2013 NEA National Heritage Fellowships Concert

2013 NEA National Heritage Fellowships Concert


? ? ? Sacred Harp singing ? ? ?[APPLAUSE] Ladies and gentlemen, our host for this evening,
the voice and spirit behind public radio’s “American Routes,” Nick Spitzer. [APPLAUSE]
[LAUGHTER] Thank you. Good evening and welcome to the
2013 NEA National Heritage Fellows concert. I love that. It is an ancient sound to soothe
the soul for modern times. I know you appreciate it as muCh as I do. These folks have come,
these Sacred Harp singers have come from Alabama and Georgia. And not just rural areas, from
Birmingham ad also Atlanta. Let us meet David Ivey, in from Huntsville. [APPLAUSE] Where does this tradition come from David? It really comes from colonial America. It
started in New England, at least the type of music we sing, it came down to the Appalachians,
and really found its home in the South. How is the Sacred Harp music different than
other kinds of church music? I am glad you asked me that after we sang
a song because it’s a little bit easier to explain it. First of all, the harmonies are
very strong. Each part, each of our four parts almost has its own melody. We sing the shaped
notes, as you have heard, before we sing the words. Some people call it fa sol la . But there
are more than those three. We sing fa sol la fa sol lar mi fa mi fa on
our scale. We’ll run through that in a second. We will give it a listen. Why is it called shaped notes? The use of shape notes was starting in about
1800, as a way to teach common folk how to sing, how to sight read. It is very effective. ANd you all have the books I see, yet it is
an oral tradition as well. It is both. I think you’re going to maybe help us better
understand this. Can we get a little demo of how we learn? We’re going to get into our hollow square.
We sit in a hollow square and we sing to each other, and we sing to God from the hollow
square. We’re going to get in a hollow square and demonstrate. Get in the hollow square. fa sol la fa sol la mi fa ? la ? ? sol ? And now we will do the minor scale. ? la mi fa sol la fa sol la ? ? la ? ?la ? ?l la la la “? [LAUGHTER] [APPLAUSE] Around here, even a demonstration gets applause.
These folks love what you all are doing, and certainly I do as well. You teach this in
singing camps. How does that go? We have been having camp fa sol la in Alabama
for 11 years. We have youth and adults come and we spend a a whole week learning the shaves,
learning the scales, learning how to keep time, learning accent, and also learning thet
raditions we have that keep us going. You feel like the tradition is going forward
and will continue into the future? 50 years ago, our elders really wondered whether
we would be still singing today. And now 50 years later, sacred harp singing is stronger
than ever. There are singings throughout the country, in almost every state, and also in
Europe, and even in Australia. The first National Heritage Fellowships in
1982 over at the Departmental Auditorium, Department of Labor. Pete Seger was hosting
it. And Hugh McGraw from Alabama, that you know and was mentored by, was there. I went to singing schools under Hugh McGraw
back in the 1970’s actually. All of us who are singing here have sung with Hugh. I actually
him about two weeks ago – he’s doing quite well. That’s amazing. That’s fantastic. I wonder
if he is watching us on the feed right now. I hope so. Mr. McGraw, I hope you are looking at us with
the Tune books as we stand here. You are from Huntsville, and that is a town famous for
rockets and space science. What do you do? I am the director of the Alabama Supercomputer
Center. I love my job. I love it. [LAUGHTER] So what you are doing
is giving us a little balm in Gilead, and at the same time keeping up with modern times. I have to work to support my family, but I
sing sacred harp for my soul. Fantastic. You about to give us two more songs
and the first one is?. The first is a tune from 1803, and the tune
is called “Florida.” The second tune, I will let you listen to
the words, and I think you will know what it is. David Ivey, thank you so much. Thanks
everybody in the Sacred Harp Singers. “Florida.” ? la fa sol etc? ? ? ? let singers take their
chords to road this day In the worship of my God My hand should pray I will sing my
daily bread Know my words In the words follow my heart I’ll sing my daily bread. In the
words of my God I will sing my daily bread ? [APPLAUSE] ? fa sol fa la sol etc ? ? ? Farewell, farewell
I hear you tell I’m sorry to leave I love you so well Now I must go Where, I don’t know
Wherever drives me the trumpet to blow ? [APPLAUSE] ? la ? ? la fa sol ? ? ? I am a poor and harried
stranger I journey through this world alone Yet there is no sickness or danger In that
far land to which I go I’m going there to see my father I’m going there no more to roam
I’m going going over Jordan I’m won’t be going home I want to bear a crown of glory When
I get home to that good land I want to shout salvation’s story in concert with the ones
I stand I’m going there to meet my Savior To sing his prayers forevermore I’m only going
over Jordan I’m only going over home ? [APPLAUSE] David Ivey and all the Sacred Harp Singers
in from Alabama and Georgia, raising a joyful noise unto the Lord. Thank you so much, folks. I was thinking about that music from North
Alabama and how it influenced country music. The Louvin Brothers were shape note singer
from Sand Mountain and their harmonies were so pitch perfect. I have heard that song by
Johnny Cash and I’ve heard it by Mahalia Jackson. We’re all wayfaring strangers depending whatever
our belief may be on some level but It is great to hear from back down home. Bess Lomax
Hawes, the director of the folk arts program at the NEA, conceived of the Heritage Fellowships
and often spoke about the need to give folk and traditional artists a voice in our national
conversation about cultural priorities. She saw these fellowships as a way to do that.
It provides an opportunity in the nation’s capital to not only hear voices that are previously
unheard but also rarely heard languages. I know Bess cared a great deal about that. It
seems appropriate that the Bess Lomax Hawes Fellowship this year is given to someone who
has been a preserver of language and cultural practice for the Lummi nation up in northwestern
Washington state. Pauline Hillaire has been an artist, storyteller, singer, dancer, and
a teacher of the young and old alike. Pauline is unable to be with us this evening but representing
her and honoring her tonight are members of the Lummi tribe, as the Children of the Setting
Sun. [drumming] [chanting] ? ? My name is Pauline Hillaire. I come from the
Lummi Nation. My Indian name is Scalla, which means “of the killer whale.” I am making an
all-out call for young people with dreams and visions for the future of their children
and the survival of their children. To carve, some of you think is a mystery. But no. You
have got to have heart, and I know you do. Carving, no matter how long, brings more to
the surface of the art than you expect. You have already become a storyteller, or a historian.
