sing Atlanta, Chattanooga, or any
other city that ranks as a favorite among the negroes. Besides the
feeling of the wayward wanderer, the scenes of court and jail are here
pictured. Another division of song will group these scenes together.
The difficulty of any sort of accurate classification of such a song is
apparent. In addition to the words of the wandering man, this song
gives also an insight into the reckless traits of the negro woman, which
are clearly pictured in many of the negro love-songs.
ii. look'd down de road
Mixed in just the same way, and covering a number of themes,
utterly without sense-connection, the following song might well be a
continuation of those just given. It is sung, however, to a different
tune, and should be ranked as a separate song. Its form is not unlike
that already cited, repetition of a single line twice, or, in rare
instances, a rhymed couplet.
Look'd down de road jes' far as I could see,
Well, the band did play "Nearer, my God, to Thee."
! : I got the blues, but too damn mean to cry. :
Now when you git a dollar, you got a frien'
Will stick to you through thick an' thin.
I didn't come here fer to steal nobody's find.
I didn't jes' come here to serve my time.
I ask jailer, "Captain, how can I sleep?"
All 'round my bedside Police S. creeps.
The jailer said, "Let me tell you what's best:
Go 'way back in yo' dark cell an' take yo' rest."
If my kind man quit me, my main man throw me down;
I goin' run to de river, jump overboard 'n' drown.
Here, again, the local policeman is always spoken of as creeping around
the bedside. It makes an interesting comparison to note the contrast
between the police and the angels of the old wish-rhyme. Various
versions of the above stanzas are given, some of which are far from
elegant. So in the last stanza the negroes sing, "If my
good man quit
me, my main man throw me down." Profanity is inserted in the
songs in proportion as the singer is accustomed to use it, or as the
occasion demands or permits its use.
12. IF I DIE IN ARKANSAS
Ridiculous and amusing in its pathos, "If I die in Arkansas" is
typical and representative. It is quite impressive when sung with
feeling. The negro gets a kind of satisfaction in believing that he is
utterly forlorn, yet begs to be delivered from such a condition. He
sings,
"If I die in Arkansa',
Oh, if I die in Arkansa',
If I die in Arkansa',
Des ship my body to my mother-in-law.
| : "If my mother refuse me, ship it to my pa. : |
| : "If my papa refuse me, ship it to my girl. : |
"If my girl refuse me, shove me into de sea,
Where de fishes an' de whales make a fuss over me."
And then, after this wonderful rhyme and sentiment, the singer merges
into plaintive appeal, and sings further,
| : "Pore ole boy, long ways from home,: |
Out in dis wide worl' alone."
Suppose he should die! Suppose he has no friends! How he pities
himself! Indeed, he is a forlorn being, and his emotions might well
be wrought up.
13. GOT NO WHERE TO LAY MY WEARY HEAD
Another song, also called "Po' Boy 'way from Home," repeats much
the same sentiment; and besides many verses of other songs, the singer
adds,
| : "I want to see do my baby know right from wrong, O babe! : |
| : "Well, I got no where to lay my weary head, O babe! : |
| : "Well, a rock was my pillar las' night, O girl!" : |
Thus repetition makes a long song of a short one.
14. BABY, YOU SHO' LOOKIN' WARM
So in the next song, "Baby, You sho' lookin' Warm," three lines
are alike, while the fourth varies only by an exclamation. This, too, is
an appeal to the "baby" or sweetheart for pity and admission into
the house.
| : Baby, you sho' lookin' warm, : | (three times)
O my babe! you sho' lookin' warm.
| : Baby, I'm feelin' so tired, : | (three times)
O my babe! I'm feelin' so tired.
| : Got no whar' to lay my weary head, : | (three times)
O my babe! got no whar' to lay my weary head.
| : Sometimes I'm fallin' to my face, : | (three times)
O my babe! sometimes I'm fallin' to my face.
I'm goin' whar' de water drinks like wine. (as before)
Gwine whar' I never been befo'.
(as before)
Baby, I love the clothes you wear. (as before)
Whar' in de worl' my baby gone? (as before)
Gone away never come back no more.
(as before)
15. TAKE YOUR TIME
"Take your Time" represents the negro in a more tranquil and
independent state of mind. It matters little what the circumstances
may be, he does not care: there's no hurry, so "take your time."
And these circumstances are varied enough: from the home to the
court he is rambling aimlessly about.
Baby, baby, didn't you say,
You'd work for me both night and day?
Take your time, take your time.
Baby, baby, don't you know
I can git a girl anywhere I go?
Take yo' time, take yo' time.
Baby, baby, can't you see
How my girl git away from me?
Take yo' time, take yo' time.
Went down country see my frien',
In come yaller dog burnin' the win',
Take yo' time, take yo' time.
'Tain't but the one thing grieve my mind:
Goin' 'way, babe, an' leave you behin',
Take yo' time, take yo' time.
Carried me 'roun' to de court-house do',
Place wher' I never had been befo',
Take yo' time, take yo' time.
Jedge an' jury all in de stan',
Great big law-books in dere han',
Take yo' time, take yo' time.
Went up town 'bout four o'clock,
Rapt on door, an' door was locked,
Take yo' time, take yo' time.
I'm goin' back to de sunny South,
Where sun shines on my honey's house,
Take yo' time, take yo' time.
