- [Presenter] The following program, "Blacks, Blues, Black!

", is made possible by a public service grant from the Olympia Brewing Company.

(person sings in foreign language) - Hello, my name is Maya Angelou.

Music.

Music, that element that is supposed to be able to quiet the breast of the savage beast, that inspires and makes us able to bear the whips and scorns of time.

That's our subject today, music.

Music was one of the first art forms that man created, that Homosapien created.

And it was really created as a functioning element.

It was used to perpetuate gods.

When primitive man saw bursts of lightning and thunderbolts and that sort of thing, then he made music to quiet down, to pacify, to assuage that particular force, that life force that was frightening.

And he was in awe of it.

It is a functioning art form in Africa today.

It's used as a communications device.

Now, we have in the studio Mr. Cas Bontier, who is an Ashanti from Ghana, and he has a talking drum.

We'll ask him to say to you, "Hello, and welcome to the program."

Cas.

(drum bangs) Uh huh, you see?

Now you're welcome.

He's really said to you... (Maya speaks in foreign language) Which is, in Ashanti, in the Akan language, is "Welcome".

I speak Fante, but I don't really know how to say it to a TV program, so he's had to say that to yo.

In the African music, is functioning not only as an entertainment piece, but also to instruct.

It is an educational force.

The first thing Mr. Cas Bontier and his drum quartet is going to play, is a highlife dance that's supposed to be very entertaining.

But there's some instruction in it too.

Now, if you get up in your house and dance, you'll understand.

(lively African drum music) (lively African drum music continues) (lively African drum music continues) (lively African drum music continues) (lively African drum music continues) That's the highlife.

Now, if you saw the first program in this series, you saw that the highlife has a corollary in the United States.

It's called the "Hunch" here.

Well, when you go to West Africa, you will dance to that very beat.

The next drum number song, in fact, is the Agbadza.

You can try to say that now with me.

Agbadza.

It's an Ewe dance, and Mr. Cas Bontier is going to play it.

It's a dance of great joy and virility.

A little arrogant too, I'm afraid.

It's very beautiful.

Mr. Cas Bontier and Agbadza.

(upbeat African drum music) (upbeat African drum music continues) (upbeat African drum music continues) (man shouts) (upbeat African drum music continues) (upbeat African drum music continues) Agbadza.

I hope you got up and danced with that.

I did.

Now, that music, that beat, or those beats, those polyrhythms, laid a foundation for the music that was created subsequently all over the world.

That two and three rhythms laid on top each other.

The music crossed the Atlantic, certainly not willingly, certainly not like most cultural exchanges do, sort of insidiously, just kind of wafting over on the waves.

This music came in the breasts of the slaves.

In their need, in their agony, in the particular pain of what was called in the United States at that time, the "Peculiar Institution", because people were too sensitive, they liked to think they were, too sensitive to call it slavery.

But that pain that came out of slavery caused, allowed, or opened an avenue, so that music could be created.

The slave before had no understanding in fact, of that particular, that strange and unique brutality that slavery in the United States introduced to him.

So in that "Peculiar Institution", he created a great music, as spirituals.

If we listen to the kind of faith that the Black man put into his music, and into his God, he used the music as a direct avenue to God.

The Heavenly Tones are going to sing a song, and you will understand exactly what I mean.

("Bread of Heaven" by The Heavenly Tones) ♪ Guide me oh thou Great Jehovah ♪ ♪ Pilgrim through this barren land ♪ ♪ I am weak but thou are mighty ♪ ♪ Hold me with thou powerful hand ♪ ♪ Bread of heaven ♪ ♪ Feed me till I want no more ♪ ♪ Feed me till I want no more ♪ ♪ Guide me oh thou Great Jehovah ♪ ♪ Pilgrim through this barren land ♪ ♪ Pilgrim through this barren land ♪ ♪ I'm so weak but thou are mighty ♪ ♪ Hold me with thou powerful hand ♪ ♪ Hold me with thou powerful hand ♪ ♪ Bread of heaven ♪ ♪ Feed me till I want no more ♪ ♪ Feed me till I want no more ♪ ♪ Bread of heaven ♪ ♪ Bread of heaven ♪ ♪ Feed me, Jesus ♪ ♪ Feed me, Jesus ♪ ♪ Oh, bread of heaven ♪ ♪ Bread of heaven ♪ ♪ Feed me, Jesus ♪ ♪ Feed me, Jesus ♪ ♪ Feed me till I want no more ♪ ♪ Oh ♪ ♪ Feed me till I want no more ♪ ♪ Feed me till I want no more ♪ ♪ No more ♪ ♪ No more ♪ ♪ No more ♪ ♪ No more ♪ - If you are deaf or unfeeling, or have some other critical ailment, then I can understand if you didn't understand the instruction that was in that song.

