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Showing posts with label African American Rock And Roll. Show all posts
Showing posts with label African American Rock And Roll. Show all posts

Tuesday, September 27, 2022

The Cadillacs - "Speedoo" (1955 Doo Wop Classic Sound File, Film Clips, Information, & Lyrics)


GNRSlashLover, Jul 18, 2011 **** Edited by Azizi Powell This pancocojams post showcases The Cadillac's 1955 Doo Wop song "Speedo". Information about The Cadillacs is included in this post along with information about that song. This pancocojams post also includes the lyrics to the song "Speedo" and YouTube examples of the Cadillacs performing that song. The content of this post is presented for cultural, entertaiment, and aesthetic purposes. All copyrights remain with their owners. Thanks to Esther Navarro for composing this song and thanks to The Cadillacs for their musical legacy. Thanks also to all those who are quoted in this post and thanks to the publishers of these sound file and film clips on YouTube.

**** SHOWCASE FILM CLIP #1: Speedo- Cadillacs (ACTUAL film segment from 1955)

TCSguy, March 20, 2011

Rare film footage of the Cadillacs singing "Speedo" at an Alan Freed Show at the Brooklyn Paramount in 1955. Found in a rock documentary that aired in the 70s. At this time, the group consisted of: Earl Carroll, LaVerne Drake, Bobby Phillips, Earl Wade, and Charles Brooks. -snip- Here's a comment about this film clip from PJ Riverdale, published in 2015 in that YouTube video's discussion thread:
"From an ABC TV RNR documentary aired in the 1970's. The primary film footage was shot by CBS News for a negative report on Rock music and its fans,c.1956 . Look carefully at the audience shots, you can see where they were probably going with this.

From that same footage,a clip of a Chuck Berry duck walk also exists and has been shown  here and there. It is believed that the original CBS footage was shot silent,any audio has been dubbed.

Almost any footage of early rock music exists solely to incense adult audiences particularly in the South where all manner of racial rhetoric and associations were added to negatively portray this phenomenon as the newest danger to [white] youth and the American[White] way of life."...
**** SHOWCASE FILM CLIP #2: Speedo & The Cadillacs (Live)~ Speedoo, Gloria,Peek A Boo,The Girl I Love

worldwidepromoters2, Feb. 9, 2011
-snip- The Cadillacs perform the song "Speedoo" from .031 to 3:44 in this film clip. -snip- Here's a comment written by
Al D'Antonio in 2014 from this video's discussion thread: "The first two performances of 'Speedoo' & 'Gloria' were on the Clint Holmes' 'NY at Night' show that aired between 1987-88 while the last two performances herein are of Earl & the Cadillacs a few years later on the Harvey Holiday Doo Wop Show which also had Jocko Henderson introducing the Cadillacs as they sang 'Peek-A-Boo' and 'The Girl I Love' with Earl's hair being just a little greyer than in the first two performances!"

**** INFORMATION ABOUT EARL CARROLL LEAD SINGER OF THE CADILLACS From https://en.wikipedia.org/wiki/Earl_Carroll_(vocalist) "Earl "Speedo" Carroll (November 2, 1937 – November 25, 2012) was the lead vocalist of the doo-wop group The Cadillacs.[1] The group's biggest hit was "Speedoo", which with a minor spelling change became Carroll's subsequent nickname. It was released in 1955. He joined The Coasters in 1961, leaving the group in the early 1980s to permanently reform The Cadillacs.

In 1982, Earl took a job as a custodian at the PS 87 elementary school in New York City and worked there until retiring in 2005. A popular figure with the students, he was chosen to be the subject of a children's book, That's Our Custodian, by Ann Morris (Brookfield, Connecticut: Millbrook Press). The publicity helped him to revive his career. He became a mainstay of the PBS series honoring doo wop, hosted by Jerry Butler and continued performing until the early 2010s when deteriorating health forced him to retire."...

**** MORE INFORMATION ABOUT THE CADILLACS From https://extras.denverpost.com/scene/soundcheck0908.htm Sound Check By G. Brown, Sept. 8, 2000 ..."
Look at that Cadillac

The Cadillacs were one of New York's first and very best doo-wop groups - in 1956, the joyful closeharmony street-corner sound of "Speedoo" hit big for the Harlem quintet: "They often call me Speedoo but my real name is Mr. Earl ... " It was written about smooth-assilk lead singer Earl "Speedoo" Carroll.

In his recollection, "We were playing an armory up in Boston, and after the gig Bobby Phillips, the little bass singer and the ham of the group, saw a great big torpedo shell outside. My head is kinda pointy - they used to tease me about it all the time - and he looked over at me and said, "Hey, Speedoo, there's your torpedo!" "And the guys just rolled on the ground - they thought that was the funniest thing ever. I was so upset, I said, "Listen, man, my name is Earl - Mr. Earl - as far as you're concerned, you little bum.' So we got in the car, and they kept teasing me all the way back to New York unti we wrote the song. And the rest is history!" The Cadillacs became known for humorous jump material, and they were the first R&B vocal group to extensively use hot choreography in their stage routines.

"I remember playing the Fox Theatre in Detroit when we first went there. We looked in the wings, and there was Smokey (Robinson) and the Temptations and everybody from Motown looking at what we were doing. We started five guys stepping together. I'm proud of that." In recent years, Carroll's favorite audience has been children - he still works as the head custodian at P.S. 87 in Manhattan.

"I've been there since 1982. I was thinking about retirement this year at 62, but they talked me into going to 65 and getting the full benefits. It's such an easy, beautiful job, and I love what I'm doing with the teenie-weenies. They're something else, they keep me young. It's like a family." But doo-wop got a big boost recently from the TV special "DooWop 50," the most lucrative fundraiser in public TV history. The program revived the Cadillacs' career in a way Carroll never thought possible.

Rhino Records has issued a third doo-wop boxed set, and "The Legends of Doo-Wop" as seen on PBS is on tour and will visit University of Denver's Magness Arena tonight. What is it about doo-wop that brings forth such excitement?

"A couple of years ago, I was saying, "Well, I guess this doo-wop rock 'n' roll thing is all over.' And it just seems to get bigger and bigger. It really is amazing to me. I thought it would be long gone like disco, but it's never going to die. Anybody who counts out '50s music evidently can't count!" The Cadillacs with the Marcels, Del Vikings, Gene Chandler, Chantels, Spaniels, Penguins and the Monte Carlos: 7:30 tonight; Magness Arena; $58.50, $48.50, $38.50 and $33.50; Ticketmaster"...

**** INFORMATION ABOUT THE SONG "SPEEDOO" From https://en.wikipedia.org/wiki/Speedoo 
"Speedoo" is a song written by Esther Navarro and performed by The Cadillacs featuring the Jesse Powell Orchestra. It reached number 3 on the U.S. R&B chart and number 17 on the U.S. pop chart in 1955.[1] The song was featured on their 1957 album, The Fabulous Cadillacs.[2]

Lyrically, the song tells of Mister Earl who acquired the nickname "Speedoo" because, when it comes to his pursuit of pretty girls, "he don't believe in wastin' time" and "he don't never take it slow".

[...]

The song was featured on the soundtrack of the 1990 film Goodfellas.[12]

The song was performed by The Cadillacs in the beginning of the 1998 miniseries The Temptations

The song was featured on the 2001 episode "Employee of the Month" of the show The Sopranos."....

