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Friday, August 16, 2013

Have Thine Own Way Lord

Lyrics:

written by George Stebbins and Adelaide Pollard 
G              C    G                   D7
Have Thine own way  Lord have Thine own way
                              G
Thou art the potter  I am the clay
             C    G             C
Mould me and make me  after Thy will 
           G        D7          G
While I am waiting  yielded and still
 
               C    G                   D7
Have Thine own way  Lord have Thine own way
                            G
Search me and try me Master today 
            C    G                 C
Whiter than snow Lord wash me just now 
          G         D7       G
As in Thy presence  humbly I bow
 
               C    G                   D7
Have Thine own way  Lord have Thine own way
                             G
Hold over my being  absolute sway
                C    G               C
Filled with Thy spir-it till all can see 
            G       D7        G
Christ only always  living in me

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Source: Youtube

Back When Gas Was Thirty Cents A Gallon

Lyrics:

Written and recorded by Tom T. Hall

F                                C
Back when gas was thirty cents a gallon
G7                               C
America was young and strong and brave
F                                  C
Lord knows that I didn't have much money
G7
And my old car had seen some better days
F                                     C
You were young and fresh as brand new roses
G7                              C
I was so in love and strong and brave

F                                C
Back when gas was thirty cents a gallon
G7                            C
And love was only sixty cents away
  G7                              F    C
I don't think I'd know you if I'd s-ee you
F             C                  G7
I practice my forgetting till it works
F                                C
Back when gas was thirty cents a gallon
  G7                         C
I didn't know the meaning of hurt

F                                C
Back when gas was thirty cents a gallon
G7                                     C
And sweet magnolias line those country roads
F                                   C
We burned a tank of love most every weekend
G7
And on work days I helped 'em fix the roads
F                                        C
My friends were many and our dreams were certain
G7                                   C
Whoever thought we'd go our separate ways
F                                C
Back when gas was thirty cents a gallon
    G7                        C
And love was only sixty cents away

  G7                              F    C
I don't think I'd know you if I'd s-ee you
F             C                  G7
I practice my forgetting till it works
F                                C
Back when gas was thirty cents a gallon
  G7                         C
I didn't know the meaning of hurt
F                                C
Back when gas was thirty cents a gallon
    G7                        C
And love was only sixty cents away


Click Here For Video.

Source: Youtube

Love Lifted Me

Lyrics:

Written by James Rowe and Howard E. Smith

G
I was sinking deep in sin
                       D7
Far from that peaceful shore

Very deeply stained within
                   G
Sinking to rise no more


But the Master of the sea
                    C
Heard my despairing cry
                G     
From the waters lifted me
         D7      G
Now safe safe am I

     D7     G               C
Love lifted me  love lifted me
             G                A7          D7
When nothing else could help  love lifted me
            G               C
Love lifted me  love lifted me
             G                D7          G
When nothing else could help  love lifted me


Souls in danger look above
                 D7
Jesus completely saves

He will lift you by His love
                 G
Out of the angry waves


Love so mighty and so true
                      C
Merits my soul’s best songs
                G
Faithful loving service too
       D7  G
To Him be--longs

     D7     G               C
Love lifted me  love lifted me
             G                A7          D7
When nothing else could help  love lifted me
            G               C
Love lifted me  love lifted me
             G                D7          G
When nothing else could help  love lifted me


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Source: Youtube

Class Of '57

Lyrics:

Recorded by The Statler Brothers
Written by Harold and Don Reid

C               Em        Am             C
Tommy's selling used cars Nancy's fixing hair
F                               D7
Harvey runs a grocery store and Margaret doesn't care
C              Em                  Am
Jerry drives a truck for Sears and Charlotte's on the make
    F                             G7               C
And Paul sells life insurance and part-time real estate

           Em      Am                 C
Helen is a hostess Frank works at the mill
F                              D7
Janet teaches grade school and probably always will
C                 Em       Am
Bob works for the city and Jack's in lab research
    F                        G7           C
And Peggy plays organ at the Presbyterian Church

        F                    C
And the class of '57 had its dreams
   Am
Oh we all thought we'd change the world 
     D7                  G7
With our great works and deeds
   F                                     C         E7      Am
Or maybe we just thought the world would change to fit our needs
    F         G7         C
The class of '57 had its dreams

             Em           Am              C
Betty runs a trailer park Jan sells Tupperware
F                         D7
Randy's on an insane ward Mary's on welfare
C              Em                Am
Charlie took a job with Ford Joe took Freddie's wife
    F                            G7               C
Charlotte took a millionaire and Freddie took his life

               Em      Am             C
John is big in cattle  Ray is deep in debt
F                               D7
Where Mavis finally wound up is anybody's bet
C             Em            Am
Linda married Sonny  Brenda married me
    F                         G7             C
And the class of all of us is just a part of history

        F                    C
And the class of '57 had its dreams
    Am                        D7            G7
But living life day to day is never like it seems
F                           C       E7       Am
Things get complicated when you get past eighteen
        F         G7         C      Am
But the class of '57 had its dreams
       F         G7         C
Oh the class of '57 had its dreams

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Source: Youtube

Are You Washed In The Blood

Lyrics:

Recorded by the Statler Brothers
written by Elisha A. Hoffman

C                              F
Have you been to Jesus for the cleansing power
        C                          G7
Are you washed in the blood of the lamb
         C                          F
Are your garments spotless are they white as snow
        C             G7           C
Are you washed in the blood of the lamb

                      F
Are you washed in the blood
       C                           G7
In the soul cleansing blood of the lamb
         C                          F
Are your garments spotless are they white as snow
        C             G7           C
Are you washed in the blood of the lamb

                                F
Lay aside the garments that are stained with sin
       C                          G7
And be washed in the blood of the lamb
          C                        F
There's a fountain flowing for the soul unclean
      C             G7           F
Oh be washed in the blood of the lamb

                      F
Are you washed in the blood
       C                           G7
In the soul cleansing blood of the lamb
         C                          F
Are your garments spotless are they white as snow
        C             G7           C
Are you washed in the blood of the lamb


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Source: Youtube

Mockingbird Hill

Lyrics:

Recorded by Slim Whitman written by Vaughn Horton
[3/4 time]

C        G7                       C           
When the sun in the morning peeps over the hill
    D7                      G7
And kisses the roses 'round my windowsill
                                       C 
Then my heart fills with gladness when I hear the trill
       D7                       G7          
Of the birds in the treetops on Mockingbird Hill

                                 C          G7 
Tra-la-la twiddly-dee-dee-dee it gives me a thrill
   D7                            G7                 
To wake up in the morning to the mockingbird's trill
                                  C             G7 
Tra-la-la twiddly-dee-dee there's peace and goodwill
       D7                        G7  
You're welcome as the flowers on Mockingbird Hill

                                 C
Got a three cornered plow and an acre to till
      D7                       G7
And a mule that I bought for a ten dollar bill
                                  C
There's a tumble down shack and a old rusty mill
         D7                    G7 
But it's my home sweet home on Mockingbird Hill

                                C
When it's late in the evening I climb up the hill
       D7                       G7  
And survey all my kingdom while every thing's still
                           C 
Only me and the sky and an old whippoorwill
     D7                    G7 
It's my home sweet home on Mockingbird Hill

repeat #2


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Source: Youtube

Indian Love Call

Lyrics:

Recorded by Slim Whitman
Written by Otto Harbach, Oscar Hammerstein II, Rudolf Friml

C    G7   C         G7   C
Ooo  ooo  ooo  ooo  ooo  ooo 

                 F     G7  C
When I'm calling y-ou  oo  oo
                F     G7  C
Will you answer t-oo  oo  oo 
             C7               F
That means I offer my love to you to be your own

                           C                    G7
If you refuse me I will be blue and waiting all alone
                F            G7           C
But if when you hear my love call ringing clear
F     G7    C
Ooo   ooo   ooo  
                C7                F
And I hear your answering echo so dear
C           F
Ooo   ooo   ooo

                     C
Then I will know our love will come true
                 F       G7        C
You'll belong to me I'll belong to you
 
                 F       G7        C
You'll belong to me I'll belong to you
 
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Source: Youtube

Birmingham Jail (aka Down In The Valley)

Lyrics:

Recorded by Slim Whitman
[3/4 time]

G                            D7
Down in the valley valley so low
                                   G
Late in the evening hear the train blow
                                        D7
Hear the train blow love hear the train blow
                                   G
Late in the evening hear the train blow

                             D7
Write me a letter send it by mail
                              G
Send it in care of Birmingham Jail
                                D7
Birmingham Jail love Birmingham Jail
                              G
Send it in care of Birmingham Jail

                                 D7
Roses love sunshine violets love dew
                             G
Angels in heaven know I love you
                                 D7
Know I love you dear know I love you
                             G
Angels in heaven know I love you

Repeat #1

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Source: Youtube

Crumbs From The Table

Lyrics:

Recorded by Connie Smith and Nat Stuckey
Written by Barbara Miller

G               D7           G          C
Lord bless your children who walk in perfection
G             D7          G
Who manage to master Your will
                D7       G              C
Give them their share of sweet milk and wild honey
G                D7                G
Provide bread of life till they're filled

C                                 G
Feed the children but give me the crumbs from the table
                   G7         D7
I'll wait for them down on my knees
C                               G
I'd be ever so grateful for the crumbs from the table
                    D7        G
For strength needed to follow Thee

