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The verses that generally constitute the modern version of the song are: [4] I've been working on the railroad All the live-long day. I've been working on the railroad Just to pass the time away. Can't you hear the whistle blowing, Rise up so early in the morn; Can't you hear the captain shouting, "Dinah, blow your horn!" Dinah, won't you blow,
Similarly, work songs have been used as a form of rebellion and resistance. [11] Specifically, African-American women work songs have a particular history and center on resistance and self-care. [12] Work songs helped to pass down information about the lived experience of enslaved people to their communities and families. [12]
The American song collection of over 200 songs in Hard Hitting Songs For Hard Hit People by Woody Guthrie, Pete Seeger and Alan Lomax in the 1940s (not published till 1967), explored worker's song further. [9] The work of labour historian Archie Green, which included the production of recordings of labour and work songs, provided a wider ...
55. "Believe in yourself, work hard, work smart and passionately present your best self to the world.” – Hill Harper. 56. "Perseverance is not a long race; it is many short races one after the ...
"Work Hard, Play Harder" debuted on the US Hot Country Songs chart the week of November 14, 2009, at number 56. It reached a peak position of number 18 on the chart the week of June 26, 2010, becoming her highest charting single since "All Jacked Up" peaked at number eight in 2005. It spent 33 weeks in total on the chart, becoming her longest ...
The 1980s produced chart-topping hits in pop, hip-hop, rock, and R&B. Here's a list of the best songs from the time, ranging from Toto to Michael Jackson.
"40 Hour Week (For a Livin')" is one of the songs central to a point of contention among country music historians. Alabama is frequently billed as having the longest uninterrupted No. 1 streak in the history of the Billboard magazine Hot Country Songs chart, with 21 songs peaking atop the chart between 1980 and 1987, "40 Hour Week (For a Livin')" being the song that set the new standard."
In the 1920s, folklorists, notably Dorothy Scarborough (1925) and Guy Johnson and Howard W. Odum (1926), also collected transcribed versions. Scarborough's short text, published in her book, On The Trail of Negro Folk-Songs (1925), is the first version published under the title "Nine-Pound Hammer", before the earliest commercial recording of that name. [7]