The Black man has always had great respect for nature.

In West Africa today, in fact, all over the continent, you can find people dancing to commemorate an eclipse, or a great rain, or a volcanic eruption, that maybe took place two or 300 years ago.

The Black Americans wrote and sang a fantastic song about a rain.

I suppose it was about 2,500, maybe 3,000 years ago.

Noah built an ark because of it, and Black Americans those thousands years later wrote a song "Didn't It Rain?"

("Didn't It Rain?"

by The Heavenly Tones) ♪ Now didn't it rain ♪ ♪ Didn't it rain, oh my Lord ♪ ♪ Now didn't it rain ♪ ♪ I knew it ♪ ♪ Rain ♪ ♪ I need it ♪ ♪ Oh Lord, didn't it rain ♪ ♪ Now didn't it rain ♪ ♪ I believed it rained, oh my Lord ♪ ♪ Now didn't it rain ♪ ♪ Yeah ♪ ♪ Rain ♪ ♪ Yeah ♪ ♪ Oh Lord, didn't it rain ♪ ♪ Rain, rain, rain, rain ♪ ♪ Rain, rain, rain ♪ ♪ Now didn't it rain ♪ ♪ I believed it ♪ ♪ Rained, oh my Lord ♪ ♪ Lord, didn't it rain ♪ ♪ Yeah ♪ ♪ Rain ♪ ♪ Yeah ♪ ♪ Oh Lord, didn't it rain ♪ ♪ I want you to listen to the rain ♪ ♪ Yeah, oh Lord ♪ ♪ Come on and listen, yeah ♪ ♪ Yeah, Lord ♪ ♪ You know it rained for me ♪ ♪ It rained all night ♪ ♪ There was no let in sight ♪ ♪ It rained in the east and it rained in the west ♪ ♪ Citizens had no time to rest ♪ ♪ Nowhere to run, nowhere to hide ♪ ♪ Nowhere to run and nowhere to hide ♪ ♪ You better got right before it's too late ♪ ♪ Now didn't it rain ♪ ♪ Now didn't it rain, oh my Lord ♪ ♪ Lord, didn't it rain ♪ ♪ Yeah ♪ ♪ Rain ♪ ♪ Yeah ♪ ♪ Oh Lord, didn't it rain ♪ ♪ Rain, oh Lord ♪ ♪ Yeah, yeah ♪ ♪ Now all of you out there ♪ ♪ I want you to take your minds back ♪ ♪ Way, way, way, way back ♪ ♪ Way back in them old times ♪ ♪ Add power to the people ♪ ♪ Oh, yes it did ♪ ♪ That it's gonna rain ♪ ♪ Didn't want any power ♪ ♪ Oh, Lord ♪ ♪ If it's gonna rain ♪ ♪ Rain, rain, rain ♪ ♪ Now didn't it rain ♪ ♪ Oh, didn't it rain, oh my Lord ♪ ♪ Now didn't it rain ♪ ♪ Now didn't it rain ♪ ♪ Yeah, oh my Lord, didn't it rain ♪ ♪ Rain, didn't it rain ♪ ♪ Oh, yeah, yeah ♪ ♪ Rain, rain, didn't it rain ♪ ♪ Oh, say it one more time ♪ ♪ Rain ♪ ♪ Rain ♪ ♪ Didn't ♪ ♪ Didn't it rain ♪ ♪ Rain ♪ (Maya chuckles) - Yes, I'm sure it did.