             D7        G            C
Lord I'm not worthy to eat from the platter
G              D7        G
For I'm just a beggar in need
        D7         G                C
Satisfy others but when they're all finished
G          D7            G
Dear Jesus have mercy on me

Repeat #2

                    D7        C  G
For strength needed to follow Th-ee

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Source: Youtube

Lord Have Mercy on a Country Boy

Lyrics:

recorded by Don Williams
written by Bob McDill
 
C              G7       C     
Well I grew up wild and free
G7            C         G7      C     
Walking these fields in my bare feet
                      G7         C   
There wasn't no place I couldn't go
       G7 C           G7      C     
With a 22 rifle and a fishing pole
 
       F           C        G7        C   
Well I live in the city but don't fit in
    Am                   G7        C   
You know it's a pity the shape I'm in
      F      C          G7     C       
But I got no home and I got no choice
   Am                   G7      C    
Oh Lord have mercy on a country boy
 
                 G7         C     
When I was young I remember well
G7                C              G7        C      
I'd hunt the wild turkey and the bob white quail
                        G7        C     
The river was clear and deep back then
    G7      C                 G7     C     
Had fishing lines tied to the willow limb
 
Repeat #2
                               G7         C       
Well they dammed the river they dammed the stream
G7                C           G7        C      
They cut down the cypress and sweet-gum trees
                           G7     C     
There's a Laundromat and a barber shop
    G7            C           G7      C    
And now the whole meadow is a parking lot
 
Repeat #2

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Source: Youtube

These Hands

Lyrics:

 
Recorded by Hank Snow written by Eddie Noack 
[3/4 time]

C                     G7         C
These hands ain't the hands of a gentleman 
                G7            C
These hands are calloused and old
                     E7           F             C
These hands raised a family these hands built a home
                          D7         G7
Now these hands raised to praise the Lord

      C             G7          C
These hands won the heart of my loved one 
                        G7     C
And with hers they were never alone
                            E7             F              C
If these hands filled their task then what more could one ask
                       G7            C
For these fingers have worked to the bone

                       E7         F             C
Now don't try to judge me by what you'd like me be
                   G7        C      G7
For my life hasn't been much success
           C           E7        F          C
While some people have power but still they grieve
                             A7   G7
While these hands brought me happiness

        C             G7        C       G7   C
Now I'm tired and I'm old and I haven’t much gold
                        E7         F
Maybe things ain't been all that I planned
                                 C       G7    C
God above hear my plea when it's time to judge me
                     G7           C
Take a look at these hard working hands

                                         G7    C
God above hear my plea when it's time to judge me
                     G7           C
Take a look at these hard working hands
 
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Source: Youtube 

Lemon Tree

Lyrics:

Recorded by Bobby Bare
written by Will Holt

C          G7            C             G7      C
When I was just a lad of ten my father said to me
              G7     C               G7           C
Come here and take a lesson from the lovely lemon tree
      F        C        F                     C       F
Don't put your faith in love my boy my father said to me
              C         F                       C     F
I fear you'll find that love is like the lovely lemon tree

      C                                        G7
Lemon tree very pretty and the lemon flower is sweet
                                                 C
But the fruit of the poor lemon is impossible to eat
                                               G7
Lemon tree very pretty and the lemon flower is sweet
                                                 C
But the fruit of the poor lemon is impossible to eat

        G7          C                      G7    C
One day beneath the lemon tree my love and I did lie
                G7            C                     G7     C
A girl so sweet that when she smiled the stars rose in the sky
   F           C      F                        C     F
We passed that summer lost in love beneath the lemon tree
             C        F                   C          F
The music of her laughter hid my father's words from me

Repeat #2
 
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Source: Youtube 

Greasy Grit Gravy

Lyrics:

 
Recorded by Bobby Bare
Written by Shel Silverstein

C           G7
Momma momma me oh my
                C
I don't want no catfish eyes
                F
I don't want no lizard spleens
      G7                            C
Gimme greasy grit gravy and gizzard greens

                      G7
Greasy grit gravy and gizzard greens
                C
Big fat pie and mobo beans
               F
Make you wanna split your jeans
       G7                            C
Eating greasy grit gravy and gizzard greens

          G7
Hey Marie will you be mine 
                   C
I'm gonna take you out to dine
                 F
We're gonna live beyond our means 
       G7                            C
Eating greasy grit gravy and gizzard greens

                     G7
I kissed my wife and sold the baby
               C
A going off to join the navy
                F
All they eat on submarines
   G7                            C
Is greasy grit gravy and gizzard greens

Repeat #2

              G7
Me and little English Alice
                C
We went down to Buckingham Palace
                 F
Walked in on the King and Queen
       G7                            C
Eating greasy grit gravy and gizzard greens

Repeat #2

              G7
Doctor doctor help me please
                C
I'm neurotic as I can be
                F
I keep doing it in my dreams
   G7                            C
Oh greasy grit gravy and gizzard greens

                 G7
Dixie Bell she's southern fried
                  C
She don't want no champagne wine
                       F
You wanna get into her jeans give her
       G7                     C
Greasy grit gravy and gizzard greens

Repeat #2
 
Click Here For Video.
 
Source: Youtube 

Five Hundred Miles Away From Home

Lyrics:

 
recorded by Bobby Bare
written by Bobby Bare and Charlie Williams 

G
Teardrops fell on mama's note
                           Em
When I read the things she wrote
            Am
She said we miss you son 
   C                D7
We love you come on home
       G
Well I didn't have to pack
                         Em
I had it all right on my back
        D7           C               G
Now I'm five hundred miles away from home
 
 
Away from home away from home
                       Em
Cold and tired and all alone
        D7           C               G
Yes I'm five hundred miles away from home
 
Spoken: 
 
I know this is the same road I took the day I left home
But it sure looks different now
Well I guess I look different too cause time changes everything
I wonder what they'll say when they see their boy looking this way
Oh I wonder what they'll say when I get home
 
 
Can't remember when I ate
                             Em
It's just thumb and walk and wait
        D7                 C               G
And I'm still five hundred miles away from home
D7    G
If my luck had been just right
                     Em
I'd be with them all tonight
        D7                 C               G
But I'm still five hundred miles away from home
 
repeat #2
 
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Source: Youtube 

Daddy What If

Lyrics:

 
Recorded by Bobby Bare  with Bobby Bare Jr.
Written by Shel Silverstein

G                 Am
Daddy what if the sun stop shining
D7                G    G7
What would happen then

       C                   G
If the sun stopped shining you'd be so surprised
      C                    G
You'd stare at the heavens with wide open eyes
        C                     G            Em
And the wind would carry your light to the skies
        Am              D7       G
And the sun would start shining again

                  Am
Daddy what if the wind stopped blowing
D7                G    G7
What would happen then

       C                    G
If the wind stopped blowing then the land would be dry
         C                          G
And your boat wouldn't sail son and your kite couldn't fly
        C                                 G              Em
And the grass would see your troubles and she'd tell the wind
        Am               D7       G
And the wind would start blowing again

                      Am
But daddy what if the grass stopped growing
D7                G    G7
What would happen then

       C                     G
If the grass stopped growing why you'd probably cry
        C                              G
And the ground would be watered by the tears from your eyes
         C                          G             Em
And like your love for me the grass would grow so high
        Am                D7      G
Yes the grass would start growing again

                    Am
But daddy what if I stopped loving you
D7                G
What would happen then

         C                       G
If you'd stop loving me then the grass would stop growing
        C                          G
The sun would stop shining and the wind would stop blowing
       C                          G           Em
So you see if you wanna keep this old world a going
    Am           D7        G     Em
You better start loving me again again
    Am           D7        G
You better start loving me again

You hear me Bobby
    Am           D7        G
You better start loving me again

You love me Bobby
    Am           D7        G
You better start loving me again
 
Click Here For Video.
 
Source: Youtube 

I'm Nobody's Child

Lyrics:

recorded by Hank Snow
written by Mel Foree and Cy Coben
 
C                       F
I was slowly passing an orphan's home one day
   C                           D7                         G7
And stopped there for a moment just to watch the children play
  C                           F
A lonely boy was standing and when I asked him why
   C                                       G7          C
He turned with eyes that could not see and he began to cry
 
                       C7       F
I'm nobody's child I’m nobody's child
G7                             C
I’m like a flower just growing wild
                     C7      F
No mommy’s kisses no daddy's smile
G7                           C
Nobody wants me I'm nobody's child
 
                             F
People come for children and take them for their own
    C                           D7               G7
But they all seem to pass me by and leave me all alone
  C                               F
I know they'd like to take me but when they see I'm blind
     C                                  G7      C
They always take some other child and I am left behind
 
                              F
No mommy’s arms to hold me or sooth me when I cry
    C                            D7                  G7
Sometimes it gets so lonely here I wish that I could die
    C                          F
I’d walk the streets of heaven where all the blind can see
    C                                    G7           C
And just like all the other kids there’d be a home for me
 
 
Next two verses are spoken:
 
C
I just can’t seem to figure out 
F
Why the folks all pass me by
C
Cause I know that it’s true that God takes 
D7                                    G7
Little blind children with Him in the sky
 
    C
And they tell me I’m so pretty
    F
And they seem to like my big curls of gold
    C
But then they take some other little child
        G7           C
And I’m left here all alone
 
