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Showing posts with label the dozens. Show all posts
Showing posts with label the dozens. Show all posts

Wednesday, January 28, 2026

Yo Greasy Grimey Granny - Black Talk In Playground Chants (Complete Reprint Of This 2012 Pancocojams Post & Comments)

Edited by Azizi Powell

This pancocojams post is a complete reprint with discussion thread comments* of a 2012 pancocojams post with this same title. That 2012 post is still available on this blog for viewing and for commenting.

*This reprint has minor spelling corrections and minor additions to that 2012 post. As of January 28, 2026 at 5:33 AM EST, the original post had a total of  16,453 views (not counting my views) and a total of 18 comments (including my comments). 

This post provides information, comments, and examples of what I refer to as "yo greasy grimey granny" playground chants or verses in other playground chants and rhymes.

The content of this post is provided for folkloric and cultural purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post. Thanks also to all those who are featured in these videos and thanks to the publishers of these videos on YouTube.

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GENERAL OVERVIEW
"Yo greasy grimey granny" (also known as "Your Greasy Grimey Granny", "Yo bald headed Granny", "Yo greasy stank granny" and similar titles)are taunting (insult) chant/rhymes that begin with the words "Yo Mama Yo Daddy". I believe the text (words) and the textual structure of these rhymes are indicative of its African American origins.

Judging from YouTube video examples, and other online content, these chants appears to be rather widely known in the United States among children and youth regardless of race/ethnicity.

"Yo Mama Yo Daddy Yo Greasy Grimey Granny" rhymes are chanted by themselves or are  found in combination with other rhymes such as "Brick Wall Water Fall". ("Brick Wall is probably much newer than "Yo Mama Yo Daddy"...)

"Yo Mama Yo Daddy Yo Greasy Grimey Granny" appear to be chanted without any accompanying action, except perhaps for rhythmical body movements.

I'm uncertain when "Yo mama, yo daddy, yo greasy grimy granny" chants/rhymes were first chanted. The earliest date that I've read for these rhymes is 1960 (Hat tip to  commenter Anonymous April 16, 2019, Los Angeles California-comment below.] 

The verse " my mother short and fine/she has a butt like mine/ and when she walks down the street/all the cars go beep beep beep" is very closely related to "Yo Greasy Grimey Granny" rhymes and similar lines may be included in those "Granny" rhymes.

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TEXT EXPLANATION
The core (basic) lines of "yo greasy grimey granny" chants are:
yo mama,
yo daddy,
yo greasy grimey granny
-snip-
Instead of "yo greasy grimey granny", some chanters say "yo greasy stank granny" or "yo bald headed granny".

The lyrics then diverge. Common versions indicate that granny "is 99 and thinks she's fine" (with "fine" here meaning "good looking"). Other common versions skip that line and indicate that granny "has a big behind/like Frankenstein" or "has a big behind/she goes out with Frankenstein".

In the context of this song/rhyme, the word "Yo" means "Your".
"Frankenstein", of course, is the fictitious monster; a "behind" is a "butt" or "booty", and "goes out with" means "to date". Another very common line after "greasy grimey granny" or "bald headed" granny is "with a hole in her panties". There may also be a line about granny sitting on the toilet, which increases the fun, risque nature of this song/rhyme. And there are lots of other versions of this rhyme.

With regard to the version of this chant that has the lines "yo bald headed granny", I think it's important to note that "bald headed" is meant to be a put down (insult). The descriptor "bald headed" is also commonly found in the "mama's having a baby" playground rhymes. Those rhymes are also known as "Fudge Fudge call The Judge. More comments about "bald headed" as an insult will be found in an upcoming pancocojams post.

The core lines for "yo mama, yo daddy, yo greasy grimey granny" are often found in other playground rhymes. Among those examples are the very popular rhymes "Bang Bang Choo Choo Train", "Miss Suzie Had A Steamboat", and "Down By The Banks Of The Hanky Panky".

"Yo Greasy Grimy Granny" ("Yo Bald headed Granny") chants demonstrate the importance of dramatization in the performance of children's songs and rhymes. By "dramatization" I mean performing a particular role or roles as exemplified by changing one's voice and mannerisms. Additional comments about this point are found below.

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ADDITIONS January 30, 2019 - TEXT EXAMPLES
(These examples are numbered for referencing purposes only)
1. Your mama, your daddy
your bald-headed granny
she mean
she green
she need some vaseline
she white
she black
she ain’t coming back
-https://www.youtube.com/watch?v=iQxDFVPyoEs Your mama, your daddy, your bald-headed granny, published by TexasGonzo on Jul 6, 2013
-snip-
The summary of this video is "Jon and PJ's first rap song. Both of them are 8 years old"
-snip-
Note that one of these boys is Black and one is White.

2.
"yo moma yo daddy yo bald headed granny shes mean shes green she needs some booty cream"
awsome gaming!, 2017, https://www.youtube.com/watch?v=pxgnfH__yno
-snip-
This same version was given in the discussion thread for the YouTube video whose link is given above (from a different commenter). 

**
3"Yo mama yo daddy yo big fat granny she mean she green she needs but cream
NuketeamYT, 2017, https://www.youtube.com/watch?v=pxgnfH__yno

**
4. "My favorite was

Your​ mama your daddy your greasy grandma got holes in her panties loopty loo she a prostitue she go beep beep beep down seasame street

Hahaha I guess my neighborhood was rough"

ClawdeenWolf, https://www.lipstickalley.com/threads/black-girl-rhymes-what-was-yours-growing-up.1196979/ WARNING: lipstickalley/com pages often include profanity and/or sexually explicit references.
-snip-
"Sesame Street" is a long running American pre-school educational children's television series.

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POSSIBLE SOURCE
The military cadence "My Old Granny, She's 91" is probably related to the children's chant "Yo greasy grimy granny". If that cadence is older than the chant, than it's probable its source. Both compositions focus on grannies of a certain age, with the cadence chronicling progressive ages of the person chanting's grandmother while the standard form of the children's chant focuses on one age of someone else's grandmother. Both compositions have the same two line rhyming pattern, but that is the usual pattern for many music genres. One significant difference is that the military cadence praises the grandmother while the children's chant insults her. Here's one example of that military cadence:

My grand mama was ah 92
She used to PT like ah me and you
My grand mama was ah 96
She did her PT just for kicks
My grand mama was ah 107
Well, the poor girl died and she went to heaven
My grandmamma was ah 98
She went side-straddle hoppin' through the pearly gates
My grandmamma was ah 109
She had oh JC double and dime
Lo righta layo
ah left right alayo
-snip-
-Jellisrellish, YouTube video, Jul 25, 2010
-snip-
Click http://pancocojams.blogspot.com/2013/11/my-old-granny-shes-91-military-cadence.html for a pancocojams post on "My Old Granny, She's 91 (military cadence videos, lyrics, & notes).