You are already a very important person to your family and your community. Carving is
the result of a dream, of a vision, of a spiritual message. It is possible for anyone, any age,
and young people in particular, to remember their dreams. And so, my beloved people, when
you hear my voice, remember that my voice is carrying a message to you. To you. Oh I
thank you for being wherever you are. But we need you. Thank you. [chanting and drumming] ? ? [APPLAUSE] Lummi people, Children of the Setting sun,
Ben Covington, welcome. [speaking in the Lummi language] Here on behalf of my grandmother Pauline Hillaire,
Scalla, the killer whale. THank you. We heard a piece called “Love Song
for the Stars.” The song that we sang was “Star Song,” there
are two parts of it, there’s a male and a female. The part we just sung was the male.
Saying, ‘You were once there, and now you are gone. I will remember you, I will remember
you through this song and through this way of life. ‘ You are up in the Puget Sound, so nature figures
a lot in the singing and tales. As native people, we respect and honor everything
we are given by Creator, all the tools given to us by Mother Nature and Creator. Yes. I know your grandmother is a very strong woman
and speaks her mind and heart. But when we hear that she is of the killer whale, we wonder
— can you say something about that name? My grandmother gathers her strength from her
great- grandfather, Frank Hillaire, and Joseph Hillaire, her father. Her name, “of the killer
whale,” the killer whale is a pillar and guardian of the sea, much as my grandmother is a pillar
and guardian of our way of life. How many generations do you have out here
tonight? I think I saw a cradle board awhile ago. There are four generations. As native people,
we honor each and every one, from the elder to the youngest. We honor the veterans as
well. My cousin is here, Charles Rubin. Jeremy Covington and myself, are all from the armed
forces. I noticed that when the award was given at
the Library of Congress the other afternoon, you were in uniform, everyone was in dress
uniform. I will ask my cousins to raise their hands
that are in the armed forces. Give them a round of — [APPLAUSE] Thank you. You are serving the United States and the
people of America, in the armed forces. But you are also taking care of the Lummi people
back home. Tonight, of course, you are in ceremonial dress Do you have different ways
of thinking about the different roles you play in life like this? It is an honor and privilege to serve my country.
On behalf of all the men and women that have served and that are serving and that will
serve, it is a great honor and privilege to do this on behalf of my people. As I stand
here in the Lummi gear, it is an honor and privilege to be a representative of the Lummi
tribe and of Native people. Thank you. [speaking Lummi] [APPLAUSE] And you’re going to leave us with a song.
Could you tell us what you’ve got. The song we are about to sing is a farewell
song. On the half of my grandmother and all generations of Native people and Lummi people,
the ones here on the stage, we thank each and every member from the National Endowment
of Arts, and everybody that made this happen. Greg Fields and Audrey Ciccone. We are going
to take this event back to the people, and we are going to tell the people how wonderful
it was. Benjamin Covington and all the Lummi people
out here tonight, Children of the Setting Sun. Thank you.[APPLAUSE] [chanting and drumming] ? ? [APPLAUSE] At King Chavez Academy of excellence [LAUGHTER]
San Diego is here [LAUGHTER] The Logan Heights neighborhood in San Diego
has a newly renovated performance space that has been named the Ramon “Chunky” Sanchez
Auditorium. Chunky Sanchez has been a musician, songwriter, educator, athletic coach, and
activist. Cesar Chavez referred to him as his favorite musician because he was able
to entertain and inform through the musi he wrote in support of the farmworkers movement.
Let us meet Chunky Sanchez. [APPLAUSE] [LAUGHTER] All right. All right Chunky. You brought your
peeps with you. Everywhere. I know they follow you. We are all over this country. I know you got a big crowd, but you are the
first Chunky I’ve ever met. There is only one, but do not ask me why they
call me Chunky. I’m never gonna ask you that question. No
way I’m going to ask you that question. What inspired you to become involved with the Farm
Workers movement? My mother and father were farm workers and
so was I and my family, we were out in the fields when Cesar Chavez began organizing
the field laborers. We got involved with them, taking our guitars to the picket lines. Next
thing you know, we were regulars. We are on the cart every day, from 5:00 in the morning
until 6:00 in the evening. In addition, to picking guitars and singing
songs I want to point out you picked fruit too. I picked everything from melons, lettuce,
you name it. I picked fruit. It gave me strength to pick guitar too. That is hard work in the hot sun. Yes, it is. It is very hot out there. What do you think music did for the Farm Workers
movement? I think it rose the spirit at a time when
it was low. It inspired them to continue struggling. It was just a powerful force that went right
through them, through their heart to their soul, and their spirit. It allowed them to
wake up another day and go for it. We have a little bit of film footage from
a new film that’s about your life. This is a trailer. I have been calling this Chunky’s
Drive-in. So let’s just take a look and watch the film for a second. There really was not a group like Los Alacranes,
because at that time many groups didn’t create music, Chicano music [? ? music, lyrics in Spanish with a few words
in English] I realized you could take from both sides
of the border and combine them, and come up with a new style of music, bilingualism, biculturalism. ? ? [? ? music, lyrics in Spanish] We did our first album as a group here in
San Diego called “Rolos Aslan.” We were thinking about What are we going to put on the front
cover? We did not want to just be standing there, holding our guitars, looking pretty.
We said, You know what would be a good picture? Jumping a fence. So we started thinking, Where
is a good fence around the neighborhood here? We thought, You know what? We would be lying
to the people if we justjumped over a fence right here in the neighborhood. If we are
going to jump a fence, let us jump the real fence. And the next day with our instruments
and stuff we saw an area that did not have a whole lot of barbed wire. Back then, I could
still climb a fence. So here I go up my hands up on top and I throw one leg over. I am holding
myself up, but my arms are getting tired. And the fence has these little jagged things
so I asked them and they gave me a towel and I stuck it under my crotch. Then they handed
me one instrument. Right in the middle of doing all this, we see the immigration helicopter
coming. There is a Jeep hauling ass right toward us from immigration. A Border Patrol
officer jumps out in his green uniform with a radio in his hand. And he says, “Chunky,
is that you?” It was a friend of mine from California that I went to school with named
Romero Garcia. And I go, “Yeah, help me down, man.” He said, “What are you doing here, man,
you are not illegal?” I said, “I know. Help me down.” [chanting in Spanish] I do not ask for freedom. We are freedom.
[music, lyrics in Spanish] The
reason I call myself Chunkista is because
I want to be an artist like Chunky Alacranes that stays active and in the movement over
the course of their lifetimes. We’ve got to educate and incarcerate. ..so
that humanity will shine. ? ? [LAUGHTER] I have to say, your mustache is
a national treasure. But you use humor to get your point across. How do you make that
work? It is part of my character. But also, I think,
when you are talking to people, you make them laugh, they swallow things a little bit easier.