****
LYRICS - SPEEDOO

Boom boom boom boomBoom boom boomBoom boom boomBoom boom boom
Well now they often call me SpeedooBut my real name is Mister EarlUmm-hmm-hmm
Well now they often call me SpeedooBut my real name is Mister EarlUmm-hmm-hmm
All for meetin' brand new fellasAnd for takin' other folk's girlUmm-hmm-hmm
Well now they often call me Speedoo'Cause I don't believe in wastin' timeUmm-hmm-hmm
Well now they often call me Speedoo'Cause I don't believe in wastin' timeUmm-hmm-hmm
Well I've known some pretty womenAnd that's caused them to change their mindUmm-hmm-hmm
Well, now some may call me JoeSome may call me MoeJust remember SpeedooHe don't never take it slow
Well now they often call me SpeedooBut my real name is Mister EarlUmm-hmm-hmm
Well now they often call me SpeedooBut my real name is Mister EarlUmm-hmm-hmm
Well now, some may call me MoeSome may call me JoeJust remember SpeedooHe don't never take it slow
Well now they often call me SpeedooBut my real name is Mister EarlUmm-hmm-hmm
Well now they often call me SpeedooBut my real name is Mister EarlUmm-hmm-hmm
And now they gotta call me Speedoo'Till they call off makin' pretty girlsUmm-hmm-hmm
Umm-hmm-hmm-hmmUmm-hmm-hmm-hmmUmm-hmm-hmm-hmmFADESUmm-hmm-hmm-hmm
Source: Musixmatch
Songwriters: Esther Navarro
Speedoo lyrics © Emi Longitude Music

****
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Sunday, January 24, 2021

Bo Diddley's 1955 Rock n Roll Song -" I'm A Man" (From "Legends of Rock 'n' Roll") with YouTube comments



Eagle Rock, Aug 29, 2008

Bo Diddley - I'm A Man (From "Legends of Rock 'n' Roll") **** Edited by Azizi Powell
Latest revision - April 23, 2024 This pancocojams post presents information about Bo Diddley's 1955 mega hit song "I'm A Man" and showcases a clip of the 1989 film of the "Legends Of Rock 'n' Roll" concert that features Bo Diddley performing his 1955 hit song "I'm A Man".
This post also documents selected comments from two discussion threads of YouTube sound files of Bo Diddley singing "I'm A Man". The content of this post is presented for cultural, entertainment, and aesthetic purposes. All copyrights remain with their owners. Thanks to Bo Diddley for his musical legacy. Thanks to all those who are quoted in this post and thanks to the publishers of this showcases video and this featured sound file on YouTube. -snip- Click http://pancocojams.blogspot.com/2015/07/bo-diddleys-im-man-information-examples.html for a 2015 pancocojams post entitled Bo Diddley's "I'm A Man" (information, examples, lyrics, & comments). That post includes information about Bo Diddley and his I'm A Man song and lyrics for that song. That 2015 pancocojams post also features two sound files other of Bo Diddley performing this song other than the one that is included in this post. Selected comments from various YouTube discussion threads other than the one featured in this 2020 post are also included in that post.

****
INFORMATION ABOUT BO DIDDLEY
From https://www.youtube.com/watch?v=SaC5ZKRjLUM&ab_channel=John1948TwoA2 "Bo Diddley - I Am A Man"; published by John1948TwoA2, Jan 28, 2011
"He only had a few hits in the 1950s and early '60s, but as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat -- bomp, ba-bomp-bomp, bomp-bomp -- is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range. But even more important, Bo's bounce was fun and irresistibly rocking, with a wisecracking, jiving tone that epitomized rock & roll at its most humorously outlandish and freewheeling.

Before taking up blues and R&B, Diddley had actually studied classical violin, but shifted gears after hearing John Lee Hooker. In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Bo's called "that freight train sound." Billy Boy Arnold, a fine blues harmonica player and singer in his own right, was also playing with Diddley when the guitarist got a deal with Chess in the mid-'50s (after being turned down by rival Chicago label Vee-Jay). His very first single, "Bo Diddley"/"I'm a Man" (1955), was a double-sided monster. The A-side was soaked with futuristic waves of tremolo guitar, set to an ageless nursery rhyme; the flip was a bump-and-grind, harmonica-driven shuffle, based around a devastating blues riff. But the result was not exactly blues, or even straight R&B, but a new kind of guitar-based rock & roll, soaked in the blues and R&B, but owing allegiance to neither. "...

SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD

These comments are given in relative chronological order except for replies. Numbers were added for referencing purposes only.  

Excerpt #1
From the discussion thread for https://www.youtube.com/watch?v=SaC5ZKRjLUM&ab_channel=John1948TwoA2 "Bo Diddley - I Am A Man"; published by John1948TwoA2, Jan 28, 2011

1. mangledinalm 2011
"1928-2008 Birth name: Ellas Otha Bates 5' 7" Bet your didn't know Bo took violin lessons from Professor O.W. Frederick at the Ebenezer Missionary Baptist Church in Chicago. He studied the violin for 12 years, composing two concertos for the instrument.

This is the man who put the rock in rock and roll. Sometimes called the Black Gladiator.

Mmmmmm, what a man! A frustrated drummer, Bo said: "I play the guitar as if I'm playing the drums." Am so glad he did, too."

**
2. theonlywalrus, 2012
"Bo Diddley Beat is just a clave."
-snip-
Here's some information about clave [a Spanish word pronounced CLAH-vay] from https://en.wikipedia.org/wiki/Clave_(rhythm)
"The clave ... is a rhythmic pattern used as a tool for temporal organization in Afro-Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Afro-Cuban rhythms.[2]

The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba. In ethnomusicology, clave is also known as a key pattern,[3][4] guide pattern,[5] phrasing referent,[6] timeline,[7] or asymmetrical timeline.[8] The clave pattern is also found in the African diaspora music of Haitian Vodou drumming, Afro-Brazilian music, African-American music, Louisiana Voodoo drumming, and Afro-Uruguayan music (candombe). The clave pattern (or hambone, as it is known in the United States) is used in North American popular music as a rhythmic motif or simply a form of rhythmic decoration.

The historical roots of the clave are linked to transnational musical exchanges within the African diaspora. For instance, influences of the African “bomba” rhythm are reflected in the clave. In addition to this, the emphasis and role of the drum within the rhythmic patterns speaks further to these diasporic roots.[9]

The clave is the foundation of reggae, reggaeton, and dancehall. In this sense, it is the “heartbeat” that underlies the essence of these genres."...

**
3. 
karl brandt, 2016
"why when listening to this song i think of bad to the bone"

**
Reply
4. Issac Lloyd, 2017
"karl brandt because Bo diddley was George thorogoods hero and main influence. "
-snip-
"Bad To The Bone" is a 1982 Blues / Hard Rock song that was recorded by George Thorogood & The Destroyers.

****
Excerpt #2 
From
the discussion thread for https://www.youtube.com/watch?v=RYti8CIiOak&ab_channel=Choock5219 "Bo Diddley - I'm A Man - 1955", published by Choock5219  on Jul 10, 2014

1. 
Elisa Martin, 2014
"I'm Goin' back down, to Kansas To Bring Back The Second Cousin,
Little John The Conqueroo"  

**
Reply
2. Choock5219, 2014
"
Here's the story: The root known as High John the Conqueror or John the Conqueror root is said to be the root of Ipomoea jalapa, also known as Ipomoea purga, an Ipomoea species related to the morning glory and the sweet potato. The plant is known in some areas as bindweed or jalap root. It has a pleasant, earthy odour, but it is a strong laxative if taken internally. It is not used for this purpose in folk magic; it is instead used as one of the parts of a mojo bag. It is typically used in sexual spells of various sorts and it is also considered lucky for gambling. It is likely that the root acquired its sexual magical reputation because, when dried, it resembles the testicles of a dark-skinned man. Because of this, when it is employed as an amulet, it is important that the root used be whole and unblemished. Dried pieces and chips of the root are used in formulating oils and washes that are used in other sorts of spells."

**
3. Jimmy J, 2015
"Bo Diddley is the REAL American Bad Ass... many of Rock's greatest musicians and singers owe him a lot of their success... only George Thorogood has truly acknowledged Bo's greatness. "Bad to the Bone" is his salute to Bo Diddley's I'm a Man..."

**
4. kt1pl2, 2018
"
I was just thinking that "Bad to the Bone" sounds just like it."

**
Reply
5. Mike Stidham, 2020
"which serves to explain Bo's appearance in the "Bad to the Bone" music video..."

**
6. thielees, 2018
"This song is definitive proof of just how creative an artist George Thoroughgood really was."

**
Reply
7. LasVegasGames, 2019
"Yep. "Bad to the bone" is a direct copy"

**
Reply
8. Winston Churchill, 2020
"thielees Even if that’s true, this is by no means proof of it. First of all, I do believe that Hoochie Coochie Man by Muddy Waters came out before this, which if you listen to it is very similar. Muddy Waters also released Mannish Boy, which sounds even more similar to this song. Does that mean Muddy was a bad musician? I don’t think so, he’s my favorite blues musician!"

