Black Expressive Culture Narrative Stage: The Sensational Cherubims Gospel Singers & New Emage

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Edward Denkins: [Clarence E. Denkins] from Sensational Cherubims Gospel Singers My name is Edward Denkins. I've been singing about 62 years. {Applause}

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Speaker 1: That's right!

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Edward Denkins: At the present time I am singing first tenor for the Cherubim's. {Applause}

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Cecil Brown: My name is Cecil Brown I've been singing about 30 years. I sing baritone and tenor. {Applause}

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Henry Throah: [Henry C. Thrower] My name is, {mic shuffling}, my name is Henry Throah [Henry C. Thrower] and I sing bass and sometimes lead. I've been singing 'bout 53 years. {Applause}

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Smiley Fletcher: My name is Smiley Fletcher. I am one of the, uh, original of the Cherubim and I've been singing about 33 years. {Applause}

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Edward Abraham: My name is Edward Abraham. I've sang tenor, tried to sing lead a little bit and I've been singing since I was, oh, I'd say ten years old and I'm 71 {Applause}

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Speaker 1: Ya hear that? Isn't that something? Now keep in mind those little, no, that whole song of summertime you just heard, I started to say those few phrases, and the Sensational Cherubims are going to sing a few phrases for you and than I want to open it up for questions from you to see if you hear any relationships so we can talk about why on Earth would put do-woppers on the same stage as a gospel group. There's method to the madness, I promise you.

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All Singing: Oh Lord, I done done. Oh Lord, I done done. Oh Lord, I done done. I done done what you told me to do.

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Oh Lord! (Oh Lord, I done done.) Oh Lord! (Oh Lord, I done done.) Oh Lord! (Oh Lord, I done done.) I done done what you told me to do.

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When you told me to move would'a done that too. I done done what you told me to do. Well you told me to {inaudible, likely "breath"} and I done that too. I done done what you told me to do.

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Oh Lord! (Oh Lord, I done done.) Oh Lord! (Oh Lord, I done done.) Oh Lord! (Oh Lord, I done done.) I done done what you told me to do. {Applause}

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Speaker 1: The Sensational Cherubims! {Applause}

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Speaker 1: Did you hear any similarities? If so, raise your hand and fire a question on me. Yes ma'am, right there in the purple. {Pause}

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Speaker 1: Oh, you heard the basses are operating the same way. Did you notice the jaws? Oh pop, pop a little for 'em there Al, let 'em hear how that bass works, just by yourself.

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Al: {Singing} Bum, bum, bum, bum, {etc}.

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Speaker 1: Cut it! Alright! {Audience laughter} Now, brother Abraham pop a little bit for us, please sir. Brother Duke, sorry. {Audience laughter}. Brother Throah. MC'ing is hard work y'all

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SPEAKER name="Henry Throah"}[Henry C. Thrower] {Singing} Bum, bum, ba, dum, {etc}. {Applause}

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Speaker 1: Alright! Now one of the characteristics of Afro-American music is having a variety of qualities of sound that you pull together in a single ensemble or in a single person. So what we have in both of these groups here, both of them have basses, then we have the other extreme, we have lead singers that can soar, so you'll have a tenor that will also sing falsetto. Everybody out there know what falsetto is? Sing a little fals-, who can hit a little falset-, Daryl, hit a little falsetto for 'em please sir.

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Daryl: {Singing} Why do birds fall down from the sky?

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Speaker 1: {Daryl still singing} That's falsetto.
Daryl: Every time - {laughter} {Applause}

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Speaker 1: Ah, you see? So we have the extreme registers. And then, the other quality or characteristic of Afro-American music is you take these extremes and you fill up all of the insides, and you want the middle parts to be very dense and thats why we have these other three gentlemen that fill in for us and you get what we call closed harmonies and you have that both in the gospel group and in the doo-wop group. Can I hear a little closed harmony?

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Speaker 1: Just a few lines of the inside parts.

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See they never know what I'm gonna ask them, so I pop these things out. We have to give them a second so they pull it together, but they're quick.

