Old Spencer Academy, a Choctaw boarding school, heard Willis singing these two songs and transcribed the words and melodies. He sent the music to the Jubilee Singers of Fisk University in Nashville, Tennessee. The Jubilee Singers popularized the songs during a tour of the United States and Europe. In 1939, Nazi Germany's Reich Music Examination Office added the song to a listing of "undesired and harmful" musical works. The song enjoyed a resurgence during the 1960s Civil Rights struggle and the folk revival; it was performed by a number of artists. Perhaps the most famous performance during this period was that by Joan Baez during the legendary 1969 Woodstock festival. Oklahoma State Senator Judy Eason McIntyre from Tulsa proposed a bill nominating "Swing Low, Sweet Chariot" as the Oklahoma State official gospel song in 2011. The bill was co-sponsored by the Oklahoma State Black Congressional Caucus. Oklahoma Governor Mary Fallin signed the bill into law on May 5, 2011, at a ceremony at the Oklahoma Cowboy Hall of Fame; making the song the official Oklahoma State Gospel Song. Lyrics Refrain: Swing low, sweet chariot, Coming for to carry me home. Swing low, sweet chariot, Coming for to carry me home. I looked over Jordan, and what did I see, Coming for to carry me home. A band of angels coming after me, Coming for to carry me home. [Refrain] If you get there before I do, Coming for to carry me home. Tell all my friends I'm coming too, Coming for to carry me home. [Refrain] The brightest day that ever I saw Coming for to carry me home. When Jesus washed my sins away, Coming for to carry me home. [Refrain] I'm sometimes up and sometimes down, Coming for to carry me home. But still my soul feels heavenly bound, Coming for to carry me home. [Refrain] Content and style The content of the song is typical to the style of the spiritual in several ways: its use of imagery that provides a sense of immediacy to the historical and biblical past, the repetition of the key poetic element of the song (“Coming for to carry me home”), and the alteration between the refrain and the stanzas throughout. The song alternates between first person and second person pronouns, stressing the relationship between the performer, the listener, and the events unfolding in the song. By directly calling to the listener