Repeat #2

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Source: Youtube

Coat Of Many Colors

Lyrics:

Back through the years
I go wonderin once again
Back to the seasons of my youth
I recall a box of rags that someone gave us
And how my momma put the rags to use
There were rags of many colors
Every piece was small
And I didn't have a coat
And it was way down in the fall
Momma sewed the rags together
Sewin every piece with love
She made my coat of many colors
That I was so proud of
As she sewed, she told a story
From the bible, she had read
About a coat of many colors
Joseph wore and then she said
Perhaps this coat will bring you
Good luck and happiness
And I just couldnt wait to wear it
And momma blessed it with a kiss
Chorus:

My coat of many colors
That my momma made for me
Made only from rags
But I wore it so proudly
Although we had no money
I was rich as I could be
In my coat of many colors
My momma made for me

So with patches on my britches
Holes in both my shoes
In my coat of many colors
I hurried off to school
Just to find the others laughing
And making fun of me
In my coat of many colors
My momma made for me

And oh I couldnt understand it
For I felt I was rich
And I told them of the love
My momma sewed in every stitch
And I told em all the story
Momma told me while she sewed
And how my coat of many colors
Was worth more than all their clothes

But they didn't understand it
And I tried to make them see
That one is only poor
Only if they choose to be
Now I know we had no money
But I was rich as I could be
In my coat of many colors
My momma made for me
Made just for me


Click Here For Video.

Source: Youtube

How Great thou Art

Lyrics:

Oh Lord my God
When I in awesome wonder
Consider all the works
Thy hands have made
I see the stars
I hear the rolling thunder
Thy power throughout
The universe displayed

Then sings my soul
My Savior, God, to Thee
How great thou art
How great thou art
Then sings my soul
My Savior, God, to Thee
How great Thou art
How great Thou art

And When I think, of God,
His son not sparing,
Sent Him to die,
I scarce can take it in;
That on the cross, my burden
gladly bearing He bled and died
to take away my sin

Then sings my soul
My Savior, God, to Thee
How great thou art
How great thou art
Then sings my soul
My Savior, God, to Thee
How great Thou art
How great Thou art

When Christ shall come
With shout of acclamation
And take me home
What joy shall fill my heart
Then I shall bow
With humble adoration
And then proclaim My God
How great Thou art

Then sings my soul
My Savior, God, to Thee
How great Thou art
How great Thou art
Then sings my soul
My Savior, God, to Thee
How great Thou art
How great Thou art

How great Thou art
How great Thou art...


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Source: Youtube

He Touched Me

Lyrics:

Shackled by a heavy burden
Neath a load of guilt and shame
Then the hand of jesus touched me
And now I am no longer the same

He touched me, oh he touched me
And oh the joy that floods my soul
Something happened and now I know
He touched me and made me whole

Since I met this blessed savior
Since he cleansed and made me whole
I will never cease to praise him
Ill shout it while eternity rolls

He touched me oh he touched me
And oh the joy that floods my soul
Something happened and now I know
He touched me and made me whole

Click Here For Video.

Source: Youtube

Take My Hand, Precious Lord

Lyrics:

Songwriters: DORSEY, THOMAS A.

Precious Lord, take my hand
Lead me on, let me stand
I'm tired, I'm weak, I'm lone
Through the storm, through the night
Lead me on to the light
Take my hand precious Lord, lead me home

When my way grows drear precious Lord linger near
When my light is almost gone
Hear my cry, hear my call
Hold my hand lest I fall
Take my hand precious Lord, lead me home

When the darkness appears and the night draws near
And the day is past and gone
At the river I stand
Guide my feet, hold my hand
Take my hand precious Lord, lead me home

Precious Lord, take my hand
Lead me on, let me stand
I'm tired, I'm weak, I'm lone
Through the storm, through the night
Lead me on to the light
Take my hand precious Lord, lead me home

Click Here For Video.

Source: Youtube

Beyond The Sunset

Lyrics:

Should You Go First And I Remain
To Walk The Road Alone
I've Live In Memory's Garden Dear
With The Happy Days We've Known
And In Spring I'll Watch For Rose's Red
When Fades The Lilac Blue
And In Early Fall
When Brown Leaves Call
I'll Catch A Glimpse Of You.

Should You Go First And I Remain
To Finish With The Scroll
No Lengthening Shadows Shall Creep In
To Make This Life Drool
We've Known So Much Happiness
And We've Had Our Cup Of Joy
But Memory Is One Give Of God
That Death Cannot Destroy.

Should You Go First And I Remain
For Battles To Be Fought
Each Thing You've Touched Along The Way
Will Be A Hallowed Spot
I'll Hear Your Voice
And I'll See Your Smile
And Though Blindly I May Grope
The Memory Of Your Helping Hand
Will Boil Me On With Hope.

Should You Go First And I Remain
One Thing I'd Have You Do
Walk Slowly Down That Long, Long Path
For Soon I'll Follow You.
And I'll Want To Know Each Step You Take
That I May Walk The Same
For Someday Down That Lonely Road
You'll Hear Me Call Your Name.


Click Here For Video.

Source: Youtube

Come Unto Me

The Chuck Wagon Gang, Come Unto Me...The Chuck Wagon Gang is a multi-award--winning Southern Gospel musical group that was formed in 1936 by founding member D.P. (Dad) Carter with his son Jim (Ernest) and daughters Rose (Lola) and Anna (Effie). The "Gang" signed with Columbia Records and remained with them for 39 years, At one point they were Columbia's number one selling group with excess of over 39 million in record sales............All Copyrights Acknowledged and Respected.

Lyrics:

Come unto me, all ye that labor
And I will give you rest
Take my yoke upon you and learn from me
For I am meek and lowly of heart
And ye shall find rest unto your souls
Rest unto your souls,
Rest unto your souls,
It's easy
For my burden is light
Repeat
It's easy
For my burden is light

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Source: Youtube

Standing on the Promises

Lyrics:

Standing on the promises of Christ my King
Through eternal ages let His praises ring
Glory in the Highest, I will shout and sing
Standing on the promises of God
Standing, standing
Standing on the promises of God, my Savior
Standing, standing
I'm standing on the promises of God
Standing on the promises I cannot fall
Listenin' every moment to the Spirit's call
Restin' in my Savior as my all in all
Standing on the promises of God
Standing, standing
Standing on the promises of Christ, my Savior
Standing, standing
I'm standing on the promises of God

Songwriters: DALTON, LARRY / DP, .

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Source: Youtube

Snoopy V.S. The Red Baron,

Lyrics:


After the turn of the century
In the clear blue skies over Germany
Came a roar and a thunder men had never heard
Like the scream and the sound of a big war bird
Up in the sky, a man in a plane
Baron von Richtofin was his name
Eighty men tried, and eighty men died
Now they're buried together on the countryside

Chorus:

Ten, twenty, thirty, forty, fifty or more
The Bloody Red Baron was rollin' out the score
Eighty men died tryin' to end that spree
Of the Bloody Red Baron of Germany

In the nick of time, a hero arose
A funny-looking dog with a big black nose
He flew into the sky to seek revenge
But the Baron shot him down--"Curses, foiled again!"

(chorus)
Now, Snoopy had sworn that he'd get that man
So he asked the Great Pumpkin for a new battle plan
He challenged the German to a real dogfight
While the Baron was laughing, he got him in his sight

That Bloody Red Baron was in a fix
He'd tried everything, but he'd run out of tricks
Snoopy fired once, and he fired twice
And that Bloody Red Baron went spinning out of sight

(chorus, to fade)

"Snoopy vs. The Red Baron," The Royal Guardsmen

Click Here for video.

Source: Youtube

Hang On Sloopy, Sloopy Hang On,

Lyrics:

WENT TO # 1 IN 1965. LYRICS:

Hang on Sloopy, Sloopy hang on

Sloopy lives in a very bad part of town
And everybody there tries to put my Sloopy down
Sloopy I don't care what your daddy do
'Cause you know Sloopy girl I'm in love with you
And so I'm singing...

[Chorus:]
Yeah yeah yeah yeah...

[Lead Break]

Sloopy let your hair down girl, let it run down on me
Sloopy let your hair down girl, let it run down on me

Come on Sloopy Come on, come on [2x]
Well come on Sloopy Come on, come on [2x]

Well it feels so good Come on, come on
You know it feels so good Come on, come on

Well shake it, shake it, shake it Sloopy Come on, come on
Well shake it, shake it, shake it yeah
Yeah...