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CATEGORIZING THIS CHANT
I categorize "Yo greasy grimy granny" and related titles as insult rhymes. These oral compositions are pre-dozens rhymes.

 "The Dozens" is one name for the African American originated informal game in which insults are exchanged one at a time between two people. "Yo mama" is a common beginning for many Dozens insults. By "pre-dozens" I mean that children chanting insult rhymes are mimicking the dozens and are learning how to do the dozens.

Suprahajimoto, 2011, a commenter on the "yo greasy grimy granny"video [given as the replacement Video #3 on June 24, 2017] agrees with this idea. Here's that comment:
https://www.youtube.com/watch?v=sBrAKK30dTA2011
"from whut i understand this was derived from basing eg; your momma jokes maybe from socal or NYC... You would start off by saying your momma...and you would return with each line as a comback saying your daddy....and continue with the rest as a comback without the other party knowing what you where going to say...but this was 35 years ago and old"
-snip-
"Basing" is one of several regional terms for "playing the dozens". i.e " Your mama jokes" are the same thing as "the dozens" because so many of those jokes (insults) begin with the words "Your mama [is]".

"Socal" = southern California; NYC = New York City.

"Yo mama don't wear no drawers". is another children's rhyme that I consider to be "pre-dozens". Click http://pancocojams.blogspot.com/2011/10/yo-mama-dont-wear-no-drawers.html for a pancocojams post about that rhyme.

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THE USE OF AFRICAN AMERICAN VERNACULAR ENGLISH WHILE CHANTING THIS RHYME
I believe that many African Americans and non-African Americans consciously or unconsciously code switch to a form of African American English while chanting "Yo mama, yo daddy, yo greasy grimy granny" chants. The use of the word "yo" instead of "you" is a clear indication of that language code switching. Note that inspite of the fact that the word "yo" has basically been retired from African American Vernacular English since at least the 1990s, it is still used in many examples of "yo mama, yo daddy, yo greasy grimey granny" chants.

The use of "stank" (meaning "stinksvery badly) in one form of that chant is another example of that code switching - "Yo mama/ yo daddy/ yo greasy stank granny") More comments about the word "stank" are given later in this post under the video given as Example #1.

However, code switching to a form of African American English isn't limited to which words are used. That code switching is also indicated by how those words are said (pronunciation and intonation) as well as what body language accompanies that chant.

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THE USE OF BODY LANGUAGE ASSOCIATED WITH CERTAIN AFRICAN AMERICANS WHILE CHANTING THIS RHYME
I believe that when many people - including African Americans -chant "yo mama, yo daddy, yo greasy grimy granny" rhymes they "put on" the pronunciation, intonations, and mannerisms that they stereotypically associate with certain African Americans. I refer to this role as "the fly girl".* However, most people -particularly most non-African Americans - probably consider this type of talk and mannerisms as "acting ghetto" ("acting street").

*"Fly Girl" is the title of the 1985 Hip-Hop song that was recorded by The Boogie Boys. "Fly girl" is also the title of a 1980s foot stomping cheer that had its source in that Hip Hop record, and "Flyy Girl" is the title of a 1993 urban fiction book that was written by Omar Tyree.

A "fly girl" is a very self-confident, street smart, hip, cool, Black female (or male if the performers are male) who has a lot of "swag". (The comparable term "fly boy" wasn't used nearly as much as "fly girl", probably because of the negative connotations that were and still are associated with calling Black men boys.)

It's important to note that both Black and non-Black people (in these videos and I believe also in the general public) use those African American speech patterns & body gestures when they are acting out the fly girl role. The problem is that many non-Black people may not realize that when most African American do it, we're acting.

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ANOTHER EXAMPLE OF CODE SWITCHING TO AFRICAN AMERICAN ENGLISH WHILE CHANTING A RHYME
"Shabooya Roll Call" is another example of the use of what I believe to be stereotypical African American "fly girl" ("ghetto/street") speech patterns and mannerisms while chanting certain American rhymes In the case of that cheer, YouTube videos suggest that people change their voices and mannerisms to mimic persons who performed that cheer in the 2006 movie Bring It On: All Or Nothing. I think that it's worth noting that the roles that are being dramatized in the cafeteria cheer scene from that movie scene are of two African Americans and one Latina. However, many of the people performing "Shabooya Roll Call" in YouTube videos appear to be White (non-Latina). Given the exaggerated mannerisms of the female characters in that movie scene, especially in the case of Kirresha, the second Black girl in that movie, I believe that it's particularly concerning if people think such depictions exemplify real life Black females and Latina.

I want to emphasize that people of the same race/ethnicity may consciously or unconsciously put on intonations & mannerisms that are stereotypically associated with persons within their race/ethnicity. That kind of role playing is a key feature of confrontational taunting foot stomping cheers . "Shabooya Roll Call" is just one example of that sub-category of children's (usually African American girls) cheers.

Click http://www.youtube.com/watch?v=OuZHjpp8T_k&feature=related for a video example of females performing a dramatization of "Shabooys Roll Call". Also, click http://pancocojams.blogspot.com/2012/01/right-rhyming-pattern-for-shabooya-roll.html for a pancocojams post on "Shabooya Roll Call".

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FEATURED VIDEOS, LYRICS, AND COMMENTS
I don't believe that most people who chant this rhyme are aware that they are using a particular type of African American speech pattern and particular types of body gestures that are wrongly associated with all African Americans to act out a particular role while performing this song. I want to be clear that I don't think that this role playing is done to mock, insult, or otherwise ridicule Black people. But I think that it's indicative of how pervasive African American speech patterns and African American originated body gestures are in the United States so much so that (it seems to me that) ) a large number of non-Black people can unconsciously mimic us to and believe that it that mimicking is authentic.

As to what I mean by mimicking Black speech patterns and Black originated body gestures: notice the change in tone and demeanor between those persons in the videos who talk before and after they sing "Yo Mama, Yo Daddy, Yo Greasy Grimy Granny" (or "Bald Headed Granny"). Also, notice the head bobbing, leaning forward into someone else's space (and therefore an aggressive motion), and the eye roll or side eye that is found during the performance of this song. In addition, I found it interesting that the little girl in Video #2 places her right hand or her hip, an aggressive, "I mean business" stance that is typically identified with Black females.

Without any further comments, here are the featured videos and the song's (rhymes') lyrics with the last video added just for fun:

Example #1: Yo Mama, Yo Daddy, Yo greasy stank granny!



Uploaded by CinciDiva on Feb 13, 2011

Yo Mama -- Yo Daddy -- Yo greasy stank granny! LOL!