There's a song that was written by a white American, I think Burt Bacharach wrote the song.

Obviously from the lyrics and melody, we have to approach the song as it really was written, by a fine human being.

Some Black human beings are going to sing this song that was written by a white human being.

I think there's some instruction in this too.

("What The World Needs Now" by The Heavenly Tones) ♪ What the world needs now is love, sweet love ♪ ♪ It's the only thing that there's just too little of ♪ ♪ What the world needs now is love, sweet love ♪ ♪ No not just for some, but for everyone ♪ ♪ No not just for some, but for everyone ♪ ♪ Lord, we don't need another mountain ♪ ♪ There are mountains and hillsides enough to climb ♪ ♪ There are oceans and rivers enough to cross ♪ ♪ Enough to last 'til the end of time ♪ ♪ What the world needs now is love, sweet love ♪ ♪ It's the only thing that there's just too little of ♪ ♪ What the world needs now is love, sweet love ♪ ♪ No, not just for some, but for everyone ♪ ♪ No, not just for some, but for everyone ♪ ♪ Lord, we don't need another meadow ♪ ♪ There are cornfields and wheatfields enough to grow ♪ ♪ There are sunbeams and moonbeams enough to shine ♪ ♪ Enough to shine ♪ ♪ What the world needs now is love, sweet love ♪ ♪ It's the only thing that there's just too little of ♪ ♪ What the world needs now is love, sweet love ♪ ♪ No not just for some, but for everyone ♪ ♪ No not just for some, but for everyone ♪ ♪ No not just for some, but for everyone ♪ ♪ No not just for some, but for everyone ♪ ♪ What the world needs now is love, sweet love ♪ ♪ What the world needs now is love, sweet love ♪ ♪ What the world needs now is love, sweet love ♪ ♪ What the world needs now is love, sweet love ♪ - Thank you.

Thank you, Heavenly Tones.

You really are heavenly, the tone is heavenly.

Our music, continuing its passage, reached the South... Well, B.B.

King said a couple of weeks ago, that many of our people were spiritual.

They prayed and sang.

But he suggests that the blues came out of the realization that singing and praying to God, these are his words, "Simply wasn't getting the man up off his back."

So, some of our people decided to sing about what was really happening to them, so they wrote some blues.

Big Bill Big Bill Broonzy has the blues that says... ♪ I don't want no help, baby ♪ ♪ I don't need no oil in my hand ♪ ♪ I don't want no women round me ♪ ♪ Always raising sand when I've been drinkin' ♪ ♪ When I've been drinkin' ♪ ♪ When I come home, baby ♪ ♪ Please let me lay down and rest ♪ ♪ I want somebody to hold me, to lay me in my bed ♪ ♪ Talk baby, talk to me and hold my head ♪ ♪ When I've been drinkin' ♪ ♪ When I've been drinkin' ♪ ♪ When I come home, baby ♪ ♪ Please let me lay down and rest ♪ ♪ Put me out baby, in a big wheelchair ♪ ♪ Roll me baby, roll me baby ♪ ♪ Roll me anywhere ♪ ♪ When I've been drinkin' ♪ ♪ When I've been drinkin' ♪ ♪ When I come home, baby ♪ ♪ Please let me lay down and rest ♪ That's one.

There's another one from that period that was sung by Arthur "Big Boy" Crudup, and it's one of the oldest blues.

It has a feeling that is partly, I mean, one can still see more of the African influence in it, because of the meter.

The meter is so strange.

It says... ♪ Baby, please don't go ♪ ♪ Come baby, please don't go ♪ ♪ Baby, please don't go back to New Orleans ♪ ♪ They'll feed you rice and beans ♪ ♪ The worst you've ever seen ♪ ♪ Baby, please don't go ♪ ♪ You got me way down here ♪ ♪ You got me way down here ♪ ♪ You got me way down here beneath the forks in the road ♪ ♪ You treat me like a dog, you make me walk below ♪ ♪ You got me way down here ♪ ♪ There is one man gone ♪ ♪ Already one man gone ♪ ♪ There's one man gone from the county farm ♪ ♪ With his shackles on ♪ ♪ You know it's one man gone ♪ ♪ Baby, please don't go ♪ ♪ Baby, please don't go ♪ ♪ Baby, please don't go back to New Orleans ♪ ♪ You'll feed me rice and beans ♪ ♪ The worst you've ever seen ♪ That's one style of the blues.