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[SILENCE]

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{SPEAKER = "Group singing"} Burning and burning and burning. Mmhmm. I'm on fire, 'cause you've got me burning and burning and burning, yeah. I'm on fire.

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Speaker 1: Alright! You hear that?

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So that way, you have everything covered. You have all the extremes, but the other factor is that no single performer only does one thing.

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They're required to not only be able to sing bass but sometime my man Al there will sing lead in the same way brother Duke can sing bass. Sometimes he will assume the role of soloist with the group.

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Now there's another important factor. I told you they have to look good in the way that they dress, but they also have to be able to use their bodies.

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You see rarely are you going to see an Afro-American musician that's just gonna stand flat-footed on the stage.

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[[distant laughter]] They move. And they learn to move from the time that they are very young.

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Now, if in the religious tradition, there is a form of sacred dance as you move. It's not considered in the same way that you look at dancing that's done in the night clubs.

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However, it's still very much related. It moves in sync to what's going on musically.

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So these gentlemen, uh, are going to demonstrate for you how important that is to their music. We call that - I'm an ethnomusicologist, and you know these college professors can always think of these fancy-dancy terms for everything.

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And we call that integration of song and dance. In other words, in Afro-American music, you don't separate music from the use of the body,

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-but rather dancing, be it sacred dance or secular dance, is an important and necessary part of performance. And that's why you always are going to have the bodies moving in some way.

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And usually, the bodies are going to be moving in sync. In other words, togetherness is going to be evident in the group.

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Uh, somebody out there might not believe me. So, can I get a little hit, gentlemen, from you all? A demonstration of that.

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[SILENCE]

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[SILENCE]

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[[singing]] Hey!

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Speaker 2: Wait, wait, wait, wait, wait, wait. Now, I told him not to go to lunch.

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[[distant laughter]] 'Cause when his- No, no, no. It's just the opposite.

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Speaker 3: My lunch had an olive in it, brother.

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[[distant laughter]]
Speaker 2: Alright, alright. Well, it- You know you got hit with that tomato the last show.

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Alright, let's get this straight now. Let's try it again.

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[SILENCE]

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[[singing]] Well, [[??]]. Ah, my heart is on fire, yes it is. [[??]]

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[[singing]] And eyes that look like heaven. I said her lips like a cherry wine. That a girl kiss should [[??]] shine.

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[[singing]] And I get a funny feeling, yes I do, bubbling down my spine, that's alright, because I know that my Elle Barbara's mine.

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[[singing]] [[??]] 'bout my singing. [[??]] My heart is on fire, yes it is. Come on and give [[??]] for my girl. [[??]]

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[[singing]] [[??]]

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Speaker 1: See what I mean? [[applause]]

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Let 'em loose. See, y'all- see, y'all would work a performer to death.

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Yeah, they, they have already been on stage several times today. And, see, it's my job to keep them from killing themselves, so I-

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They can only give you little tastes. But gentlemen, would you tell, tell the audience, please? How is it- Have you always moved when you sang or what were your experiences in terms of audience expectations?

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Speaker 2: Um, no we didn't because, initially, starting out a group,

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not using no pitchfork or anything to tune our voices, you got to know when to come in, on what key, what note. So, the concentration was mostly on studying, concentrating on that note, so any time you tried to get a little extra movement in the coordination, you find your note way over here somewhere, and somebody in the audience's face was saying, Huh?

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[[distant laughter]] Where's he going? Is he with them? You know, so, so it took time. You know what I mean. Once you get the groove in, then you start developing other things and it just builds as you go.

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Speaker 1: Well, did people say anything to you? I mean, did they expect you all to move when you were singing in front of black audiences?

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Speaker 2: Yes, their faces and they would walk away.

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[[distant laughter]] Oh!

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Speaker 1: Ricardo shared with me that sometimes people would say when they first started out, "Well, gee! They sound great, but they're not dancing!"

