Noho Banjo And Ukulele Musing No. 23: “We’ll Meet Again”

UKULELE MUSING NUMBER 23, 8 JUNE 2019—“WE’LL MEET AGAIN,” A POIGNANT SONG OF WORLD WAR II AND TODAY

During the celebration this week of the 75th Anniversary of the Normandy landings during World War II, I would be remiss not to touch on one of the most meaningful songs of that era and one that is in our Yellow Book.  “We’ll Meet Again” is a 1939 British song made famous by singer Vera Lynn. 

The song is one of the most famous of the era, and resonated with soldiers going off to fight as well as with their families and sweethearts on the home front.  The nostalgic lyrics (“We’ll meet again, don’t know where, don’t know when, but I know we’ll meet again some sunny day.“) were very popular during the war and made the song one of its emblematic hits.  Here’s her version:

Vera Lynn: https://www.youtube.com/watch?v=cHcunREYzNY

In 1941, during the darkest days of the Second World War, Lynn began her own radio program, Sincerely Yours, sending messages to British troops serving abroad. 

She also visited hospitals to interview new mothers and send personal messages to their husbands overseas. 

Because of her work with the troops, Vera Lynn became known in Britain as “the Forces’ Sweetheart.”

Those were the days of parting and meeting and parting, hopefully, to meet again.  “We’ll Meet Again” became a standard finale on both sides of the Atlantic for musical theater and music hall performances, and even movie theaters with their “bouncing ball” sing-alongs.   

Vera Lynn is 102 years old today and still singing, if only in the hearts of those who remember those war years.

“We’ll Meet Again” lived on beyond the war years and found its way into many films and television shows, particularly as a “closer.”  Probably the most well-known version—if not the most depressing—was in the ending to the blackly satirical 1964 film “Dr. Strangelove.” The film ends with an ominous montage of nuclear explosions accompanying Lynn’s song of hope (?).  

Dr. Strangelove Finale:  https://www.youtube.com/watch?v=mEtldt-FI8Y

Even Stephen Colbert used it to end his show “The Colbert Report” a couple of years ago.

Stephen Colbert:  https://www.youtube.com/watch?v=jZ09nAwVkVM&t=4s

Not to be outdone, there are a few dozen ukulele versions, plus the song in our book.

Ukulele:  https://www.youtube.com/watch?v=Ji77K-8agNs

Lynn herself sang the song in London on the 60th Anniversary of VE Day in 2005 and it was sung just this week at the Normandy Invasion Anniversary Celebration in Portsmouth, England—the departure port for the many American, British, Canadian, and other Allied troops boarding their ships to cross the English Channel to land on the beaches of Normandy.

75th Anniversary:   https://www.smoothradio.com/news/music/sheridan-smith-d-day-vera-lynn-cover-video/

So, let’s remember the boys and men, girls and women of the “Greatest Generation” who fought, lived, and sang throughout the war.  “We’ll Meet Again!”

Stay Tuned!

Noho Banjo and Ukulele Musings–“San Francisco Bay Blues”

UKULELE MUSING NUMBER 22, 1 JUNE 2019—ONE OF AEIOUKER STEVE JEWELL’S FAVORITES, “SAN FRANCISCO BAY BLUES”

Today’s the day many will gather to celebrate the life of Steve Jewell, one of our good ukulele friends who passed away a couple of months ago.  This is one of Steve’s favorites that we often played during our Saturday morning strum sessions at the Forbes Library here in Northampton. It’s a great blues tune written by a great performer.  Let’s give it a go one more time for Steve!   

A one-man-band rendition of the song—featuring a kazoo solo—was recorded by Jesse “Lone Cat” Fuller (1896-1976) in 1962 and included in a Smithsonian Folkways compilation title “Friends of Old Time Music.”  

Jesse Fuller, One-Man Band: https://www.youtube.com/watch?v=BhAZsCP7z9Y

“San Francisco Bay Blues” is considered an American folk/blues song and is the best known—and most often performed—composition by Fuller who first recorded the song in 1954.  The song was brought into wider popularity in the early 1960s by club performances by Ramblin’ Jack Elliot and Bob Dylan.  Covers have been performed by many artists including Jim Croce, Eric Clapton, The Weavers, and Peter, Paul, and Mary just to touch on a few.