Louis Armstrong came along in New Orleans, and created along with Kid Ory and King Creole and that Papa Celestin and Pa Yancey and Ma Yancey, a style of music called the New Orleans Jazz.

The first time the music, the Christian music or the spirituals had been done in a secular way, was when Louis Armstrong sang and played "When The Saints Go Marching In", and I'm sure everybody knows that, and we don't have to just lay down these particular ones.

Ma Rainey and Bessie Smith and Ma Smith were women who carried the idea even further, I mean, as singers, that the blues were supposed to tell you something about their lives.

The songs they sang talked about, again, natural phenomena.

Bessie Smith sang a song about the flood in Texas or someplace.

Ma Rainey sang about the heat one summer, when it was just so hot that she couldn't have good relations with people.

Bessie Smith sang a song called... ♪ Gimme a pig foot ♪ ♪ And a bottle of beer ♪ ♪ Love me 'cause I really don't care ♪ ♪ I'm here to tell you ♪ ♪ Love me 'cause I really don't care ♪ ♪ Oh, gimme a pig foot and a bottle of gin ♪ ♪ Love me 'cause I'm in my sin ♪ ♪ I'm here to tell you ♪ She talked about...

I mean, the pig foot and a bottle of beer is very important in the Black American life.

And so she was talking about something really for real.

Lead Belly and, oh, Jelly Roll Morton came along... And Cow Cow Davenport came along and put some more juice to the blues, and we got into a boogie-woogie style, which was very famous for a while.

Meade Lux Lewis and Fats Waller were men who also, each time, helped the music to reach another stage.

Ethel Waters sang a song called "Happiness Is Just a Thing Called Joe".

And I think what we are seeing today is a great gap between say, that song, and the songs that are being done today.

Well, those songs used to say, "My man is no good, but I love him just the same.

He's mean and evil and he beats me, and so forth."

And that's a pretty negative position and point of view.

I mean, it may be true, but why make a song about it?

But I don't think it's as true today, say as it was 40 years ago.

Now today, our young people are singing songs that have a great significant significance for the struggle towards liberty.

One of the most popular songs today is a song by Aretha Franklin that says "Think".

There's another one that says... "Give me a little respect when I come home."

She's not playing.

The person who wrote that song wasn't playing, Otis Redding wasn't playing.

There's a song that was very popular a few months ago that said, "We're moving on up.

We're a winner."

This is a point of view that we have got to come to totally, collectively.

I'm speaking to my people, we must come there collectively, that we are winners.

Now, when we trace the music, see what happened.

See that why this program is called "Blacks, Blues, Black!

", is that at one point, in Africa, we were Black.

Then we came to the States, and we sang the blues for 349 years there.

It was really bad.

We are today Black.

This is a positive statement.

That is to say that we have done everything.

We have been as defeated as any people can be, and we have triumphed.

We must now join the triumph, you see?

So when The Hesitations, The Hesitations have a song now called, "Who Will Answer".

And the young people, I don't know them, but they're singing it with such fervor that some of you must answer it.

The leadership must come from somewhere.

And each one of the programs I'm doing, I hope certainly that they'll be entertaining, but you know also, if you have watched the other three or four, then you know also that I will take some time to talk to you.

I will use this medium to talk to you.

Now, I finished my preaching for a moment.

The Black Americans used music to help them work.

The work songs, the "John Henry", the "Take This Hammer", "Here's The Hammer" and so forth.

It helped them to work.

We also decided at some point that we didn't just want to sing with the natural voice, as it came out of Africa, and as we sang in the churches.

So some of our men and women studied a voice.

And of course we've had Mr. Todd Duncan, Paul Robeson, Mr. William Warfield, and other great baritones and tenors, and Miss Marian Anderson as a soprano.

They sang, they showed that we were able... Our vocal box was able to be trained to sing opera.