16. 'tain't nobody's bizness but my own
Jingling rhymes are sought at the sacrifice of meaning and the
sense of the song. Rhymes are thus more easily remembered. If the
sentiment of the subject of the song appeals to a negro, he may take
it and make his own rhymes, departing from the original version. The
frequent omission of words, and the mixing of dialect and modern
slang, usually result. "'Tain't Nobody's Bizness but my Own"
represents the more reckless temperament of the wanderer.
Baby, you ought-a tole me,
Six months before you roll me,
I'd had some other place to go,
'Tain't nobody's bizness but my own.
Sometimes my baby gets boozy,
An' foolish 'bout her head,
An' I can't rule her,
'Tain't nobody's bizness but my own.
I'm goin' to happy Hollow,
Where I can make a dollar,
'Tain't nobody's bizness but my own.
I want to see my Hanner
Turn tricks in my manner,
'Tain't nobody's bizness but my own.
Don't care if I don't make a dollar,
So I wear my shirt an' collar,
'Tain't nobody's bizness but my own.
17. i'm going 'way
The swaggering tramp decides to leave the town, as indeed he is
often doing; but he expects to come back again. He looks forward to
the adventures of the trip with pleasure, not with fear, although he
knows he must ride the rods, go without victuals, and sleep where he
may. He sings,
"I'm goin' 'way, comin' back some day,
I'm goin' 'way, comin' back some day,
I'm just from the country, come to town
A Zoo-loo-shaker from my head on down.
If I git drunk, who's goin' ter carry me home?
Brown-skin woman, she's chocolate to de bone."
18. O BABE!
Thus he visualizes and grows boisterous. He begins again the life
of the "rounder," whose adventures are sung in other songs. In
anticipation of his future adventures, the negro continues,
"Late every evenin' 'bout half pas' three,
I hire smart coon to read the news to me.
O babe, O my babe, O my babe!
"O babe, O babe, O my babe! take a one on me,
An' my padhna', too, that's the way sports do,
O babe, O my babe, O my babe!
"Well you talk 'bout one thing, you talk 'bout another,
But 'f you talk 'bout me, gwine talk 'bout yo' mother.
O babe, O my babe, O my babe!"
19. SWEET TENNESSEE
But this is not all the easy times he is going to have. To be sure,
he will not work: he will have his own way, where the "water drinks
like wine," and where the "wimmins" are "stuck" on him. He bids
farewell.
"Come an' go to sweet Tennessee,
Where de money grows on trees,
Where the rounders do as they please, babe!
Come an' go to sweet Tennessee.
"Come an' go to sweet Tennessee,
Where the wimmins all live at ease,
Where the rounders do as they please, babe!
Come an' go to sweet Tennessee.
"Come an' go to sweet Tennessee,
Where the wimmins do as they please,
Where the money grows on trees, babe!
Come an' go to sweet Tennessee."
As woman occupies a prominent place in the songs of the wanderer,
so woman and sweetheart occupy the most prominent part in the
majority of negro social songs. The negro's conception of woman as
seen in his songs has been observed. There are few exalted opinions
of woman, little permanent love for sweetheart, or strong and pure
love emotions. Woman and sensual love, physical characteristics and
actions and jealousy, are predominant. The singer is not different
from the wanderer who figured as the hero in the class of songs just
given. Woman here is not unlike woman there. The negro sings,
20. i ain't bother yet
I got a woman an' sweetheart, too,
If woman don't love me, sweetheart do,
Yet, I ain't bother yet, I ain't bother yet.
Honey babe, I can't see
How my money got away from me,
Yet I ain't bother yet, ain't bother yet.
Or the woman sings in retort to the husband who thus sings, and who
does not support her properly, or has failed to please her in some trifle,
I got a husband, a sweetheart, too,
Ain't goin' to rain no mo',
Husband don't love me, sweetheart do,
Ain't goin' to rain no mo'.
21. i'm on my last go-round
But the negro lover sometimes gets more or less despondent, after
which he assures himself that he does not care. The theme of rejected
love is strong, but the sorrow lasts only a short time. While this
feeling lasts, however, the lover, in his jealousy, will do many things
for his sweetheart, and often is unwilling to be out of her presence.
Sometimes he is determined.
| : It's no use you sendin' no word, : |
It's no use you sendin' or writin' no letter,
I'm comin' home pay-day.
| : I'm on my last go-round, : | (three times)
God knows Albirdie won't write to me.
| : There's mo' pretty girls 'an one, : |
Swing an' clang an' don't git lost,
There's mo' pretty girls 'an one.
22. LEARN ME TO LET ALL WOMEN ALONE
The negro is constantly singing that woman will get him into
trouble; and such is the case. In a large per cent. of his quarrels and
fights the cause of the trouble is the "woman in the case." It is she
who gets his money and makes him do all manner of trifling things to
please her fancy. He then claims that she will turn from him as soon
as she has got all he has. Such is, in fact, true. It is not surprising
to hear the song "Learn me to let all Women alone" as the expression
of a disgruntled laborer.
One was a boy, an' one was a girl;
If I ever specs to see 'em again,
I'll see 'em in de other worl':
Learn me to let all women alone.
All I hope in this bright worl',
If I love anybody, don't let it be a girl:
Learn me to let all women alone.
