Did I miss any?
Dang-diggi-dang, di-dang-ga-dang-diggy-diggy!
Rama-lama-fa fa . As the MC5 once sang
🗲 2ॐ ᛉ
It might be a stretch, but does this count?
I guess? I don't know!?
I've been thinking a lot about this lately, so today I've reached to a person who might hold some knowledge on how this weird yet poignant phrase came about.
I'll update this thread if something comes out of that inquiry.
12, Win10
I've got the theory that the dang-diggy-diggy is closely related to the boom-shaka-laka.
Found another one:
hello,
been looking out for these 2
blackstreet: no diggity
das efx: they want efx
don't know how to link the actual videos...lo siento
the das efx one is the bomb
cheers,
j
been looking out for these 2
blackstreet: no diggity
das efx: they want efx
don't know how to link the actual videos...lo siento
the das efx one is the bomb
cheers,
j
littlejamaicastudios
i7 2.8ghz / 24GB ddr3 / Quadro 4000 x 2 / ProFire 610
reason 10 / reaper / acidpro /akai mpk mini / korg padkontrol / axiom 25 / radium 49
'i get by with a lot of help from my friends'
i7 2.8ghz / 24GB ddr3 / Quadro 4000 x 2 / ProFire 610
reason 10 / reaper / acidpro /akai mpk mini / korg padkontrol / axiom 25 / radium 49
'i get by with a lot of help from my friends'
Important news! The oldest one so far, 1961:
Anyway, more research to share. In chapter 4 in Civil Rights Music: The Soundtracks of the Civil Rights Movement the author, Reiland Rabaka, writes:
As jump blues began to wane a new form of black popular music took center stage: vocal harmony groups, street corner groups, barber shop quartets or, more simply, doo-wop groups. Inspired by the stripped down trio sound and smooth singing of Nat King Cole, Johnny Moore’s Three Blazers, and Charles Brown, the doo-wop concept actually reached all the way back to pre –World War II vocal groups, such as the Mills Brothers, the Ink Spots, the Delta Rhythm Boys, and the Charioteers. The first two groups, the Mills Brothers and the Ink Spots, had roots in the barbershop quartet, jazz and pop traditions, frequently performing with the big bands of Duke Ellingston, Glenn Miller, and Luck Millinder. The latter two groups, the Delta Rhythm Boys and the Charioteers, began their careers as jubilee quartets, primarily singing spirituals, folk songs, and pop songs. Four core features characterized pre-World War II vocal group singing, which consisted of a lead vocalist and supporting background singers: first, alternating lead vocals; second, closely harmonized choruses; third, imitation of instrumental tonality; and fourth, extreme contrast in vocal range and timbre. It would be the post-war singers’ innovative imitation of the sound of musical instruments that would provide their version of vocal harmony group singing with its catchy name: doo-wop.
Here it is important to emphasize the two dominant streams running though the African American vocal harmony group tradition prior to the emergence of the post-war vocal harmony group tradition (i.e., the doo-wop tradition).Obviously the spirituals and African American folk songs provided many of the pre-war vocal harmony groups with their point of departure, while pop, love, and novelty songs offered others their core repertoire. Hence, the same thread of the sacred and the secular, spirituality and sexuality found in 1960s and 1970s rhythm and blues, as well as 1980s-onward rap and neo-soul, can be traced back to post-war black popular music’s roots in 1940s and 1950s rhythm and blues. In fact, as I discussed in detail in The Hip Hop Movement, contemporary discussions concerning “commercial rap” vs. “conscious rap” are particularly indebted to early rhythm & blues’ gospel-sound vs. pop-sound divide.
Taking its name from the incredibly close harmonies and creative scat singing of the background vocalists, “doo-wop” was a common phrase that 1950s vocal harmony groups used in their efforts to imitate musical instruments. Like rap music, doo-wop emerged from the lives and struggles of African American ghetto youth and, as a consequence, it reflected all of the limitations and idiosyncrasies of African American youth life and culture in the immediate post-war period. Although many have made fun of 1950s black ghetto youth singing “nonsense syllables”, when these so-called “nonsense syllables” are placed within the wider context of post-war African American history, culture, and struggle, especially the Civil Rights Movement, alternative meanings and messages can be gleaned from doo-wop. As a matter of fact, I would be the first to admit that in strict musicological sense phrases such as “doo-wop-wop, doo-wop-wop”, “be-bop, be-bop”, “dang-dang-diggy-dang” (adabler’s emphasis) and “shooby-dooby-do” are nonsensical. However, in a socio-musicological sense, when dropped within the absurd world of post-war America, with its continued commitment to segregation, denial of decent African American education, and routine violation of African American civil rights, the nonsense phrases of do-wop seem to mirror, if not mimic, the high-sounding but hollow words 1950s US government and society as a whole with respect to civil rights and social justice. With doo-wop, African American ghetto youth were, yet again, “implicitly singing what they could not explicitly say”.