But something special happened when we took that vocal box that was trained, and sang our own melodies.

Mr. J.H.

Smalley is here, and he's going to sing "Water Boy", and listen to this instrument.

Please.

♪ Water boy ♪ ♪ Where are you hiding ♪ ♪ If you don't come ♪ ♪ I'll tell your mammy ♪ ♪ There ain't no hammer ♪ ♪ That's on this mountain ♪ ♪ That ring like mine, boy ♪ ♪ That ring like mine ♪ ♪ Done bust this rock, boy ♪ ♪ From here to the Macon ♪ ♪ All the way to the jail, boy ♪ ♪ Yes, back to the jail ♪ ♪ You jack o' diamond ♪ ♪ You jack o' diamond ♪ ♪ I know you are old, boy ♪ ♪ Yes, know are old ♪ ♪ You rob my pocket ♪ ♪ Yes, rob my pocket ♪ ♪ Gonna rob my pocket ♪ ♪ Of silver and gold ♪ ♪ Water boy ♪ ♪ Where are you hiding ♪ ♪ If you don't come ♪ ♪ I'll tell your mammy ♪ ♪ Mm ♪ ♪ Water boy ♪ - Thank you.

That's a beautiful instrument.

You're a bass baritone.

- Yeah.

- Yeah, you sound like a bass bass.

- Well, I have a lot of bass in me.

- That's it, that's it, that's it.

The work songs that were used on the land changed when the Black men went to sea, when they worked in Jamaica or in New Orleans or in Mobile> And here's a sea shanty.

A Black American sea shanty from Mobile.

Please.

♪ Were you ever down in Mobile Bay ♪ ♪ Johnny, come tell us and heave away ♪ ♪ A-heaving cotton by the day ♪ ♪ Johnny come tell us and heave away ♪ ♪ Aye, aye, heave away ♪ ♪ Heave away and draw your pay ♪ ♪ A dollar a day is the sailor's pay ♪ ♪ To work all night and heave all day ♪ ♪ The work is old, the ship is hot ♪ ♪ Johnny come tell us and heave away ♪ ♪ That six feet of water in her boat ♪ ♪ Johnny come tell us and heave away ♪ ♪ Aye, aye, heave away ♪ ♪ Heave away and draw your pay ♪ ♪ The ship is old, the rats have gone ♪ ♪ But we can never draw our pay ♪ ♪ Oh, Johnny come, oh Johnny come ♪ ♪ Oh, Johnny won't you leave her ♪ ♪ The grub is bad, but the gin is strong ♪ ♪ Oh Johnny, come and leave her ♪ ♪ Aye, aye, heave away ♪ ♪ Heave away and draw your pay ♪ ♪ And before we go, we'll sing this song ♪ ♪ It's time for us to leave her ♪ ♪ Oh, may we never think to be ♪ ♪ Johnny come tell us and heave away ♪ ♪ On a hungry ship the like of she ♪ ♪ Johnny come tell us and heave away ♪ ♪ Aye, aye, heave away ♪ ♪ Heave away and draw your pay ♪ ♪ The rats have gone and we have a crew ♪ ♪ It's time I got that wayward fool ♪ - Lovely, lovely.

Thank you, Mr. Smalley.

- Thank you.

- Thank you.

Now...

I want to talk a little bit more about what happened to our music.

When this was happening, when New Orleans jazz was burgeoning in New Orleans and in the South, a group of white American musicians were inspired by the creation, creativity.

Bix Beiderbecke, Jack Teagarden, Muggsy Spanier and many others brought the music north, into Chicago, and they called it "Dixieland".

They spread the music.

They weren't able actually to play the music, say as Louis Armstrong played it or those fellows, but they played another kind of music, which is good too.

And I think that we must consciously take the credit for that music too.

I know that Black Americans rarely go to hear Dixieland, and I'm also guilty of that.

But I do realize that it is out of my pain that Dixieland came.

It is out of my understanding, out of my experiences, that this music came.

Lonnie Johnson.

Do you remember Lonnie Johnson?