**
Reply
9. Wessel van Santen, 2020
"@Winston Churchill if you go the wikipedia page, you'll find the relevant info. Im a man was a response  to hoochie coochie man, and Mannish boy was a response to im a man. Just a bunch a blues and rock n roll artists poking fun at each other, so I agree with you"

**
10. Bob Courboin, 2019
"This ( and the flip side named A Side) were both added to the Library of Congress's National Recording Registry list of "culturally, historically, or aesthetically important" American sound recordings In 2018,"
-snip-
The flip side of that record is Bo Diddley's song entitled "Bo Diddley".

****
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Visitor comments are welcome.

Saturday, March 7, 2020

Black Singers & White Singers Performing Rock & Roll / Rhythm & Blues In The 1960s On The Saturday Night Beech-Nut Show

Edited by Azizi Powell

Revised June 29, 2020

This pancocojams post focuses on comments from a discussion thread about a 1960 Saturday Night Beech-Nut Show television film clip of African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Several YouTube film clips of 1958-1960 Saturday Night Beech-Nut Show television film clips that include audience close ups are shown to ascertain if the White audiences for those shows were as unenthusiastic for White performers and for Black performers as they were during the 1960s film clip of Frankie Lymon singing "Little Bitty Pretty On" on the Saturday Night Beech-Nut Show.

A few comments from one of the discussion threads for these film clips are also included in this post.

****
The content of this post is presented for historical, socio-cultural, and entertainment purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in these film clips and thanks to all those who published them on YouTube.

****
PANCOCOJAMS EDITOR'S NOTE
This post follows the recommendation of a commenter in the discussion thread for the Saturday Night Beech-Nut Show's film clip of African American singer Frankie Lymon performing his song "Little Bitty Pretty One". In that comment, which is quoted in Part I of this series, the commenter disagreed with statements by many other commenters that the audiences for that 1960s American television series (who were always White) were racist and/or expressed themselves any differently for Black performers than they did for White performers. Here's that comment, with the expletive that begins that comment removed:

SHAWN owen, 2020
"...."Check out the audiences of this show when the song searchin is performed, or Chuck Berry of Sam Cook. Get over yourself"
-snip-
This post also includes a film clip of White singer Neil Sedaka (as suggested by another commenter in that same discussion thread, as well as a film clip of Paul Anka, another White singer who appeared on that show. I've added some time notes after some of these film clips to point out when some audience close up appear in those film clips.

****
SHOWCASE FILM CLIPS OF BLACK PERFORMERS ON SATURDAY NIGHT "BEECH-NUT SHOW"
[These film clips are given in order of their mention in the comment mentioned above.]

Example #1: The Coasters - Searchin' (Saturday Night Beechnut Show - Mar 19, 1960)



John1948ThreeA, Aug 16, 2014
-snip-
From 1:47 to 1:58 is a close-up of a White female lip synching the words to the song. She's not smiling and doesn't appear that animated, but she clearly likes that song.

****
Example #2: Chuck Berry - School Days (Saturday Night Beech Nut Show - May 17, 1958



John1948ThreeA, Feb 15, 2015

Chuck Berry (Charles Edward Anderson Berry - born Oct. 18, 1926, St. Louis, Mo., U.S.) singer, songwriter, and guitarist who was one of the most popular and influential performers in rhythm-and-blues and rock-and-roll music in the 1950s, '60s, and '70s...
-snip-
Close-ups from 1:17 to around 1:30 show a much more animated audience.

****
SHOWCASE FILM CLIP OF A BLACK PERFORMER AND A WHITE PERFORMER ON "SATURDAY NIGHT BEECH-NUT SHOW"

Sam Cooke / Frankie Avalon March 14, 1959



NRRArchives, Dec 15, 2012

Saturday Night Beech-Nut Show. Sam Cooke performs his classic hit "You Send Me" followed by Frankie Avalon singing "Venus"...
-snip-
Around 2:15 to around 2:28 are somewhat animated shots of females' and males' reactions to seeing themselves in close-ups while Sam Cooke is singing. 5:25 to around 5:28 show much more animated close-ups of females while Frankie Avalon is singing. I think the level of the audience's animation increased for those singers who they considered to be "teen idols". Frankie Avalon was a teen idol for that White audience while Sam Cooke wasn't.

****
SHOWCASE FILM CLIPS OF WHITE PERFORMERS ON SATURDAY NIGHT BEECH-NUT SHOW"
Example #1: Neil Sedaka "Oh Carol"



NRRArchives, Mar 30, 2013

Saturday Night Beech-Nut Show. December 05, 1959
-snip-
Close-ups of the audience (from around.56 to around 1:26) show most females and males with expressionless faces.
-snip-
Here are some comments from this film clip's discussion thread (with numbers added for referencing purposes only)
1. emre barlas, 2129
"Omg this guy like a puppet.. the way he dance, moving his arms. And what is wrong with the audience.."

**
REPLY
2. chris tine, 2020
"Hahahaha"

**
3. Alex Kelly, 2020
"What is wrong with the audience? This is a tune."

**
REPLY
4. fardin khan, 2020
"they have husband at home so they can't smile to an other man
-snip-
Although they look older, all of the audience were teenagers. The males who were shown in close-ups were also mostly expressionless.

**
5. JC Dela Cruz, 2020
"the audience are like being controlled"

**
6. ProneMan OldButYoung, 2020
"So funny to compare the ladies reaction here, to them going to an Elvis show 😂"

**
7. Sivakumar Sannasi, 2020
"Anyone who watched Frankie Lymon's "Little Bitty Pretty One" and claimed the audience was racist, well... It's not has bad as it is.
-snip-
I think that this commenter means that since the facial expressions and lack of enthusiasm shown by this audience for White singer Neil Sedaka is basically the same as the audience close ups showed for the Black singer Franke Lymon, that means that that audience's lack of emotion during Lymon's performance can't be blamed on racism. I agree with that conclusion.

****
Example #2: Paul Anka - Lonely Boy (The Dick Clark Saturday Night Beechnut Show - 1959)

John1948Ten, Mar 21, 2009

One of the biggest teen idols of the late '50s, Paul Anka moved to the adult sphere several years later and became a successful performer, songwriter, music businessman, and recording artist, remaining so well into the new millennium...
-snip-
Close ups from 1:07 to around 1:34 show an audience that was much less reserved than the audiences for Frankie Lymon or for Neil Sedaka. Maybe the difference was that neither Lymon nor Sedaka were considered "teen idols" for that series' population. That said, the audience still wasn't as enthusiastic as contemporary audiences would be for stars or mega-stars (since the term "teen idols" hasn't been used for a long time.) Also, there were many more smiles in the close-ups shown during African American Chuck Berry's performance [Example #2 above], so I'm not really sure what the differences in close-ups mean.

****
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Friday, March 6, 2020

Why The Names "Becky" And "Karen" Are Used As Mocking/Insulting Social Referents For Certain Types Of White Females (information & comments)

Edited by Azizi Powell

Latest revision: July 5, 2020

This is Part II of a two part pancocojams series that focuses on comments from a discussion thread about a 1960 Saturday Night Beech-Nut Show television film clip of African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Part II presents information about the mocking/insulting social meanings of the names "Becky" and "Karen" as they refer to White women. Part II also presents selected comments that include the insulting names "Becky" or "Karen" from the discussion thread of the 1960 Saturday Night Beech-Nut Show television film clip of African American African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Click https://pancocojams.blogspot.com/2020/03/racist-or-just-shy-comments-about-white.html for Part I of this pancocojams series. Part I presents information about Frankie Lymon and showcases a 1960 Saturday Night Beech-Nut Show television film clip of African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Part I also presents selected comments from that YouTube video's discussion thread. Almost all of those comments refer to the close-up shots that were taken of various females who were watching that performance. However, these selected comments don't include the names "Becky" or "Karen" that are used as social referents for types of White women.

