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"Joc-a-mo-fee-no-ah-nah-nay, Joc-a-mo-fee-nah-nay" is a ritual chant used by the Mardi Gras Indians which has been around for so long the words are no longer clearly distinguishable, and it has a well understood meaning of its own. So lines like "My spy boy to your spy boy, I'm gonna set your tail on fire" are ceremonial challenges to the other tribe.
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Friends and family who follow are in the "second line" and are therefore second liners. The Spy Boy is a ceremonial position (the front runner who scouts out other tribes to do battle with) as is the Flag Boy, Wild Man, and Big Chief. They face off when they meet and have battles of clothing, dancing, and singing. Black Indians are parade crewes (tribes) that parade through the New Orleans streets on Mardi Gras wearing extravagant ceremonial Indian clothes. They are all New Orleans Mardi Gras songs about the Black Indians. Iko Iko (as well as other songs such as Big Chief, Hey Pokey-Way, New Suit, Fire Water) has a very specific meaning. Here are two paragraphs from that site, credited to Adam Wasserman: Suffice it to say that the song originated in New Orleans, has elements of French Creole and African languages, and has to do with the ceremonial battles engaged in by various troops of celebrants in the New Orleans Carnival/Mardi Gras tradition.
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There’s an excellent and thorough piece of work about the song on the Grateful Dead Lyric and Song Finder site. The lyrics to “Iko Iko” have been rigorously and extensively dissected, with multiple variants, on a variety of sites over time. I always wished there was some kind of hand signal, for use on freeways between vehicles, when the “Hey now!” was impractical. A simple, “Hey now!” to a passing head on the street was enough to convey that you belonged. Just as “I Need a Miracle” gave rise to the miracle ticket, “Iko Iko” gave rise to perhaps the only “secret handshake” type greeting among Deadheads. The music literally shook me into dance, every time.) (I used to challenge myself to try to stand still and just listen at shows, but really-that was impossible for me. I think, in the hands of the Grateful Dead, any tempo, any groove became eminently danceable. The tempo is slow enough that the words have more time to sink in, and the band locks into a steady groove in that special way they had. This was only the band’s fourth performance of “Iko Iko” aka “Aiko Aiko,” and the trademark aspects of the interaction between band and audience hadn’t yet settled into place. I was curious to hear what would come next (I make a point of not reading the song list before I put a new CD on…just like I don’t read book jacket flap before I read a book-I want to be surprised), and I was very happy to hear Jerry launch into “Iko Iko.”
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Listening to the new Dave’s Picks (#12, November 4, 1977, at Colgate University) on my way home from work today, I listened as the drummers settled into the familiar Bo Diddley beat out of their drum solo, but at a more laid-back pace than usual. (I’ll consider requests for particular songs-just private message me!)
#Lyric some kind of wonderful free#
Therefore, the best part, I would hope, would not be anything in particular that I might have to say, but rather, the conversation that may happen via the comments over the course of time-and since all the posts will stay up, you can feel free to weigh in any time on any of the songs! With Grateful Dead lyrics, there’s always a new and different take on what they bring up for each listener, it seems. Here’s the plan-each week, I will blog about a different song, focusing, usually, on the lyrics, but also on some other aspects of the song, including its overall impact-a truly subjective thing.