Uploaded on 15 Dec 2015
The Monkees perform “Riu Chiu” from Episode 47, “The Monkees’ Christmas Show”.
H/T to Kathy Shaidle for the link.
December 21, 2017
Repost – The Monkees – “Riu Chiu” HD (Official Music Video) – from THE MONKEES – THE COMPLETE SERIES Blu Ray
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December 19, 2017
Repost – “An ‘American tradition’ is anything that happened to a baby boomer twice”
Hard to refute the latest xkcd take on Christmas music:
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December 18, 2017
Repost – Induced aversion to a particular Christmas song
Earlier this year, I had occasion to run a Google search for “Mr Gameway’s Ark” (it’s still almost unknown: the Googles, they do nothing). However, I did find a very early post on the old site that I thought deserved to be pulled out of the dusty archives, because it explains why I can — to this day — barely stand to listen to “Little Drummer Boy”:
Seasonal Melodies
James Lileks has a concern about Christmas music:
This isn’t to say all the classics are great, no matter who sings them. I can do without “The Little Drummer Boy,” for example.
It’s the “Bolero” of Christmas songs. It just goes on, and on, and on. Bara-pa-pa-pum, already. Plus, I understand it’s a sweet little story — all the kid had was a drum to play for the newborn infant — but for anyone who remembers what it was like when they had a baby, some kid showing up unannounced to stand around and beat on the skins would not exactly complete your mood. Happily, the song has not spawned a sequel like “The Somewhat Larger Cymbal Adolescent.”
This reminds me about my aversion to this particular song. It was so bad that I could not hear even three notes before starting to wince and/or growl.
Back in the early 1980’s, I was working in Toronto’s largest toy and game store, Mr Gameway’s Ark. It was a very odd store, and the owners were (to be polite) highly idiosyncratic types. They had a razor-thin profit margin, so any expenses that could be avoided, reduced, or eliminated were so treated. One thing that they didn’t want to pay for was Muzak (or the local equivalent), so one of the owners brought in his home stereo and another one put together a tape of Christmas music.
Note that singular. “Tape”.
Christmas season started somewhat later in those distant days, so that it was really only in December that we had to decorate the store and cope with the sudden influx of Christmas merchandise. Well, also, they couldn’t pay for the Christmas merchandise until sales started to pick up, so that kinda accounted for the delay in stocking-up the shelves as well …
So, Christmas season was officially open, and we decorated the store with the left-over krep from the owners’ various homes. It was, at best, kinda sad. But — we had Christmas music! And the tape was pretty eclectic: some typical 50’s stuff (White Christmas and the like), some medieval stuff, some Victorian stuff and that damned Drummer Boy song.
We were working ten- to twelve-hour shifts over the holidays (extra staff? you want Extra Staff, Mr. Cratchitt???), and the music played on. And on. And freaking on. Eternally. There was no way to escape it.
To top it all off, we were the exclusive distributor for a brand new game that suddenly was in high demand: Trivial Pursuit. We could not even get the truck unloaded safely without a cordon of employees to keep the random passers-by from snatching boxes of the damned game. When we tried to unpack the boxes on the sales floor, we had customers snatching them out of our hands and running (running!) to the cashier. Stress? It was like combat, except we couldn’t shoot back at the buggers.
Oh, and those were also the days that Ontario had a Sunday closing law, so we were violating all sorts of labour laws on top of the Sunday closing laws, so the Police were regular visitors. Given that some of our staff spent their spare time hiding from the Police, it just added immeasurably to the tension levels on the shop floor.
And all of this to the background soundtrack of Christmas music. One tape of Christmas music. Over and over and over and over and over and over and over again.
It’s been over 20 years, and I still feel the hackles rise on the back of my neck with this song … but I’m over the worst of it now: I can actually listen to it without feeling that all-consuming desire to rip out the sound system and dance on the speakers. After two decades.
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December 15, 2017
Josephine Baker
I think I first heard of Josephine Baker in the Al Stewart song from his Last Days of the Century album:
At Open Culture, Josh Jones has a brief biography of Josephine Baker that touches on most of the salient points of her career and life:
There has maybe never been a better time to critically examine the granting of special privileges to people for their talent, personality, or wealth. Yet, for all the harm wrought by fame, there have always been celebrities who use the power for good. The twentieth century is full of such figures, men and women of conscience like Muhammad Ali, Nina Simone, and Paul Robeson — extraordinary people who lived extraordinary lives. Yet no celebrity activist, past or present, has lived a life as extraordinary as Josephine Baker’s.