Firs' girl I love, she gi' me her right han',
She's quit me in de wrong fer anoder man:
Learn me to let all women alone.
Woman is a good thing, an' a bad thing too,
They quit in the wrong an' start out bran'-new:
Learn me to let all women alone.
I got up early nex' mornin', to meet fo' day train,
Goin' up the railroad to find me a man:
Learn me to let all women alone.
23. o my babe! won't you come home
The negro sings, "I don't know what I'll do! Oh, I don't know what
I'll do!" "Oh, I'll take time to bundle up my clothes! Oh, I'll take
time to bundle up my clothes," and he is off; but he is soon involved
again, and sings his promiscuous allegiance.
"I love my babe and wouldn't put her out of doors,
I'd love to see her kill a kid wid fohty-dollar suit o' clothes,
0 my babe! won't you come home?
"Some people give you nickel, some give you dime;
I ain't goin' give you frazzlin' thing, you ain't no girl o' mine.
O my babel won't you come hornet
" Remember, babe, remember givin' me yo' han';
When you come to marry, I may be yo' man.
O my babe! won't you come home?
"Went to the sea, sea look so wide,
Thought about my babe, hung my head an' cried.
0 my babe! won't you come home?"
24. MAKE ME A PALAT ON DE FLO'
Perhaps the lover is again turned out of doors, and pines around the
house. He studies up various means to regain the affections of his
lady-love, but finds it difficult. "That's all right, treat me mean,
treat me wrong, babe. Fare you well forever mo', how would you
like to have a luvin' girl turn you out o' doors? "he sings, and pretends
to leave. But true to the negro proverb, "Nigger ain't gone ever
time he say good-by:" he returns again to sing,
" Make me a palat on de flo',
Make it in de kitchen behin' de do'.
"Oh, don't turn good man from yo' do',
May be a frien', babe, you don't know.
"Oh, look down dat lonesome lan',
Made me a palat on de flo'.
"Oh, de reason I love Sarah Jane,
Made me a palat on de flo'."
In another strain the lover sings promiscuously,
"O Jane! love me lak you useter,
O Jane! chew me lak you useter,
Ev'y time I figger, my heart gits bigger,
Sorry, sorry, can't be yo' piper any mo'."
So, too, he sings "Ev'y time I dodge her, my heart gits larger."
25. can't be your turtle any mo'
Somewhat like it is the song "Can't be your Turtle any mo'," local-
ized to apply to Atlanta, Memphis, or other specific places.
Goin' to Atlanta, goin' to ride de rod,
Goin' to leave my babe in de hands o' God,
Sorry, sorry, can't be your turtle any mo'.
Goin' up town, goin' hurry right back,
Honey got sumpin' I certainly lak',
Sorry, sorry, can't be yo' warbler any mo'.
26. NO MORE GOOD TIME
While there is much repetition in thought in the songs of woman and
sweetheart, they are very true to actual life, and depict with accuracy
the common scenes and speeches of the negroes. The morals of the
negro are also reflected. Some of his ideals of love and "a good time"
are indicated. "No More Good Time" tells of a common scene.
No more good time, woman, like we used to have,
Police knockin' woman at my back do'.
Meet me at the depot, bring my dirty clothes,
Meet me at depot, woman, when the train comes down;
For I goin' back to leave you, ain't comin' back no mo';
You treated me so dirty, ain't comin' back no mo'.
I got a little black woman, honey, an' her name's Mary Lou,
She treat me better, baby, heap better than you.
The negro adds much zest and fun to his song when he introduces local
characters. In the above line it is "Police Johnson, woman, knockin'
at de do'," or in other localities it is the name of the most dreaded
officer. The negroes sing these and laugh heartily, boasting now and
then of fortunate escapes.
27. diamon' joe
Very much like the above in general tone, but sung by a woman,
"Diamon' Joe" typifies the usual custom common in every negro
community. It is a love-song.
Diamon' Joe, you better come an' git me:
Don't you see my man done quit?
Diamon' Joe com'n git me.
Diamon' Joe he had a wife, they parted every night;
When the weather it got cool,
Ole Joe he come back to that black gal.
But time come to pass,
When old Joe quit his last,
An' he never went to see her any mo'.
28. BABY, WHAT HAVE I DONE?
"Baby, what have I done?" introduces the various scenes of negro
love-life. The same wail of "knockin' at de do'" is heard again and
again, a hint at infidelity, which is so often sung in the next few
songs. The simple life and simple thought appear primitive. What
if this poetry means as much to him as any other? No other ideals
would satisfy him, or even appeal to him.
Late las' night an' night befo',
Heard such a knockin' at my do',
Jumped up in stockin' feet, skipped across the flo',
Baby, don't never knock at my do' no mo'.
| : Oh me, oh my! baby, what have I done? : |
Where were you las' Saturday night,
When I lay sick in my bed?
You down town wid some other ole girl,
Wasn't here to hold my head.
| : Ain't it hard to love an' not be loved? : | (four times)
Other verses of one long line are divided into two short lines or re-
peated each four times to make the stanza. The art of negro singing
is brought out best in his repetition.
It's ninety-six miles from Birmingham
I tramped it day by day.
It's fifteen cents' wuth o' morphine,
A dollar's all I crave.
I didn't bring nuthin' in this bright worl',
Nuthin' I'll carry away.
