Emo Boy Song Lyrics

[Desiderato Chouinard]

Nigger Love A Watermelon Ha! Ha! Ha!" merits the distinction of the most racist song title in America. Released in March 1916 by Columbia Records, it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.

I came across this gem while researching racial stereotypes. I was a bit conflicted over whether the song warranted a listen. Admittedly, though, beneath my righteous indignation, I was rather curious about how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the ice cream truck. (For the record, not all ice cream trucks play this same song, but a great many of them do.)

I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather vanilla in origin is co-opted and sprinkled with malice along the way.

For his creation, Browne simply used the well-known melody of the early 19th century song "Turkey in the Straw," which dates to the even older and traditional British song "The (Old) Rose Tree." The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.

The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to "Turkey in the Straw," but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.

In the late 1820s, the music was given new lyrics, which dripped with racism, and titled "Zip Coon." The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in post-bellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city-slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America: Jim Crow. These two characters would often interact onstage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.

The lyrics of "Zip Coon" follow the namesake through encounters with possums, playing the banjo and courting a woman whose skin was so black that he calls her "ol Suky blue skin." A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:

The ice cream crossover happened concurrently: 19th century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to customers. Ice cream trucks were the solution, and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.

Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by their inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (who can forget Eddie Murphy's famous, NSFW routine about the poor black experience with ice cream trucks?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.

Whenever I hear the music now, the antique voice laughing about niggers and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy toward me for change? Do I empower them with the history of our country, or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?

The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about niggers and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.

Theodore R. Johnson III is a writer, naval officer and former White House fellow. His writing focuses on race, society and politics. "Talking About Race And Ice Cream Leaves A Sour Taste For Some" is the author's response to critics of this article.

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The writings that stood out were the ones that told the story of his life. He wrote about hope and fear, new love and heartbreak. He wrote of God and faith as much as failure and the darkness of the human spirit. Some were hits, and some were not.

He went for lengthy periods without writing at all. He felt that inspiration for writing came through experiencing life, good and bad alike. His poetry and songs would not come from simply sitting and putting a pen to paper. He said that if he marked his calendar to write at 6 p.m., inevitably he wound up not writing. But if he went to his farm, walked in the woods, and sat still watching clear water flowing over stones in the creek, then at 6 p.m., he would most likely write a song.

In addition to his songs and poetry, this book is about those writings too. He wrote many powerful letters to others, from Billy Graham to Bob Dylan, but to me, the letters to himself hold the most insight and import. They bring the reader as close as possible to knowing the genuine man.

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I noticed that the vast majority of songs don't have lyrics for the user to read available. Spotify should have a staff team to transcribe lyrics accurately whilst syncing it to the song. I recently took up multiple transcriptionist jobs, typing around 120wpm, and thought that this would be an amazing idea for convenience and increased user experience.

Musixmatch sucks because on most of the songs that I would like to transcribe the lyrics it just tells me that its locked even tho there aren't any lyrics which doesn't even let you add lyrics to some songs. Lowkey yall should partner up with Genius since they let you at least add lyrics and information and at least it isn't strange like musixmatch.

Lots of songs still don't have lyrics posted (I'm a premium user and it's still a problem for me), even after being out for months/years. Users should be able to submit lyrics for them if they want to do so for free. Maybe have a feature where that's possible and, if someone uses it badly for some reason, a way to block people who do that from doing it if needed.

Violent song lyrics increase negative emotions and thoughts that can lead to aggression, according to a study published in the May issue of the Journal of Personality and Social Psychology (Vol. 84, No. 5).

The study challenges the ancient Greek "catharsis hypothesis" that claims that expressing aggressive emotion will later decrease aggressive behavior. Instead, researchers from Iowa State University and the Texas Department of Human Services found that aggressive music lyrics increase aggressive thoughts and feelings, which might perpetuate aggressive behavior and have long-term effects, such as influencing listeners' perceptions of society and contributing to the development of aggressive personalities.

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