Do you remember... ♪ Tomorrow night ♪ ♪ Will you remember what you said tonight ♪ ♪ Tomorrow night ♪ ♪ Will all the thrill be gone ♪ Very important song, for me anyway at that... For all of us in a certain era.

I don't want to tell my age, so.

But if you know it, you know it.

Lil Green sang... ♪ In the dark, in the dark, it's just you and I ♪ ♪ Not a sound, not a sound, there's not one sigh ♪ ♪ It's just the beat, the beat of my poor heart ♪ ♪ In the dark ♪ ♪ In the dark, in the dark, I get such a thrill ♪ Do you remember that?

Now, you can hear that what has happened to the music by that time, is that you can hear the rhythm underneath, and some of the original African tonality.

You can hear the thirds and the fifths flatted.

You can hear what what is called a pentatonic scale, you can hear it in the blues.

But something else has happened there, that the European music has also influenced the African music.

The difference between American pop music and say, Latin music, is that the African and Spanish music merged.

In this case, the African and European music.

That is to say, the English rounds, and that sort of nice, melodic strain merged, and we get a song like... Oh, like that very one, "In The Dark", with that smooth, melodic feeling to it.

Around the 40s, middle 40s, Charlie Parker, Mr. Charlie Parker, Mr. Dizzy Gillespie, Max Roach, Mr. Roach, Mr. Thelonious Monk, and even Babs Gonzales, who we don't hear enough of these days, came to New York and created a music called "Bop".

And they wore little goatees, and everybody was very slick, and they paid some terrible dues for creating the music.

But anytime, anything that's worthwhile, you have to pay for in any case.

Henri says we pay immediately.

And maybe it's in an installment, maybe we pay off in an installment plan way, but we do pay.

So anything that is creative is certainly painful.

So to those men, whenever we hear of them, we should be very grateful.

They took the music to a new level.

And then from bop, from bebop, the music went into a progressive jazz phase, and that now is moving into a progressive jazz music blues phase.

I don't know what what to really call it.

But there's a trio called the Jimmy Ed Trio, and they cook.

They say, "Listen here."

(upbeat soulful jazz music) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) Beautiful, beautiful.

The next song deals again with the natural phenomena.

This is called, "Here Comes That Rainy Day".

It doesn't sound like it.

It sounds like it's bright noon, and everything is really all right.

(upbeat soulful jazz music) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) (upbeat soulful jazz music continues) Brothers... That sounds to me like a whole orchestra.

It doesn't sound like a trio.

This next song was written by some young men from England, they've written some beautiful things, the Beatles.

They wrote a song called "Eleanor Rigsby", and now we'll see how it sounds with the the Jimmy Ed Trio.

("Eleanor Rigby" by the Jimmy Ed Trio) (groovy jazz music) (groovy jazz music continues) (groovy jazz music continues) (groovy jazz music continues) (groovy jazz music continues) (groovy jazz music continues) (groovy jazz music continues) Thank you very much.

We thank you for watching the program, we hope you've enjoyed it, and we hope you've learned something.

I'm going to ask the rest of the group, the crew to help me, and we'll do a finale for you.

I'll ask The Heavenly Tones... Mr. J.H.

Smalley.

The African drummers, Cas Bontier's African Quarter is already in place.

And Mr. Jimmy Ed Trio.

And we'll sing, "I Want To Be Ready".

If you're at home just enjoying yourself, jump up and shout right about now.

♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ If you get to heaven before I do ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Tell all my friends I'm comin' too ♪ ♪ Walk in Jerusalem just like John ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ Now, God that river is chill and cold ♪ ♪ Walk in Jerusalem just like John ♪ ♪ It chills the body but not the soul ♪ ♪ Walk in Jerusalem just like John ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Now lord, this river is still and cold ♪ ♪ Walk in Jerusalem just like John ♪ ♪ It chills the body but not the soul ♪ ♪ Walk in Jerusalem just like John ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Oh, walk in Jerusalem just like John ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ I want to be ready ♪ ♪ To walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem just like John ♪ ♪ Walk in Jerusalem, oh I ♪ - [Presenter] The proceeding program, "Blacks, Blues, Black!

", was made possible by a public service grant from the Olympia Brewing Company.