Yo mama
yo daddy
yo greasy stank granny
she got holes in her panties
she got a big behind
like Frankenstein
your mama got a big oh butt
-snip-
The African American mother in this video indicates that she remembers this video because she is "a child of the 80s"...
-snip-

"Stank" is an African American Vernacular English adjective that means "really stinks". “Stank” can also be an African American Vernacular English(AAVE)  noun. One AAVE meaning for that noun is “someone or something who (that) really stinks”.

No past tense is meant or implied by the AAVE word “stank”.

"Put some stank on it" is one African American Vernacular English saying that includes the word "stank". Another AAVE term that isn't discussed in this post is "stankface".

Although the word “stank” in the saying “put some tank on it” originally meant to have an odorous (stinky) smell, the contemporary meaning of “stank” in that saying doesn’t directly refer to people or things having a bad smell. 

The phrase "add some soul to it" is a synonym for "add some stank to it".

-snip-
The last line "your mama got a big oh butt" is a floating line that can be found throughout African American culture. It's a rip [dis, insult] to say to someone that "your mama got a big butt". However, female teens and young/middle age women who have big butts are usually viewed favorably [as in the R&B/Hip Hop song "Da Butt"], although if the female's butt is considered to be too big, she may be teased for that physical feature. One hurtful teasing referent is to call a girl with a very big butt a "Berta Butt". This taunt probably predates Jimmy Castor's song "Bertha Butt Boogie", but was greatly popularized by that record.


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Example #2: "Your Bald Headed Grammy"



Uploaded by 5beachbabes on May 5, 2011

Your mamma, your daddy, your bald headed grammy, she's 99, she thinks she's fine, she's going out with Frankenstein......
-snip-
I've mentioned above that this little girl uses a lot of African American derived gestures in her performance of this rhyme. I wonder how she learned these gestures.

In my experience, the word "grammy" is usually used as a referent for "grandmother" by non-Black Americans, but that may not be the case throughout the entire United States.

****
Video #3: Bald Headed Granny

The video that was initially showcased is no longer available. However, here's my transcription of that 2011 video and my comment about it.

Talk to the hand,
Talk to the butt,
Talk to the man at Pizza Hut
Your mamma
Your Dadda
Your bald headed granny
Go granny, go granny
Go bald headed granny
Yeah!
-snip-
In my opinion, the girls in this video don't use any African American speech patterns. However, the saying "talk to the hand" originated among African Americans. A related video of "talk to the hand" is found below.
-snip-
Here's another similar video:

Greasy Granny Gotta Hole in Her Panty



SmileyD Published on Nov 21, 2007

Little diddy I used to sing as a kid....

Lyrics:

Yo Mama, Yo Daddy, Your Greasy Granny
gotta hole in er panty

Got a big behind, a like Frankenstein
She go beep beep beep down Sesame Street!

****
Video #4: Yo Bald Headed Granny



Uploaded by raleighsarusrex on Nov 13, 2007

Lyrics:
Yo mama
Yo daddy
Yo bald headed granny
She's 99
She thinks she's fine
But she's goin out with Frankenstein
-snip-
The smallest boy says this dozens "rip" (insult) towards the end of this video:
"Your mama so fat that she plays pools with the planets, oh baby!"
-snip-
"Your mama so fat" is a typical beginning phrase for the dozens -at least for juvenile versions of the dozens. Notice how the boy says "Oh baby!".

This video features a lot of African American English "dozens style intonations". Also, notice how the biggest boy bobs his head and leans forward with a serious, "grittin" ("mean mug" scowling) look on his face, particularly at the end of this recitation. I think this is done in imitation of the common intimidating stance that Hip- Hop rappers were/are known for.

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Video #5: Mama, Yo Daddy.....



Mandy Bruce - Sherman Uploaded on Oct 19, 2011

Isaiah singing one of their crazy songs.....
-snip-
Lyrics:
Your mommy, your daddy
Your bald-headed granny.

She's 89
She thinks she's fine
She's went out with Frankenstein

Go granny, go go granny.
Her breath stinks really bad.
She needs some tic-tacs.
Not no TIC
Not no TAC.
Just regular tic-tacs.
-snip-
This young African American boy starts this rhyme with a Hip-Hop pose, but reverts to "regular" American recitation body language during most of the rhyme. He also uses mainstream American English in his recitation of this rhyme (Note that he says "your mommy, your daddy" instead of "Yo mama, yo daddy").

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Example #6: YO MamA yo daddy yo bald headed granny



100hikick, Uploaded on Feb 13, 2011
:l
-snip-
Lyrics:
Yo mama
Yo daddy
Yo bald headed granny
She's 99
She thinks she's fine
But she breakin down with Frankenstein
Go granny, go go granny.

In this context, "she breakin down" means she is showing off her best dance moves.

Obviously, the robot's speech pattern is a robotic monotone which is far different from any form of Black speech pattern. However, I admit that I smiled when I saw the robot doing a hip-hop dance. Given the Black roots of this rhyme, I thought that was quite fitting.

****
Example #7: Yo Bald headed Granny



sonnym2004, Uploaded on Jul 1, 2011

Miller Kids
-snip-
This video is of six Black siblings (girls and boys) chanting a rhyme that includes a version of "Yo greasy grimey granny". That version is combined with a number of different rhymes. The last portion of this rhyme is given in italics as an indication that I'm not certain of my transcription of those words -which is a shame, as that portion was a taunting rhyme that I haven't come across before or since.

Note: The video starts in the middle of the rhyme that is commonly known as "Ooh ah, I wanna piece of e pie".

Meat too rough, I wanna ride a bus.
Bus too full, I wanna ride a bull.
Bull too black, I want my money back.
Money back too green, I wanna jelly bean.
Jelly bean too red, I wanna go to bed.
Bed not made, I want some lemonade.
Lemonade too sour, I wanna take a shower.
Shower too cool, I wanna be a fool.
Fool too dumb, I wanna suck my thumb.
Thumb too dirty, I wanna ride a birdy.
Birdy too slow, and that's all I know.
Now it's time to count to ten.
Whoever mess up, starts all over again.
[counting fast] 1,2,3,4,5,6,7,8,9,10
Brickwall waterfall, girl you think you know it all
You don't I do, so push away that atttitude.
So push away that atttitude.
Elbow, elbow, wrist, wrist
Shut your mouth and talk to this.
Now wait, come back.
You need a tic tac.
Not a tic, not a tac.
But the whole six pack.
My mama, my daddy, my bald headed granny
She's 99
She thinks she's fine
But she goin out with Frankenstein
Go granny, go granny, go granny.
Woo!
What's that?
A hat?
A crazy, funky, chicken hat
Oh snap! Hey Dougie
Chile if I look like you
You know that we'd be mad
We see right through your funky hat.
[one child makes sound like a chicken crowing]

Repeat the verse that begins with "What's that".
-snip-
While chanting, these children make pantomine motions and point (at each other at times, and pointing forward). Dance motions are also performed during certain portions of this chant, by one boy in particular.