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Source: Youtube

Wipeout

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Source: Internet

Ten Thousand Angels

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Source: Youtube

Music Box Dancer

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Source: Youtube

Friday, August 9, 2013

Oh My Darling, Clementine

"Oh My Darling, Clementine" is an American western folk ballad in 87.87D trochaic metre usually credited to Percy Montrose (1884), although it is sometimes credited to Barker Bradford. The song is believed to have been based on another song called "Down by the River Liv'd a Maiden" by H. S. Thompson (1863). History and origins While at first the song seems to be a sad ballad sung by a bereaved lover about the loss of his darling, the daughter of a miner in the 1849 California Gold Rush, as the verses continue it becomes obvious that the song is in fact a tongue-in-cheek parody of a sad ballad. For example, in the second verse we learn that Clementine's feet are so big that she has to wear boxes instead of shoes (presumably because size 9 shoes are not available), hardly a detail that would be mentioned in a serious romantic ballad. Her "tragic demise" is caused by a splinter in her toe that causes her to fall and drown – clearly a ridiculous accident, but told in a deadpan style. Finally, at the end of the song, the lover forgets his lost love after one kiss from Clementine's "little sister". The verse about the little sister was often left out of folk song books intended for children, presumably because it seemed morally questionable. Another theory is that the song is from the view of Clementine's father, and not a lover. Gerald Brenan attributes the melody to originally being an old Spanish ballad in his book South from Granada. It was made popular by Mexican miners during the Gold Rush. It was also given various English texts. No particular source is cited to verify that the song he used to hear in the 1920s in a remote Spanish village was not an old text with new music, but Brenan states in his preface that all facts mentioned in the book have been checked reasonably well. The song is using the melody placed as call for the Romance (music) ballads in the Romancero, in particular the one of Romance del Conde Olinos o NiƱo, a sad love story very popular in the Spanish folk, some of which were compiled at the court of Alfonso X and others, like the Cancionero de Uppsala compiled later by the House of Trastamara. It is unclear when, where and by whom the song was first recorded in English for others to hear. Lyrics In a cavern, in a canyon, Excavating for a mine Dwelt a miner forty niner, And his daughter Clementine Chorus: Oh my darling, oh my darling, Oh my darling, Clementine! Thou art lost and gone forever Dreadful sorry, Clementine Light she was and like a fairy, And her shoes were number nine Herring boxes, without topses, Sandals were for Clementine. --Chorus. Drove she ducklings to the water Ev'ry morning just at nine, Hit her foot against a splinter, Fell into the foaming brine. – Chorus. Ruby lips above the water, Blowing bubbles, soft and fine, But, alas, I was no swimmer, So I lost my Clementine. – Chorus. How I missed her! How I missed her, How I missed my Clementine, But I kissed her little sister, I forgot my Clementine. – Chorus. ---OR--- How I missed her! How I missed her, How I missed my Clementine, Till I kissed her little sister, and forgot my Clementine. – Chorus. ---OR--- How I missed her, how I missed her How I missed my Clementine. So I kissed her little sister, And forgot my Clementine. ---OR--- In a churchyard on a hillside Where the flowers grow and twine There grow roses amongst the posies Flowers for my Clementine. – Chorus. ---OR--- Then the miner forty-niner He began to weep and pine For his darling little daughter Now he's with his Clementine – Chorus. ---OR--- In a churchyard on a hillside Where the flowers grow and twine There grow roses amongst the posies On the grave of Clementine – Chorus. ---OR--- In a corner of the churchyard, Where the myrtle boughs entwine, Grow the roses in their poses, Fertilized by Clementine. – Chorus. ---OR--- In A Tavern in the canyon, Drinking beer and lots of wine, Sat a miner forty niner, Grieving over Clementine. – Chorus. ---OR--- Then the miner forty niner, He began to peak and pine, Thought he oughta join his daughter Now he's with his Clementine. – Chorus. ---OR--- In my dreams she still doth haunt me, Robed in garments soaked in brine. Though in life I used to hug her, Now she's dead, I'll draw the line. – Chorus. ---OR--- Now you Boy Scouts, there's a moral To this little tale of mine. Artificial respiration, Would have saved my Clementine. – Chorus. ---OR--- When she slipped and hit the water 'felt my heart skip a time All had scattered nothin' mattered 'cept my darlin' clementine. – Chorus. Additional verses I took her, on a picnic, Oh, how the Sun did shine. But she’s 'llergic to bee stings To the doctor, Clementine – Chorus. Clementine's gorgeous hair Was so beautiful and fine So I took a pair of scissors, And cut it all off to be mine. – Chorus. Contemporary use The melody for the song has become popular as the rhythm for a number of chants by sports supporters, such as the Barmy Army. Hanna-Barbera cartoon character Huckleberry Hound often sang an off-key version of "Clementine". Line 1 and 2 were sung by Yui in the K-On! anime An instrumental version was used in the movie Back to the Future Part III. The song plays during the opening credits for the John Ford movie My Darling Clementine, with Henry Fonda. It also runs as a background score all through the movie. It is used as background music in another John Ford film, The Grapes Of Wrath, also starring Henry Fonda. A North Korean musical movie from 1972, The Flower Girl, used the song's melody as its main theme. This musical was said to have been written by Kim Il-sung. A birthday version with Chinese lyrics is featured in the 2001 movie Quitting. Excerpts of the song can also be heard in Michel Gondry's film, Eternal Sunshine of the Spotless Mind. Kate Winslet's character, Clementine Kruczynski, complains that people always make fun of her name because of this song. Also subtle emphasis is placed on the phrase, "you are lost and gone forever," to fit with the film's theme. In Star Trek Voyager ("601 Equinox Pt II") The Doctor stimulates Seven of Nine's auditory processor to make her sing a duet of Clementine after his ethical subroutines have been deleted. The melody is used in "Xin Nian Hao Ya", a Chinese New Year song. Music of the song "Ae Dil Hai Mushkil", from the Hindi film CID is inspired by this song. The song provides the central musical theme in the 2006 South Korean television drama, Spring Waltz. Similarities have been drawn between the song and the chorus of Cher Lloyd's debut single "Swagger Jagger". This song is also used in one doll of a children's toy called Sing-A-Ma-Jigs. During the Campaign of Zamboanga City Ill-fated Mayor. Cesar Climaco the melody is used in "Ay si Cesar, Ay si Cesar Climaco" sung in Chavacano. It was also sung during his Funeral in 1984. Coincidentally, O my Darling Clementine was the Love Song of Cesar Climaco to his Wife, Julia Floreta-Climaco. On February 8, 1986, the TV series Shelley Duvall's Tall Tales & Legends aired the episode "Darlin' Clementine", wherein Clementine was the only woman in a mining camp and fell in love with a miner named Levis. After a harrowing experience with "The Mountain Man" who wished to take Clementine for his own, her father gave his blessing to marry Levis, and it was as she went to meet Levis that the incident happened. The song is sung during both the opening and closing credits; Shelley Duvall (as Clementine) hums the tune, claiming she had made it up as a kid, and Levis sings a version of it as he returns to the camp to ask her father's blessings, carrying a special gift for Clementine. The story seems to pull elements from both songs, "Oh My Darling Clementine" and "Down By The River Liv'd a Maiden", as Clementine did have a drink before heading to the river and is seen by Levis after the incident. At the end of M*A*S*H episode 22 of season 5, Movie Tonight, the song is sung by all the staff in the operating room after an abortive attempt to view the John Ford movie My Darling Clementine. The Malayalam funeral march "Samayamam Rathathil Njan" by Volbrecht Nagel uses this tune. An English nursery rhyme, "Call the Doctor", uses the tune. Bobby Darin Version Bobby Darin recorded a version of the song, in which he made fun of Clementine's weight, joking at the end of the song that whalers might find her: "Hey you sailor, / way out in your whaler, / a-with your harpoon and / your trusty line, / if she shows now, yell... / a-there she blows now! / It just may be chunky / Clementine". Jan and Dean Version Jan and Dean had a minor hit with "Clementine". It was released under the Dore label (SP DORE 539 (US)) in November, 1959; "You're On My Mind" was the B Side. Tom Lehrer version Tom Lehrer recorded a set of variations on the song on his live album An Evening Wasted with Tom Lehrer, demonstrating his theory that "folk songs are so bad because they were written by the people." He plays the first verse in the style of Cole Porter, the second in the style of "Mozart or one of that crowd", the third in a disjointed jazz sound in the style of Thelonious Monk, and the final verse in the style of Gilbert and Sullivan. Other versions In 2004 the song was recorded by Westlife on their Allow Us to Be Frank. The song is referenced in the lyrics of two separate songs by Elliott Smith. The first, "Clementine", from his 1995 self-titled album. The second, "Sweet Adeline", appears three years later on XO. Megan Washington recorded "Clementine" in 2010. The song references some of the lyrics from the original. In 2012 Neil Young and Crazy Horse recorded an almost six minutes long, hard rock version of "Clementine" on their album Americana. External Links:

Old Folks at Home

"Old Folks at Home"
Oldfolksathome.jpg
1851 edition

 
Music by Stephen Foster Lyrics by Stephen Foster Published 1851 Language English Form Strophic with chorus "Old Folks at Home" (also known as "Swanee River", "Swanee Ribber" [from the original lyrics] or "Suwannee River") is a minstrel song written by Stephen Foster in 1851. It is the official state song of Florida.

Composition

Map of the Suwannee basin.
 
Written for performance by the New York blackface troupe Christy's Minstrels, the song has E. P. Christy, the troupe's leader, appearing as its creator on early printings of the sheet music. Christy had paid Foster to be credited, something Foster himself had suggested though later regretted.