Born Freda Josephine McDonald in 1906 to parents who worked as entertainers in St. Louis, Baker’s early years were marked by extreme poverty. “By the time young Freda was a teenager,” writes Joanne Griffith at the BBC, “she was living on the streets and surviving on food scraps from bins.” Like every rags-to-riches story, Baker’s turns on a chance discovery. While performing on the streets at 15, she attracted the attention of a touring St. Louis vaudeville company, and soon found enormous success in New York, in the chorus lines of a string of Broadway hits.
Baker became professionally known, her adopted son Jean-Claude Baker writes in his biography, as “the highest-paid chorus girl in vaudeville.” A great achievement in and of itself, but then she was discovered again at age 19 by a Parisian recruiter who offered her a lucrative spot in a French all-black revue. “Baker headed to France and never looked back,” parlaying her nearly-nude danse sauvage into international fame and fortune. Topless, or nearly so, and wearing a skirt made from fake bananas, Baker used stereotypes to her advantage — by giving audiences what they wanted, she achieved what few other black women of the time ever could: personal autonomy and independent wealth, which she consistently used to aid and empower others.
Throughout the 20s, she remained an archetypal symbol of jazz-age art and entertainment for her Folies Bergère performances (see her dance the Charleston and make comic faces in 1926 in the looped video above). In 1934, Baker made her second film Zouzou (top), and became the first black woman to star in a major motion picture. But her sly performance of a very European idea of African-ness did not go over well in the U.S., and the country she had left to escape racial animus bared its teeth in hostile receptions and nasty reviews of her star Broadway performance in the 1936 Ziegfeld Follies (a critic at Time referred to her as a “Negro wench”). Baker turned away from America and became a French citizen in 1937.
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December 12, 2017
Why Hold Music Sounds Worse Now
Tom Scott
Published on 27 Nov 2017It’s not your imagination; hold music on phones really did sound better in the old days. Here’s why, as we talk about old telephone exchanges and audio compression.
Thanks to the Milton Keynes Museum, and their Connected Earth gallery: http://www.mkmuseum.org.uk/ – they’re also on Twitter as @mkmuseum, and on Facebook: https://www.facebook.com/mkmuseum/
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November 26, 2017
Dropping Bombs on Germany – WW1 in Heavy Metal I OUT OF THE TRENCHES
The Great War
Published on 25 Nov 2017Indy’s back in his Chair of Wisdom, and ready to answer more of your questions. This week we discuss Allied bombings on Germany and the influence of WW1 on Metal, including on the power-metal band Sabaton.
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November 10, 2017
QotD: Dissing model railroaders
I hate it when nonmodelers talk about model trains.
http://www.dailymail.co.uk/news/article-3264325/My-favourite-tracks-ones-trains-says-Rod-Stewart-Singer-reveals-books-second-hotel-room-models-play-tour.html
http://www.therichest.com/expensive-lifestyle/money/rod-stewart-model-train-collection/I’m not a lover of rock music so when Model Railroader did a writeup of Rod Stewart’s layout a few years back, I said who? Then I read the article and said wow, that’s great work. Especially when it was obvious that Mr. Stewart did the work himself. A great model railroad isn’t something you can just buy, no matter how rich you are. It’s a labor of love that involves developing real skills and tens of thousands of hours of painstaking work. Most model railroads are never finished and disappear when their builders pass on, making them more or less ephemeral works of art.
To call what Mr. Stewart does, “playing with trains” is a direct insult. Nobody says about even the crappiest painter or sculptor that they are just “playing with paint” or “playing with clay.” The same for all sorts of hobbies Yet the tone that you get when you admit to modeling trains is almost always the same. Somehow building model train is playing with toys and you are doing something childish. Somehow the idea that trains come in “sets” never seems to go beyond the train around the tree.
Which couldn’t be farther from the truth. Model railroading involves a great number of skills that most hobbies don’t have. For instance, you don’t get too far before you realize that your favorite prototype train is just not being made, or isn’t being made in your railroad’s paint scheme. So you get out the saw and cut up that train set locomotive and add other parts, ending by repainting the engine in your colors. Now you want a spur track on your railroad to service an industry. You might need to learn how to make your own track. That industry, well that might involve digging into historical archives to figure out what the building did before it became a shopping mall. As for how the railroad looks, those train set trees and vacuum formed tunnel get old fast, so you learn how to form hills and rocks, filling the hills with trees, that look like trees. You research that stuff too. In fact model railroading involves researching, photographing and studying far more than just the trains because the train need a reason to run and country to run through.