In contrast to other videos that are included in this post, although the words after the "I wanna ride a bus" verses were definitely taunting rhymes, I don't think that these children put on any Hip-Hop or fly girl body language or pronunciation/intonations.

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RELATED VIDEO: Talk to the hand dr.evil



Uploaded by dfales14 on Feb 22, 2007
-snip-
In this short clip "Dr Evil" said "Talk to the hand 'cause the face don't want to hear it anymore."

The actual African American saying is "Talk to the hand 'cause the face isn't listening." This gesture has its roots in the Kongo culture of Central Africa. That same culture is where these two other familiar hand gestures come from: the angry or determined Black woman's stance of two hands on the hips & the "stop right there" gesture one hand on the hip with the right hand held palms up in front of the waist. This last gesture is closely associated with the R&B group The Supremes 1960s hit song "Stop In The Name Of Love".

Notice the side eye [eye moving from side to side] and the head bobbin stances. Pointing to the hand is an inauthentic aspect in that it isn't usually done in African American culture. Also, usually the right hand is used for "talk to the hand" and not the left hand as done in this video. However, given the cultural connotations associated with the use of the left hand, maybe it was intentional for Dr. Evil to use his left hand for this gesture instead of his right hand.

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REPRINT OF THE ALL OF THE COMMENTS FROM THIS POST'S 2012 PUBLICATION 

  1. I remember reciting "greasy granny" in primary school in 1970, so it's been around for a long, long time.

    ReplyDelete
    Replies
    1. Thanks E. J. Westlake for sharing information.

      I'd love more demographical information such as geographical location (city/state), And what were the words to the greasy granny that you recited? Were there any accompanying actions and was it a rip (insult chant?)

      Delete
    2. I am a 50 year old white guy. in the fourth grade it was a white guy is used to go around saying "your ma your pa and your greasy greasy grandma"

      Delete
    3. Thanks anonymous for sharing that information.

      I agree that those words to this rhyme were certainly recited by Black people, White people, and people of other races and ethnicities.

      Delete
    4. Sorry, I didn't see your question. I first heard it in my predominantly African American primary school in Dayton, Ohio in 1970. I don't remember any actions that went with it. "You dirty crook, I made you look, you stole your mother's pocket book. You stole a dime, bought some wine, now you look like Frankenstein. Your Mama, Your Daddy, Your Greasy Granny gotta hole in her panty. She go beep beep beep down Sesame Street!" Later, when I was in a mixed white and black high school (Colonel White) in 1980, we worked this into a cheer the band did at football games.

      Delete
    5. Thanks E.J!

      I LOVE reading info like this.

      Best wishes!!

      Delete
  2. Windsor Hills Elementary School, Los Angeles CA, 1960s. Black school, during time of Kennedy/Martin Luther King/Bobby Kennedy asassinations. We had a slight variation of it that included "got a wooden boody like Howdy Doody."
    I remember this one, too:
    Forget you, forgot you never thought about you, you're forgotten, you're real rotten
    Forget you back, up your crack, wipe your boody with a baseball bat.

    ReplyDelete
    Replies
    1. Anonymous, April 16, 2019. I'm re-reading this discussion thread and see that you wrote "we had a slight variation of it that included...". I'm assuming "it" means the "Yo Mama Yo Daddy Yo Greasy Grimy Granny" rhyme that I've . If so, the 1960s is the oldest date for those rhymes that I found as of this date (April 4, 2021).

      Thanks again!!

      Delete
  3. Hello, Anonymous.

    Thanks for sharing those rhymes and including demographics.

    I hadn't heard or read either of them before.

    For those who may be wondering, "boody" = "botty" = "butt".

    I love how that word rhymes with "Howdy Doody".

    Here's information from https://en.wikipedia.org/wiki/Howdy_Doody about that puppet and the television series with that name:

    "Howdy Doody was an American children's television program (with circus and Western frontier themes) that was created and produced by E. Roger Muir[1] and telecast on the NBC network in the United States from December 27, 1947, until September 24, 1960.

    [...]

    Bob Smith created Howdy Doody during his days as a radio announcer on WNBC. At that time, Howdy Doody was only a voice Smith performed on the radio. When Smith made an appearance on NBC's television program Puppet Playhouse on December 27, 1947, the reception for the character was great enough to begin a demand for a visual character for television. Frank Paris, a puppeteer whose puppets appeared on the program, was asked to create a Howdy Doody puppet.[3]

    Bob Smith, the show's host, was dubbed "Buffalo Bob" early in the show's run (a reference both to the historical American frontier character Buffalo Bill and Smith's hometown of Buffalo, N.Y.). At first the set was supposed to be a circus tent, but soon was changed to a western town. Smith wore cowboy garb, as did the puppet. The name of the puppet "star" was derived from the American expression "howdy doody"/"howdy do," a commonplace corruption of the phrase "How do you do?" used in the western United States."...

    ReplyDelete
  4. 1974 or 75, Beaumont, Texas, elementary school. I've always remembered the version my African American friends and I (a white kid, but that didn't matter much to us) would sing, but I think i'm leaving out some lines:

    Ain't yo mama pretty, meatballs on her t***ies,
    ... [I think I'm forgetting a line or two]
    Her B. O. booty-hole, [might have been "big ol'", but I remember hearing it like B. O.]
    Yo mama!, Yo daddy!
    Yo greasy granny got a hole in her panties,
    Big behind like Frankenstein,
    She eats her meat on Sesame Street!

    I'm forgetting some lines, and I do remember "wooden booty like Howdy Doody" and "stole a dime and bought some wine" lines, as mentioned above, either in this one or in another rhyme we did.

    PS: I came across this cause Nigerian friends' daughters did some Ohafia Igbo hand-clapping games in a video on Hand Jives and it got me wondering if Yo Greasy Granny was more widespread than our school. Thank you so much!

    ReplyDelete
    Replies
    1. Thanks, Sally for sharing information about these rhymes.

      With regard to the "ain't yo mama pretty" rhyme. I'm aware of this rhyme, but haven't showcased it on pancocojams because this blog is family friendly and that rhyme is quite risque.

      But here's a link to one version of that rhyme: http://handmademusic.ning.com/group/wordslyricsramblings/forum/topics/aint-yo-mama-pretty.