 "Old Folks at Home"

 Menu 0:00 Ernestine Schumann-Heink (1918) Problems playing this file? See media help. Foster had composed most of the lyrics but was trying to give a name to the river of the opening line and asked his brother to suggest one. The first suggestion was "Yazoo" (in Mississippi), which despite fitting the melody perfectly, Foster rejected. The second suggestion was "Pee Dee" (in South Carolina), to which Foster said, "Oh pshaw! I won't have that." His brother then consulted an atlas and called out "Suwannee!" Foster said "That's it exactly!" He wrote it in immediately (misspelling it "Swanee" to fit the melody). Foster himself never saw the Suwannee or even visited Florida, but the popularity of the song initiated tourism to Florida to see the river and since 1935 it has been the official state song of Florida, although in 2008 the original lyrics were expurgated. Dvorak's Humoresque Number 7, written in the 1890's, is musically similar and is sometimes played along with "Old Folks at Home". The Library of Congress's National Jukebox presents a version with soprano Alma Gluck and violinist Efrem Zimbalist.
  
Controversy

Written in the first person from the perspective of a black slave (at a time when slavery was legal in half of the states of the US), the song has its narrator "longing for de old plantation," which has long drawn criticism as romanticizing slavery, although Foster himself supported the North during the American Civil War and supported abolition of slavery. A word now long reckoned an ethnic slur, "darkies", that is used in the lyrics has become such an embarrassment for singers and audiences alike that, for example, the word "brothers" was sung in place of the offensive word at the dedication of the new Florida capitol building in 1978 and, in general, at public performances another word like "lordy," "mama," "darling," "brothers" or "dear ones" is typically substituted. The text is written, as is usual in minstrel songs, in a cross between the dialect generally spoken by African slaves and standard American English — the former being attested to as in use as late as the 1940s in the works of the black Floridian folklorist Zora Neale Hurston, and is an archaic form of contemporary African American Vernacular English — and this is seen by some as racism against black Americans. In practice, the pronunciation as written in dialect has long been disregarded and the corresponding standard American English usage has been sung, as witnessed by the song's performances at the 1955 Florida Folk Festival.

State Song of Florida

As the official state song of Florida, "Old Folks at Home" has traditionally been sung as part of a Florida governor's inauguration ceremony. However, over time, the lyrics were progressively altered to be less offensive; as Diane Roberts observed: Florida got enlightened in 1978; we substituted "brothers" for "darkies." There were subsequent revisions. At Jeb Bush's second inauguration as governor in 2003, a young black woman gave a moving, nondialect rendition of "Old Folks at Home," except "still longing for the old plantation" came out "still longing for my old connection." Perhaps someone confused Stephen Foster's lyrics with a cell phone commercial. In his 2007 inauguration ceremony, Charlie Crist decided to not include the state song, but rather to use in its place, "The Florida Song," a composition written by a black Floridian jazz musician, Charles Atkins. Crist then encouraged state Senator Tony Hill, who was the leader of the legislature's Black Caucus, to find a new song. Hill joined forces with state Representative Ed Homan and the Florida Music Educators Association to sponsor a contest for a new state song; on January 11, 2008, the song "Florida (Where the Sawgrass Meets the Sky)" was selected as the winner. The Florida legislature considered the issue and ultimately adopted it as the state anthem while retaining "Old Folks at Home" as the state song, replacing its original lyrics with a bowdlerized version approved by scholars at the Stephen Foster Memorial at the University of Pittsburgh. Governor Crist stated that he was not pleased by the "two songs" decision, but signed the bill, creating a new state anthem and establishing the reworded version of the State Song by state statute, rather than by resolution, like the 1935 decision.  

Lyrics

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The Suwannee River in Florida

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"Historic Suwannee River" sign with the first line of sheet music from "Old Folks at Home" at Interstate 75's crossing of the Suwannee

"Old Folks at Home", by Stephen Foster, 1851

 Way down upon de Swanee Ribber,
Far, far away,
Dere's wha my heart is turning ebber,
Dere's wha de old folks stay.
All up and down de whole creation Sadly I roam,
Still longing for de old plantation,
And for de old folks at home.  

Chorus

All de world am sad and dreary, Eb-rywhere I roam;
Oh, darkeys, how my heart grows weary,
Far from de old folks at home!

 2nd verse

All round de little farm I wandered When I was young,
Den many happy days I squandered,
Many de songs I sung.
When I was playing wid my brudder Happy was I;

Oh, take me to my kind old mudder!
Dere let me live and die.  

3rd Verse

One little hut among de bushes,
One dat I love Still sadly to my memory rushes,
No matter where I rove.
When will I see de bees a-humming All round de comb?
When will I hear de banjo strumming,
Down in my good old home?

External links

 Source: Internet

Dixie (song)


Dixie
1900sc SM Dixie.jpg
Sheet music cover, c. 1900.

Unofficial National anthem of
 Confederate States of America

Also known asI Wish I Was in Dixie
Dixie's Land
LyricsDaniel Decatur Emmett, Unknown
MusicDaniel Decatur Emmett, Unknown
Adopted1861
Relinquished1865

Music sample
Dixie
0:00
"Dixie", also known as "I Wish I Was in Dixie", "Dixie's Land", and other titles, is a popular American song. It is one of the most distinctively American musical products of the 19th century, and probably the best-known song to have come out of blackface minstrelsy. Although not a folk song at its creation, "Dixie" has since entered the American folk vernacular. The song likely cemented the word "Dixie" in the American vocabulary as a synonym for the Southern United States.

Most sources credit Ohio-born Daniel Decatur Emmett with the song's composition; however many other people have claimed to have composed "Dixie", even during Emmett's lifetime. Compounding the problem of definitively establishing the song's authorship are Emmett's own confused accounts of its writing, and his tardiness in registering the song's copyright. The latest challenge has come on behalf of the Snowden Family of Knox County, Ohio, who may have collaborated with Emmett to write "Dixie".

The song originated in the blackface minstrel shows of the 1850's and quickly grew famous across the United States. Its lyrics, written in a comic, exaggerated version of African American Vernacular English, tell the story of a freed black slave pining for the plantation of his birth. During the American Civil War, "Dixie" was adopted as a de facto anthem of the Confederacy. New versions appeared at this time that more explicitly tied the song to the events of the Civil War. Since the advent of the North American Civil Rights Movement, many have identified the lyrics of the song with the iconography and ideology of the Old South. Today, "Dixie" is sometimes considered offensive, and its critics link the act of singing it to sympathy for the concept of slavery in the American South. Its supporters, on the other hand, view it as a legitimate aspect of Southern culture and heritage and the campaigns against it as political correctness. The song was a favorite of President Abraham Lincoln- he had it played at some of his political rallies and at the announcement of General Robert E. Lee's surrender.

Structure
 
"Dixie" is structured into 32 measure groups of alternating verses and refrains, following an AABC pattern. As originally performed, a soloist or small group stepped forward and sang the verses, and the whole company answered at different times; the repeated line "look away" was probably one part sung in unison like this. As the song became widely popular, the audience likely joined the troupe in singing the chorus. Traditionally, another eight measures of unaccompanied fiddle playing followed, coming to a partial close in the middle; since 1936, this part has rarely been printed with the sheet music.

The song was traditionally played at a tempo slower than the one usually played today. Rhythmically, the music is "characterized by a heavy, nonchalant, inelegant strut", and is in duple meter, which makes it suitable for both dancing and marching. "Dixie" employs a single rhythmic motive (two sixteenth note pickups followed by a longer note), which is integrated into long, melodic phrases. The melodic content consists primarily of arpeggiations of the tonic triad, firmly establishing the major tonality. The melody of the chorus emulates natural inflections of the voice (particularly on the word "away"), and may account for some of the song's popularity.
Detail from a playbill of the Bryant's Minstrels depicting the first part of a walkaround, dated 19 December 1859.
 
According to musicologist Hans Nathan, "Dixie" resembles other material that Dan Emmett wrote for Bryant's Minstrels, and, in writing it, the composer drew on a number of earlier works. The first part of the song is anticipated by other Emmett compositions, including "De Wild Goose-Nation" (1844), itself a derivative of "Gumbo Chaff" (1830s) and ultimately an 18th-century English song called "Bow Wow Wow". The second part is probably related to even older material, most likely Scottish folk songs. The chorus follows portions of "Johnny Roach", an Emmett piece from earlier in 1859.

As with other blackface material, performances of "Dixie" were accompanied by dancing. The song is a walkaround, which originally began with a few minstrels acting out the lyrics, only to be joined by the rest of the company (a dozen or so individuals for the Bryants). According to a musician named Oscar Coon, Bryant's Minstrels performed a jig to "Dixie" called Beans of Albany. This is probably Albany Beef, the Scots-Irish dance that Emmett refers to in a book on fife instruction. Dancers probably performed between verses, and a single dancer used the fiddle solo at the end of the song to "strut, twirl his cane, or mustache, and perhaps slyly wink at a girl on the front row."