 Peter, Paul, & Mary:  https://www.youtube.com/watch?v=1wfJhgcxrMI

Fuller was born in Jonesboro, Georgia, and, growing up, worked at numerous jobs: grazing cows for ten cents a day; working in a barrel factory, a broom factory, and a rock quarry; working on a railroad and for a streetcar company; shining shoes; and even peddling hand-carved wooden snakes.   By the age of 10, he was playing the guitar. In the 1920s he worked his way to California and settled in Oakland, across the bay from San Francisco, where he worked on the railroad for many years as a fireman, spike driver, and maintenance man.  During World War II he worked as a shipyard welder, but when the war ended he found it increasingly difficult to find work.  So, around the early 1950s, Fuller began to consider the possibility of making a living as a musician.

Up to this point, Fuller had never worked as a professional musician, but he was an accomplished guitarist and had busked for money by passing the hat. He had a good memory for songs and had a large repertoire of crowd-pleasers in diverse styles from blues to country.  He began to compose songs, many of them based on his experiences on the railroads, playing them in his syncopated style. When he set out to make a career as a musician, he had difficulty finding reliable musicians to work with. Thus, his one-man-band act was born.

Richie Havens:  https://www.youtube.com/watch?v=9yXVwv6MTRU

Fuller could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In addition, he would generally include at least one tap dance, soft-shoe, or buck and wing in his sets, accompanying himself on a 12-string guitar as he danced.

His style was open and engaging. In typical busker’s fashion, he addressed his audiences as “ladies and gentlemen,” told humorous anecdotes, and cracked jokes between songs.

During those one-man-band years, Fuller also devised a new kind of instrument he called a “fotdella”, a big six string bass viol that he played with his foot via a system of pedals and levers.   To complete his rig, he had a right foot pedal for the fotdella, a left foot pedal to run a high-hat cymbal, and a harness to hold a harmonica and kazoo. While sitting down in the middle of all this, he also sang and played a twelve-string guitar.  Whew!  No ukulele, however.

Here, however, is a one-man-band version—with ukulele:

Ukulele, One-Man Band: https://www.youtube.com/watch?v=kdx4e1wOIDM

In the late ’50s and early ’60s, Fuller became one of the key figures of the blues revival, helping bring the music to a new, younger audience. Throughout the ’60s and ’70s he toured America and Europe, appearing at numerous blues and folk festivals, as well as countless coffeehouse gigs across the U.S.  He continued performing and recording until his death in 1976.

So, let’s celebrate the life of Steve Jewell, his ukulele, and one of his—and our—favorite songs  . . .

Stay Tuned!

Noho Banjo & Ukulele Musings–“Princess Poo-Poo-Ly . . .”

BRUCE’S UKULELE MUSING NUMBER 21–25 MAY 2019: “PRINCESS POO-POO-LY HAS PLENTY PA-PA-YA,” A COMIC SONG OF YESTERDAY THAT LIVES ON (SORT OF) TODAY

Most of us have glanced (askance?) at the tune “Princess Poo-Poo-ly Has Plenty Pa-Pa-Ya” in our yellow book as we flip past while looking for other tunes we actually play.  I don’t think that many of us have heard this one performed so it has never been chosen at any of our strum sessions.  While musically obscure, I do think that it’s worth a listen, if not a strum.  And, it does gives us an interesting back-story.

Princess Pupule has plenty papayas
She loves to give them away
And all of the neighbors they say
Oh me-ya oh my-ya you really should try-ya
A little piece of the Princess Pupule’s papayas ….

Published in 1939, the sheet music for “Princess Poo-poo-ly Has Plenty Pa-pa-ya” credits the song to Harry Owens (1902-1986), well-known conductor of the then popular Royal Hawaiian Band.  But did he really write it?  

A tradition of the time was that a few music publishing experts, like Owens, would assist local songwriters in publishing their works in exchange for a co-writing credit that would then get them a share of any royalties.  It was actually written by one Donald McDiarmid (1898-1977), a member of Owen’s orchestra and a songwriter who, in a bar, wrote the whole tune in one evening.    

Owens and his orchestra recorded it, but rarely if ever played “Princess . . .” at any of the sophisticated tourist hotels in Waikiki.

Owens considered it as “low-brow, mildly ribald, comic hula,” and was simply content with the royalty money.  He and his hotel band stuck with the sweet and haunting island ballads and love songs that Mainland tourists came to Hawaii to hear and dance to.

Owens was not just another big band leader, however.  He tried to learn all he could about the local culture by mixing and working with native Hawaiians and local musicians.  He wanted “a marriage between the music of Hawaii and the Big Band sound on the mainland.”  His best-known song is “Sweet Leilani, written for the 1934 movie “Waikiki Wedding” starring Bing Crosby. 