I thought this was a very interesting read, and I now know where I'll search for even older diggy diggies.
Anyway, more research to share. In chapter 4 in Civil Rights Music: The Soundtracks of the Civil Rights Movement the author, Reiland Rabaka, writes:
As jump blues began to wane a new form of black popular music took center stage: vocal harmony groups, street corner groups, barber shop quartets or, more simply, doo-wop groups. Inspired by the stripped down trio sound and smooth singing of Nat King Cole, Johnny Moore’s Three Blazers, and Charles Brown, the doo-wop concept actually reached all the way back to pre –World War II vocal groups, such as the Mills Brothers, the Ink Spots, the Delta Rhythm Boys, and the Charioteers. The first two groups, the Mills Brothers and the Ink Spots, had roots in the barbershop quartet, jazz and pop traditions, frequently performing with the big bands of Duke Ellingston, Glenn Miller, and Luck Millinder. The latter two groups, the Delta Rhythm Boys and the Charioteers, began their careers as jubilee quartets, primarily singing spirituals, folk songs, and pop songs. Four core features characterized pre-World War II vocal group singing, which consisted of a lead vocalist and supporting background singers: first, alternating lead vocals; second, closely harmonized choruses; third, imitation of instrumental tonality; and fourth, extreme contrast in vocal range and timbre. It would be the post-war singers’ innovative imitation of the sound of musical instruments that would provide their version of vocal harmony group singing with its catchy name: doo-wop.
Here it is important to emphasize the two dominant streams running though the African American vocal harmony group tradition prior to the emergence of the post-war vocal harmony group tradition (i.e., the doo-wop tradition).Obviously the spirituals and African American folk songs provided many of the pre-war vocal harmony groups with their point of departure, while pop, love, and novelty songs offered others their core repertoire. Hence, the same thread of the sacred and the secular, spirituality and sexuality found in 1960s and 1970s rhythm and blues, as well as 1980s-onward rap and neo-soul, can be traced back to post-war black popular music’s roots in 1940s and 1950s rhythm and blues. In fact, as I discussed in detail in The Hip Hop Movement, contemporary discussions concerning “commercial rap” vs. “conscious rap” are particularly indebted to early rhythm & blues’ gospel-sound vs. pop-sound divide.
Taking its name from the incredibly close harmonies and creative scat singing of the background vocalists, “doo-wop” was a common phrase that 1950s vocal harmony groups used in their efforts to imitate musical instruments. Like rap music, doo-wop emerged from the lives and struggles of African American ghetto youth and, as a consequence, it reflected all of the limitations and idiosyncrasies of African American youth life and culture in the immediate post-war period. Although many have made fun of 1950s black ghetto youth singing “nonsense syllables”, when these so-called “nonsense syllables” are placed within the wider context of post-war African American history, culture, and struggle, especially the Civil Rights Movement, alternative meanings and messages can be gleaned from doo-wop. As a matter of fact, I would be the first to admit that in strict musicological sense phrases such as “doo-wop-wop, doo-wop-wop”, “be-bop, be-bop”, “dang-dang-diggy-dang” (adabler’s emphasis) and “shooby-dooby-do” are nonsensical. However, in a socio-musicological sense, when dropped within the absurd world of post-war America, with its continued commitment to segregation, denial of decent African American education, and routine violation of African American civil rights, the nonsense phrases of do-wop seem to mirror, if not mimic, the high-sounding but hollow words 1950s US government and society as a whole with respect to civil rights and social justice. With doo-wop, African American ghetto youth were, yet again, “implicitly singing what they could not explicitly say”.
I thought this was a very interesting read, and I now know where I'll search for even older diggy diggies.
12, Win10
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