It is like medicine. A good laugh is like taking a good, a good… Like taking a good laugh. [APPLAUSE] You are still working with young people. Are
you optimistic? How do you feel about the future of what is going on with farmworkers
and, in general, labor? I think it looks positive. You are always
optimistic, regardless of what the situation looks like. Cesar Chavez used to say “si se
puede,” we can overcome, and we will overcome. With young kids, it seems to get to them,
the songs. Especially one of the schools I work with, King Chavez Elementary and all
the parents there and all the staff, and Scott, the principal — I wish him well. Because
we got the whole school singing. Would you be all right if I put the guitar
in Chunky’s hands? Will you give us a song before you go? Why not? Alright, let’s see what we got here. Why not
indeed. Here we go. Give Chunky a round of applause as we set
up here. [APPLAUSE] We will travel back to the ’70s, and well into the future, at the
same time. You ready? Vamanos, huh? ? ? A shout out to all the brothers and sisters
in San Diego, listening. And all the brothers and sisters in Denver, Colorado, at the Luis
Julius Martinez Lounge. And also, all due respect, a good artist and friend of mine
who recently passed away two days ago, JosŽ Montoya in Sacramento from The Chicano Royal
Air Force. And my son Fernando, who has also passed. ? When it’s time to shine the light On the
young souls of the earth Let it shine, illuminate the beauty of their worth I said it’s time
to shine the light on the young souls of the earth Let it shine, illuminate the beauty
of their worth We got to educate, not incarcerate Souls of humanity will shine Amigos, let’s
try some brotherhood No need to kill another over a neighborhood Amigos, let’s try some
brotherhood No need to kill another over a neighborhood We got to educate not incarcerate
The souls of humanity will shine Educate not incarcerate The souls of humanity will shine
Ain’t nothing really glamorous About living in a cell Sometimes you got to wonder If you’re
really not in hell We got to educate, yeah, not incarcerate The souls of humanity will
shine We got to educate Not incarcerate The souls of humanity will shine The will to
want to learn In all our hearts we hold Like
brother Cesar Chavez and Dr. King had told We got to educate Not incarcerate The souls
of humanity will shine We got to educate Not incarcerate The souls of humanity will shine
? One more time. “Everybody. ? educate, not incarcerate The souls of humanity will shine
? ? ? [APPLAUSE] Two, three four — yeah. ? ? Yeah. You better listen. [APPLAUSE] Ramon Chunky Sanchez. Muchas gracias, por
la musica y esos palabras senor. Thank you very much. Love you. [APPLAUSE] The Chunky Sanchez road crew. The man brings a smile to everyone’s face.
It’s powerful. Nicolae Feraru was known in Romania as a premier — oh yeah, Romania is
in the house, too. And Chicago, too, am I right? He is known as a premier performer
on the cimbalom, it’s an instrument similar to the hammered dulcimer. He accompanied many
of the great pan pipe players and vocalists in the restaurants of Bucharest and later
toured internationally performing what he refers to as Gypsy music, heard at weekend-long
weddings and other family celebrations. Since 1994, he has lived in Chicago. He drove in
from Chicago. He continues to perform the music he learned from his father and members
of the gypsy community. Let us listen to the music of Nicolae Feraru. ? ? [cymbalom music] ? ? ? A Cuckoo ? ? ? [APPLAUSE] [LAUGHTER] Nicolae Feraru and his son also,
on cimbalom. Nirachu Feraru on accordion. And [inaudible] on piano. Gypsy music goes uptown. [LAUGHTER] Alright
Nicolae – how are you doing tonight? I’m OK. Yeah, you look good. Everyone looks so great. Every time log wood, I look good. A rich gypsy,
they look good. Not a poor one. Gypsies tuxes. I like it. Tell me a little
but about what we heard, some of the melodies and tunes you were jsut putting together there. I prepared other songs. But I think to be
more nice for tonight, this would be wonderful. I played some Romanian music in combination
with the gypsy music. I think the people, they know some song like “Lark” the last song.
Thank you so much. Some folks in the house know what is happening.
You have talked about gypsy music and Romanian music. How are they related, and how are they
different? The gypsy music is different from Romanian
music, because the gypsy music reflects what is aproblem for the gypsy. They reflect their
situation, they are poor, they don’t have the money. The have difficult things to do.
Many of the music is about nature and water, free totally. The instrument – it is a complicated looking
instrument. It is not too complicated. You make it look easy. It is not complicated. It is very hard to
play. How hard is it to repair and build? I know
you do – he does that. He repairs and builds them. I build the instrument. I build a small instrument.
My grandfather played, my father played, my father. Now I build the instruments. Even
the big instrument I build is not easy, but it is my pleasure to build an instrument every
time. And to rebuild. Both instruments instruments I rebuilt, they were in very bad condition,
because it is very old, like 1920, 1930. You are the cimbalom repo and rebuild man
for Chicago at this point. Yeah, I rebuild the instruments. That is fantastic. You play some of these
gypsy weddings here in the U.S. and in Europe. How long is a gypsy wedding? What goes on? It is not too many days. Just three days and
three nights. Are you ready to stay? We will keep rolling
with this. Three more days. I know they will stick with you. Give him a round of applause
one more time. Nicolae Feraru, the great cimbalom player. God bless America. Thank you. [APPLAUSE] Veronica Castillo comes originally from the
Mexican state of Puebla, an area known for its ceramic traditions. The work you are going
to see is an amazing mix of spirit turned into art, that in turn inspires more spiritual
and visionary feelings. Her father actually received the highest national prize for his
work in clay. Veronica now lives in San Antonio, Texas, and has taught at MujerArtes, a women
ceramics and clay arts collective. Let us welcome her, Veronica Castillo. [APPLAUSE] Hola, Veronica Como estas? Muy bien. OK Bienvenidos. And her daughter and Norma Contu, an old friend
of ours who is going to translate a little but for us. It’s so great you’re here. And
can I tell them your secret? Es cumpleanos. Yes, it is her birthday. Thank you. Pretty cool. Today at rehearsal, they sang
to her in English, in Spanish, and in the Lummi coastal language. Happy birthday. That
is a memorable birthday in my book. That is amazing. You actually first learned from your
grandmother. Tell me who first came in and got you going. [queastion asked in Spanish] Who first helped you get going? [response in Spanish] I can say my ancestors taught me. My great grandfather, my grandmother, and
my father. Fantastic. Fifth generation. Amazing. What
is your daughter working on, here? [question posed in Spanish] [response in Spanish] She is creating a tree of life inspired by
the honorees of this year’s heritage awards. [APPLAUSE] It is instant commentary on tonight’s proceedings.