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So the group quickly figured out that if they were going to command the attention of an audience, they had to not only sound good, but they had to be able to move as well. Now, I'm going to show you how you have that same use of the body in a gospel quartet.

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They may not dance from one end of this stage to the other, but you're going to see that their bodies as well are involved in performance, so they're going to give you a couple of licks now. The Sensation Cherubims.

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[SILENCE]

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[[singing]] Oh, [[??]] so bright, Lord, and fair. Oh, a place that I long, long to see, oh yeah.

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And when I get there what a joyful time that'll be. Oh, Lord! Oh, Lord! Oh, Lord! Oh, Lord! Lord, remember me. [[??]]

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Oh, land of mine. Oh, and when I get oppressed, Lord, I hold Him to my breast. Oh, Lord! Oh, Lord! Oh, Lord! Oh, Lord! Oh, Lord, remember me.

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Speaker 1: The Sensational Cherubims! [[applause]]

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Now, y'all understand what I'm talking about, right?

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Ok, so now how did these groups get connected to one another? Can you still hear me? Ok, good.

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Gospel music was the first form of expression. It started in the 1920s and the singing of gospel quartets came out of the negro spiritual tradition.

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Now, I want you to also keep in mind that negro spirituals were not thrown away. Sometimes, you would hear songs like "Swing Low, Sweet Chariot", but they would be transformed into a gospel style. That's the same way, in terms of- I tell my classes that, you know, black people don't throw anything away.

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Things that other folks would find useless, that they're turned into something creative, in terms of Black-American culture. If you saw the Bluesmen earlier today on the Philadephia stage, you saw someone with a washboard and that washboard had connected to it a skillet.

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It had a cowbell and he was making wonderful musical sounds. There were also some tops connected to it with nails, things that we would throw in the dumpyard, probably, he took, connected, and put together to make a wonderful musical instrument.

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So, in the same way, in music, old forms of Afro-American musical expression are simply integrated into new forms. So, first there came the negro spiritual and this tradition was started by a group in the 1870s in Nashville, Tennessee. And if there are any-

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Speaker 1: Fish University out there, let me hear you. There's one right there. And the name of that group, this is your test.

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The name of that group that started us singing negro spirituals for the public like this in the 1870s that are still singing at Fish now and there's a big mural of them in this hall if you ever go through Nashville, you should see it. You wanna yell out the name of that group for us?

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The Ju- ah! The Jubilee singers! The Fish [Fisk] Jubilee singers! Right!

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So, from the Jubilee singers, they sang songs called spirituals. Sometimes, the songs were called jubilees. Later, there started Jubilee quartets. These groups sang in an acapella style.

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They had no instrumentation whatsoever. Following that came gospel quartets that sang in an acapella style like the Sensation Cherubims sang, and not until the 1940s did we start with acapella secular groups, like the Doo-Woppers we're hearing now.

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And that tradition led into groups like, the Temptations, the Drifters, and other groups like you're familiar with. So, that's why you can see all of these similarities between sacred and secular here on stage.

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You have any other questions, we've got about a minute to go. Yes, right here.
[SILENCE]

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The question is how on earth do they know what pitch to start on? Now, everybody has seen acapella choirs. You have them at the great music schools of the country, the Indiana University where I'm from. The Julliard School of Music.

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How on earth do they know what pitch to start on? There's no piano here. There's no pitch pipe here.

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Where does it come from? Y'all carry a pitch pipe with you gentlemen?

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Speaker 2: Basically, it's, um- Basically, you constantly, through constant rehearsal, mostly, because sometimes, even though we- you may be really rehearsed on a particular song, but sometimes, there's always that chance that it'll be a little higher, a little lower.
Speaker 3: It happens.
Speaker 2: You know, matter of fact, we did-
Speaker 3: All the time.

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Speaker 2: We did it not too long ago. Remember I said he ate lunch?
Speaker 3: You just don't know. [[laughter]]

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Speaker 2: So-
Speaker 4: You can't eat too much. That's it. [[laughter]]
Speaker 2: So, so it's a matter of, um, when you do it, it's just a matter of knowing whether or not, if you can do your best, if you come in too low or too high, and if you can't, what you gotta do? You gotta either stop or frown all the way through.