Almost no other hobby than model trains gets the kind of ridicule that model railroaders do. Some of that is, unfortunately, self-inflicted as model railroaders aren’t above poking a little at each other. Still, I’m not sure what causes the stigma that goes with small trains. Yet no other hobby requires the number of skills that model railroading, if done well does. You work with more kinds of tools, frequently through magnification than just about anything else. I’ve seen hobbyist machinists for instance talk about having to deal with “small parts” that were larger than a typical modeling project.
J.C. Carlton, “Rod Stewart And His Trains”, The Arts Mechanical, 2016-03-17.
October 22, 2017
Interview With Pär Sundström from Sabaton I THE GREAT WAR Special
The Great War
Published on 21 Oct 2017Learn more about Sabaton: http://www.sabaton.net/
Sabaton is a Heavy Metal band from Sweden. Battles and events during World War 1 inspired them to do multiple songs about them and Indy is talking with bass player Pär Sundström about the process.
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September 20, 2017
In the 60s and 70s, “Confederate Chic escaped the modern odium that often had been accorded the Lost Cause revisionism”
Victor Davis Hanson on the era when the progressive left embraced the “Lost Cause” imagery of the South:
Leftists love Johnnie Reb in movies and songs. But statues? Not so much. How exactly did the Left romanticize the Lost Cause Confederacy, and by extension its secession and efforts to preserve slavery? To use a shopworn phrase, “It’s complicated.”
Good Ol’ Rebels
Well before the end of Jim Crow, post-war leftist Hollywood still largely continued its soft mythologies of the Confederate Lost Cause. Perhaps the cinematic romance arose because of the lucrative fumes of earlier Gone with the Wind fantasies, which themselves might’ve come from an understandable desire to play a part in “binding up the nation’s wounds.”
[…]
The supposedly left-wing 1960s and 1970s, in fact, were the heyday of Confederate Chic. True, there were plenty of In the Heat of the Night portraits of the now-familiar racist white Neanderthals, but with the passage of the Voting Rights Act and the end of Jim Crow segregation, the romance of the Old South reappeared, updated and tweaked for the era of counterculture protest.
The contemporary hippie style of long hair, beards and mustaches, resistance to government authority, twangy folk-song strains, and hard-edged metal all fed into the rural, down-home Confederate romance. Notions of slavery, segregation, and secession mysteriously disappeared. Southern attitude was no longer Bull Connor but airbrushed Sixties-era resistance, at least at the superficial level of pop culture.
In Walter Hill’s post-Vietnam The Long Riders (1980), the murderous Jesse James gang morphs into a sort of mix of Lynyrd Skynyrd with Bonnie and Clyde — noble outlaws fighting the grasping northern banks and the railroad companies’ “Pinkerton Men.” David Carradine and his siblings, playing members of the gang, appear like Woodstock rockers, with exaggerated southern accents, long unkempt hair, hippie buckskin, and a don’t-give-a-damn Bay Area resistance attitude.
[…]
The unlikely common denominator that brought together left-wing Sixties popular culture with Confederate cool was a mutual hatred of a supposedly big, square, soulless, and powerful Washington, hated for its insolence in Vietnam and for stifling the individual — as if the poor lost South had been once as defenseless as the Vietnamese in the face of such a godless steamroller, or as if the Carradine clan were like the Allman Brothers with six-shooters.
Southern pop-music angst, hard metal, and crossover country and western channeled southern and Confederate themes, supposedly adding authenticity to mostly mainstream northern suburban American pop. Were rockers from the South popular versions of the 1920s and ’30s Southern Agrarians (“I’ll take my stand”) critics?
Few pop icons (but see Neil Young’s “Southern Man”) dared in the 1980s to suggest that southern chic was somehow blind to the racism of the Confederacy rather than just defiant and anti-government. The Allman Brothers, Lynyrd Skynyrd (“Sweet Home Alabama”), the Marshall Tucker Band, Charlie Daniels (“The South’s Gonna Do It”), Confederate Railroad (“Summer in Dixie”), and even REM squared the circle of grafting old-style Confederate attitudes with hip counterculture, even if superficially and often nonsensically.