I love it. Can we hold that up? It is still wet. I do not know if I should be touching
it. La guitara de Chunky And the guitar of Chunky. I thought you were going to do Chunky’s whole
body. Todo de Chunky. I am getting silly. What else do we have? Hold them up. A violin… [Spanish] A microphone. That is a little microphone.
[mixture of Spanish and English] And the harp. I like that. It is beautiful. The sacred harp. It is great to see this work. Maybe we can
step back and look at the pieces over here, if it is OK. These are just amazing. Why don’t we start
right down here?>>[speaking Spanish] This piece is dedicated to our Day of the
Dead celebration. [speaking Spanish] This is a preparation for the altar. We buy
candies, flowers, candles. [speaking Spanish] The punch paper, and all the elements necessary
to make the altar. So much work goes into the Day of the Dead.
I have to say that I always feel like Day of the Dead we have in New Orleans, All Saints,
All Souls — I feel like it is a day for the living as well. We remember the dead, but
it is a living doing this work. [speaking Spanish] [LAUGHTER] I got it. What do we have here? This is an
interesting figure with a face. It looks sort of gray and white. [speaking Spanish] This is a very special piece, called “Global
Warming.” [speaking Spanish] It is what is happening because we are not
taking care of our environment, and it is divided between life and death. [speaking Spanish] Nature extends her arms, asking for help. [speaking Spanish] This is how I remember my childhood, with
the trees and the birds, and lots of fruits. An infinity of things. La vida natural. Exacta [speaking Spanish] By my house, there was a creek that flowed
and was full of fish. [speaking Spanish] As time has come by, now the water is black. [speaking Spanish] The trees I used to climb to gather fruit
have disappeared. So this is a commentary on the dangers of
losing our natural resources in your lifetime. [speaking Spanish] [speaking Spanish] This very, very large person here – tell us
about this. [speaking Spanish] This is our mother, Tenansim, Mother Earth. [speaking Spanish] She is sitting on the earth, and she is a
column of power, of strength for life. [ speaking Spanish] Her heart is so big, she offers everything
with love, but we do not appreciate it. [speaking Spanish] The dove signifies justice and what is a balance
for all of us. I have to say, I see women working here on
Dia de los Muertos. And I see the lady here concerned about nature. This is the large
edition of Mother Earth. Are men involved in all of this, taking care of
the living or the dead? [speaking Spanish] [LAUGHTER] [speaking Spanish] Men are here. What I see is that women are
worldwide in this globalized society are not recognized and not valued. And in this — Yeah. I’m one man that values what you do.
I know everybody out here is enjoying and valuing this. That is why you’ve received
a National Heritage award. We appreciate it so much. It’s great to have you here. I could
ask the question on the script, Is this being carried forward in the next generation? But
I am looking over here, and I do not think I need to ask that question. So thank you
so much. And otra vez, feliz cumpleanos. Thank you. [APPLAUSE] Ver—nica Castillo. Ver—nica Castillo. For those who follow English language traditional
music of the United States, the ballads, the old songs of the Appalachian region, not so
far from here, the Blue Ridge, they represent a survival from England and Scotland. We are
about to hear a great ballad singer. On of the interesting things about that is that
back in 1916, one of the British scholars, Cecil Sharpe, actually came to the Appalachian
region and to very near where Sheila Kay Adams is from, because they found there were old
English ballads out there that were no longer being sung in England. This part of western
North Carolina hs been known for centuries as a place where the traditional ballads are
sung. Sheila Kay Adams counts herself as a seventh generation ballad singer. Let’s meet
her. Sheila Kay Adams. Now, you were in a ballad community, but not
everybody who was in the community in the last however many years necessarily takes
up the tradition. What is it that got you to singing the ballads? All the violence. [Laughter] Okay. I know you learned from some of the
people that Cecil Sharp had visited when they were very young children. I met Zephora Rice, we called her Aunt Zip,
and she sang for Cecil Sharp when she was 35 years old and I interviewed her in 1976.
She lived to be 112 years old. Oh my god, that’s a long singing life! Sodom,
North Carolina. How big a town or village is that? it is probably about 200 people now. When
I was growing up, there were probably 600-800 people that lived there. The name is memorable. I think of it as bucolic
and green and rural. And I hear Sodom…that is what people call the French Quarter, for
other purposes. Tell me about it. All I know, Nick, is that when the Civil War
was going on, the loyalties were divided in western North Carolina especially among the
northern counties that were joined with Tennessee and so there was a Confederate training camp
down at Hot Springs, North Carolina, over in Newport, Tennessee, is where the Union
army was. Where Sodom is right now there was a regiment of ladies of the evening. And there
was circuit riding Baptist preacher that came through and brush arbor revival, and he said
there was more sinnin’ went on in that little community than went on in Sodom in the Bible.
But the war ended and everybody moved on. But the name stayed. The name remains. And in these songs, many
of the ballads have memories of brutal murders and violence. That is what I said. That is why learn them. So we are talking about basically sex and
violence, here is what we’re talking about. It’s not new, folks. People have been interested
in and concerned about this for a long time. There’s a verse that shows up that’s called
a floating verse and weltering and your gore, they were still love songs. You know, I’d
never thought about that before – that’s why I’m warped the way I am. Have you ever been further warped to sing
all these modern songs? You hear the influence of ballads in country-western, there’s all
these psycho-dramatic moments and challenges going on. They were certainly dramatic over over in
Sodom, that’a true. So have you ever tried any other country music Oh yeah. “You Ain’t Enough Woman to Take My
Man” – Loretta Lynn. Alright! Alright! Sheila Kay Adams, the stage
is yours. Let’s listen to her sing. 1:03:20 Thank you. I am going to sing one that is
called “Bright Smile.” But first I want to say I was thinking today about being up here
in 1976 when all of the singers of the old love songs were still living. Granny Dale
and Berzilla, Inez Chandler, Cas Wallin, Doug Wallin, Dillard Chandler, were all on the
Mall for the big 1976 Bicentennial celebration. Berzille decided she wanted a dip of snuff.