Lyrics

Countless lyrical variants of "Dixie" exist, but the version attributed to Dan Emmett and its variations are the most popular. Emmett's lyrics as they were originally intended reflect the mood of the United States in the late 1850's toward growing abolitionist sentiment. The song presented the point of view, common to minstrelsy at the time, that slavery was overall a positive institution. The pining slave had been used in minstrel tunes since the early 1850's, including Emmett's "I Ain't Got Time to Tarry" and "Johnny Roach". The fact that "Dixie" and its precursors are dance tunes only further made light of the subject In short, "Dixie" made the case, more strongly than any previous minstrel tune had, that slaves belonged in bondage. This was accomplished through the song's protagonist, who, in comic black dialect, implies that despite his freedom, he is homesick for the plantation of his birth:
I wish I was in the land of cotton,
Old times they are not forgotten;
Look away! Look away! Look away! Dixie Land.
In Dixie Land where I was born in,
Early on one frosty mornin,
Look away! Look away! Look away! Dixie Land.
The remaining verses drift into the common minstrel idiom of a comical plantation scenario, "supposedly [depicting] the gayer side of life for slaves on Southern plantations":
Old Missus marry "Will-de-weaber,"
Willium was a gay deceaber;
Look away! Look away! Look away! Dixie Land.
But when he put his arm around'er,
He smiled as fierce as a forty-pound'er,
Look away! Look away! Look away! Dixie Land.
The final verse mixes nonsense and dance steps with the freed-slave scenario:
Dar's buck-wheat cakes an 'Ingen' batter,
Makes you fat or a little fatter;
Look away! Look away! Look away! Dixie Land.
Den hoe it down an scratch your grabble,
To Dixie land I'm bound to trabble.
Look away! Look away! Look away! Dixie Land.
The lyrics use many common phrases found in minstrel tunes of the day—"I wish I was in . . ." dates to at least "Clare de Kitchen" (early 1830's), and "Away down south in . . ." appears in many more songs, including Emmett's "I'm Gwine ober de Mountain" (1843). The second stanza clearly echoes "Gumbo Chaff" from the 1830's: "Den Missus she did marry Big Bill de weaver / Soon she found out he was a gay deceiver". The final stanza rewords portions of Emmett's own "De Wild Goose-Nation": "De tarapin he thot it was time for to trabble / He screw aron his tail and begin to scratch grabble." Even the phrase "Dixie's land" had been used in Emmett's "Johnny Roach" and "I Ain't Got Time to Tarry", both first performed earlier in 1859.

As with other minstrel material, "Dixie" entered common circulation among blackface performers, and many of them added their own verses or altered the song in other ways. Emmett himself adopted the tune for a pseudo-African American spiritual in the 1870s or 1880s. The chorus changed to:
I wish I was in Canaan
Oaber dar—Oaber dar,
In Canaan's lann de color'd man
Can lib an die in cloaber
Oaber dar—Oaber dar,
Oaber dar in de lann ob Canaan.
Both Union and Confederate composers produced war versions of the song during the American Civil War. These variants standardized the spelling and made the song more militant, replacing the slave scenario with specific references to the conflict or to Northern or Southern pride. This Confederate verse by Albert Pike is representative:
Southrons! hear your country call you!
Up! lest worse than death befall you! . . .
Hear the Northern thunders mutter! . . .
Northern flags in South wind flutter; . . .
Send them back your fierce defiance!
Stamp upon the cursed alliance!
Compare Frances J. Crosby's Union lyrics:
On! ye patriots to the battle,
Hear Fort Moultrie's cannon rattle!
Then away, then away, then away to the fight!
Go meet those Southern traitors,
With iron will.
And should your courage falter, boys,
Remember Bunker Hill.
Hurrah! Hurrah! The Stars and Stripes forever!
Hurrah! Hurrah! Our Union shall not sever!
The Confederate States of America War Song Goes Like This:
Southern men the thunders mutter!
Northern flags in South winds flutter!
To arms! To arms! To arms, in Dixie!
Send them back your fierce defiance!
Stamp upon the cursed alliance!
To arms! To arms! To arms, in Dixie!
Advance the flag of Dixie! Hurrah! Hurrah!
In Dixie's land we take our stand, and live or die for Dixie!
To arms! To arms! And conquer peace for Dixie!
To arms! To arms! And conquer peace for Dixie
Fear no danger! Shun no labor!
Lift up rifle, pike, and saber!
To arms! To arms! To arms, in Dixie!
Shoulder pressing close to shoulder,
Let the odds make each heart bolder!
To arms! To arms! To arms, in Dixie!
Advance the flag of Dixie! Hurrah! Hurrah!
In Dixie's land we take our stand, and live or die for Dixie!
To arms! To arms! And conquer peace for Dixie!
To arms! To arms! And conquer peace for Dixie!
Swear upon your country's altar
Never to submit or falter--
To arms! To arms! To arms, in Dixie!
Till the spoilers are defeated,
Till the Lord's work is completed!
To arms! To arms! To arms, in Dixie!
"The New Dixie!: The True 'Dixie' for Northern Singers" takes a different approach, turning the original song on its head:
Den I'm glad I'm not in Dixie
Hooray! Hooray!
In Yankee land I'll took my stand,
Nor lib no die in Dixie
Soldiers on both sides wrote endless parody versions of the song. Often these discussed the banalities of camp life: "Pork and cabbage in the pot, / It goes in cold and comes out hot," or, "Vinegar put right on red beet, / It makes them always fit to eat". Others were more nonsensical: "Way down South in the fields of cotton, / Vinegar shoes and paper stockings".

Aside from its being rendered in standard English, the chorus was the only section not regularly altered, even for parodies. The first verse and chorus, in non-dialect form, are the best-known portions of the song today:
I wish I was in the land of cotton, old times there are not forgotten,
Look away, look away, look away, Dixie Land.
In Dixie Land where I was born in, early on a frosty mornin',
Look away, look away, look away, Dixie Land.
Then I wish I was in Dixie, hooray! hooray!
In Dixie Land I'll take my stand to live and die in Dixie,
Away, away, away down South in Dixie,
Away, away, away down South in Dixie.

Composition and copyright

"I Wish I Was in Dixie's Land" Sheet music
 
According to tradition, Ohio-born minstrel show composer Daniel Decatur Emmett wrote "Dixie" around 1859. Over his lifetime, Emmett often recounted the story of its composition, and details vary with each account. For example, in various versions of the story, Emmett claimed to have written "Dixie" in a few minutes, in a single night, and over a few days. An 1872 edition of The New York Clipper provides one of the earliest accounts, claiming that on a Saturday night shortly after Emmett had been taken on as songwriter for the Bryant's Minstrels, Jerry Bryant told him they would need a new walkaround by the following Monday. By this account, Emmett shut himself inside his New York flat and wrote the song that Sunday evening.

Other details emerge in later accounts. In one, Emmett claimed that "Suddenly, . . . I jumped up and sat down at the table to work. In less than an hour I had the first verse and chorus. After that it was easy." In another version, Emmett stared out at the rainy evening and thought, "I wish I was in Dixie." Then, "Like a flash the thought suggested the first line of the walk-around, and a little later the minstrel, fiddle in hand, was working out the melody" (a different story has it that Emmett's wife uttered the famous line). Yet another variant, dated to 1903, further changes the details: "I was standing by the window, gazing out at the drizzly, raw day, and the old circus feeling came over me. I hummed the old refrain, 'I wish I was in Dixie,' and the inspiration struck me. I took my pen and in ten minutes had written the first verses with music. The remaining verses were easy." In his final years, Emmett even claimed to have written the song years before he had moved to New York. A Washington Post article supports this, giving a composition date of 1843.

Emmett published "Dixie" (under the title "I Wish I Was in Dixie's Land") on 21 June 1860 through Firth, Pond & Co. in New York. The original manuscript has been lost; extant copies were made during Emmett's retirement, starting in the 1890s. Emmett's tardiness registering the copyright for the song allowed it to proliferate among other minstrel groups and variety show performers. Rival editions and variations multiplied in songbooks, newspapers and broadsides. The earliest of these that is known today is a copyrighted edition for piano from the John Church Company of Cincinnati, published on 26 June 1860. Other publishers attributed completely made-up composers with the song: "Jerry Blossom" and "Dixie, Jr.", among others. The most serious of these challenges during Emmett's lifetime came from Southerner William Shakespeare Hays; this claimant attempted to prove his allegations through a Southern historical society, but he died before they could produce any conclusive evidence. By 1908, four years after Emmett's death, no fewer than 37 people had claimed the song as theirs.

"Dixie" is the only song Emmett ever claimed to have written in a burst of inspiration, and analysis of Emmett's notes and writings shows "a meticulous copyist, [who] spent countless hours collecting and composing songs and sayings for the minstrel stage . . . ; little evidence was left for the improvisational moment." The New York Clipper wrote in 1872 that "[Emmett's] claim to authorship of 'Dixie' was and is still disputed, both in and out of the minstrel profession."  Emmett himself said, "Show people generally, if not always, have the chance to hear every local song as they pass through the different sections of [the] country, and particularly so with minstrel companies, who are always on the look out for songs and sayings that will answer their business."   He claimed at one point to have based the first part of "Dixie" on "Come Philander Let's Be Marchin,  Every One for His True Love Searchin", which he described as a "song of his childhood days". Musical analysis does show some similarities in the melodic outline, but the songs are not closely related. Emmett also credited "Dixie" to an old circus song. Despite the disputed authorship, Firth, Pond & Co. paid Emmett $300 for all rights to "Dixie" on 11 February 1861, perhaps fearing complications spurred by the impending Civil War.

The origin of the terms "Dixie" and "Dixieland"

Several theories exist regarding the origin of the term "Dixie". According to Robert LeRoy Ripley (founder and originator of "Ripley's Believe It or Not"), Dixie has nothing to do with the south. "Dixieland" was originally located on a farm in Long Island New York. This farm was owned by a man named John Dixie. He befriended so many slaves before the Civil War, his place, "Dixie's Land," became a sort of a paradise to them.