I laid my head in bar-room do',
Ain't goin' to get drunk no mo'.
Han' me down my grip-sack,
An' all my ole dirty clothes.
If my baby ask for me,
Tell her I boun' to go.
29. THINGS AIN'T SAME, BABE, SINCE I WENT 'WAY
Both men and women appear changeable in their affections. A
husband and wife may quarrel the first of the week, separate, vow that
they will never speak again; the latter part of the week may find them
as loving as ever. This does not happen one week, but many times.
A negro man will often give his entire week's or month's wages in order
to pacify his wife who has threatened to go live with some other man.
She in turn spends the money, and begins to quarrel again. In the
same way the wife may often beg to be received back after she has
left him; she is often received, sometimes with a beating, sometimes
not at all. A typical appeal of these characters is sung:
Things ain't same, babe, since I went 'way,
Now I return, please let me stay;
I'm sorry I lef' you in this worl' alone,
I'm on my way, babe, I'm comin' home.
30. BABY, LET ME BRING MY CLOTHES BACK HOME
Another appeal of the husband to his wife is a little more forceful.
It is the present moment that counts with the average negro: he will
easily promise to do anything to get out of an emergency or to get
into favor. So the negro often makes promises of fidelity, if only he
will be given another chance. The picture of the big, brawny negro
thus whining before his "woman's" door is an amusing one. It is,
however, characteristic in its adaptation of the "coon" song into a
negro song:
The burly coon, you know,
He packed his clothes to go,
Well, he come back las' night,
His wife said, "Honey, I'm tired o' coon,
I goin' to pass for white."
But the coon got mad,
He's 'bliged to play bad,
Because his color was black;
O my lovin' baby! don't you make me go;
I git a job, if you let me, sho'.
I'll wuk both night an' day,
An' let you draw my pay;
Baby, let me bring my clothes back home!
When you kill chicken, save me the bone;
When you bag beer, give me the foam.
I'll work both night an' day,
An' let you draw the pay;
Baby, let me bring my clothes back home;
When she make them strange remarks,
He look surprise goin' roll them white eyes,
Goin' cry, baby, don't make me go!
31. LONG AND TALL AN' CHOCOLATE TO THE BONE
One of the most common descriptions, and one of the most com-
plimentary to the negro woman, as found in negro songs, is "chocolate
to the bone." The negro often makes trouble for the meddler in his
home. Here arises many of the capital crimes of the negroes. Jeal-
ousy runs riot among both men and women. In the following song
a hint is given of the boasting spirit of the negro:
Well, I'm goin' to buy me a little railroad of my own,
Ain't goin' to let nobody ride but the chocolate to the bone.
Well, I goin' to buy me a hotel of my own,
Ain't goin' to let nobody eat but the chocolate to the bone.
| : She's long an' tall an' chocolate to the bone, : |
Well, I goin' to start a little graveyard of my own,
If you don't, ole nigger, let my woman alone.
She's long an' tall an' chocolate to the bone,
She make you married man, then leave yo' home.
32. GOIN' BACK TO SWEET MEMPHIS, TENNESSEE
In much the same way, now the woman, now the man, sings back at
each other. In the first stanza of the song "Yo' Man," the woman is
supposed to be talking; the man often sings the song, however, as he
does all of them. It is also interpreted to be the words of one man
to his wife, and also of one woman to another. The song is well mixed.
| : Well, if that's yo' man, you'd better buy a lock an' key, O babe! : |
An' stop yo' man from runnin' after me-e-e.
| : Well, I goin' back to sweet Memphis, Tennessee, O babe! : |
Where de good-lookin' wimmins take on over me make a fuss over me.
Now, a good-lookin' man can git a home anywaher' he go,
The reason why is, the wimmins tell me so.
She change a dollar an' give me a lovin' dime,
I'll see her when her trouble like mine.
33. STARTED TO LEAVE
The sense of humor is very marked in many of the verses sung by
the negroes. The commonplace, matter-of-fact statement in the
following song is noticeable. Says the negro, "Yes,
" I'm goin' 'way, goin' 'way,
Goin' sleep under the trees till weather gits warmer,
Well, me an' my baby can't agree,
Oh, that's the reason I'm goin' to leave."
But, as in other cases, the negro does not stay long. Perhaps it is too
cold under the trees for him; perhaps the song has it all wrong, any-
way. But the negro again sings,
"Well, I started to leave, an' got 'way down the track,
Got to thinkin' 'bout my woman, come runnin' back, O babe!
"She have got a bad man, an' he's as bad as hell, I know,
For ev'body, sho' God, tell me so.
"I thought I'd tell you what yo' nigger woman'll do,
She have another man an' play sick on you."
34. i couldn't git in
Thus, although the singer begins, as he often does, with the better
thoughts of the woman, he ends with the usual abuse and distrust.
This spirit of infidelity is unfortunately common among the negroes.
With some it is a matter of no concern, for what does it matter to
them? with others it is a matter of anger and revenge; while still
others are jealously troubled about it. What has already been touched
upon in the songs given may be shown further in "I couldn't git in."
Lawd, I went to my woman's do',
Jus' lak I bin goin' befo':
"I got my all-night trick, baby,
An' you can't git in."
"Come back 'bout half pas' fo',
If I'm done, I'll open de do', (or let you know)
Got my all-night trick, baby,
An' you can't git in."