As we were walking out on the stage in front of 17,000 people on the Mall she realized
she still had that snuff in her mouth. And she worked her pocketbook down off of her
arm, flipped up the big ball of a clasp on thing there. It yawned open to about Silver
Springs, Maryland, and she stood there and drilled a big brown stream down into that
pocketbook. And that was when Inez Chandler got away from me, walked to the front of the
stage at that big hot microphone and said, You’uns looks like pretty good folks. I believe
I will tell you’uns a joke. We all melted in back of her back there, because some of
Inez’s jokes would curl your toenails. As a result of that, I’m going to tell you the
two jokes that she told off the end fo the stage. She said, What is the difference between naked
and neked? There’s a lot of people from on the Mall that day, they did not know the difference
either. So Inez said, Well, naked means you you ain’t got no clothes on. Neked means you
ain’t got no clothes on and you’re up to somethin’ [AUDIENCE LAUGHTER] They laughed, too. Then
she said, Well, you’uns liked that so what is the difference between an old maid and
a spinster? They didn’t know, either. That’s great – were you there on the Mall that day?
So she said, Well, an old maid is a woman that ain’t never been married. And a spinster
is a woman that ain’t never been married nor nothin’. [AUDIENCE LAUGHTER] That I grew up with also, Nick. Ok, so “Bright
Smile.” ? It has been a year since last we met We may never meet again I have struggled
to forget But the struggle is in vain For his voice rides on the breeze His spirit comes
at will In the midnight on the seas His bright smile haunts me still In the midnight on the
sea His bright smile haunts me still I have sailed ‘neath foreign skies I have trod the
desert path I have seen the storms arise Like a giant in his wrath Every act that I have
known That a reckless love could give Though his spirit has now flown His bright smile
haunts me still Though his spirit has now flown His bright smile haunts me still At
the first clear break of day As I gaze upon the deep His form still fills my sight As
the stars, their vigil keep As I close my aching eyes, sweet dreams my memories fill
And from sleep when I rise His bright smile haunts me still And from sleep when I rise
His bright smile Haunts me still ? [applause] Thank you. We were watching the show from
back in the green room back there, and it is amazing to listen to everybody play out
here, because I do not think it really sunk in to all of us until we were together back
there watching the performances that have gone on out here, but dang, everybody is so
good! Fabulous. Wow. So I am going to do a banjo tune. And
I think everybody out there probably knows there is no use to try to tune this banjo.
Because it is not going to be in tune, so it does not really matter. But we’re going
to do one together called “Fly Round My Pretty Little Miss.” And in that I’m going to sing
some verses that I learned from a lot of the different singers over home and throw in a
couple of other singers like Fred Cochram and Tommy Gerald, great fiddle player from
out of Mt. Airy, North Carolina. But the chorus goes like this. ? Fly around, my pretty little
miss Fly around, my Daisy Now fly around my pretty little miss Almost got me crazy? Got
it? Hey, if I can learn 96 versus to Lord Bateman, Lord have mercy, you can learn that
verse. Alright, let’s try. I will know if you are
not singing, because Inez’s spirit is all over the place. ? Fly around, …? yeah, y’all
are pretty good. Fred Cochram verse: Higher up the cherry tree The wrapper on the cherries
And the more you hug and kiss the gal Sooner they will marry Fly round my pretty little
miss Fly around, my Daisy Fly round my pretty little miss Almost driving crazy ? Tommy Gero
said they took to naming young’uns after mules. ? Going to hitch ole Logan in the front and
Morgan in behind I am going down the rocky road to see that gal of mine Fly around, my
pretty little miss Fly around, my Daisy Fly round my pretty little miss Almost drive me
crazy ? Now they get good. Because we go back to Sodom. This is one I learned from Cas Wallin.
? I went to see my gal last night, the dress she wore was red Every time I looked at her
I wish my wife was dead Fly around, my pretty little miss FLy around my Daisy Now fly around
my pretty little miss, Almost drive me crazy ? Alright, this one I learned from Granny
but it has two verses and then we sing the chorus. I did that so all of you folks out
there would not embarrass yourself here at this wonderful ceremony by blurting that chorus
out an inappropriate time. ? Well, when I was a little bitty boy, all
I wanted was a knife Now that I am a great big boy, all I need is a wife When I was a
great big boy, all I needed was a wife Now that I am an old man, all I want is a knife
Fly around, my pretty little miss Fly around, my Daisy Fly around my pretty little miss,
Almost drive me crazy ? Inez coming up. ? You run around the mulberry bush and I will run
around the cedar And you pull up the petty coat, and I will pull out for georgie Fly
around, my pretty little miss Fly around, my Daisy, Fly around my pretty little miss,
Almost drive me crazy ? Do that again ?Fly around, my pretty little miss Fly around,
my Daisy, Fly around my pretty little miss, Almost drive me crazy [APPLAUSE] All right, Sheila Kay. Alright, Sheila Kay
Adams! [APPLAUSE] Great, great. Great humor. All of the good doings in Sodom, North Carolina.
I love it. Ralph Burns is a revered elder of the Northern
Paiute tribe from near Pyramid Lake in northwestern Nevada. He is known for his efforts in preserving
the Paiute language and for his work with troubled youth. Although he left home to serve
in the First Calvary Division during the Vietnam War, he eventually returned home to Pyramid
Lake and was committed to serving his tribal community. Today he is a cultural resource
specialist at the local museum and cultural center. Let’s make him welcome.Ralph Burns.
{APPLAUDE] Good to see you. Thank you. You came back from Vietnam, spent a decade
or so traveling, but you came home. Why did you come back home? I didn’t mean to come back home. I was actually
passing through to go back to California and we stopped to visit my mother at the place
where i work now. My wife was offered a job, and I ended up, still being there It’s been
15 years now since I came back to the reservation. You have become a real keeper of the language
and encouraging people to learn the language, but you learned from your grandmother. I understands
she had her own difficulties back when of taking care of the language. Tell me about
that. Well, probably most native people long ago,
you know, they were literally kidnapped and sent to what they call boarding schools. At
boarding schools that were punished severely. So when my grandma actually ran away, when
she came back, she did not want her kids and also her grandkids to go through the same
situation. So, you know, but what she did when she ran away, her parents hid her, and
she would never go back to school. But when she became an adult and have her kids, she
still retained the language. And when my mom remarried, us two older kids got to stay with
her and she reared us and the Paiute language was the first language I learned. I have to say there is an irony here. On one
side, in your lifetime, you served the country in Vietnam. Then in a prior generation, the
official policy was one that was very hard on Indians as far as language and culture
goes. Well, back then they had the draft, and I
had to go to the draft, you know. But, you know, that is history. It is behind us now.
We are going forward. But our language has been here a long, long time. We say over at
least over 9000 years, simply because there is a remain found on our boundaries that is
carbon-dated to be 9,200 years old T But the name Paiute, what does that mean,
where does that come from. That isn’t exactly what we call ourselves.
That came about probably in 18489 during the great gold rush towards California. And they
paseds through our area. But our area is pretty much all desert and it’s real treacherous,
so some of the miners passing through got bogged down, got stuck out there. Some of
our people came upon people that were stranded there, but because of the language difference,
they cannot speak to each other. What the miners did is they made gestures for water.