****
The content of this post is presented for historical, socio-cultural, and entertainment purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.
-snip-
Click http://pancocojams.blogspot.com/2016/04/the-clean-meaning-of-name-becky-in.html for a 2016 pancocojams post entitled 'The "Clean" Meaning of The Name "Becky" In African American Culture'

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WHY "BECKY" IS USED AS A SOCIAL REFERENT FOR CERTAIN TYPES OF WHITE FEMALES
From https://www.dictionary.com/e/slang/becky/
"Becky is a stereotype for a white woman, especially one who is unaware or takes advantage of her social privilege. Becky is also used more generally to mock a young white woman as basic."

[...]

Where does Becky Come From
Becky follows in the tradition of using first names to generalize a type of person. Other recent examples are Karen, Becky’s middle-aged counterpart, or Stacy, who is similar to Becky but often used in a more overtly sexist manner in male internet spaces.

There are many instances in popular culture associating the name Becky (nickname for Rebecca) with an average white woman, variously portrayed as young, boring, unaware or taking advantage of her privilege, and sometimes promiscuous. Notably, rapper Sir Mix-a-Lot used Becky in his 1992 hit song “Baby Got Back.” In its spoken intro, two women—both stereotyped as Valley Girls, one of them addressed as Becky—critique a Black woman’s physique.

In 2009, rapper Plies presented a very sexualized Becky in his song of the same name. Becky was also the subject of a 2014 meme featuring Taylor Swift. The meme mimicked an anti-drug PSA using Swift as a stand-in for a young white girl.

[...]

Really helping to solidify and spread Becky as a slang term for a privileged white woman was Beyoncé’s 2016 song “Sorry.” The song closes with a lyric referring to a woman a man is having an affair with: “He only want me when I’m not there / He better call Becky with the good hair.” Becky with the good hair is interpreted to refer to white women, whose hair has been historically considered more beautiful, according to the dominant cultural norms, than the natural hair of Black women.

Into the late 2010s, Becky was applied on social media to white women who called the police on people of color, especially Black people, over trivial matters and out of apparent racial bias. One the most notorious incidents involved so-called BBQ Becky from 2018.

[...]

Who Uses Becky?
To call a woman a Becky generally implies she is unaware of her privilege having been born as a white person and that isn’t concerned with issues facing people of color. As such, some people of color may use Becky to call out instances of white women they perceive as being racist.

[...]

Some white woman, notably rapper Iggy Azalea in 2016, have said Becky is an unfair and racist stereotype. In some instances, using Becky has been called reverse racism. In other instances, some white women have jokingly called themselves a Becky.

More generally, Becky is used to make fun of a woman as basic, mocking her as a thoughtless girl who likes things associated with mainstream culture, e.g., pumpkin spice lattes and UGG boots.”...

****
WHY "KAREN" IS USED AS A SOCIAL REFERENT FOR CERTAIN TYPES OF WHITE FEMALES
From https://www.dictionary.com/e/slang/karen/ "WHAT DOES KAREN MEAN? [This excerpt was updated to the version of this article that was retrieved on July 5, 2020]
"Karen is a pejorative slang term for an obnoxious, angry, entitled, and often racist middle-aged white woman who uses her privilege to get her way or police other people's behaviors.
As featured in memes, Karen is generally stereotyped as having a blonde bob haircut, asking to speak to retail and restaurant managers to voice complaints or make demands, and being an anti-vaxx, Generation X soccer mom.
In 2020, Karen spread as a label used to call out white women who were captured in viral videos engaging in what are widely seen as racist acts.
Where does Karen Come From?
Karen joins a trend on the internet in the 2010s of using a first name to make fun of certain kinds of people. A Becky, for example, is a stereotype for a “basic” young, white woman, while a Chad, in other corners of the internet, stands in for a cocky, young “dudebro.”

But, why the name Karen? One suggestion is that it comes from a 2007 bit by Dane Cook called “The Friend Nobody Likes.” (The friend was named Karen.) Another explanation is that it comes from the character Karen in the 2004 film Mean Girls, who’s the subject of the popular quote: “Oh my God, Karen, you can’t just ask someone why they’re white.” It’s even been put forth that Karen comes the even earlier 1990 film Goodfellas, one of whose characters is named Karen.
Whatever the origin of the slang, the name Karen, apparently, is popularly thought of as a generic-seeming name for a middle-aged white woman of certain generation.

Karen appears as early as September 2016 when a Tumblr user, joematar, made fun a promo for Nintendo Switch in which a white woman (appearing to be in her late 20s or early 30s) brings the gaming device to a party. The user refers to this supposed kill-joy as Karen: “Oh sh&t*, Karen brought her stupid Nintendo thing to the party again. We’re DRINKING, Karen. We’re having CONVERSATIONS.”

The character was further developed in December 2017 thanks to a subreddit dedicated to mocking the imagined Karen (somewhat like Cook’s “The Friend Nobody Likes” bit). Tropes that developed about Karen here were that she is an annoying (and always annoyed) middle-aged, suburban, minivan-driving white, divorced mother of poorly behaved boys (of whom she has custody) who has a so-called “speak to the manager” haircut.

[...]

Because Karen is a stereotype of a woman of a certain age, some may considering offensive, sexist, or ageist … or Karen-ist, though it appears most people named Karen have a good sense of humor about it.”
-snip-
*This word is fully spelled out in that article.
-snip-
Added July 5, 2020
In 2020 a number of "Karen" memes focus on that White woman's entitled racist behavior. Here's a quote from Robin Queen's June 12, 2020 article entitled How ‘Karen’ went from a popular baby name to a stand-in for white entitlement https://theconversation.com/how-karen-went-from-a-popular-baby-name-to-a-stand-in-for-white-entitlement-139644
"When I read about Amy Cooper, the woman in Central Park who called the police on a black birder because he’d asked her to leash her out-of-control dog, I was horrified.
But, as a sociolinguist who studies and writes about language and discrimination, I was also struck by the name given to Cooper in several headlines: “Central Park Karen".  On Twitter, the birder’s sister also referred to her as a “Karen.”
There was no confusion about what this meant: It was a label for a white woman who had used her privilege to threaten and try to intimidate a black man by calling the police."... -snip-
A portion of the April 7, 2018 Saturday Night Live's "Black Jeopardy" sketch https://www.youtube.com/watch?v=hzMzFGgmQOc  starring Chadwick Boseman as T'Challa [Black Panther] included a reference to a White woman named "Karen". However, this use of the name "Karen" for a White woman doesn't have the negative self-entitled or racist connotations that have been given to other uses of the name "Karen". In the sketch, Kenan Thompson, in character as the host, reads a card from the category “White People” that says, “Your friend Karen brings her potato salad to your cookout.” T’Challa responds, “I sense that this white woman does not season her food.” He continues, “Something tells me that I should say, ‘Aw, hell no naw, Karen! Keep your bland-ass potato salad to yourself!’ " https://variety.com/video/chadwick-boseman-snl-potato-salad-joke/
The core difference between this depiction of the White woman named "Karen" and other depictions of White women named "Karen", particularly in 2020, is that in that "Black Jeopardy" sketch, "Karen" is described as a Black man's White friend". Presumably, she is a non-romantic female friend, such as a co-worker. https://knowyourmeme.com/memes/raisin-potato-salad explains this meme as "Raisin Potato Salad is an internet slang term to describe unnecessary actions taken by white people, usually adding their spin on examples of black popular culture."
-end of quote-
While that may be one interpretation of that joke/meme or extensions of that joke/meme, I believe the "raisins in potato salad" meme most directly refers to Black Americans' belief that in general we are better cooks than White people and even more specifically, that White people are known to put ingredients and/or seasoning in their food that Black Americans would consider strange and off-putting.

That the White woman in that 2018 Black Jeopardy sketch is named "Karen" may have been a coincidence as "Karen" was/is  considered a "White" female name. 


****
SELECTED COMMENTS FROM THE DISCUSSION THREAD FOR THE YOUTUBE "VIDEO" Frankie Lymon "Little Bitty Pretty One" published by NRRArchives, Dec 1, 2012 (Saturday Night Beech-Nut Show. August 13, 1960)
https://www.youtube.com/watch?v=E9PNVUpI19A&t=2s

[Numbers are added for referencing purposes only.]