In other words, Confederate Chic escaped the modern odium that often had been accorded the Lost Cause revisionism sweeping the country from 1890 to 1920, in part fueled by rising nativism and renewed commitment to Jim Crow.
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August 23, 2017
Garnet Rogers catalogue now available on Bandcamp
I’ve heard Garnet play in concert many times, but over the years I’d lost a couple of his early CD recordings … now I can do the up-to-date thing and download them:
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June 28, 2017
Concert-goers rejoice, for the government is here to help you!
Of course, if you have any experience of the utility of “government help”, you shouldn’t get your hopes up too high, as Chris Selley explains:
The results of an online public consultation were clear, said Naqvi. “One: the current system clearly is not working for fans; and two: Ontarians expect the government to take action.” We should have expected nothing less: ticket rage is a real thing among concertgoers in particular — a mind-boggling 35,000 people completed the online consultation — and besides, the survey didn’t include an option to suggest the government do nothing.
Among other things, Naqvi said, it will be illegal to resell tickets for more than 150 per cent of face value, and it will be illegal to use bots. Soon, he promised, “everyone (will have) a fair shot at getting the tickets they want.” Ontario, he said, will become “a world leader in ticket sales regulation.”
You’re supposed to think that’s both plausible and desirable. You should instead be very, very skeptical. So long as U2, the Tragically Hip and other artists insist on pricing their tickets vastly below what people are willing to pay for them, there will be an enormous incentive to circumvent whatever laws are in place to prevent third parties from reaping those foregone profits. A 150-per-cent cap would reduce the incentive, as Naqvi says — but only if the entire scalping community decided to respect it.
It won’t. It doesn’t. Scalping is illegal in Arkansas. Tickets for the University of Arkansas Razorbacks’ Nov. 24 game against Missouri are going on Stubhub for well over twice face value. Scalping is illegal in Quebec. Stubhub will put you in the third row for Bob Dylan’s show at the Montreal Jazz Festival next month for US$275; face value is $137.50 Canadian. The experiment works in every scalping-restrictive North American jurisdiction I tried. Heck, scalping used to be illegal in Ontario. That sure didn’t deter the gentlemen who prowled around outside Maple Leaf Gardens and SkyDome.
Many Stubhub users aren’t even in Ontario — that’s even more true for the people with the bots. Is the Attorney General really going to prosecute people for the crime of selling tickets at prices people are perfectly willing to pay? People in other countries? That would get awfully old in an awful hurry.
As he points out in the article, this is yet another instance of the Ontario government pandering to the demands of economic illiterates (recent examples include slapping on new rent controls in the middle of a housing crunch and significant increases in the minimum wage as new workforce entrants are already finding it tough to get hired). It’s as though the government is reading the economic textbook upside down … bringing in exactly the wrong “solutions” to every problem they see.
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June 23, 2017
Kate Bush – Hounds of Love – Official Music Video
Uploaded on 1 Mar 2011
Official music video for the single “Hounds of Love” — which is the title track of the Hounds of Love album by Kate Bush. It was also the third of the album’s four singles. The single was released on 24 February 1986, and reached number 18 in the UK Singles Chart.
The music video was directed by Kate Bush herself.
The versions worldwide differ slightly: the US single mix included an additional chorus just after the second chorus.
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June 15, 2017
QotD: The Budapest Effect
A group of Manhattan Project physicists created a tongue-in-cheek mythology where superintelligent Martian scouts landed in Budapest in the late 19th century and stayed for about a generation, after which they decided the planet was unsuitable for their needs and disappeared. The only clue to their existence were the children they had with local women.
The joke was that this explained why the Manhattan Project was led by a group of Hungarian supergeniuses, all born in Budapest between 1890 and 1920. These included Manhattan Project founder Leo Szilard, H-bomb creator Edward Teller, Nobel-Prize-winning quantum physicist Eugene Wigner, and legendary polymath John von Neumann, namesake of the List Of Things Named After John Von Neumann.
The coincidences actually pile up beyond this. Von Neumann, Wigner, and possibly Teller all went to the same central Budapest high school at about the same time, leading a friend to joke about the atomic bomb being basically a Hungarian high school science fair project.
But maybe we shouldn’t be joking about this so much. Suppose we learned that Beethoven, Mozart, and Bach all had the same childhood piano tutor. It sounds less like “ha ha, what a funny coincidence” and more like “wait, who was this guy, and how quickly can we make everyone else start doing what he did?”