I keep a rappin' on my woman's do',
Lak I never had been dere befo';
She got a midnight creeper dere,
An' I couldn't git in.
"Buddy, you oughter to do lak me,
Git a good woman, let the cheap ones be,
Fur dey always got a midnight creeper,
An' you can't come in.
"Buddy, stop an' let me tell you
What yo' woman'll do;
She have 'nuther man in, play sick on you,
She got all-night creeper, Buddy,
An' you can't git in.
"You go home; well, she layin' in bed,
With red rag tied all 'round her head;
She done had fo'-day creeper in here,
Dat's de reason you couldn't git in."
In the same way other verses are sung: "Keep a knockin', can't
come in, I got company an' you can't come in," or "You can't come
in dis do'."
35. WHAT, STIRRIN', BABE
The singer uses the common slang "fallin' den" for his bed. As
he has sung of his love and jealousies, so he sings of varied affection
and infidelity, but with little serious regret.
"Went up town 'bout four o'clock,
What, stirrin' babe, stirrin' babel
When I got there, door was locked:
What stir'd babe, zvhat stir'd babe?
"Went to de window an' den peeped in:
What, stirrin' babe, stirrin' babe?
Somebody in my fallin' den
What, stirrin' babe, stirrin' babe?"
The woman tells the "creeper" that he had best be watchful while he
is about her house. At the same time, besides his general rowdyism,
he is perhaps eating all the provisions in the house. She sings,
| : Don't you let my honey catch you here : | (three times)
He'll kill you dead jus' sho's you born.
36. HOP RIGHT
It will thus be seen that the songs of the most characteristic type
are far from elegant. Nor are they dignified in theme or expression.
They will appear to the cultured reader a bit repulsive, to say the
least. They go beyond the interesting point to the trite and
repulsive themes. Nor can a great many of the common songs that
are too inelegant to include be given at all. But these are folk-songs
current among the negroes, and as such are powerful comment upon
the special characteristics of the group. A few of the shorter themes
thus sung will illustrate further.
| : Hop right, goin' to see my baby Lou, : |
Goin' to walk an' talk wid my honey,
Goin' to hug an' kiss my honey,
Hop right, my baby!
The negro does not mind that his comment may not be undignified, or
that it may be injurious to personal feelings or race opinion. Sings
he,--
"I wouldn't have yellow gal,
Tell you de reason why:
Her neck so long, 'fraid she never die.
"I wouldn't have a black gal,
Tell you de reason why:
Her hair so kinky, she break every comb I buy."
37. IF YOU WANT TO GO A COURTIN'
More original and satisfying in sentiment and rhyme and sensuous
pictures is the following:
If you want to go a courtin', I sho' you where to go,
Right down yonder in de house below.
Clothes all dirty an' ain't got no broom,
Ole dirty clothes all hangin' in de room.
Ask'd me to table, thought I'd take a seat,
First thing I saw was big chunk o' meat.
Big as my head, hard as a maul,
Ash-cake, corn-bread, bran an' all.
38. IF YOU WANT TO MARRY
Another that sounds like some of the songs used in children's games
in the Colonial days is "Marry Me." The song has come to be
thought a negro song, but is apparently a form of the old rhymes, "If
you will marry, marry, marry; If you will marry me," or "For I
want to marry, marry, marry, you;" "Soldier, will you marry me?"
The negro sings,
"If you want to marry, come an' marry me-e-e,
Silk an' satin you shall wear, but trouble you shall see-e-e.
"If you want to marry, marry the sailor's daughter,
Put her in a coffee-pot and sen' her 'cross the water.
"I marry black gal, she was black, you know,
For when I went to see her, she look like a crow-ow,
She look like a crow-ow-ow."
39. HONEY, TAKE A ONE ON ME
A variation of the well-known little song, "Honey, take a One on
Me," has a great number of verses that have become popular, and
are undoubtedly negro verses. Most of these, however, are not suit-
able for publication. An idea may be given of the song.
Comin' down State Street, comin' down Main,
Lookin' for de woman dat use cocaine,
Honey, take a one on me!
Goin' down Peter Street, comin' down Main,
Lookin' for de woman ain't got no man,
Honey, take a one on me!
40. don't hit that woman
One other illustration may be given, to show this mental attitude
toward a woman:
Don't hit that woman, I tell you why:
Well, she got heart-trouble an' I scared she die.
That shot got her, how do you know?
For my woman she told me so.
Now, if you hit that woman, I tell you fine,
She will give you trouble all the time.
41. I LOVE THAT MAN
More serious and of much better sentiment is the lover's song,
ordinarily sung as the appeal of a woman.
| : I love that man, O God! I do,
I love him till the day he die; : |
: If I thought that he didn't love me,
I'd eat morphine an' die. : |
: If I had listened to what mamma said,
I wouldn't a been here to-day; :
: But bein' so young, I throwed
That young body o' mine away. : |
| : Look down po' lonesome road,
Hacks all dead in line. : |
: Some give nickel, some give dime.
To bury dis po' body o' mine. : |
42. kelly's love
In "Kelly's Love" the note of disappointed love is sounded:
| : Love, Kelly's love, : | (three times)
You broke de heart o'
many a girl,
You never break dis heart o' mine.
| : When I wo' my aprons low, : | (three times)
Couldn't keep you from my do'.
| : Now I weahs my aprons high, : |
(three times)
Sca'cely ever see you passin' by.
| : Now I weahs my aprons to my chin, : | (three times)
You pass my do', but can't come in.
| : See what Kelly's love have done. : |
(three times)
See what Kelly's love have done.