1. Jaythecupid, 2019
"The mad white girls in the audience built the generation of “Karen’s” we have today"

**
REPLY
2. because0011, 2019
"Jaythecupid who’s Karen?"

**
REPLY
3. patrick starshooter, 2019
"@because0011 The generic name for the white lady who wants to "talk to the manager" and "call police on blacks, doing anything she doesn't like" "

**
REPLY
4. Bede, 2020
"No, this is too old. Karen's were born in the 60's."

**
5. Tamerra T, 2019
"The Beckys in the audience were scared af to enjoy his performance 😂😂"

**
REPLY
6. James Scarcelli, 2019
"i noticed that too..i would have been jitterbugging."

**
REPLY
7. Dora Is the homie, 2019
"Not scared racist"

**
REPLY
8. HarrodsFan, 2019
"They'd have preferred to see Elvis or other successful singer of that time."

**
9. COON HUNTER #1, 2019
"They didn't enjoy it. Becky's who the hell are you taniqua"

**
REPLY
10. Teo, 2020
"Yea, n there wasn’t one Shanaynay in sight"
-snip-
The female names "Taniqua" and "Shanaynay" are considered to be insulting/mocking so-called "ghetto" African American names.

**
11. Chloe Leigh Hardy, 2019
"I DEMAND TO SPEAK TO YOUR MANAGER"

**
12. Bryce Breaux, 2019
"“I mustn’t let father know I enjoyed the colored boy’s performance.”

**
REPLY
13. mr bigwood, 2020
"😅😅😅😅😅😅😅😅"

**
REPLY
14. Moises Ojeda, 2020
"Lol"

**
REPLY
15. Czar Khan, 2020
"😭😭😭😭😭😭"

**
REPLY
16. jailen honeycutt, 2020
"It’s funny that you all found it funny 😂😂"

**
REPLY
17. Tammy T, 2020
"You're projecting."

**
REPLY
18. Tammy T, 2020
"They're racists. Of course they found it funny."

**
REPLY
19. Bryce Breaux, 2020
"Tammy T, I’m talkin about all the Beckys in the crowd not smiling or looking like they enjoy the show. It ain’t that deep fam"

**
REPLY
20. Luis Murrell, 2020
"@Bryce Breaux But those are the only ones the camera lingered on. Any girls that got "too enthusiastic" were probably not shown lest anyone get some ideas.

Then again, I'm wondering how genuine the clapping and cheering was, or if it was canned. Everyone looks like placid cows in the audience, all chewing away on their (free) Beech-Nut"

**
REPLY
21. BILLY BARTY, 2020
"2468 WE DON'T WANT INTERGRATE"

**
REPLY
22. pallbearers1969, 2020
"Klan kids were shocked when Frankie stepped out of the backstage ...."

**
REPLY
23. MARSHA MASCARO, 2020
"Bryce Breaux Giggling in Alabama. You nailed it."

****
24. meandemjay, 2019
..."a bunch of off beat barbecue beckies"

**
25. buttacudawey, 2019
..."Becky's sister 😂😂😂😂😂😂😂😂😂"

**
26. Desta Faith, 2019
"These are the grandmothers of the "BBQ Beckys" that we have harassing black people who are just enjoying themselves today."

**
REPLY
27. Cocoa Renay, 2020
"Omg you're so absolutely right!👍🏿👍🏿"

**
REPLY
28. Tammy T, 2020
"You are a racist."

**
REPLY
29. Afro Atheist, 2020
"@Tammy T How?!😂"

**
REPLY
30. messyourself 1, 2020
"@Tammy T no she is not"

**
REPLY
31. M Amadeus, 2020
"Ok...I wouldnt go that far. 😒"

**
REPLY
32. Dwight Schrute, 2020
"She is a racist because she brings race into this, she assumes that the white people here are racist because of her own prejudices against white people, they could have reacted that way for a lot of reasons but no, you have to bring that to 'white people are evil racists' not even realizing that saying things like that makes you the racist one."

**
33. John Brown, 2020
"All of those bubblegum chewing Beckys are thinking, "We can't act excited... the camera is watching us. We don't want any backlash from our parents and community.""

**
REPLY
34. mrj0nny5, 2020
"The show was sponsored by a gum company."

**
REPLY
35. Tiana Princes-Nalwanga, 2020
"John Brown exactly their parents would scold them"

**
36. Flyover Philosophy, 2020
"Excuse me, can I speak to your manager? There’s a black on stage."

**
37. Myrtice Moore, 2020
"Beckys"

****
This concludes Part II of this two part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Racist Or Just Shy? Comments About White Teenage Females' Strange Reactions During A 1960 Television Performance By African American R&B Singer Frankie Lymon

Edited by Azizi Powell

This is Part I of a three part pancocojams series that focuses on comments from a discussion thread about a 1960 Saturday Night Beech-Nut Show television film clip of African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Part I presents information about Frankie Lymon and showcases a 1960 Saturday Night Beech-Nut Show television film clip of African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Part I also presents selected comments from that YouTube "video"'s discussion thread. Almost all of those comments refer to the close-up shots that were taken of various females who were watching that performance. However, these selected comments don't include the names "Becky" or "Karen" that are used as social referents for types of White women.

Click https://pancocojams.blogspot.com/2020/03/why-becky-and-karen-are-used-as.html for Part II of this pancocojams series. Part II presents information about the mocking/insulting social meanings of the names "Becky" and "Karen" as they refer to White women. Part II also presents selected comments that include the insulting names "Becky" or "Karen" from the discussion thread of the 1960 Saturday Night Beech-Nut Show television film clip of African American African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

Click https://pancocojams.blogspot.com/2020/03/black-singers-or-white-singers.html for Part III of this pancocojams series. Part III presents several YouTube film clips of 1958-1960 Saturday Night Beech-Nut Show television film clips that include audience close ups that were prompted by comments from the 1960s film clip of Frankie Lymon singing "Little Bitty Pretty On" on the Saturday Night Beech-Nut Show. These film clips are presented to ascertain if those audience close-ups are similar to the audience shots that are found in the Saturday Night Beech-Nut Show television film clip of African American Rock and Roll/Rhythm & Blues (R&B) singer Frankie Lymon performing his record "Little Bitty Pretty One".

****
The content of this post is presented for historical, socio-cultural, and entertainment purposes.

All copyrights remain with their owners.

Thanks to Frankie Lymon for his musical legacy. Thanks to all those who are quoted in this post and thanks to the publisher of this film clip on YouTube.

****
INFORMATION ABOUT FRANKIE LYMON
From https://en.wikipedia.org/wiki/Frankie_Lymon
"Franklin Joseph "Frankie" Lymon (September 30, 1942[5][6] – February 27, 1968[7]) was an American rock and roll/rhythm and blues singer and songwriter, best known as the boy soprano lead singer of the New York City-based early rock and roll group The Teenagers. The group was composed of five boys, all in their early to mid-teens. The original lineup of the Teenagers, an integrated group, included three African-American members, Frankie Lymon, Jimmy Merchant, and Sherman Garnes; and two Puerto Rican members, Joe Negroni and Herman Santiago. The Teenagers' first single, 1956's "Why Do Fools Fall in Love," was also their biggest hit. After Lymon went solo in mid-1957, both his career and that of the Teenagers fell into decline. He was found dead at the age of 25 on the floor of his grandmother's bathroom from a heroin overdose.[8] His life was dramatized in the 1998 film Why Do Fools Fall In Love."...
****
SHOWCASE YOUTUBE VIDEO: Frankie Lymon "Little Bitty Pretty One"



NRRArchives, Dec. 1, 2012

Saturday Night Beech-Nut Show. August 13, 1960. Re-posted by request. Correct audio and no gray bar.
-snip-
Statistics as of March 3, 2020 at 9:00 AM
total views- 8,450,931
Total likes- 103K
Total dislikes-2K
Total comments 10,173

Click for information about Frankie Lymon.

Also, click https://www.youtube.com/watch?v=m93WQ6KvCkw for a 1965 film clip of Frankie Lymon performing "Little Bitty Pretty One" on Hollywood A Go Go, another American television show that was filmed with an all White audience.

****
SELECTED COMMENTS FROM THIS "VIDEO"'S DISCUSSION THREAD
WARNING: Some of this discussion thread's comments include profanity and/or sexualized references. None of those comments are found in this pancocojams compilation.