The term "Dixie" may also make reference to the Mason-Dixon line, separating free and slave states. Others maintain that the term's origins lie in "Dix notes," then a common name for $10 bills in Louisiana.

Possible African American origin

On at least one occasion, Emmett attributed "Dixie" to an unnamed Southern black man, and some of his contemporaries said that the song was based on an old African American folk tune. Taken at face value, these claims are hardly surprising, as minstrels often billed themselves as authentic delineators of slave material. Names of these chance-met black songwriters were rarely given.
Lew and Ben Snowden on banjo and fiddle in the second-story gable of their home, Clinton, Knox County, Ohio, c. 1890's.
 
However, a Mount Vernon, Ohio, tradition, which dates to the 1910's or 1920's at the latest, lends some credence to this notion. Many Mount Vernon residents claim that Emmett collaborated informally with a pair of black musicians named Ben and Lew Snowden. Those who remember the Snowden brothers describe them as "informal", "spontaneous", "creative", and "relatively free of concern over ownership" of their songs. The Snowden brothers were part of the Snowden Family Band, which was well known for traveling about the region. That Emmett might have met and played with these local celebrities is hardly surprising. The story is well enough known that the grave marker for Ben and Lew Snowden, set in 1976 by the black American Legion post, reads, "They taught 'Dixie' to Dan Emmett".

The Snowden theory has, however, one serious flaw. While Emmett likely did meet and play with Ben and Lew Snowden when he retired to Knox County, the Snowden brothers would have been only small children at the time Emmett composed "Dixie". Howard L. Sacks and Judith Sacks suggest that the Ohio legend may in fact be off by a generation, and that Emmett could have collaborated instead with the Snowden parents, Thomas and Ellen. This idea dates to at least 1978, in a genealogical history of the Robert Greer family of Knox County.

Circumstantial evidence suggests that this is possible. Emmett's grandparents owned the farm adjacent to the Snowden homestead, and Emmett's father was one of a few blacksmiths to whom Thomas Snowden could have brought his horses for shoeing. Furthermore, an unpublished biography of Emmett, written in 1935 by a friend of the Emmett family, Mary McClane, says that Emmett visited Mt. Vernon several times from 1835 until the 1860's and toured the surrounding area giving fiddle performances. Emmett certainly refers to Knox County in other songs, including "Seely Simpkins Jig", which refers to a fiddler there, and "Owl Creek Quickstep", which is named for an early settlement in the area.

Advocates of the Snowden theory believe that the lyrics of "Dixie" are a protest through irony and parody against the institution of slavery. The references to "Cimmon seed an' sandy bottom" in one version of the song may refer to Nanjemoy, Maryland, Ellen Snowden's birthplace, and located in an area that was known for its persimmons and sandy, wet lowlands. Slaves rarely knew their exact birth date, instead recalling broad details that someone was born, for example, "Early on one frosty mornin'". A domestic slave, as Ellen Snowden had been, would have been well placed to witness a love affair between "Old Missus" and "Will-de-weaber". Food imagery, such as "buck-wheat cake" and "'Ingen' batter", further points to a writer who had some experience as a cook.

A 1950 article by Ada Bedell Wootton claims that Ben and Lew Snowden sometimes played with Dan Emmett during the minstrel's retirement. At his death in 1923, Lew Snowden owned a small box of newspaper clippings asserting Emmett's authorship of "Dixie". He also had a small framed photograph of Emmett, a fixture on the Snowden house's wall for years, with the text "Author of 'Dixie'!" written under the minstrel's name. Scholars such as Clint Johnson, Robert James Branham, and Stephen J. Hartnett accept the claims of black origin for the song or at least allow for the possibility.

Nevertheless, many scholars, such as E. Lawrence Abel, dismiss the Snowden claims outright.

Popularity through the Civil War

Detail from a playbill for Bryant's Minstrels at the 4 April 1859 premiere of "Dixie", Mechanics' Hall, New York City
 
Bryant's Minstrels premiered "Dixie" in New York City on 4 April 1859 as part of their blackface minstrel show. It appeared second to last on the bill, perhaps an indication of the Bryants' lack of faith that the song could carry the minstrel show's entire finale. The walkaround was billed as a "plantation song and dance". It was a runaway success, and the Bryants quickly made it their standard closing number.

"Dixie" quickly gained wide recognition and status as a minstrel standard, and it helped rekindle interest in plantation material from other troupes, particularly in the third act. It became a favorite of Abraham Lincoln's and was played during his campaign in 1860. The New York Clipper wrote that it was "one of the most popular compositions ever produced" and that it had "been sung, whistled, and played in every quarter of the globe." Buckley's Serenaders performed the song in London in late 1860, and by the end of the decade, it had found its way into the repertoire of British sailors. As the American Civil War broke out, one New Yorker wrote,
"Dixie" has become an institution, an irrepressible institution in this section of the country . . . As a consequence, whenever "Dixie" is produced, the pen drops from the fingers of the plodding clerk, spectacles from the nose and the paper from the hands of the merchant, the needle from the nimble digits of the maid or matron, and all hands go hobbling, bobbling in time with the magical music of "Dixie."
The Rumsey and Newcomb Minstrels brought "Dixie" to New Orleans in March 1860; the walkaround became the hit of their show. That April, Mrs. John Wood sang "Dixie" in a John Brougham burlesque called Po-ca-hon-tas, or The Gentle Savage, increasing the song's popularity in New Orleans. On the surface "Dixie" seems an unlikely candidate for a Southern hit; it has a Northern composer, stars a black protagonist, is intended as a dance song, and lacks any of the patriotic bluster of most national hymns and marches. Had it not been for the atmosphere of sectionalism in which "Dixie" debuted, it might have faded into obscurity. Nevertheless, the refrain "In Dixie Land I'll took my stand / To lib an die in Dixie", coupled with the first verse and its sanguine picture of the South, hit a chord.

Woods's New Orleans audience demanded no fewer than seven encores.
Unauthorized sheet music to "Dixie", published by P. P. Werlein and Halsey of New Orleans, Louisiana, in 1861.
 
New Orleans publisher P. P. Werlein took advantage and published "Dixie" in New Orleans. He credited music to J. C. Viereck and Newcomb for lyrics. When the minstrel denied authorship, Werlein changed the credit to W. H. Peters. Werlein's version, subtitled "Sung by Mrs. John Wood", was the first "Dixie" to do away with the faux black dialect and misspellings. The publication did not go unnoticed, and Firth Pond & Co. threatened to sue. The date on Werlein's sheet music precedes that of Firth, Pond & Co.'s version, but Emmett later recalled that Werlein had sent him a letter offering to buy the rights for $5. In a New York musical publishers' convention, Firth, Pond & Co. succeeded in convincing those present that Emmett was the composer. In future editions of Werlein's arrangement, Viereck is merely credited as "arranger". Whether ironically or sincerely, Emmett dedicated a sequel called "I'm Going Home to Dixie" to Werlein in 1861.

"Dixie" quickly spread to the rest of the South, enjoying vast popularity. By the end of 1860, secessionists had adopted it as theirs; on 20 December the band played "Dixie" after each vote for secession at St. Andrew's Hall in Charleston, South Carolina. On 18 February 1861, the song took on something of the air of national anthem when it was played at the inauguration of Jefferson Davis, arranged as a quickstep by Hermann Arnold, and possibly for the first time as a band arrangement. Emmett himself reportedly told a fellow minstrel that year that "If I had known to what use they were going to put my song, I will be damned if I'd have written it."

In May 1861 Confederate Henry Hotze wrote:
It is marvellous with what wild-fire rapidity this tune "Dixie" has spread over the whole South. Considered as an intolerable nuisance when first the streets re-echoed it from the repertoire of wandering minstrels, it now bids fair to become the musical symbol of a new nationality, and we shall be fortunate if it does not impose its very name on our country.
Southerners who shunned the song's low origins and comedic nature changed the lyrics, usually to focus on Southern pride and the war. Albert Pike's enjoyed the most popularity; the Natchez (Mississippi) Courier published it on 30 May 1861 as "The War Song of Dixie", followed by Werlein, who again credited Viereck for composition. Henry Throop Stanton published another war-themed "Dixie", which he dedicated to "the Boys in Virginia". The defiant "In Dixie Land I'll take my stand / To live and die in Dixie" were the only lines used with any consistency. The tempo also quickened, as the song was a useful quickstep tune. Confederate soldiers by and large preferred these war versions to the original minstrel lyrics. "Dixie" was probably the most popular song for Confederate soldiers on the march, in battle, and at camp.

Southerners who rallied to the song proved reluctant to acknowledge a Yankee as its composer. Accordingly, some ascribed it a longer tradition as a folk song. Poet John Hill Hewitt wrote in 1862 that "The homely air of 'Dixie', of extremely doubtful origin . . . [is] generally believed to have sprung from a noble stock of Southern stevedore melodies."

Meanwhile, many Northerners took offense to the South's appropriation of "Dixie". Before even the fall of Fort Sumter, Frances J. Crosby published "Dixie for the Union" and "Dixie Unionized". The tune formed part of the repertoire of both Union bands and common troops until 1863. Broadsides circulated with titles like "The Union 'Dixie'" or "The New Dixie, the True 'Dixie' for Northern Singers". Northern "Dixies" branded Southerners as traitors and resorted to pure insults. Emmett himself arranged "Dixie" for the military in a book of fife instruction in 1862, and a 1904 work by Charles Burleigh Galbreath claims that Emmett gave his official sanction to Crosby's Union lyrics.