: If I had listened to what my mamma said, : | (three times)
I would a been at home in mamma's bed.
43. MY LOVE FOR YOU IS ALL I KNEW
Nearer the simple longing of a sincere affection is the chorus "Fare-
well." This conception has been found in the common mixed song
that is current:
| : My love for you is all I knew, : | (three times)
Hope I will see you again.
| : Farewell, my darling, farewell! : | (three times)
Hope I will see you again.
44. THOUGHT I HEARD THAT K. C.
The negro grows imaginative when he thinks of things absent. In
his religious song it is Heaven and the angels that bring forth his best
expressions. He is an idealist, and utopianism is perhaps only the
childlike imagery of fairy fancies. So in his social songs he tells of
the good times he has had and is going to have. He does not sing
so much of the present: he sings of dangers he has escaped. In the
same way he longs to see his sweetheart while he is away from her.
Says he, "My honey might be far from home; ask central to gi'
me long-distance phone."
Thought I heard that K. C. whistle blow,
Blow lak she never blow befo'.
How long has Frisco train been gone?
Dat's train carried my baby home.
Look down de Southern road an' cry,
Babe, look down de Southern road an' cry.
45. SWEET, FORGET ME NOT
The negro looks longingly for the train and the time when he will
have money enough to go back "home." Pay-day will come, and
for a time he will be happy. Sometimes he thinks of all good times
in the future. Sometimes, however, he sings plaintively that they
are gone.
| : O girl, O girl! what have I done?
Sweet, forget me not. : |(three times)
I've got a girl dat's on de way,
Sweet, forget me not.
Times ain't like dey use ter be,
Sweet, forget me not.
Times have been, won't be no more,
Sweet, forget me not.
Nowhere is the negro more characteristic than in his wanton and
reckless moods. Nothing pleases this type of negro fancy more than
deeds of bravado and notoriety. He loves to tell of them and hear
them recited. He is apparently at his best on such occasions. His
self-feeling in its positive state is given gratification, and his vivid
imagination easily makes him the hero of the hour. The feeling of
rowdyism is thus encouraged. The notorious character is thus sung
as the hero of the race: his deeds are marvelled at. Perhaps he is
VOL. XXIVNO. 9319
the most interesting figure within the whole field of activities. Cer-
tainly he is a distinct character, and has a tremendous influence upon
the conduct of his people. He is admired by young and old; and
those who do not approve of his deeds or example marvel at his powers.
46. STAGOLEE
"Stagolee" must have been a wonderful fellow! though not so much
dreaded as "Railroad Bill" and some others. Here the negro sings
in his best vein.
Stagolee, Stagolee, what's dat in yo' grip?
Nothin' but my Sunday clothes, I'm goin' to take a trip,
O dat man, bad man, Stagolee done come,
Stagolee, Stagolee, where you been so long?
I been out on de battle fiel' shootin' an' havin' fun,
O dat man, bad man, Stagolee done come,
Stagolee was a bully man, an' ev'y body knowed,.
When dey seed Stagolee comin', to give Stagolee de road,
O dat man, bad man, Stagolee done come.
The refrain "O dat man, bad man, Stagolee done come" is sung at the
end of each stanza, and adds much to the charm of the song, giving
characteristic thought to the words, and rhythmical swing to the
music. The singer continues his narration, adding the refrain to
each stanza,
Stagolee started out, he give his wife his han',
"Good-by, darlin', I'm goin' to kill a man."
Stagolee killed a man an' laid him on de flo',
What's dat he kill him wid? Dat same ole fohty-fo'.
Stagolee killed a man an' laid him on his side,
What's dat he kill him wid? Dat same ole fohty-five.
Out of house an' down de street Stagolee did run,
In his hand he held a great big smokin' gun.
Stagolee, Stagolee, I'll tell you what I'll do,
If you'll git me out'n dis trouble I'll do as much for you.
Ain't it a pity, ain't it a shame?
Stagolee was shot, but he don't want no name.
Stagolee, Stagolee, look what you done done,
Killed de best ole citerzen; now you'll hav' to be hung.
Stagolee cried to de jury an' to de judge: Please don't take my life,
I have only three little children an' one little lovin' wife,
0 dat man, bad man, Stagolee done come.
47. STAGOLEE
The above version is more usually sung in Mississippi, Louisiana,
and Tennessee, though it is known in Alabama and Georgia, besides
being sung by the negro vagrants all over the country. Another
version more common in Georgia celebrates Stagolee as a somewhat
different character, and the song is sung to different music. The
negro sings,
I got up one mornin' jes' 'bout four o'clock;
Stagolee an' big bully done have one finish' fight:
What 'bout? All 'bout dat raw-hide Stetson hat.
Stagolee shot Bully; Bully fell down on de flo',
Bully cry out: "Dat fohty-fo' hurts me so."
Stagolee done killed dat Bully now.
Sent for de wagon, wagon didn't come,
Loaded down wid pistols an' all dat gatlin' gun,
Stagolee done kill dat Bully now.