Numbers are added for referencing purposes only.
1. MrEverSoBad, 2016
"These chicks was looking around at there girls wondering if they had permission to enjoy Frankie!!!! LoL"

**
REPLY
2. Charmaine B, 2016
"I was thinking the same thing!"

**
REPLY
3. Wayne nix, 2016
"exactly"

**
REPLY
4. divedevil985, 2016
"I think they were just uncomfortable being on camera. None of them could make eye contact with it. It was a more innocent age unlike the attention seeking narcissists of today."

**
REPLY
5. L.F. Thornton, 2016
"Agree. They look shy and unsure of themselves. Girls back then didn't want to be singled out or you were labeled a show-off."

**
REPLY
6. D R I : DIVE RIGHT IN, 2016
"unless of course your Elvis."

**
REPLY
7. Renee Taylor, 2016
"MrEverSoBad Exactly! Can't be showing falling out over a colored boy back then"

**
REPLY
8. Blue Marvel, 2017
"They looked liked they were scared"

**
REPLY
9. Malindays, 2017
"MrEverSoBad omg right"

**
REPLY
10. Seneca Colbert, 2017
"MrEverSoBad. But frankie didnt care.he knew he was cool.go on witcho bad self!!"
-snip-
"witcho" = "with your"; "Go on with your bad self" is a familiar complimentary African American saying.

**
REPLY
11. lewisner, 2017
"I think they have the same expressions when they are watching white acts."

**
REPLY
12. Mrs Jones, 2017
"MrEverSoBad Beckys weren't allowed to show what they were feeling back then. Oh but they were definitely feelin' Frankie 😂😂😂"
-snip-
Click the tag for Part II of this pancocojams series for information about the referent "Becky".

**
REPLY
13. Annelie SE, 2017
"MrEverSoBad best comment ever lmao you honestly made me cry for half the video"

**
REPLY
14. Rant Therapist, 2017
"Hahahahha glad I'm not the only one who noticed. They're like damn, my papa gonna kill me for enjoying a black man singing LOL!"

**
REPLY
15. mackjeez, 2017
"Everything has to be racial OMG.
Frankie Lymon was a household name in 1960, you can clearly see the girls going crazy when his name is announced, the awkwardness had nothing to do with the fact that Frankie was black but because the girls were "weirded" out by the the camera that was aimed at them."

**
REPLY
16. Darrall Shamar Williams, 2018
"Yea when the camera was on them they had to look like they didn't enjoy it, such a shameful time in America"

**
REPLY
17. Ma1nguy, 2018
"Oh it was scandalous for White girls to show that they found Black boys attractive back in the day"

**
REPLY
18. Marcia Cardoso, 2019
"They are uncomfortable with camera and being on TV, nothing related to the singer!"

**
REPLY
19. Pat Downs, 2019
"I don't think the girls were being shy. Except for the blonde, they didn't even notice that the camera was on them. Maybe they were new to the show and just not sure of what to expect. They don't look shy. They look nervous."

**
20. Melissa Xavier, 2019
"The look on the white peoples face is makin me feel uncomfortable"

**
21. Sarah McGee, 2019
"If that was a Black audience, they'd be dancing ALL OVER THE PLACE!!"

**
REPLY
22. Voltaire Venerium, 2019
"Sarah McGee they also wouldn’t have been allowed in"

**
REPLY
23. Michael Ramos, 2019
"They allowed frankie"

**
REPLY
24. Mr. Steel Roots, 2019
"@Voltaire Venerium true unfortunately"

**
REPLY
25. HotWax93, 2019
"@Sarah McGee If it was more up tempo like the original by Thurston Harris, they'd be dancing all over the place. Every video I've seen of the Beech Nut Show has the kids sitting in place, sometimes clapping to the music, but never dancing. As for Bandstand, Dick Clark always made a point of having black and white dancers together on that show."

**
REPLY
26. Cocoa Renay, 2020
"You're absolutely right, they would've showed him lotta love!!👍🏿"

**
REPLY
27. Tammy T, 2020
"No, they were upset with him as well. He had been revealed to be a drug addict and a criminal in the news papers"

**
REPLY
28. AfroLatino 89, 2020
"@Michael Ramos because he was working of course. Please tell me you're not that stupid to not know or see that black people weren't allowed in the same place as whites unless they we're working."

**
29. Nomi Williams, 2019
"The audience absolutely freaks me out... imagine standing in front of them performing gosh... Frankie was simply fantastic non the less and so handsome."

**
REPLY
30. steveom59, 2019
"this was not a performance. it was an artist near the end of his life, suffering physical effects of drug abuse, lip-syncing to a record he released several years earlier at the height of his success. It was part of his last ditch effort to restart his career. It had to be painful to be in the audience and see this "live"."

**
REPLY
31. Nomi Williams, 2019
"@steveom59 regardless of his personal deficiencies this was indeed a performance. All artists lip synced to tracks on these kinds of shows.. that was indeed the dynamics of these broadcasts. Furthermore, I won't judge him on his personal demons, I made my statement based on the performance and I thought it was great given the circumstances, he was an outstanding performance regardless of his personal life."

**
REPLY
32. Original_Native_american, 2020
"Honestly People just weren't used to camera's back then. That's what I say.
Plus for all the people saying most of the crowd was suprised to see an African American walk out on stage. He was a long time member of (the teenager's.)"

**
33. Chat With Chi, 2020
"Seems like the audience weren't expecting a black man."

**
34. Its Not Me, 2020
"It didn’t have much to do with racism. It was most likely the camera pointing right at them so they probably found that really awkward."

**
35. CeeGramz, 2020
"0:48 When you find out your favorite song is by a black dude"

**
36. H.E. Edwards, 2020
"Ok, they knew he was black. They were told beforehand to act respectable, they were not able to enjoy it like they would as if was Elvis or the Beatles."

**
37. Freak Nasty creep, 2020
"Those girls are just waiting for him to hurry the hell up and finish so the next white singer can come on so they can jump up and down and hysterically scream crying 😂"

**
38. Jeremy Esters, 2020
"Such brave souls performing in those horrific racist lynch era times."

**
39. SHAWN owen, 2020
"...."Check out the audiences of this show when the song searchin is performed, or Chuck Berry of Sam Cook. Get over yourself"
-snip-
This comment begins with an expletive. The performance searches that are suggested are found in the third post to this series whose link is given above.

**
40. Mr. Cornbread, 2020
"Why is that one girl at 1:16 only the one that is excited about it and also, why do I think that all the people in the audience are happy after the song stops and when he goes backstage, is everyone liking the performance or are they happy that he's done and happy that he is finally not singing anymore?"

**
41. Nicole Mouser, 2020
"I don’t even know what to say about this audience.smh. But the performance was awesome!

****
This concludes Part I of this three part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Saturday, March 5, 2016

Al Brown's And Ray Bryant's "Madison" Records (YouTube sound files)

Edited by Azizi Powell

Latest revision - December 18, 2023

This is Part II of a three part pancocojams series on "The Madison". The Madison is an African American originated late 1950s/early 1960s line dance.

This post showcases a sound file of Al Brown & The TuneToppers' "Madison" record and the Ray Bryant Combo's "Madison" record. Part II also showcases six videos of the Madison line dance and record. A sound file of the Al Brown & The Tune Toppers and the Ray Bryant Combo "Madison" records are also included in the Addendum to this post.

Click http://pancocojams.blogspot.com/2016/03/how-madison-line-dance-got-its-name-and.html for Part I of this series. That post provides information about the origin & early years of the Madison dance and records. Lyrics for Al Brown & The Tune Toppers' "The Madison" and Ray Brown Combo's "The Madison Time" are included in this post. The Addendum to Part I features a video of the Birdland dance. The Birdland jazz/swing dance is one of the calls in Al Brown's Madison record.

Click ___ for Part III of this pancocojams series. That post showcases YouTube videos of The Madison dance along with selected comments from those videos' discussion threads. Most of those videos were previously included in Part II of this pancocojams series, but I removed them on December 18, 2023 to and republished them in a stand alone pancocojams post. 

The content of this post is presented for cultural and aesthetic purposes.

All copyrights remain with their owners.

****
The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Al Brown & His TuneToppers and the Ray Bryant Combo for their musical legacies. Thanks to all those who are featured in these videos. Thanks also to the publishers of these examples on YouTube.