      **
      That "Yo mama! Yo daddy etc. version you shared is new to me. I'm glad to add it to the collection I'm gathering of those rhymes.
      **
      I'm not sure which rhyme the "wooden booty like Howdy Doody" and the "stole a dime and bought some wine" lines come from. However, they "sound" like a number of children's recreational rhymes that were chanted by African Americans and other folks (And I agree with you statement that race didn't/doesn't matter to you and your friends. I wish that were the case throughout this nation and this world.)

      **
      Re your Nigerian friends doing video on Hand Jives. Is it on YouTube? If so, please share a link.

      Thanks again, Sally!

      Delete
    2. Sally, I just re-read these comments and want to point out that Anonymous, April 16, 2019 shared a version of the "wooden booty like Howdy Dowdy" line. :o)

      Delete
    3. Also, Sally, @ejwestlake. March 8, 2016 at 9:31 PM shared a rhyme that includes the other line you asked about: "You stole a dime, bought some wine, now you look like Frankenstein"

      Delete
  5. Here's a comment that was shared by Andy, Dec. 1, 2019. Andy noted that the version of the rhyme was pretty foul and he would "censor as needed". I didn't do a good job of "censuring" more of the "foul language" that he skipped because that comment still included some words that I don't allow on this family friendly blog. I apologize to any people who were offended by that language. Here's that comment with the words that I edited:

    "Ok I stumbled on this webpage trying to find out if I remembered a childhood rhyme/insult correctly.
    While it's not the same cadence as seen in the videos, it has it's own fast talking cadence. It's pretty foul, i'll censor as needed.

    You're a two-timing, double-crossing, god-damed m--f--, bean ball b-tch.
    You got a greasy granny with a hole in her panties.
    Your mother's in jail.
    Your father's in hell.
    Your sister's around the corner saying p***y for sale!

    I cant recall if there was more to it. That's all I remember from learning it in Texas in the late 70's."
    -snip-
    I responded to this comment thanking Andy for sharing it and remembering to add the geographic location and decade demographics.

    I also shared this link to a pancocojams post about "Rockin Robin" ("Tweeleelee") rhymes that usually include a version of the last three lines that he shared: http://pancocojams.blogspot.com/2012/04/rockin-robin-tweeleelee-analysis.html

    Note: Many "Tweeleelee" rhymes are rather "dirty".

    ReplyDelete
  6. The Yo Momma Yo Daddy song was a little bit longer as I remember it went like this...
    Acrobati Cincinnati B-U-T-T spell Butt Cincinnati. Yo Momma yo Daddy yo greasy granny got holes in her panties got a big behind like Frankenstein got a big head like Simon, says got stinky feet, and yellow teeth , and go beep beep beep down Sesame Street! This was usually said by the Black kids at my Christian school, including myself!

    ReplyDelete
    Replies
    1. Hello, Anonymous.
      Thanks for sharing that version of "Yo Momma Yo Daddy". I also appreciate you sharing information of who you remember chanting it.

      For the folkloric record, what city/state where you in when you first learned this rhyme (Was it Cincinnati, Ohio?) What were the students' ages who sung this song (Was it elementary school, middle [junior high] and/or high school?.) Also, what decade was it?

      I'm presuming that students at your Catholic school didn't learn this from their teachers, but sung this at recess or before or after school. Is that right?

      Thanks again!

      Delete
    2. 1970s Northern Kentucky elementary school. We had 3.

      1.
      Mmmm Chew tobacco, you soda cracker, you b-u-t… yo mama, yo daddy, yo greasy granny got a hole in her panties, got an ugly behind like Frankenstein, go beep beep beep down Sesame Street.

      2.
      You god-d*mned, mother-f*cking, blue-balled b*tch. Mama’s in the kitchen cooking red hot sh*t. Daddy’s in jail, raising all kinds of hell. Sister’s on the corner saying p*say for sale.

      3.
      I can tell by your head, you been eating cornbread, sardines, pork’n beans. Ain’t got no bread, no bread, ain’t got no meat, no meat. Just got that beat.

      Delete
    3. Hello, Anonynous. Thanks for sharing those examples and thanks for amending the spelling of the curse words.

      It would be great if you could add some information about each of these examples such as races/genders/ ages. For instance, did older kids chant #2 and younger ones chant #1 and #3? Also, do you remember doing any movements while chanting these rhymes (such as jumping in between ropes or hand clapping or doing foot stomping/hand clapping routines?

      I hope you can add this information for the folkloric and cultural record that documents what types of rhymes some kids actually chanted. By the way, do you think kids nowadays where you live (city.state) still know this "Yo Greasy Grimey Granny" Hhyme and these versions of that rhyme?

****
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Sunday, May 26, 2024

The African Roots Of "The Dozens" & Other African Diaspora Verbal Insult Games (2024 Article/Book Excerpt)

Edited by Azizi Powell

This post is part of an ongoing pancocojams series about "The Dozens" and other African and African Diaspora verbal insult traditions.

This post presents excerpts from a March 22, 2024 article by Tanure Ojaide entitled "African Battle Traditions of Insults".

The content of this post is presented for socio-cultural, linguistic, and educational purposes.

All copyrights remain with their owners.

Thanks to Tanure Ojaide for his writing, research, and publication of this book and this online article.
-snip-
Click https://pancocojams.blogspot.com/2013/07/nigerians-insult-traditions-yabbing.html for Part I and http://pancocojams.blogspot.com/2013/07/nigerian-insult-traditions for Part II of a 2013 pancocojams series on "Nigerians' Insult Traditions (Yabbing)".

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ARTICLE EXCERPT

From https://capoeirahistory.com/general/tanure-ojaide-african-battle-traditions-of-insult/ 
Tanure Ojaide – African Battle Traditions of Insults

The challenges that exist in capoeira and in Brazilian popular culture fit into a larger African tradition of battles of insults and performances. The book organized by Nigerian poet Tanure Ojaide tries to establish the uniqueness of this performative tradition in Africa and its diaspora. Here are excerpts from his introduction to the book African Battle Traditions of Insult. Verbal Arts, Song-Poetry, and Performance, published by Palgrave Macmillan, 2023.