And what we call water in the language is “bah-ah.” And when we say “this way” we say
yutoh. SO we told them bah-ah-yutu. But they thought we said pitute. From that time forward,
we have always been known as Paiute. Amazing stories. I have to say that when I
saw your photograph in the catalog, you had the big ceremonial headpiece. Tonight you
have the ponytail. I do dance, I do traditional dance. But why
I still got my ponytail is – it’s pretty expensive to get a haircut. That is what I used to tell my dad back in
about 1970. [LAUGHTER] I don’t know, maybe being close to the San
Francisco area, back in the ’60s, maybe that could be part of it, too. I know you have a wonderful creation story
to tell us so let us leave you be to do that. Ralph Burns, give him a round of applause.
A great Paiute narrator, language preserver and storyteller. Real quick, I do have a lot of stories. And
but this story is kind of like a creation story. Before I came here we had our first
snowfall up there in the mountains, so the elders tell me it is alright to tell the story.
SOme of the storie swe only can do at a certain time of year. Before Christianity, the Native
people did not have a story about Christian now, but with my tribe, we call ourselves
‘numma,” which simply means “the people.” We have 23 different bands in our tribe simply
because in the state of Nevada, we all can live in one place. So we divided ourselves
up into 23 different bands. Also in our language, we have 13 different dialects. The dialect
that I speak comes from what they call the Pyramid Lake Paiute tribe. And it is a story.
There’s a lake there, if you’re familiar with Lake Tahoe in California, our lake is 69 miles
around there. Lake Tahoe is 74. Actually, Lake Tahoe feeds our lake. Our lake is a terminal
lake. There is a stone formation on the eastern side of our lake that resembles a lady. We
call her our mother. People refer to it as the stone mother. That is where our creation
story comes from. So what I will do is I’m going to tell this in our
language, but I will translate back into English. But I just kind of want you to know some of
our language. What we call mother in the languages “be-aah.” Can you say it together? Be-aah.
Listen in the story and see how many times you can hear that word be-aah. [speaking native language] They say that
a long, long time ago the mother of all mothers
lived someplace below a mountain along with her husband and four kids. There were two
boys and two girls. When the kids were small, they got along fine. They behaved, listened
to the mother, helping her. But as they got older, they started misbehaving. The kids
started arguing among themselves, fighting among themselves. They did not listen to their
mother. So the mother became upset, and she warned them that if they kept on she was going
to have to separate them. The kids did not listen, so they were separated. So the mother
sent two kids, a boy and a girl, to the South . And two kids were sent to the North, a boy
and a girl. And the mother also told them every evening build a fire so that way she
knows they are alright. The kids that were sent to the South, she saw their fire for
three nights in a row. But the kids that were sent to the North she did not see the fire.
So on the fourth day she started crying. So she cried and cried and cried. And her tears
formed the lake, what we call Pyramid Lake today. Her heart turned so cold that she turned
into stone. So today she still sits on the eastern side of her tears, the lake, along
with her basket. Those two kids that were sent to the South, they became the Paiute
people. And the two kids sent to the North became the surrounding tribes of the Paiute.
And that is where the story ends. [APPLAUSE] [inaudible] Ralph Burns. Thank you, Ralph. You know, I came up Washington in the mid-1980’s
from Louisiana and was working at the Smithsonian, and I missed terribly Cajun music and zyedeco
and New Orleans traditional jazz. I found something here through a bunch of friends
of mine which was Irish traditional music. And it kept me going for a long time. SŽamus
Connolly was part of that scene and many other scenes. He grew up in County Clare, Ireland,
and by the time he was in his mid-20s, he was a 10-time national fiddle champion. That
is a feat no one else has ever matched. So receiving this award tonight is special, but
he has been there before. And it’s amazing all of the different things he has done. Today
he lives in southern Maine, but he continues to teach at Boston College, the Center for
Irish Programs. Let’s hear SŽamus Connolly. [APPLAUSE] Thank you very much. Thank you. Thank you
very much, and good evening, ladies and gentlemen. This is indeed a wonderful evening for me
to be here. I am certainly honored and thrilled to be among all of these wonderful honorees,
people from the earth if you like, people with wonderful souls and wonderful hearts.
We have spent a week here together and getting to know all of them. So would you please give
them a great round of applause. [APPLAUSE] Just sitting with them and hearing their stories
backstage is just so wonderful. I want to thank all of you, I want to thank the people
who helped get me here tonight. It was a wonderful process. I want to thank Earl Hichner for
believing in what I do and for nominating me and to thank all of the people out there,
some of you are here tonight who wrote wonderful letters on my behalf. So thank all of you
for getting me here tonight. Thank you. I’d like to play for you a little
medley. A medley, I suppose, not a melody. Tey’re all melodies, I suppose. Beginning
with a tune I made up. We say in Irish, we made it up. We do not say compose. We are
not like Mr. Beethoven or all those great composers. I made this up in Virginia, our
in Richmond. About 1991. And the second one I made up after a visit to the Folk Life Festival
around the end of 1980, and I named it The Bells of Congress, you could here the bells
ringing. It was very, very special. I think it is appropriate for tonight. And the third
one is a little tune I made up not too long ago to thank a great fiddle player whose music
I admire. You might have heard hi name, he lives in Cork City. Matt Cranich. A Polka
for Matt. The next tune came to me from my dear and special friend out in the audience,
Dr. Cindy Polo. SHe sent me a tune one time and I said, There is something wrong with
this, there’s a piece missing out of it. She said, No, it is supposed to be this way. It
is a crooked tune. And I said, Why? I named it for a crooked hurricane that came our way
in North Carolina. It went all over the place and did not come the way it was supposed to
be coming. And the trees in our back yard were all falling down. So she made a crooked
tune and she called it “The Crooked Hurricane.” And the final fine was a tune that I learned
from an old 78 recording that was made in Boston around the 1940s. With this selection
of tunes, I would like to dedicate it to somebody very dear and very special to me, a man that
is chairman of the National Council for Traditional Arts, a man who encouraged me when I came
to this country because I had decided I was not going to play. I was going to raise my
family. But Joe Wilson encouraged me to play. SO a round of applause. Joe, I know you’re
watching. [APPLAUSE] [FIDDLE MUSIC] [APPLAUSE} Thank you. Thank you very much, thank you. Hey, Seamus. Hello, Dr. Spitzer. How are you? Alright. if you’re going to call me Doctor
Spitzer, I’ll call you Seamless Connolly. Shameless. Yeah, even better. SPeaking of which, you
are the Irish Embassy last night, a big seesion. We had a wonderful time, a great session,
all the grat musicians that came from all over the country particularly here in Washington
and Baltimore. It was a wonderful niight and very special to get a letter from the president
of Ireland. I’m very, very proud of that. I am proud of the fact you are this wide awake
after all of that. What is it that originally got you to come to the U.S.? I first came on a cultural tour of 1972. I
loved America so much, I really did. Like my friend in New York said, It is the land
of sunshine. And a lot of different kinds of fiddlers here. Yes, sir, indeed. I had lots of influences
when I came here, and people who taught me a lot. The great Quebecois fiddler Jean Cargnon
I was very much influenced with his play. And I loved the Cajun music of Michael Ducet,
and that great national tour that Je Wilson put together on the folk violin. Josh Graves
and Kenny Baker and Alison Krauss. Really first a fiddler before a Nashville
chanteuse. What did you first do when you got to the U.S.? When I came I brought my family with me and
my wife with me. We came to this country and I did not have a job. Then I got a wonderful
job for a couple of weeks working in a glue factory. Oh god. You got stuck to the floor there? I did. I used to go home and cry at night
in bed and say, What did I do to my family? Is this what America is all about? After that,
I was very lucky, I got to know some friends. Then I had a wonderful job for 14 and a half
years working as a legislative aide in the Senate in Massachusetts. The glue factory, legislative aide… Then I ended up at Boston College teaching.