****
Click http://pancocojams.blogspot.com/2016/03/black-teens-and-buddy-deane-show-1957.html for a related post on Black Teens And The Buddy Deane Show.

****
SHOWCASE EXAMPLE #2 - Al Brown's TuneToppers - The Madison - Mo' Madison 1960



ksdaman, Published on Feb 1, 2013

Featuring Cookie Brown.

Before The Twist for a brief period of time the dance craze was line dancing to "The Madison". This song and Ray Bryant's "Madison Time" were both chart topper's at the same time, This song unfortunately has now been overlooked as Ray Bryant's version now is the one that people most remember. This is both side A and side B. Here is the dance being performed in 1960.
-snip-
I chose to showcase the Al Brown record first because it is one week older than the Ray Bryant record.

Here are some comments from this sound file's discussion thread:
seywhut2985, 2014
"I only remember here this once or twice. It was Ray Bryant's version that was the monster hit. I loved doing the Madison. You always did it really cool like you were bored to death to be there doing it. LOL. There were changes to the Ray Bryant version. They were both good."
-snip-
The word "here" in that first sentence is probably a typo of the word "hearing".

****
2016
Buick Le Sabre
"the original version and the writer of The Madison is of course Ray Bryant !"

**
Reply
ksdaman
"+Buick Le Sabre Not quite. Ray Bryant's was released a week after this.
http://www.columbusmusichistory.com/html/madison_1.html

**
ksdaman
"I think this got popular locally with people making an array of different calls on the dance steps. Maybe Bryant and Brown took those calls and finally formed the dance step
progressions and put them on record so everyone could follow along easier."

**
Reply
Buick Le Sabre
"+ksdaman .. the story goes that some coloured teens made up the steps by them selves at some Hops and then Bryant (lol) came along. Something like that .. There,s a documentary about all the dances in the 50s...."
-snip-
I edited this comment as (it appears to me) that the remaining portion was the commenter suggesting a few late 1940s and 1950s Blues records that he likes.]

"Coloured" ("Colored" is the American spelling) and Negro are no longer used referents for African Americans.

****
Example #2: It's Madison Time Part 1 & 2 Ray Bryant Combo '60 Columbia 4 41628



doowopAmnon, Uploaded on Oct 22, 2011
-snip-
Selected comments:
2014
merriell brown
"Wow..Thanks for posting this..wish there was someone around that still knows how to do the Madison..I miss dancing this jig with my mom !!"

**
FerrariCarr
"I LOVE part 2! Reminds me of when my friends and I used to drive around the industrial parts of town, near the train tracks late at night listening to one of the old jazz stations."

****
This concludes Part II of this series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Tuesday, May 5, 2015

African Language Sources & Definitions For The Terms "Boogie"

Edited by Azizi Powell

Latest revision - Nov. 5, 2023

This pancocojams post provides quotes from two websites about possible African sources. This post also includes other information about "boogie woogie" music including early forms of that term.

This post also includes a YouTube compilation tape of some early Boogie Woogie records.

The content of this post is presented for cultural and etymological reasons.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post with special thanks to John "Nonjohn" Tennison. Thanks also to the featured musicians and the publisher of this post's featured sound file boogie woogie compilation on YouTube.
-snip-
Several posts on songs that include the word "boogie" in their title can be found on this pancocojams blog. Click the tag "boogie" below or use the internal search engine to find those posts.

****
GENERAL OVERVIEW OF "BOOGIE WOOGIE" MUSIC
From http://www.bowofo.org/ The Boogie Woogie Foundation
..."early Boogie Woogie recordings are the unequivocal first recorded examples of what was later called "Rock and Roll." Consequently, Boogie Woogie has been rightfully called the "Father of Rock and Roll." Indeed, the influence of Boogie Woogie on Rock-and-Roll and popular music worldwide is greater than that of Blues in general. Put another way, Boogie Woogie can be regarded as the kind of Blues that has had the most influence on popular music throughout the world. Although profound in their own right, the slower, less-upbeat styles of Blues have not had this magnitude of influence. Moreover, the continuing influence of Boogie Woogie on popular music in general is undeniable. Boogie Woogie continues to be performed as a form of jazz, and has influenced classical composers throughout the world, including Conlon Nancarrow (United States), Nikolai Kapustin (Russia), and Louis Andriessen (The Netherlands)."
**
"In Houston, Dallas, and Galveston—all Negro piano players played that way. This style was often referred to as a 'fast western' or 'fast blues' as differentiated from the 'slow blues' of New Orleans and St. Louis. At these gatherings the ragtime and blues boys could easily tell from what section of the country a man came, even going so far as to name the town, by his interpretation of a piece.”1 -- E. Simms Campbell, 1939, pages 112-113, (in Chapter 4 "Blues") in the book, "Jazzmen: The Story of Hot Jazz Told in the Lives of the Men Who Created It"1

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POSSIBLE AFRICAN SOURCES FOR THE TERM "BOOGIE WOOGIE"
From http://www.bowofo.org/
"BOOGIE WOOGIE: Its Origin, Subsequent History, and Continuing Development
by John "Nonjohn" Tennison, M.D. All Rights Reserved. This article was last updated on June 18, 2014*
"...music historian, Dave Oliphant has written:
"Barrelhouse, boogie-woogie, and jazz all originate to some degree in the religio-sexual customs of primitive African societies, for Wilfrid Mellers14 notes, one of the meanings of the phrase 'boogie-woogie,' and of the word 'jazz' itself, is sexual intercourse, even as the ritualistic-orgiastic nature of the music also represents an ecstatic form of a spiritual order."13
["Texan Jazz," 1996, by Dave Oliphant, University of Texas Press.]
-snip-
*Notes 4 & 8 in the Wikipedia article quoted below are also from this website.
That site includes this statement: "This article is a draft that contains only a fraction of the material that I will eventually publish as a book. Some sections and references in this article are incomplete and will be expanded in the book, including never-before-published material from field research on Boogie Woogie by me and others."

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From http://en.wikipedia.org/wiki/Boogie-woogie (given with some citation notes)
"Boogie-Woogie

Stylistic origins: Blues, ragtime

Cultural origins: 1870s, Piney Woods of Northeast Texas

Typical instruments: Piano

Derivative forms: Rock and roll, boogie rock, rhythm & blues

Fusion genres: Jump blues, rock and roll, rockabilly, swing

Boogie-woogie is a musical genre that became popular during the late 1920s, but developed in African American communities in the 1870s. It was eventually extended from piano, to piano duo and trio, guitar, big band, country and western music, and gospel. While the blues traditionally expresses a variety of emotions, boogie-woogie is mainly associated with dancing.[1] The lyrics of one of the earliest hits, "Pinetop's Boogie Woogie", consist entirely of instructions to dancers...
It [Boogie Woogie] is characterized by a regular left-hand bass figure, which is transposed following the chord changes...

The origin of the term boogie-woogie is unknown, according to Webster's Third New International Dictionary. The Oxford English Dictionary states that the word is a reduplication of boogie, which was used for "rent parties" as early as 1913.

Dr. John Tennison, a San Antonio psychiatrist, pianist, and musicologist, suggested some interesting linguistic precursors.[4] Among them are four African terms, including the Hausa word "Boog" and the Mandingo word "Booga", both of which mean "to beat", as in beating a drum. There is also the West African word "Bogi", which means "to dance",[5] and the Bantu term "Mbuki Mvuki" (Mbuki: "to take off in flight"; Mvuki: "to dance wildly, as if to shake off one's clothes").[6] The meanings of these terms are consistent with the percussiveness, dancing, and uninhibited behaviors historically associated with boogie-woogie music. The African origin of these terms is also consistent with evidence that the music originated among newly emancipated African-Americans. [4: Boogie Woogie: Development—by John Tennison (A.K.A. Nonjohn)—Updated November 3, 2010 at the Boogie Woogie Foundation http://www.bowofo.org]

In sheet music literature prior to 1900, there are at least three examples of the word "boogie" in music titles in the archives of the Library of Congress.[7] In 1901, "Hoogie Boogie" appeared in the title of published sheet music, the first known instance where a redoubling of the word "Boogie" occurs in the title of published music. (In 1880, "The Boogie Man" had occurred as the title of published music.)[8] The first use of "Boogie" in a recording title appears to be a "blue cylinder" recording made by Edison of the "American Quartet" performing "That Syncopated Boogie Boo" in 1913.[9]

"Boogie" next occurs in the title of Wilbur Sweatman's April 1917 recording of "Boogie Rag". However none of these sheet music or audio recording examples contain the musical elements that would identify them as boogie-woogie.

