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A few examples include Memphis Minnie's "Dirty Mother For You" (1935), Roosevelt Sykes' "Dirty Mother For You" (1936), and Dirty Red's "Mother Fuyer" (1947). The singer Stick McGhee , whose recording of "Drinking Wine Spo-Dee-O-Dee" was a hit in 1949, claimed that he had originally heard the song as "Drinking Wine, Motherfucker".
Born right smack on the cusp of millennial and Gen Z years (ahem, 1996), I grew up both enjoying the wonders of a digital-free world—collecting snail shells in my pocket and scraping knees on my ...
Slang for fermata, which instructs the performer to hold a note or chord as long as they wish or following cues from a conductor bis (Fr., It.) Twice (i.e. repeat the relevant action or passage) bisbigliando Whispering (i.e. a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume) bocca chiusa
"Shave and a Haircut" and the associated response "two bits" is a seven-note musical call-and-response couplet, riff or fanfare popularly used at the end of a musical performance, usually for comedic effect.
The slang usage of “mother,” says McLean, came from “Black and Latinx LGBTQ+ people who created an underground ballroom scene and Houses for members to find community and family,” for ...
The Grandmother chord is an eleven-interval, twelve-note, invertible chord with all of the properties of the Mother chord. Additionally, the intervals are so arranged that they alternate odd and even intervals (counted by semitones) and that the odd intervals successively decrease by one whole-tone while the even intervals successively increase by one whole-tone. [13]
Slang used or popularized by Generation Z (Gen Z; generally those born between the late 1990s and early 2010s in the Western world) differs from slang of earlier generations; [1] [2] ease of communication via Internet social media has facilitated its rapid proliferation, creating "an unprecedented variety of linguistic variation". [2] [3] [4]
The Piano Lesson is a 1987 play by American playwright August Wilson.It is the fourth play in Wilson's The Pittsburgh Cycle.Wilson began writing this play by playing with the various answers regarding the possibility of "acquir[ing] a sense of self-worth by denying one's past". [1]