The song, which became the first Hawaiian song to win an Academy Award, was named after Owen’s daughter.   

Owens was an early devote of what became known as “hapa-haole.”  Literally “half foreign,” this was music with a Hawaiian theme and sound written and performed by non-natives.  

Ensconced at the Moana Hotel in Waikiki, his live shortwave radio broadcasts were transmitted around the world.  

Using tricks like a microphone planted on the beach to underscore his show with surf sounds, his show was instrumental in building up the Hawaiian mythos—and attracting ship- and plane-loads of tourist cash.  

 At the same time, however, a lot of hapa haole perpetuated a somewhat benign, but still stereotypical, view of Hawaiians and island visitors.  Among many other tunes, think of our Yellow Book favorite: “Ukulele Lady.”  

In retrospect, the period from 1900 to 1940 was a period in which hapa haole ripened into its own in all the popular styles of the day—ragtime, blues, jazz, foxtrot and waltz tempos—often with a hula tempo, but jazzed up a bit. 

It was a unique period marked by the enormous response by mostly Tin Pan Alley songwriters (who seldom set foot on a beach let alone one in Hawaii) to write, and Mainland bands to perform, songs—a few tasteless, many simply humorous, and a lot quite romantic—about life and love in the islands and, particularly, with those lovely hula girls.

Pearl Harbor and World War II eased this a bit as comic and caricature songs about Hawaii were seen as unseemly in wartime.  Since the 1970s, however, there has been an increasing effort by Hawaiian musicians and Mainlanders to focus on those songs that reflect the indigenous music of the Hawaiian people and the beauty and traditions of the islands—even if hapa haole

In recognition of his pioneering contribution to this, the Hawaiian Academy of Recording Arts awarded Harry Owens its 1987 Lifetime Achievement Award.  

Anyway, our song, “Princess . . . ,” had legs, so to speak, and while it wasn’t played that often in the upscale hotel ballrooms of tourist Hawaii, it did find a home in Honolulu “tiki-tonks” and with increasingly popular “Hawaiian” bands on the Mainland.   

It’s a catchy tune with novelty lyrics and in a style described by some as “Hot Hula”—certainly not indigenous Hawaiian music but, nonetheless, a song of the islands. 

ttps://www.youtube.com/watch?v=cCb42xDVEhM

Still, many observers and critics writing today point out that many Hawaiians themselves celebrate hapa haole for helping to preserve their history and language. 

There were silly, wacky songs in the 20s, swing in the 30s, rock ‘n’ roll in the 50s, surf-style in the 60s and so on.  It’s a testimony to the Hawaiians’ grace, humor, and sense of perspective that they make room for this music in their polyculture society of today.

After all, we mainlanders still play ukuleles and wear Hawaiian shirts.  Go figure. 

Oh Yes.  “Poo-Poo-Ly” is a play on the Hawaiian word “pupule” (pu-PU-lee) which translates as “crazy; mad; insane.”  Also, her “papayas” is Hawaiian slang for, well, your guess is as good as mine . . .

Stay Tuned!

Noho Banjo Ukulele Musings

BRUCE’S UKULELE MUSING NUMBER 20: 18 MAY 2019—“PENNIES FROM HEAVEN,” A GREAT SONG FEATURED IN NOT SO GREAT MOVIES

The Great Depression of the 1930s gave us many songs that touched on the hard times of the era, including the iconic “Brother, Can You Spare a Dime?,”

and one from our Yellow Book, “Pennies from Heaven.” This was written in 1936 with music by Arthur Johnson (1898-1954) and lyrics by Johnny Burke (1908-1964).

 It was introduced by Bing Crosby in the 1936 film by the same name and recorded by just about every name in the book.    Johnston and Burke were nominated for an Academy Award for Best Song that year for “Pennies . . ..”    Burke wrote the song “Swinging on a Star” that won the Academy Award in 1944—another great Crosby tune.  

Not only is this song a popular American standard, but two movies used this as a title—the 1936 Crosby film and one in 1981 with Steve Martin. 

The Martin film was actually based on a BBC Television series with the same title starring Bob Hoskins.

The earlier Crosby film had an offbeat story line of a wrongly imprisoned singer who promises a condemned fellow inmate that he will help the family of the inmate’s victim when Crosby is released.  (Whew!)  Needless to say, complications ensue with the best part of this tearjerker of a movie being our song.

