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Language of the Blues - Edmonton Blues Society

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`<br />

Playing <strong>the</strong> dozens is about more <br />

dozens is an exhibition <strong>of</strong> emotional strength and verbal agility. Obscenities are used and<br />

<br />

cool- <strong>the</strong> first person to get angry automatically forfeits. The audience chooses <strong>the</strong> winner<br />

and spreads <strong>the</strong> word about who won. The winner can expect to be challenged to ano<strong>the</strong>r<br />

battle before long, ei<strong>the</strong>r by <strong>the</strong> one who lost or an up-and-comer.<br />

According to LeRoi Jones (Ami<br />

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164<br />

<br />

O<strong>the</strong>r cultures also engage in verbal<br />

165<br />

<br />

<br />

<br />

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Some <strong>of</strong> you womens ought to be in <strong>the</strong> can<br />

Out on <strong>the</strong> corner stopping every man<br />

<br />

He can't see but he sure can smell<br />

Fish man pass here <strong>the</strong> o<strong>the</strong>r day<br />

<br />

<br />

and a career-<br />

166<br />

<strong>the</strong> Many blues lyrics reflect an African American tradition <strong>of</strong><br />

verbal jousting that includes everything from toasting, boasting, and capping to cracking,<br />

bagging, dissing, and snapping. 167<br />

Snaps are putdowns with a setup- - followed by <strong>the</strong> snap- <br />

<br />

168<br />

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In <strong>the</strong> 1970s and 1980s, rappers honed <strong>the</strong>ir verbal skills for dozens-style battles in which<br />

<br />

York City freestylers Supernatural, Craig-G, and Juice tested each o<strong>the</strong>r in battles that<br />

rappers still reminisce about today.<br />

Songs:<br />

- Robert Wilkins<br />

- Memphis Minnie (Lizzie Douglas)<br />

85

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