In this case, the guy was Laszlo Ratz, legendary Budapest high school math teacher. I didn’t even know people told legends about high school math teachers, but apparently they do, and this guy features in a lot of them. There is apparently a Laszlo Ratz Memorial Congress for high school math teachers each year, and a Laszlo Ratz medal for services to the profession. There are plaques and statues to this guy. It’s pretty impressive.
A while ago I looked into the literature on teachers and concluded that they didn’t have much effect overall. Similarly, Freddie deBoer writes that most claims that certain schools or programs have transformative effects on their students are the result of selection bias.
On the other hand, we have a Hungarian academy producing like half the brainpower behind 20th century physics, and Nobel laureates who literally keep a picture of their high school math teacher on the wall of their office to inspire them. Perhaps even if teachers don’t explain much of the existing variability, there are heights of teacherdom so rare that they don’t show up in the statistics, but still exist to be aspired to?
Scott Alexander, “The Atomic Bomb Considered as Hungarian High School Science Fair Project”, Slate Star Codex, 2016-05-26.
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June 13, 2017
Dave Weigel’s The Show That Never Ends: The Rise and Fall of Prog Rock now available
Several years back, Dave Weigel wrote a series of articles chronicling the rise and fall of Prog Rock. Today, his new book is being published:
The fact that I linked to all five parts of his 2012 series is probably enough of a clue that I’m a fan of the genre and will be purchasing my own copy of the book. Here’s some of the blurb from the Amazon.ca page (Click on the image above to go to the Amazon.ca site):
The Show That Never Ends is the definitive story of the extraordinary rise and fall of progressive (“prog”) rock. Epitomized by such classic, chart-topping bands as Yes, Genesis, Pink Floyd, Jethro Tull, and Emerson Lake & Palmer, along with such successors as Rush, Marillion, Asia, Styx, and Porcupine Tree, prog sold hundreds of millions of records. It brought into the mainstream concept albums, spaced-out cover art, crazy time signatures, multitrack recording, and stagecraft so bombastic it was spoofed in the classic movie This Is Spinal Tap.
With a vast knowledge of what Rolling Stone has called “the deliciously decadent genre that the punks failed to kill,” access to key people who made the music, and the passion of a true enthusiast, Washington Post national reporter David Weigel tells the story of prog in all its pomp, creativity, and excess.
Weigel explains exactly what was “progressive” about prog rock and how its complexity and experimentalism arose from such precursors as the Beach Boys’ Pet Sounds and the Beatles’ Sgt. Pepper. He traces prog’s popularity from the massive success of Procol Harum’s “Whiter Shade of Pale” and the Moody Blues’ “Nights in White Satin” in 1967. He reveals how prog’s best-selling, epochal albums were made, including The Dark Side of the Moon, Thick as a Brick, and Tubular Bells. And he explores the rise of new instruments into the prog mix, such as the synthesizer, flute, mellotron, and—famously—the double-neck guitar.
If this clip of Yes performing “Roundabout” doesn’t immediately suggest Spinal Tap, I can only assume you’ve never seen the movie:
But not everyone of my generation was a fan of prog: here’s James Lileks summing up what he thought of the age of musical excess:
It’s obvious from Note One that everyone involved in the effort had so much THC in their system you could dry-cure their phlegm and get a buzz off the resin, but instead of having the loose happy ho-di-hi-dee-ho cheer of a Cab Calloway reefer number, the songs are soaked with Art and Importance and Meaning. You can imagine the band members sitting down to hash out (sorry) the overarching themes of the album, how it should like start with Total Chaos man because those are the times in which we live with like war from the sky, okay, and then we’ll have flutes because flutes are peaceful like doves and my old lady can play that part because she like studied flute, man, in high school. The lyrics are all the same: AND THE KING OF QUEENS SAID TO THE EARTH THE HEIROPHANT SHALL NOW GIVE BIRTH / THE HOODED PRIESTS IN CHAMBERED LAIRS LEERED DOWN UPON THE LADIES FAIR / NEWWWW DAAAAY DAWNNNING!
May 24, 2017
“I don’t know if Lou would be cracking up about this or crying because it’s just too stupid”
Reactions to the University of Guelph student association’s characterizing Lou Reed’s “Walk on the Wild Side” as transphobic:
Friends of the late Lou Reed responded on Saturday with disbelief to a claim by a Canadian student body that the singer’s 1972 hit Walk on the Wild Side contains transphobic lyrics.