Some giv' a nickel, some giv' a dime,
I didn't give a red copper cent, 'cause he's no friend o' mine,
Stagolee done kill dat Bully now.
Carried po' Bully to cemetary, people standin' 'round,
When preacher say Amen, lay po' body down,
Stagolee done kill dat Bully now.
Fohty dollah coffin, eighty dollah hack,
Carried po' man to cemetary but failed to bring him back,
Ev'y body been dodgin' Stagolee.
The scenes of Stagolee's activities are representative of this type of
negro life. From the home to the cemetery he has gone the road of
many a negro. Sometimes the man killed is at a picnic or public
gathering, sometimes elsewhere. The scenes of the burial, with its
customs, are but a part of the life: hence they are portrayed with
equal diligence.
48. RAILROAD BILL
But Stagolee has his equal, if not his superior, in the admiration of
the negro. "Railroad Bill" has had a wonderful career in song and
story. The negro adds his part, and surpasses any other in his por-
trayal of this hero of the track. One must take all the versions of
the song in order to appreciate fully the ideal of such a character.
In the first song that follows, the reader will note that after the theme
is once in the mouth of the singer, it matters little what the song is.
The effort is to sing something about "Bill," and to make this conform
to the general idea; and at the same time it must rhyme. Here is
the song, and a wonderful picture it is:
Some one went home an' tole my wife
All about well, my pas' life,
It was that bad Railroad Bill.
Railroad Bill, Railroad Bill,
He never work, an' he never will,
Well, it's that bad Railroad Bill.
Railroad Bill so mean an' so bad,
Till he tuk ev'ything that farmer had,
It's that bad Railroad Bill.
I'm goin' home an' tell my wife,
Railroad Bill try to take my life,
It's that bad Railroad Bill.
Railroad Bill so desp'rate an' so bad,
He take ev'ything po' womens had,
An' it's that bad Railroad Bill.
49. it's that bad railroad bill
With all these crimes to his credit, it is high time that some one was
going after Railroad Bill. The singer starts on his journey as quickly
as he can, but has to make many trips.
I went down on Number One,
Railroad Bill had jus' begun.
It's lookin' for Railroad Bill.
I come up on Number Two,
Railroad Bill had jus' got through,
It's that bad Railroad Bill.
I caught Number Three and went back down the road,
Railroad Bill was marchin' to an' fro.
It's that bad Railroad Bill.
An' jus' as I caught that Number Fo',
Somebody shot at me wid a fohty-fo'.
It's that bad Railroad Bill.
I went back on Number Five,
Goin' to bring him back, dead or alive.
Lookin' for Railroad Bill.
When I come up on Number Six,
All the peoples had done got sick,
Lookin' for Railroad Bill.
When I went down on Number Seven,
All the peoples wish'd they's in heaven,
A-lookin' for Railroad Bill.
I come back on Number Eight,
The folks say I was a minit too late,
It's lookin' for Railroad Bill.
When I come back on Number Nine,
Folks say, "You're just in time
To catch that Railroad Bill."
When I got my men, they amounted to ten,
An' that's when I run po' Railroad Bill in,
An' that was last of po' Railroad Bill.
50. it's lookin' for railroad bill
But that was not the last of Railroad Bill; for the singer had only
imagined that he was the hero to "down him." Railroad Bill soon
appears again, and now he is worse than before. The next version
differs only slightly from the foregoing one. One must remember
that the chorus line follows each couplet, and the contrast in meaning
makes a most interesting song.
Railroad Bill mighty bad man,
Shoot dem lights out o' de brakeman's han',
It's lookin' fer Railroad Bill.
Railroad Bill mighty bad man,
Shoot the lamps all off the stan',
An' it's lookin' for Railroad Bill.
First on table, nex' on wall,
Ole corn whiskey cause of it all,
It's lookin' fer Railroad Bill.
Ole McMillan had a special train,
When he got there wus a shower of rain,
Wus lookin' fer Railroad Bill.
Ev'ybody tole him he better turn back,
Railroad Bill wus goin' down track,
An' it's lookin' fer Railroad Bill.
Well, the policemen all dressed in blue,
Comin' down sidewalk two by two,
Wus lookin' fer Railroad Bill.
Railroad Bill had no wife,
Always lookin' fer somebody's life,
An' it's lookin' fer Railroad Bill.
Railroad Bill was the worst ole coon,
Killed McMillan by de light o' de moon,
It's lookin' fer Railroad Bill.
Ole Culpepper went up on Number Five,
Goin' bring him back, dead or alive,
Wus lookin' fer Railroad Bill.
Standin' on corner didn't mean no harm,
Policeman grab me by my arm,
Wus lookin' fer Railroad Bill.
The negroes sing different forms of these verses, as they are sug-
gested at the moment; so they add others or omit parts. Also are sung:
MacMillan had a special train,
When he got there, it was spring.
Two policemen all dressed in blue
Come down street in two an' two.
Railroad Bill led a mighty bad life,
Always after some other man's wife.
Railroad Bill went out Wes',
Thought he had dem cowboys bes'.
Railroad Bill mighty bad man,
Kill McGruder by de light o' the moon.
51. RIGHT ON DESPERADO BILL
It is not surprising that a song so popular as "Railroad Bill" should
find its way into others of similar type. Another version of the same
song has a separate chorus, to be sung after each stanza. This
chorus, of which there are two forms, adds recklessness to the theme.