"One of the cultural practices Africa shares with its diaspora is the battle of words, songs/poetry, and performance. In this tradition of highly competitive verbal arts, song-poetry, and performance, the audience is enthralled by its wit, poetry, and spectacle. [Cultural practices in the diaspora enable and affirm identity with the mother continent.] What this book attempts to establish is the uniqueness of a tradition of insult or abuse couched in verbal exchange, songs or poetry, and performance in Africa and the African diaspora. Usually, the battle of talents involves organizing rival sides or groups, individuals, quarters of the same town, or towns against towns. In the United States, in addition to individual against individual contests, there are colleges against colleges in Greek Step Shows and bor­oughs against boroughs, and even East Coast engaging the West Coast in Battle Rap. It is a form of verbal and performance combat between desig­nated sides. It is interesting that the metaphor of battle is used in their respective places to describe the Nigerian Urhobo Udje; the Ghanaian, Togolese, and Beninois Halo; the African-American Battle Rap; the Trinidadian and Tobagonian Calypso; and the Afro-Brazilian Jongo. These battles could be prepared for or take place instantaneously. Africa has many of such traditions as the Udje and Halo which need months of preparation and the Zulu and Tswana Izibongo oral poetic performance which is done ex tempore. In the diaspora, there are also performances such as Calypsos and Greek Step Shows that need preparation while African-American Dozens, like the Nigerian Yabis and “bad mouth,” tend to follow the off-the-cuff method. The artists thus have to train to respond instantaneously and with wit, humor, and strong images to take part in their competitions or when challenged to do so.

In most of the African battle traditions, there are meticulous and elabo­rate preparations of the songs and their performance. The groups keep their songs and performance or dance steps secret until the public outing to produce a sense of surprise and novelty of their artistic work. With vary­ing differences, two known opposing or rival sides are established. In the Udje tradition of the Urhobo people of Nigeria, the battle of songs and performance between Iwhrekan and Edjophe is legendary, as is that between Ekrokpe and Ekakpamre. The Ewe people who live in the southern parts of Ghana, Togo, and Benin also have the Halo tradition. In the Ewe Halo battle of songs and dance, the subjects of the satirical butts are invited to the arena to witness what is composed against them performed. It is said that for the subject of the song to express anger, nervousness, or disquiet shows that the song has succeeded in its objective of destabilizing its sub­ject. For this reason, the subjects of Halo songs often laugh with the audi­ence as if the songs have had no effect on them. There are continuities and manifestations of the African genre of insult in the diaspora. Like the Ewe Halo, in the Dozens, the two opponents keep a bold face and whoever gets angry or flares up is adjudged to have lost the contest. The Trinidadian Calypso during Carnival also demands weeks or months of preparation from its participants. Like the Udje, the participants keep their songs and performance secret until the time of pub­lic performance. That legendary rivalry between Oloya of Iwhrekan and Memrume of Edjophe is comparable to the calypso war (picong) between Sparrow and Kitchener and also between Sparrow and Melody.

The tradition of artistic insults or abuse in Urhobo and Ewe societies originates from similar socio-cultural and political objectives of deploying language as a weapon to fight the enemy or rival and concluding with performance to so enrage the other side as to humiliate it. The songs and performance in the form of dance are composed as highly imaginative poetry meant to “wound” the other side. While this is taken as a purely artistic contest in most parts of Africa and the African diaspora, in some of this tradition of insult or abuse, as of Halo in its heydays, it assumed a violent confrontational nature. This turned to violence in many places and might have led to its suppression or abolition as among the Anlo-Ewe of Ghana. The social unrest it caused might have led Kwame Nkrumah to ban its practice as a matter of law and order decision. Among the Urhobo, the colonial government used customary and magistrate courts in Warri/Delta Province to suppress Udje songs and their performance with stiff penalties against those sentenced for libeling with their songs. In all the regions of the African world where the battle of insults is practiced, the style allows or allowed exaggeration, choice of fictional materials, and underhand techniques to describe the subject in such a way as to humiliate him or her. Among the Ewe and Urhobo even the dead are still subjects of biting songs. A major objective is to describe somebody or the subject of the song so as to be laughed at; hence there is copious use of humor, cari­cature, burlesque, irony, and other techniques that achieve the objective of being laughed at and humiliated. The attributes of Udje and Halo are carried over into Jongo, the Dozens, and Calypso.

A major characteristic therefore of this tradition is a formally or infor­mally arranged schedule of song-poetry performance in which one side has its turn and the other side watches and listens and then the roles are reversed the next time.

One can infer from the openness of the performance with known provokers or challengers as a mark of boldness that is related to masculinity as practiced in such societ­ies. Udje, Halo, Capoeira, the Dozens, and Battle Rap seem to be used to express masculinity in their respective societies. [Nothing is hidden or taken as personal as such but seen as a communal or social responsibility to attack and be attacked with satiric songs.] It is a utilitarian artistic genre with moral and ethical objectives to not only deter folks from breaking established socio-cultural codes but also maintaining normalcy in society where deviants could cause disharmony and chaos.

As a result of listening to insults against oneself or one’s side, one is provoked to compose another song or songs to respond or retaliate to so hurt the other person or side as to deter from further verbal assaults. Thus, many songs are responses to earlier provocations in songs and this cycle goes on and on till one side springs a surprise that becomes the beginning of another thread of songs. The tradition has at its roots a dialogic ten­dency of responding to the latest insult, verbal abuse, or song which itself elicits further responses. So the tradition is self-growing as each song takes off from or builds upon an earlier song as the Urhobo, Ewe, Swahili, and Trinidadian/Caribbean, and Afro-Brazilian song-poems testify.

Summary of the book

[…]

Both Halo and Udje, from their respective histories, trace the origin of the artistic battle traditions to social and human efforts to channel their anger, rivalry, competitiveness, and hostilities from the physical to the artistic. Instead of rivalry to be exhibited physically, they surmised it would be better done artistically. The sparring of partners through the resources of the imagination ennobles the two sides in their pursuit of artistic excel­lence and entertainment. Which of the parties is more quick-witted, poetic, humorous, and performative? The audience always seems to know the rules of the artistic practice and adjudges one side winner of the two-side contest.

[…]

Similarly, the battle traditions of insult in the diaspora play a role in the societies. For example, the Dozens is a rite of passage for young blacks. “The Dozens trains a participant in the art of self-control; to remain calm and unfazed when a form of violence is being enacted upon you. Participants learn the value of self-respect and self-love; they learn the value of a sharp mind in order to defend themselves as well as how to dis­guise their vulnerability and insecurities. The engagement in the verbal game readies the participants to the experiences that are inherent in the oppressive society in which they live.” The Greek Step Show, Calypso, and Jongo also teach discipline and self-control in the face of pressure.

[…]

A performance of these battle arts without humor is dubbed a failure. It is not surprising about the stretch of facts and the imagination in Calypso, Udje, Halo, the Dozens, and Capoeira and Jongo to deploy so much that would make the audience or spectators to burst out laughing. No wonder, too, many of these practices take place during festivals when folks are expected to be relaxing and having holidays. Laughter, after all, is a good communal medicine to avert physical and violent confrontations.