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Speaker 1: Is that the same for you all, Cherubims?

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Speaker 5: Oh, uh, many years ago, we used to use a key of your own. For instance, I'm gonna hit a tune, and we gon' have tenor, baritone, and bass on three chords. [[singing]]

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Speaker 1: But that first pitch, I mean, that's the one that- So, it's- But it's in your head. How did you choose that first pitch you're gonna hit?

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Speaker 5: I only have to shake my head and get it. That's [[??]]
Speaker 1: They have to shake his head and get it.
Speaker 2: May I?

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Speaker 1: I think what you have to understand here is another one of the distinctive factors about Afro-American expressive culture is that it is an oral tradition.

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If you go into a black church, you'll see people that can do incredible things on a Hammond organ. You will see incredibly skilled piano players that don't read a note on earth, but anything that they can hear one time they can play it, be it in the gospel tradition or jazz or out of the Western European tradition.

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And many of these performers do have perfect pitch, but this is not something that they think about. It's not something that they, that they consciously worked to develop because I've seen too many ins-

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Speaker 1: These gentlemen here, they don't miss much. Let me tell you. I've been watching them now perform two or three times a day all week and they're very, very accurate, but they tend to get modest when they get up on a stage like this.

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So, I would put money on it and my experience as an ethnomusicologist that within an oral culture, there is- there's many many performers do have perfect pitch. Another question and then I'm gonna have to let them go. I saw your's first.

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[SILENCE]

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Now, somebody has just brought up a very beautiful question. The question is but did not the established black church resist the development of gospel music and its integration into the worship service?

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Yes, that is true and you're never going to believe why. When gospel music was started, the father of gospel music is known as a man named Thomas Dorsey. Thomas Dorsey is lived- Anybody ever heard of Thomas Dorsey? Few people!

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Ok, now, bet I'm gonna get some more hands when I tell you this. How many of you heard of the song "Precious Lord"?

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Ah-ha! Thomas Dorsey wrote "Precious Lord"! That's his song. He is considered to be the father of gospel music.

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Now, when he started performing and there were those who performed before him, Thomas Dorsey used to play blues and jazz. He's played with Lionel Hampton. He used to play with Ma Rainey. Am I ringing any bells from anybody out there?

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So when he was in those traditions, he brought that with him into the performance and writing of gospel music. So when preachers first heard this music and they heard it called gospel, some of them said, 'You can't sing gospel. You can only preach the gospel.'

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And they associated with the world or sin. And they didn't want it brought it into the church, but the church eventually, as Dorsey said, saw that the black community loved this music

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Speaker 1: Something that spoke to them and to their needs and it was either go with the flow or be left out.

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So now, gospel music or the sound of the Cheribums is really the sound that's representative of black churches of all denominations throughout Afro-American culture in the United States. That's a real good point.

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[SILENCE]

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Well, the rappers came much further along. Rapping is a tradition of the 1980s. And from the Doo-Whops- Rapping really is a spoken tradition as opposed to the singing tradition.

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In the Doo-Woppers, here we have tenor, bass, the whole range of vocal qualities here, but in rapping, what we're getting again is a part of this oral tradition, where it's important to be able to speak, speak well, and to create instantaneously and one of the principals that's carried out in the singing here is the lead singers in these groups improvise quite often.

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Do you always know gentlemen, when you're leading a song, what you're gonna sing next? Tell us about it.
Speaker 2: Well, sometimes, uh, as far as the rapping you're talking about, the rappers are still dealing with a spoken, but it's also with a certain rhythm they hear.
Speaker 1: Right
Speaker 2: So, they've got to use certain syllables. You know, when they're saying words, as long as they get they match up.

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Um, as far as the improvisation, as far as adlibbing, we get the basic structure down, the basic song. We sing the melody and then afterwards, we'll go into what we call "adlibs", which you heard countless of times where you say anything, as long as your syllables match up and as long as it sounds good to you.