Another achievement is given the desperado; and he combines gam-
bling, criminal tendencies, and his general immorality, in one. The
following version is somewhat mixed, but is known as "Railroad Bill :"
Railroad Bill was mighty sport,
Shot all buttons off high sheriff's coat,
Den hollered, "Right on desperado Bill!"
Lose, lose I don't keer,
If I win, let me win lak' a man,
If I lose all my money,
I'll be gamblin' for my honey,
Ev'y man ought to know when he lose.
Lose, lose, I don't keer,
If I win, let me win lak' a man,
Lost fohty-one dollars tryin' to win a dime,
Ev'y man plays in tough luck some time.
Honey babe, honey babe, where have you been so long?
I ain't been happy since you been gone,
Dat's all right, dat's all right, honey babe.
Honey babe, honey babe, bring me de broom,
De lices an' chinches 'bout to take my room,
O my baby, baby, honey, chile!
Honey babe, honey babe, what in de worl' is dat?
Got on tan shoes an' black silk hat,
Honey babe, give it all to me.
Talk 'bout yo' five an' ten dollar bill,
Ain't no Bill like ole desperado Bill,
Says, Right on desperado Bill.
Railroad Bill went out west,
Met ole Jesse James, thought he had him best,
But Jesse laid ole Railroad Bill.
Honey babe, honey babe, can't you never hear?
I wants a nuther nickel to git a glass o' beer,
Dat's all right, honey babe, dat's all right.
Some of the verses just given are far from elegant; others still less
elegant must be omitted. Some conception of popular standards
of conduct and dress, social life and the home, may be gained from the
song, in addition to the now familiar character of "Railroad Bill."
52. lookin' for that bully of this town
In most communities there is one or more notorious characters
among the negroes. Often these are widely known throughout the
State, and they are familiar names to the police. Sometimes they
are known for the most part to the negroes. Such characters, noted
for their rowdyism and recklessness, sometimes with a criminal record,
are usually called "bullies." To be sure, "Stagolee," "Railroad
Bill," ''Eddy Jones," and the others, were "bullies," but they were
special cases. The song "I'm lookin' for the Bully of this Town"
represents a more general condition. It is rich in portrayals of negro
life and thought.
Monday I was 'rested, Tuesday I was fined,
Sent to chain gang, done serve my time,
Still I'm lookin' for that bully of this town.
The bully, the bully, the bully can't be found,
If I fin' that bully, goin' to lay his body down,
I'm lookin' for that bully of this town.
The police up town they're all scared,
But if I fin' that bully, I goin' to lay his body 'way,
For I'm lookin' for that bully of this town.
I'm goin' down on Peter Street;
If I fin' that bully, will be bloody meet,
For I'm lookin' for that bully of this town.
I went down town the other day,
I ask ev'ybody did that bully come this way,
I wus lookin' fer that bully of this town.
Oh, the gov'ner of this State offer'd one hundred dollars reward,
To any body's arrested that bully boy,
I sho' lookin' for dat bully of this town.
Well, I found that bully on a Friday night,
I told that bully I's gwine to take his life,
I found dat bully of this town.
I pull out my gun an' begin to fire,
I shot that bully right through the eye,
An' I kill that bully of this town.
Now all the wimmins come to town all dressed in red,
When they heard that bully boy was dead,
An' it was the last of that bully of this town.
What a picture the song gives of the bully and his pursuer! The
boasting braggart sees himself the hero of the whole community,
but chiefly among the women. He is better than the police: they
will even thank him for his valor. The governor will give him his
reward. Everybody he meets he asks about the bully boy, and takes
on a new swagger. What satisfaction he gets from it! Perhaps he
too will be a bully. The scene of the shooting, the reaching for the
pistol, and the "laying-down" of the bully's body, these offer
unalloyed satisfaction to the singer. Every word becomes pregnant
with new meaning and feeling; and invariably he must remember
that his deeds are lauded, and he is the hero among the "wimmins"
from the country round about. His picture would never be complete
without this. Altogether it is a great song, and defies a superior
picture.
53. EDDY JONES
Other notorious characters are sung with the same satisfaction.
The characteristic pleasure and oblivion of time accompany the sing-
ing. While at work, one may sing the words, whistle the tunes, and
visualize the picture, thus getting a richer field of vision. When
alone, the negro gets much satisfaction out of songs like those here
given. Likewise such songs are sung in groups, at which times the
singers talk and laugh, jeer one another, and retort, thus varying
the song. "Eddy Jones" seems very similar in character to
"Stagolee."
Slow train run thru' Arkansas,
Carryin' Eddy Jones.
Eddy died with a special in his hand,
Eddy Jones, Eddy Jones.
Eddy Jones call for the coolin'-board,
Lawdy, lawdy, lawd!
Eddy Jones look'd 'round an' said,
"Man that kill'd me won't have no luck."
Ain't it sad 'bout po' Eddy bein' dead?
Eddy Jones was let down in his grave.
What did Eddy say before he died?
He said, "Nearer, my God, to Thee."
Eddy's mother she weeped a day,
Lawdy, Eddy Jones, Eddy Jones!
The singer turns to the "ladies," if they be present, and sings,
You want me to do like Eddy Jones?
You mus' want me to lay down an' die for you.
(To be continued.)