A lot of mediations have entered these battle traditions of verbal arts, song-poetry, and performance. As would be expected of diasporic tradi­tions, diverse experiences of history, geography, environment, social adap­tations, and innovations have diversified the unique African tradition. Even within the African homeland, colonialism, modernity, and globaliza­tion have transformed things to change within the indigenous languages and local settings of verbal and artistic practices.

[…]

This unique tradition that exists in Africa and its diaspora in various forms affirms artistic excellence in the verbal arts, poetry, song, and per­formance. Its practice raises the stakes in its competitive nature to always heighten the tempo. In that way, there is increasing intensity as each side sharpens its wit for maximum impact of attack and counter-attack. The objective of each rival side’s words is to either wound the opponent’s psyche or ego or provoke and challenge so brazenly to elicit a sharp hostile response. Duels such as between Ekakpamre rivals and also between Oloya of Iwhrekan and Memerume of Edjophe in the Udje practice show the dialogic nature of this artistic practice. The same nature of combative rivalry is exhibited among the Anlo and Aja Ewe people of Ghana, Togo, and Benin. The composers of the poems or verbal forays are insistent on not using the same images twice but always keeping their words fresh, poetic, and memorable.

There is an enduring contemporaneity to this tradition of insults. What is significant is using artistic, verbal, and performance resources of the past to address contemporary challenges''…

[Information about Tanure Ojaide]
"Tanure Ojaide is the Frank Porter Graham Professor of African Studies at the University of North Carolina at Charlotte, USA. Educated in Ibadan and Syracuse, Tanure Ojaide has published twenty-one collections of poetry, as well as novels, short stories, memoirs and academic works.

He has won the Association of Nigerian Authors Poetry Prize four times: 1988, 1994, 2003 and 2011. His other awards include the Commonwealth Poetry Prize for the Africa Region, the All-Africa Okigbo Poetry Prize and the BBC Arts and Africa Poetry Prize. In 2016 he won both the African Literature Association’s Fonlon-Nichols Award for Excellence in Writing and the Nigerian National Order of Merit Award for the Humanities. In 2018, he was co-winner of the Soyinka Prize for Literature in Africa. He has won the National Endowment for the Arts grant, twice the Fulbright grant and twice the Carnegie African Diaspora Program grant."

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Tuesday, January 4, 2022

Biz Markie - 1989 Hip Hop clasic "Just A Friend" (video, transcript of the dozens jokes before the song, lyrics, & comments)



RhinoEntertainment,Uploaded on Aug 3, 2010

Watch the official video for Biz Markie's "Just A Friend", his most successful Pop single, reaching the #9 position on the Billboard charts. The song inserts the 1968 hit "You Got What I Need" by Freddie Scott.
-snip-
Statistics as of January 4, 2022 at 9:11 AM EDT
total # of views - 76,402,400
total # of likes -885K
total # of dislikes [This feature is no longer active on YouTube]
total # of comments -43,974

****
Edited by Azizi Powell

This pancocojams post showcases a video of & lyrics for Biz Markie's hit pop rap "Just A Friend". 

My unofficial transcription of the beginning scene in this song's official video is also including in this post. In addition, this post includes an explanation of some of the African American slang used in this rap, as well as some biographical information about Biz Markie.

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

All copyrights remain with their owners.

Thanks to Biz Markie for chis musical legacy. RIP. Thanks also to transcriber of the song lyrics, and the uploader of this featured video.
-snip-
This is a complete reprint of a pancocojams post that was published March 19, 2013 with the addition of a few selected comments. 

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INFORMATION ABOUT BIZ MARKIE
From http://en.wikipedia.org/wiki/Biz_Markie [retrieved on January 5, 2022]
"Marcel Theo Hall (April 8, 1964 – July 16, 2021),[3] known professionally as Biz Markie, was an American rapper, DJ, and record producer. Markie was best known for his 1989 single "Just a Friend", which became a top 40 hit in several countries. In 2008, "Just a Friend" made No. 100 on VH1's list of the 100 greatest hip hop songs of all time.[4] Markie was sometimes referred to as the "Clown Prince of Hip Hop".[5][6][7]

****
SUMMARY OF THE VIDEO SCENE BEFORE THE RAP BEGINS
[unofficial transcript by Azizi Powell]

A group of Black young men are seated on a park bench telling “your mama” jokes. (This is a friendly exchange and not a real rippin [insult] contest).

Biz Markie –“Yo, your moms is so poor that she went to McDonalds and put a shake on layaway.”

[laughter]

2nd man- “Well, your mother is so old that she knew Central Park when it was a plant.”

[laughter]

3rd man – Your mom’s hair so nappy that she needs to take pain killers to comb it.”

[laughter]

Two attractive young womens strut toward the park bench.

One of the men says: “Oh, yo, yo. Look at that, man.” The men make other admiring comments about the women who stop at the park bench. One of the comments is “Ooh, You got what I need”.

The women leave, and one of the men says “Oh, it’s all of that baby? More comments are made, but Biz Markie says “Yo, yo, forget about them girls. A couple of the men say “Why? What’s up?

Biz Markie says, “I got a little story to tell you”
And then begins his rap.

****
LYRICS - JUST A FRIEND
Songwriters: IBRAHIM, CAIREL ADRIN BIN/ISHAK, JOHAN BIN/HALL, MARCEL THEO PKA BIZ MARKIE/LIZAARD, LEAF

Have you ever met a girl that you tried to date

But a year to make love she wanted you to wait

Let me tell ya a story of my situation

I was talkin' to this girl from the U.S. nation

The way that I met her was on tour at a concert

She had long hair and a short miniskirt

I just got onstage drippin', pourin' with sweat

I was walkin' through the crowd and guess who I met

I whispered in her ear, "Come to the picture booth

So I can ask you some questions to see if you are a hundred proof"

I asked her her name, she said blah-blah-blah

She had 9/10 pants and a very big bra

I took a couple of flicks and she was enthused

I said, "How do you like the show?"