So I’m there for 22 years. America has been good to me. Best country in the world. Back in the old country, in County Clare,
what actually got you to take up the fiddle? My uncle. There was a mass immigration around
1950 and ’54 and he left. He was a fiddle player, Nick. They had what was known as an
American wave. He was apparently leaving for America. An old excuse to have a party in
Ireland is always a good one. So he was a fiddle player and in fact we’re getting the
fiddle – he passed away about two years ago – the fiddle that he played. We’re putting
it into the archives at Boston College. That was the first time I ever saw a fiddle and
during the course of the evening fiddle was on the chair. My uncle was saying goodbye
to all of the neighbors and I picked up the fiddle, there was some musicians playing and
pretended to play. So I said to my mother and father I would like to be able to play
the fiddle. So they found one from behind somebody’s dresser in the kitchen. Somebody
put strings on it and I moved on from there. And you have been teaching over the years
at Boston College. Who’s in the classes for Irish music culture? Well, there are many countries represented
at the University. Not necessarily Irish students would come into the class. They are very much
enthralled with what they call Celtic music. The cosmic Celtic scene. Yes, sir. So they are wonderful students and
they practice and they love it. And the ones that like it stay with it. Then you have others
who come in who just sort of checking it out to see what it’s like and they come back and
say, professor, I do not have to do that. I have a rowing club or I have a football
club. I have to be there. Oh yeah. Oh yeah. Back on the fiddle, what
is it that says the county Claire style apart from other kinds of Irish –? There are different regions, Nick, in Ireland.
There is the wonderful music of Donnegal, Derrian Anderson fiddlers, and then there’s
the Sligo, the County Sligo style. The great players lie Paddy Kilorn and Michael Coleman
and James Morrison. But down in my part of the country, the region is split in two. There’s
COunty Clare – by the way, they are playing in the hurling final tomorrow, make sure you’re
watching! Up the banner! There’s East Clare, where I came from, and there’s West Clare.
And there’s also North Claire as well. SO there’s a little bit of rivalry going on between
them. There is a lot of complexity out here on the
stage for one man. But you know what? I would like to make it even a little more complicated.
Let’s bring out the band. if it is OK, I would like to thank these great
performers that came along tonight’s to support me. Do that. SŽamus Connolly. Thank you very much.[APPLAUSE] [? ? ?] [APPLAUSE] 1:43:49 SŽamus Connolly. Sam MacLeod on guitar. Billy
Comisky on accordion. Kevin Doyle on feet. On his feet. And Jimmy Noon on the flute.
How about it? Thank you, Seamus. As we come to our final artist, I would like
to thank a few of the folks who have made this National Endowment for the Arts Heritage
Fellowship concert possible. First our host here at Lisner Auditorium. Looking good, big
renovation. GW, amazing growth of this university. The programming would not have been possible
without the production of the National Council for the Traditional Arts and especially the
work of Madeleine Remez. You got as many people here as Chunky. Also, I want to remember the
great Executive Director Julia Olin. And our concert director, the steadfast Paul Douglas.
Cheryl Schiele is the folks arts specialist at the NEA who keeps it all on track. And
Barry Bergey is the director of the folk and traditional arts program. We also thank the
work of our sign language interpreter Miyako Rankin. I want to thank my school down in
New Orleans, Tulane University, Well, let’s go down near New Orleans, maybe 150 miles
west is the town of Lafayette, Louisiana. That is where Carol Fran is from. She has
been performing what some people call swamp blues, rock & soul, jazz for over six decades.
I believe she is the only Heritage Fellow in our history that has played both Bourbon
Street and Tijuana. She recorded originally for the Excello label and did touring stints
with everyone from Jimmy Reed to Ray Charles. That might be another only on the list, as
a matter of fact. But unlike a lot of the pop artists of the era, she brings something
that is really special. She can sing and speak in Creole French as well as English because
she has grown up surrounded by the African French Creole culture of Southwest Louisiana.
Let’s meet the lady. Carol Fran. ? [saxophone music] All right. How’s it going? This is Duval Crawford
– he’ll be back in just a minute. Wow. I gotta get me some clothes like…oh my God. You
are looking really fine. Say it again. Ti sommes tres jolie. Bien, merci mon ami. Ahh, c’est ca. C’est ca. Carol, tell me a
little bit about music in your life growing up. Fantastic. I had to run away to get going
the way I wanted it going. How about your mama? Did she help you out
in the beginning? ANd family folk? Well, I heard her sing first. But she said
I couldn’t go no place. But I grew up overnight and ran away. Did not help nothing. They brought
me back. What was Bourbon Street like for you back
in the ’50s? Fantastic. I was even called Sarah Vaughan
of the Veux Carre. Oh yeah. Alright! That was then, but this is now. Yes it is now, indeed. You went out on the
road and this is a circuit where men are running the show, often the musicians. Was it hard
to be a woman out on the circuit? You get pushed around quite a bit. You kind of softened the elbows tonight with
this little wrap, I appreciate that. But it was tough out there sometimes. I had a lot of pushing and a lotta no paying.