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And whatever point you wanna make. [laughter] That's just that.

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Speaker 1: Brother Brown
Brother Brown: [Cecil C. Brown] I would like to answer the question once asked a little earlier about not using music, how you know where to start, or what pitch

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Brother Brown: [Cecil C. Brown] Now, when I went to school, they had a little round thing to teach you. I'm sure everyone's familiar with that. They put you in the key that she wanted you in, but the way we do is, we hit a note not too high or not too low.

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Wherever we are comfortable with that note, whether we turn a baritone or lead, that's where we keep it at so we don't hurt ourselves in the future years to come. But we can't afford, since we don't use no particular sound to start our music to make it comfortable for ourselves, we always keep it at the pitch.

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And it comes in right into your mind, a certain pitch then and right off, if the leader hits too high, we know it right from the bat, before we open our mouths, but then if he hit it in the lower pitch, we know we can handle although we sing in very different pitches, but as long as it's not too high, we can handle it.

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Speaker 1: Ok, uh, our time is about up and I suggest to you that they like to sign autographs. They like to answer questions and you can grab them as they go off stage. Would either of you groups like to hit- hit one more tune? Hit a few phrases before you go? [applause]

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Wanna piece? A little bit, because I'm gonna miss them tremendously. As I said to you, this is their final performance on the Philadelphia stage. We'll have new groups coming in next week, but it really has made them feel good because you all have not only listened to them sing, you've listened to them talk and you've also listened to me talk, so we thank you for having been so wonderful. [applause]

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And we'll close out our workshop stage with just a few phrases from each of the groups. If you prefer to sit down gentlemen, that's quite alright. And their voices are tired. This has been a hard week for them, but because they love you, they'll sing anyway.
Speaker 3: Yeah.

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[[background noise]]

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[[background voices]]

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Speaker 1: See because the lead switches that's why they have to switch around and do that kind of thing cause all of 'em may sing lead at various times.

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[[clears throat]]

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[[singing begins]]

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Speaker 2: To dream the impossible dream.

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To fight the unthinkable foe.

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To bear the unbearable sorrow.

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To run (run away)

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where the brave cannot go. (oh)

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To write (to write) the unwritable wrong (the unwritable wrong)

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And to love (to love) pure and chase from afar (pure and chase from afar)

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To try when your arms are too weary

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To reach (to reach) the unreachable star (the star above)

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And this is my quest (this is my quest) to follow that star (To follow that star)

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No matter how hopeless, no matter how far

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To fight for the right without question upon

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To be willing to march into hell for heavenly cause

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And I know if I only be true

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To this glorious land

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That my heart will lie peaceful and kind

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When I lay to my rest, peace and quiet you're sure to find

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Speaker 2: [[singing]] Would be better for this

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That one man, he stormed and covered with scars

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But his true with his last ounce of courage

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Yes to reach oh, (reach, reach) to reach the unreachable star Mmm

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Speaker 1: Fantastic!
Speaker 2: Thank you. [[applause]]

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Speaker 1: That's New Emage! [[applause]] Thank you very much! And now, in their final number, I'd like to present to you, the Sensational Cherubims
[SILENCE]

00:30:57.000 --> 00:31:46.440
[[singing]] And the land of faith and [my home?] lies all sin Oh [?] And I'll come more time

00:31:49.000 --> 00:31:58.000
[[singing]] By the year [?] Oh, the

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There's no [?]

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Oh, wipe away all tears. There'll be no death, no pain, no fear. There'll be no fear.

00:32:36.000 --> 00:32:47.000
And I [?]

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Oh, there is [?], there is no like there [?]

00:33:00.000 --> 00:33:29.000
Speaker 1: Acapella singing from Philadelphia. New Emage! And Sensational Cherubims! Thank you for being a wonderful audience and giving them your love and support. It's been our pleasure to work with you this afternoon. [[applause]]

00:33:29.000 --> 00:48:18.264
[SILENCE]