She said, "I was very amused"

I started throwin' bass, she started throwin' back mid-range

But when I sprung the question, she acted kind of strange

Then when I asked, "Do ya have a man," she tried to pretend

She said, "No I don't, I only have a friend"

Come on, I'm not even goin' for it

This is what I'm goin' sing

You, you got what I need but you say he's just a friend
And you say he's just a friend, oh baby
You, you got what I need but you say he's just a friend
But you say he's just a friend, oh baby
You, you got what I need but you say he's just a friend
But you say he's just a friend

So I took blah-blah's word for it at this time

I thought just havin' a friend couldn't be no crime

'Cause I have friends and that's a fact

Like Agnes, Agatha, Germaine, and Jacq

Forget about that, let's go into the story

About a girl named blah-blah-blah that adored me

So we started talkin', getttin' familiar

Spendin' a lot of time so we can build up

A relationship or some understanding

How it's gonna be in the future we was plannin'

Everything sounded so dandy and sweet

I had no idea I was in for a treat

After this was established, everything was cool

The tour was over and she went back to school

I called every day to see how she was doin'

Everytime that I called her it seemed somethin' was brewin'

I called her and a guy picked up, and then I called again

I said, "Yo, who was that?" "Oh, he's just a friend"

Don't gimme that, don't ever gimme that

Jus' bust this
You, you got what I need but you say he's just a friend
And you say he's just a friend, oh baby
You, you got what I need but you say he's just a friend
But you say he's just a friend, oh baby
You, you got what I need but you say he's just a friend
But you say he's just a friend

So I came to her college on a surprise visit

To see my girl that was so exquisite

It was a school day, I knew she was there

The first semester of the school year

I went to a gate to ask where was her dorm

This guy made me fill out a visitor's form

He told me where it was and I as on my way

To see my baby doll, I was happy to say

I arrrived in front of the dormitory

Yo, could you tell me where is door three?

They showed me where it was for the moment

I didn't know I was in for such an event

So I came to her room and opened the door

Oh, snap! Guess what I saw?

A fella tongue-kissin' my girl in the mouth,

I was so in shock my heart went down south

So please listen to the message that I say

Don't ever talk to a girl who says she just has a friend

Just A Friend lyrics © Warner/Chappell Music, Inc., CAK MUSIC PUBLISHING, INC
-snip-
http://www.lyricsfreak.com/b/biz+markie/just+a+friend_20018799.html
[Note: I corrected three very minor typos in this transcription: the word "correct", the word "guess", and the word "understanding".)

****
EXPLANATION OF SOME OF THE SLANG FOUND IN THIS RAP
"[ask you some questions] "to see if you are a hundred proof"=
to see if you're for real

"I asked her her name, she said blah-blah-blah"= "Blah-blah-blah" is a substitute for the girl's name which Biz Markie isn't sharing.

"She had 9/10 pants" = She wore pants that were a size 9/10.

"I took a couple of flicks" = I took a couple of pictures (with a camera).

"I started throwin' bass, she started throwin' back mid-range" = Biz Markie and the girl started singing together.

"it seemed somethin' was brewin' = "it seemed like something was going on in the background".

"Yo, who was that?" = "Yo" here [as well as in the introductory video scene] means "Hey".

Jus' bust this = [in the context of this rap], means "let's continue with this rap".

"Oh, snap!" = in Standard American English, this is the equivalent of "Oh shucks!", but the word "snap" substitutes for another word that means "crap" (manure).
-snip-
Additions & corrections to these slang explanations and are welcome.

****
SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD
[Numbers added for referencing purposes only.]

Nunyo Bizwax, 2021
"Rap was so much more lighthearted back then. It wasn’t all about being a gangster. It had more soul to the music back then, way more uplifting."

**
Reply
JOJO, 2021
"It wasn't rap. It was true Hip Hop. Rap is for the gangsters. Hip hop was for the artist."

**
Reply
Nunyo Bizwax, 2021
" @JOJO  not entirely true. I like a lot of rap and I’m definitely no gangster lol i, I’m a white boy from canada"

**
Reply
Kryptic Unlimited, 2021
"you trippin bro rap now is way more lighthearted, creative, and bright than it was back then. This was a one of a kind tbh"

**
Jay_Trip, 2021
"I love how people call this song "corny" when this was in 1989 sh-t* flowed differently back then
-snip-
*This word is fully spelled out in this comment.

**
Reply
oskar, 2021
"i mean.. compare this to the D.O.C's No One Can Do It Better released in the same year

 this song is a bit corny even for its time but i love it regardless, not every rap song has to take itself seriously"

**
Reply
Jason Voorhees, 2021
"I mean by today’s standards it’s kinda corny, not bad though"

**
Reply
Rebel XD, 2021
"I dunno, I am from that era and I personally been spittin' since 1987, and I've always thought it was corny af. My opinion of course, as we all have them. Corny doesn't have a specific time frame or era. I think it was more so the singing and the video that made it corny for me. The subject matter was solid, though, as I'm sure it is relatable to some people. And also, I would like to clarify - corny isn't always a bad thing. In fact, the exploitation of "corny" sh-t* can be brilliant and actually appealing as it usually induces laughter and feelings of "get the f—k* out of here' type joy. He was always corny to me, but that is what made him was so appealing to people - for whatever reason."
-snip-
*These words are fully spelled out in this comment.

**
Reply
Jay_Trip, 2022
" @Rebel XD  Man I respect that comment cus when I said corny I didn't exactly mean it was a bad thing I was just saying it is corny but it was Biz markies kinda thing and he was well known for it"

**
Reply
microphone is on ðŸŽ™
"it was corny even in 1989 lol idk whatchu talkin about lol with his Beethoven wig ðŸ˜­ðŸ˜­ðŸ˜­ but we LOVED it!!! we’d wail “YOUUUUUU’!!! YOU GOT WHAT I NEEEEEEEDD!!!” "

**
johnniewalker23, 2021

"RIP Biz, thank you for this track that everyone can sing along to and serves as great advice too! You will be missed."

****
ADDENDUM #1
This rap is about a guy "being played" by a girl. "Being played" means "to be taken advantaged of". In this context, a girl only pretending to be seriously interested in a man and acting as though she is only seeing him, but actually cheating on him with another man.

But notice how CLEAN this rap is compared to the type of Hip-Hip records that are promoted nowadays.

Yes, one of the Your mama rips in the beginning of the video talked bad about nappy hair, but there wasn't anything vulgar about those rips. And the closest that that rap got to anything sexual was "tongue kissing". Also check out the fact that the girl who was playin Biz Markie was in college, and not baby's mama.

Times change, and not always for the best.

***
ADDENDUM #2
From https://www.watchtheyard.com/kappas/throwback-check-80s-nupes-biz-markies-just-friend-video/ Black Greek Throwback: 1980s Nupes Twirling in Biz Markie’s ‘Just a Friend’ Video

[complete article; no author or date cited]
"You’ve heard the Biz Markie’s “Just A Friend,” but did you ever realize that the music video features members of Kappa Alpha Psi?

“Just A Friend” was Biz Markie’s most successful single that reached the #9 position on the Billboard charts in 1989. The music video follows Biz as he falls in love with a girl and finds out she is cheating on him with a man on a nearby college campus. Biz goes to surprise the girl at her university and walks in on what he describes “A fella tongue kissin’ my girl on her mouth” in her dorm room.

As Biz is walking through the campus there is a whole scene at the 3:40 mark with a bunch of Kappas doing cane routines around him on the yard. They are rocking peak late 80s style and holding it down for their brothers with their Kappa Kanes!"

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