The BBC Series and the later Martin film share a totally different and rather bizarre plot of sheet music and record salesmen in the 1930s (Chicago for Martin and London for Hoskins) who fantasize about the songs they sell while lip-synching and dancing to them, along with other characters in the film.  Here’s a fun one with Martin’s co-star Bernadette Peters and a bunch of musical kids:

Don’t watch these for the plot (which, in my opinion, is pretty dreadful!) but fast forward to the music and choreography—much fun! 

Here’s a down-and-out street musician, just given a free meal by Martin, and his take on the title tune.

Here’s the same scene from the BBC:

The best version of this song I ever heard, however, was a couple of years ago when our own AEIOUker David Juno played his uke and sang the song as the offertory hymn at a Northampton Unitarian Society service—truly, pennies from heaven!  Sorry, no U-Tube of that one!  But here is another ukulele version just for fun.

tps://www.youtube.com/watch?v=Rn8yeEEJl10

Almost as good as Dave!

STAY TUNED!

Noho Banjo & Ukulele Musings

BRUCE’S UKULELE MUSING NUMBER 19: 11 MAY 2019—ONE FOR THE LITTLE ONES, “ON THE GOOD SHIP LOLLIPOP”

666131.jpg

One of the songs hidden in the back of our Yellow Book hasn’t been asked for that often–”On the Good Ship Lollipop.”  This might be a good tune when we have children in the audience.

MV5BZjFjMzIwZWYtZmQxMC00N2U3LWE3OWItNjk0ZWY3MTg3YjI4L2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMTEwMTkwOTI@._V1_UX182_CR0,0,182,268_AL_.jpg

Anyway, “Lollipop” was the signature song of child actress Shirley Temple (1928-2014) who first sang it in the 1934 movie “Bright Eyes.”

homepage.jpg

The song was composed by Richard A. Whiting (1891-1938, composer of “Hooray for Hollywood,” and “Ain’t We Got Fun”) with lyrics by Sidney Clare (1892-1972, credited in 1934 with the earliest usage of the term “rock and roll”).  In the song, the “Good Ship Lollipop” travels to a candy land.

Sz-10-American-Airlines-DC-3-at-Washington-National-Airport-DC-Linen-MGGoldman-Colln.jpg

Contrary to general belief, however, the “ship” referred to in the song is an airplane—for your aviation buffs, it was an American Airlines DC-2.

Vintage-plane-passengers-on-board.jpg

Shirley Temple:  https://www.youtube.com/watch?v=WLLSqpYyPD8

In addition to Temple’s film performance, 400,000 copies of the sheet music were sold and a recording by Mae Questal (the cartoon voice of Betty Boop)

download (2).jpg

sold more than two million copies—a quintessential kid’s song from two or three generations back.

Mae Questal:  https://www.youtube.com/watch?v=0Q7ybTGzaHQ

We often forget that Shirley Temple Black served her country in vastly different ways. As a child star in the late 1930s, she cheered up a nation suffering the effects of the Great Depression, making 20 movies by the time she was six years old.

tumblr_p1wlwkyhR81rcbnp1o1_1280.jpg

As an adult she became a businesswoman and then a diplomat when President Nixon appointed her as a delegate to the United Nations.

former-child-actress-shirley-temple-black-with-vice-president-richard-nixon,2403789.jpg

President Ford named her ambassador to Ghana in 1974, and later as his Chief of Protocol, the first woman to hold that job.

Shirley-Temple-Black.jpeg

In 1989, President George H.W. Bush named her ambassador to Czechoslovakia—quite a career move up from the good ship Lollipop!

Now for the hard part. 

51FEHRV668L._SY445_.jpg

In the 1935 Civil War themed film “The Littlest Rebel,” six-year-old Shirley Temple  appeared in blackface briefly.  Not enough, in my opinion, to tarnish the reputation of a beloved child star who became a respected diplomat in adulthood—certainly not enough to tarnish a tune–from a different, earlier movie–as innocent as “Lollipop . . .”   

images.jpg

Also, in my opinion, Tiny Tim—while forever tarnishing the reputation of the ukulele as a serious musical instrument—gives us this falsetto version of “Lollipop.”  

Not as bad as you might imagine:  

Tiny Tim:  https://www.youtube.com/watch?v=klwUGSScs0s

Back to ukuleles for those of us with a sweet tooth.

FNTAPXVGZUASNM4.LARGE.jpg

 

Stay tuned!

u-g-P6S66Y0.jpg