Promises, promises, promises. I was promised $125, and this was over 50 years ago. I’m
still waiting for my money. The Heritage award will make up for that a
little bit. Oh yes. You do not bring your wigs up with you, but
I do not think you really needed them. I know you’ve got a big wall of wigs back home. Yes I have. They said blonds had more fun
in those days. This is a different time. It don’t work now. You take it off and throw
it in the corner some place. Shake your head and get something else going. I have a lot
of stuff in the corner. Let me turn to this reality. I know you’ve
written some beautiful songs over the years, and we’re going to hear a couple of those.
Shall we get ourselves set? You’ve got Duvel Crawford, he’s your godson. He’s my godson. They say you’ve got to get
the best to be the best. I’m working hard at at it. Shall we bring out the belle of the bands?
Let’s do it. Carol Fran! [INTRO MUSIC] ? ? Anytime, anyplace, anywhere Just say the
word and you will be heard Yes, I will be right there It makes no difference where you
lead me I’m going to be right there if you need me Well, any time Any place Anywhere
Anytime Anyplace And anywhere Well, well, well, now Anytime Anyplace Anywhere ? ? [MUSIC
]? ? Anytime Anyplace Anywhere
You say the word And you will be heard Yes, I will be there Can’t you see? It makes no
difference where you lead me I am going to be right there if you need me Any time Any
place What are you waiting for? Anywhere Anytime Yeah Anyplace Anywhere ? [APPLAUSE] [singing in Creole] ? ? Translation When you
tell me lies Breaks my heart sugar babe All that shines is my — Good love is hard to
find I found out in the worst way Every day is not the same Where were you were last night,
boy You were not there when I pass by Where were you, boy? You were not there when I passed
by
I found out in the worst way Everyday is not the same ? ? ? [MUSIC] [singing in Creole] ? Where you last night, boy? You were not there
when I passed by Well, where were you — where were you? ou were not there when I passed
by And i found out in the worst way, everyday is not the same [singing in Creole] ? [scatting]
? ? Everyday is not the same ? [APPLAUSE] I am being punished. Can’t do this no more.
Told you. Got one and a half hands. ? ? Emmitt Lee don’t you remember me? Emmitt
Lee don’t you remember me? I’m the little girl you met the other night And you told
me everything was all right Emmitt Lee don’t you remember me? ? ? Come back where you belong
Boy don’t leave me all alone What can I do? What can I say? I know without you I cannot
find my way Oh, yes, I tried to keep you satisfied because I wanted you Wanted you by my side
Emmitt Lee Well, now that you’re gone You know you left me all alone Ain’t got nobody
to call my very own Emmitt Lee don’t you remember me? ? ? { To be the best, you have to have the best.
got the best right here. My own godson. ? I ? Come back Where you belong Don’t leave,
leave me all alone What can I do? What can I say? I know without you I can’t find my
way Ohhh, yes I tried to keep you satisfied Because I wanted you I wanted you by my side
Emmitt Lee Whoa, Emmittt Lee Now, now that you are gone You know I’m left here all along
Ain’t got nobody to call my very own Emmett Lee don’t you remember me? After 80 years!
? [APPLAUSE] Carol Fran. Emmitt Lee, her song. It’s a sad
song, but it puts a smile on your face. And Develle. How about this great band? Amazing. Mark Brooks,
Detroit Brooks on guitar, Adonis Rose on drums, Steven Jay Landy on saxophone. All in support
of Carol Fran. [APPLAUSE] Well, it is that time of the night where we
would like to have one more round of applause for all of the 2013 National Endowment for
the Arts National Heritage Fellows. From Marshall, North Carolina, Sheila Kay
Adams. [APPLAUSE] From Nixon, Nevada, Ralph Burns. [APPLAUSE] From San Antonio, Texas, Ver—nica Castillo.
[APPLAUSE] From North Yarmouth, Maine, SŽamus Connolly.
[APPLAUSE] From Chicago, Illinois, Nicolae Feraru. [APPLAUSE] And from Lafayette, Louisiana, you know Carol
Fran. [APPLAUSE] From Huntsville, Alabama, David Ivey. [APPLAUSE] From San Diego, California, Ram—n “Chunky”
S‡nchez. [APPLAUSE] And with us in spirit from Bellingham, Washington,
Pauline Hillaire, represented by Bejamin Covington and Audrey cicicone. The 2013 NEA National Heritage Fellows. [APPLAUSE]? Oh, this little light of mine I’m going to
let it shine This little light of mine I’m going to let it shine You know, this little
light of mine I’m going to let it shine Let it shine, let it shine, let it shine I’m going
to take this little light of mine, and I’m going to let it shine Going to take this line
of mine. I am going to let it shine Take this light of mine, I am going to let it shine
Let it shine, let it shine, let it shine This little light of mine I’m going to let it shine
I’m going to let it shine This little light of mine I am going to let it shine Let it
shine Let it shine Let it shine Yeah! This little light of mine I am going to let it
shine This little light of mine I’m going to let it shine This little light of mine,
I’m going to let it shine Let it shine, let it shine, let it shine Everywhere I go I’m
going to let it shine Everywhere I go I’m going to let it shine Oh, everywhere I go
I’m going to let it shine Let it shine, let it shine, let it shine ? ? [playing Irish
reel] ? [APPLAUSE]? ? Oh, when the Saints go marching in. When the
Saints go marching in. I want to be in that number When the Saints go marching in ? When
the Saints go marching in When the Saints go marching in I want to be in that number
When the Saints go marching in ? ? Oh, when the Saints go marching in Oh, when the Saints
go marching in in I want to be in that number When the Saints go marching in ? Oh, when
the Saints When the Saints Go marching in When the Saints go marching in I want to be
in that number Oh, when the Saints go marching in ? You know the second line? Second line
? You know who you are second line Oh I want to be in that number When the Saints go marching
in ? I used to have me a playmate me who used to walk and talk with me Now I’ve been converted
He turns his wrath on me When the Saints go marching in Oh, when the Saints go marching
in I want to be in that number When the Saints go marching in ? Oh, when the Saints go marching
in When the Saints go marching in I want to be in that number When the Saints go marching
in ? ? {MUSIC] Oh, when the Saints go marching in When the
Saints go marching in I want to be in that number When the Saints go marching in ? ? {MUSIC] Oh, when the Saints go marching in When the
Saints go marching in I want to be in that number When the Saints go marching in ? ? want
to be in that number When the Saints go marching in ? ? Oh, when the Saints go marching in When the
Saints go marching in I want to be in that number When the Saints go marching in ? ? want
to be in that number When the Saints go marching in ? ? Good night. Thank you, everybody. [APPLAUSE]

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