“I don’t know if Lou would be cracking up about this or crying because it’s just too stupid,” the singer’s longtime producer, Hal Willner, told the Guardian. “The song was a love song to all the people he knew and to New York City by a man who supported the community and the city his whole life.”
The Guelph Central Student Association, a group at the University of Guelph in Ontario, apologised for including the song on a playlist at a campus event.
In an apology published to Facebook and subsequently removed, the group said: “We now know the lyrics to this song are hurtful to our friends in the trans community and we’d like to unreservedly apologize for this error in judgement.”
The lyrics in question focus on Reed’s friends from Andy Warhol’s Factory, among them transgender “superstars” Holly Woodlawn and Candy Darling.
“Holly came from Miami, FLA,” Reed sings. “Hitchhiked her way across the USA/ Plucked her eyebrows on the way/ Shaved her legs and then he was a she/ She says, ‘Hey, babe, take a walk on the wild side.’”
Uploaded on 19 Nov 2009
***Rest in Peace to Holly [Woodlawn] who came from Miami, F-L-A, and who Lou first mentions in the opening lines of the song***
**Congratulations (a long overdue one at that) to the Newest Member of the Rock & Roll Hall of Fame: Lou Reed!**
*So sad to hear about Lou’s passing today at the age of 71. There will never be another one like you Lou. A true original and pioneer. Like The Who said in their Facebook status: “Walk On the Peaceful Side”*
“Walk On The Wild Side” from Lou Reed’s 1972 second solo album, Transformer, (after leaving the Velvet Underground) did not chart in the top 10 on Billboard. Some of the songs that year that did chart in the top 10 were: Gilbert O’Sullivan’s “Alone Again (Naturally),” Mac Davis “Don’t Get Hooked On Me,” and Wayne Newton “Daddy Don’t You Walk So Fast.” I’d say “Walk On The Wild Side” is just as memorable, if not more so than those ones. My favorite part of the song is probably the saxophone solo at the end 3:44.
To say the least, this song was highly controversial when it came out considering it is about transvestites who come to NYC for prostitution. They would say to their potential customers, “Take a walk on the wild side!” Lou Reed once said about the song: “I always thought it would be fun to introduce people to characters they maybe hadn’t met before, or hadn’t wanted to meet.” What an amazing storyteller and lyrical genius Lou Reed was.
Try to find another song from this time period where the artist talks so openly about subjects such as oral sex, transvestites, and drug use, there weren’t very many others. He was writing about things in a style that, frankly, almost no other artist at that time would even consider writing or singing about. Lou was well before his time, and has inspired countless artists from all genres. What a classic, classic song! Still no song like it to this day. What artist other than Lou could get away with lyrics like: “And the colored girls go doo do doo, doo do doo, doo do doo”?! The lyrics are way too clever and fun not to post in the description so here they are:
Lyrics:
Holly came from Miami, F.L.A.
Hitch-hiked her way across the U.S.A.
Plucked her eyebrows on the way
Shaved her legs and then he was a she
She says, ‘Hey babe, take a walk on the wild side’
He said, ‘Hey honey, take a walk on the wild side’Candy came from out on the island
In the backroom she was everybody’s darlin’
But she never lost her head
Even when she was giving head
She says, ‘Hey babe, take a walk on the wild side’
He said, ‘Hey babe, take a walk on the wild side’And the colored girls go
Doo do doo, doo do doo, doo do dooLittle Joe never once gave it away
Everybody had to pay and pay
A hustle here and a hustle there
New York City’s the place where they said
‘Hey babe, take a walk on the wild side’
I said, ‘Hey Joe, take a walk on the wild side’Sugar plum fairy came and hit the streets
Lookin’ for soul food and a place to eat
Went to the Apollo, you should’ve seen ’em go go go
They said, ‘Hey sugar, take a walk on the wild side’
I said, ‘Hey babe, take a walk on the wild side’
Alright, huhJackie is just speeding away
Thought she was James Dean for a day
Then I guess she had to crash
Valium would have helped that bash
She said, ‘Hey babe, take a walk on the wild side’
I said, ‘Hey honey, take a walk on the wild side’And the colored girls say
Doo do doo, doo do doo, doo do doo
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