At least 39 versions of the song, both vocal and instrumental, were published between 1860 and 1866.

Northerners, Emmett among them, also declared that the "Dixie Land" of the song was actually in the North. One common story, still cited today, claimed that Dixie was a Manhattan slave owner who had sent his slaves south just before New York's 1827 banning of slavery. The stories had little effect; for most Americans "Dixie" was synonymous with the South.

On 10 April 1865, one day after the surrender of General Robert E. Lee, Lincoln addressed a White House crowd:
I propose now closing up by requesting you play a certain piece of music or a tune. I thought "Dixie" one of the best tunes I ever heard . . . I had heard that our adversaries over the way had attempted to appropriate it. I insisted yesterday that we had fairly captured it . . . I presented the question to the Attorney-General, and he gave his opinion that it is our lawful prize . . . I ask the Band to give us a good turn upon it.
By that and other actions, Lincoln demonstrated his willingness to be concilliatory to the South and to restore the Union as soon as practicable.

"Dixie" reconstructed

"DIXIE'S LAND", 1904 postcard
 
"Dixie" slowly re-entered Northern repertoires, mostly in private performances. New Yorkers resurrected stories about "Dixie" being a part of Manhattan, thus reclaiming the song for themselves. The New York Weekly wrote, "... no one ever heard of Dixie's land being other than Manhattan Island until recently, when it has been erroneously supposed to refer to the South, from its connection with pathetic negro allegory." In 1888 the publishers of a Boston songbook included "Dixie" as a "patriotic song", and in 1895 the Confederate Veterans' Association suggested a celebration in honor of "Dixie" and Emmett in Washington as a bipartisan tribute. One of the planners noted that:
In this era of peace between the sections . . . thousands of people from every portion of the United States will be only too glad to unite with the ex-confederates in the proposed demonstration, and already some of the leading men who fought on the Union side are enthusiastically in favor of carrying out the programme. Dixie is as lively and popular an air today as it ever was, and its reputation is not confined to the American continent . . . [W]herever it is played by a big, strong band the auditors cannot help keeping time to the music.
However, "Dixie" was still most strongly associated with the South. Northern singers and writers often used it for parody or as a quotation in other pieces to establish a person or setting as Southern. For example, African Americans Eubie Blake and Noble Sissle quoted "Dixie" in the song "Bandana Days" for their 1921 musical Shuffle Along. In 1905 the United Daughters of the Confederacy mounted a campaign to acknowledge an official Southern version of the song (one that would purge it forever of its African American associations). Although they obtained the support of the United Confederate Veterans and the United Sons of Confederate Veterans, Emmett's death the year before turned sentiments against the project, and the groups were ultimately unsuccessful in having any of the 22 entries universally adopted.

As African Americans entered minstrelsy, they exploited the song's popularity in the South by playing "Dixie" as they first arrived in a Southern town. According to Tom Fletcher, a black minstrel of the time, it tended to please those who might otherwise be antagonistic to the arrival of a group of black men.

Photograph of Dan Emmett with "Author of 'Dixie!'" written across the bottom. The portrait belonged to Ben and Lew Snowden of Knox County, Ohio.
 
Still, "Dixie" was not rejected outright in the North. An article in the New York Tribune, c. 1908, said that "though 'Dixie' came to be looked upon as characteristically a song of the South, the hearts of the Northern people never grew cold to it. President Lincoln loved it, and to-day it is the most popular song in the country, irrespective of section." As late as 1934, the music journal The Etude asserted that "the sectional sentiment attached to Dixie has been long forgotten; and today it is heard everywhere—North, East, South, West."

"Dixie" had become Emmett's most enduring legacy. In the 1900 census of Knox County, Emmett's occupation is given as "author of Dixie". The band at Emmett's funeral played "Dixie" as he was lowered into his grave. His grave marker, placed 20 years after his death, reads,
To the Memory of
Daniel Decatur Emmett
1815—1904
Whose Song 'Dixie Land' inspired the courage
and Devotion of the Southern People and now
Thrills the Hearts of a Reunited Nation.

Whistling "Dixie"

The song even added a new term to the American lexicon: "Whistling 'Dixie'" is a slang expression meaning "[engaging] in unrealistically rosy fantasizing". For example, "Don't just sit there whistling 'Dixie'!" is a reprimand against inaction, and "You ain't just whistling 'Dixie'!" indicates that the addressee is serious about the matter at hand.

Modern interpretations

Beginning in the American Civil Rights Movement in the 1950s and 1960s, African Americans have frequently challenged "Dixie" as a racist relic of the Confederacy and a reminder of decades of white domination and segregation. These feelings were amplified when white opponents to civil rights began answering songs such as "We Shall Overcome" with the unofficial Confederate anthem.


The earliest of these protests came from students of Southern universities, where "Dixie" was a staple of a number of marching bands. In 1967 black cadets at The Citadel refused to stand for "Dixie" or to sing and perform it at football games. Similar protests have since occurred at the University of Virginia, the Georgia Institute of Technology, and Tulane University. In 1968, the President of the University of Miami banned the song from its band's performances.

The debate has since moved beyond student populations. Members of the 75th United States Army Band protested "Dixie" in 1971. In 1989, three black Georgia senators walked out when the Miss Georgia Sweet Potato Queen sang "Dixie" in the Georgia chamber. Meanwhile, many black musicologists have challenged the song's racist origins. For example, Sam Dennison writes that "Today, the performance of 'Dixie' still conjures visions of an unrepentant, militarily recalcitrant South, ready to reassert its aged theories of white supremacy at any moment.... This is why the playing of 'Dixie' still causes hostile reactions."

On the other hand, for many Southerners, "Dixie", like the Confederate flag, is a symbol of Southern heritage and identity. Southern schools maintain the "Dixie" fight song, often coupled with the Rebel mascot and the Confederate battle flag school symbol, despite protests. Confederate heritage websites regularly feature the song, and Confederate heritage groups routinely sing "Dixie" at their gatherings. In his song "Dixie on My Mind", country musician Hank Williams, Jr., cites the absence of "Dixie" on Northern radio stations as an example of how Northern culture pales in comparison to its Southern counterpart.

Others consider the song a part of the patriotic American repertoire on a par with "America the Beautiful" and "Yankee Doodle". For example, Chief Justice William Rehnquist regularly included "Dixie" in his annual sing-along for the 4th Circuit Judicial Conference in Virginia. However, its performance prompted some African American lawyers to avoid the event.

Campaigns against "Dixie" and other Confederate symbols have helped create a sense of political ostracism and marginalization among working-class white Southerners. Confederate heritage groups and literature proliferated in the late 1980's and early 1990's in response to criticism of the song. Journalist Clint Johnson calls modern opposition to "Dixie" "an open, not-at-all-secret conspiracy" and an example of political correctness. Johnson claims that modern versions of the song are not racist and simply reinforce that the South "extols family and tradition." Other supporters, such as State Senator Glenn McConnell of South Carolina, have called the attempts to suppress the song cultural genocide.

Performers who choose to sing "Dixie" today usually remove the black dialect and combine the song with other pieces. For example, Rene Marie's jazz version mixes "Dixie" with "Strange Fruit", a Billie Holiday song about a lynching. Mickey Newbury's "An American Trilogy" (often performed by Elvis Presley) combines "Dixie" with the Union's "Battle Hymn of the Republic" and the negro spiritual "All My Trials".

As an instrumental piece, to countless people "Dixie" signifies nothing more than "Southern United States". This interpretation has been reinforced through years of American popular culture. For example, the soundtracks of cartoons featuring Southern characters like Foghorn Leghorn often play "Dixie" to quickly set the scene. On the television series The Dukes of Hazzard, which takes place in Georgia, the car horn of the General Lee plays part of the melody from the song. Sacks and Sacks argue that such apparently innocent associations only further serve to tie "Dixie" to its blackface origins, as these comedic programs are, like the minstrel show, "inelegant, parodic [and] dialect-ridden". On the other hand, Poole sees the "Dixie" car horn, mimicked by white Southerners, as another example of the song's role as a symbol of "working-class revolt". However, in more serious fare, "Dixie" signals "Southern."

For example, Max Steiner quotes the song in the opening scene of his late 1930's score to Gone with the Wind as a down-beat nostalgic instrumental to set the scene and Ken Burns makes use of instrumental versions in his 1990 Civil War documentary.

In a widely publicized and controversial incident, Senator Jesse Helms deeply offended Carol Moseley Braun, the first black woman in the Senate and the only black senator at the time. Soon after the 1993 Senate vote on the Confederate flag insignia, which opponents saw as an overt symbol of racism—both for the history of racial slavery in the United States and for establishment of Jim Crow laws—Helms ran into Moseley Braun in an elevator. Helms turned to his friend, Sen. Orrin Hatch (R.-Utah), and said, "Watch me make her cry. I'm going to make her cry. I'm going to sing 'Dixie' until she cries." He then proceeded to sing the song about "the good life" during slavery to Moseley Braun.
In Netflix's House of Cards, Kevin Spacey's character Francis Underwood sings 'Dixie' during a ceremony at his alma mater. His old school friends appear and they sing the first verse to cheering.


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