The 1919 recordings (two takes) of "Weary Blues" by the Louisiana Five contained the same boogie-woogie bass figure as appears in the 1915 "Weary Blues" sheet music by Artie Matthews. Dr. John Tennison has recognized these 1919 recordings as the earliest sound recordings which contain a boogie-woogie bass figure.[8: Boogie Woogie: Its Origin, Subsequent History, and Continuing Development—by John Tennison (A.K.A. Nonjohn)—Updated November 3, 2010.]

Blind Lemon Jefferson used the term "Booga Rooga" to refer to a guitar bass figure that he used in "Match Box Blues".[10] Jefferson may have heard the term from Huddie "Lead Belly" Ledbetter, who played frequently with Jefferson. Lead Belly, who was born in Mooringsport, La. and grew up in Harrison County, Texas in the community of Leigh, said he first heard boogie-woogie piano in the Caddo Lake Area of northeast Texas in 1899.[11] He said it influenced his guitar-playing. Lead Belly also said he heard boogie-woogie piano in the Fannin Street district of Shreveport, Louisiana. Some of the players he heard were Dave "Black Ivory King" Alexander, or possibly another Dave Alexander known as "Little Dave Alexander" and a piano player called Pine Top (not Pine Top Smith, who was not born until 1904, but possibly Pine Top Williams or Pine Top Hill.)[11][12] Lead Belly was among the first guitar-players to adapt the rolling bass of boogie-woogie piano.

Texas, as the state of origin, became reinforced by Jelly Roll Morton who said he heard the boogie piano style there early in the 20th century; so did Leadbelly and so did Bunk Johnson, according to Rosetta Reitz.[13]

The first time the modern-day spelling of "boogie-woogie" was used in a title of a published audio recording of music appears to be Pine Top Smith's December 1928 recording titled, "Pine Top's Boogie Woogie", a song whose lyrics contain dance instructions to "boogie-woogie

Earliest attempts to determine a geographical origin for boogie-woogie

The earliest documented inquiries into the geographical origin of boogie-woogie occurred in the late 1930s when oral histories from the oldest living Americans of both African and European descent, revealed a broad consensus that boogie-woogie piano was first played in Texas in the early 1870s. Additional citations place the origins of boogie-woogie in the Piney Woods of northeast Texas. "The first Negroes who played what is called boogie-woogie, or house-rent music, and attracted attention in city slums where other Negroes held jam sessions, were from Texas. And all the Old-time Texans, black or white, are agreed that boogie piano players were first heard in the lumber and turpentine camps, where nobody was at home at all. The style dates from the early 1870s."[14: Elliot Paul, page 229, Chapter 10, That Crazy American Music, published in 1957.]"..

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ONE URBAN DICTIONARY DEFINITIONS FOR THE WORD "BOOGIE" - DANCE*
This is just one of urban dictionary's reader submitted definitions for "boogie".
https://www.urbandictionary.com/define.php?term=Boogie

[top definition as of Nov. 5, 2023]
"Boogie

Dance:

It came about in the 70's during the disco era. Back then we boogied all night long.

Boogie down at the disco; boogied all night long; I've got the boogie fever

by I was there! August 14, 2016

**
https://www.urbandictionary.com/define.php?term=Boogie&page=4

boogy

a 70s ish term meaning DANCE!!!!!!!

see jackson 5 song, blame it on the boogy (lyrics make no sense but hey)

"dnt blame it on sunshine,

dnt blame it on the moonlite,

dnt blame it on the good times,

blame it on the boogy"

boogy on the dancefloor

by blameitontheboogy May 17, 2004
-snip-
It's not until the fifth page that a viewer submitted this definition of "boogie" that I've heard:
https://www.urbandictionary.com/define.php?term=Boogie&page=5

"boogie

1. To leave

2. To run

3. To run unexpectantly

4. To flee out of fear

1. It's gettin' late, I'm about to boogie.

[...]

by El Jr, June 10, 2004

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THE EUROPEAN ETYMOLOGY OF THE WORD "BOOGEYMAN"
Although "boogie" is pronounced the same as "bogey" in the word "bogeyman", those words probably have different etymologies (origins).
From http://en.wikipedia.org/wiki/Bogeyman
"Bogeyman (also spelled bogieman, boogeyman, or boogie man, and pronounced /bʊɡimæn/ or /boʊɡimæn/; see spelling differences)[1] is a common allusion to a mythical creature in many cultures used by adults or older children to frighten bad children into good behavior...Parents may tell their children that if they misbehave, the bogeyman will get them.

The word bogey is derived from the Middle English bogge/bugge (also the origin of the word bug), and so is generally thought to be a cognate of the German bögge, böggel-mann (English "Bogeyman"). The word could also be linked to many similar words in other European languages: bogle (Scots), boeman (Dutch), Butzemann (German), busemann (Norwegian)"...

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SHOWCASE EXAMPLE: The Greatest Boogie Woogie Songs of All Time - part one (1922-1935)



Silvan Spektor Uploaded on Nov 26, 2011

Song List-
1922-
The Fives (Hersal Thomas)

1923-
Golden West Blues (Jesse Crump)
Blues Mixture (Lemuel Fowler)
The Rocks (George W. Thomas)
The Weary Blues (Clarence Williams)
Chime Blues (Fletcher Henderson)

1924-
Chicago Stomps (Jimmy Blythe)
Armour Avenue Struggle (Jimmy Blythe)

1925-
Sunshine Special (Sodarisa Miller with Jimmy Blythe)
Suitcase Blues (Hersal Thomas)

1926-
5th Street Blues (Cow Cow Davenport)
Mr. Freddie Blues (Jimmy Blythe)

1927-
Honky Tonk Train Blues (Meade Lux Lewis)

1928-
Cow Cow Blues (Cow Cow Davenport)
Pine Top's Boogie Woogie (Pinetop Smith)
Pinetop's Blues (Pinetop Smith)
Five O'Clock Blues Jimmy Blythe)
State Street Jive (Cow Cow Davenport)

1929-
Pitchin' Boogie (Will Ezell)
Stomp 'Em Down to the Bricks (Henry Brown)
Henry Brown Blues (Henry Brown)
Chimes Blues (Cow Cow Davenport)
Wilkins Street Stomp (Speckled Red)
Head Rag Hop (Romeo Nelson)
Gettin' Dirty Just Shakin' That Thing (Romeo Nelson)
Indiana Avenue Stomp (Montana Taylor)
Playing the Dozen (Will Ezell)
Jump Steady Blues (Pinetop Smith)
Dearborn Street Breakdown (Charles Avery)
Fat Fanny Stomp (Jim Clarke)
The Dirty Dozen (Speckled Red)
Hastings Street (Charlie Spand)
Detroit Rocks (Montana Taylor)
Slow and Easy Blues (Jimmy Yancey)

1930-
Chain 'Em Down (Blind Leroy Garnett)
Fanny Lee Blues (Westley Wallace)
No. 29 (Westley Wallace)
Boot That Thing (Roosevelt Sykes)

1932-
Pratt City Blues (Jabo Williams)
Jab Blues (Jabo Williams)

1933-
Piano Stomp (Walter Roland)
Jookit Jookit (Walter Roland)
Devil's Island Gin Blues (Roosevelt Sykes)

1934-
Black Gal What Makes Your Head So Hard? (Joe Pullum)
Alligator Crawl (Fats Waller)
Barrel House Woman (Leroy Carr)

1935-
Strut That Thing (Cripple Clarence Lofton)
Boogie Woogie (Cleo Brown)
-snip-
This is one of four YouTube compilation tapes in that series. Click https://www.youtube.com/watch?v=geJqOcyK_9s&list=RDgeJqOcyK_9s#t=10 for the link to that entire series. Those YouTube "videos" can also be found by looking on the right hand side of the page for each one of those videos.

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