Shave and a Haircut

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"Shave and a Haircut" in C major. About this sound Play  In a variation on this tune, the fourth note is flatted.[citation needed]
"Shave and a Haircut" in G major and then with chords.[1] About this sound Play  or About this sound play with chords .

In music, the call "Shave and a Haircut" and the associated response "two bits" is a simple, 7-note musical couplet or riff popularly used at the end of a musical performance, usually for comic effect. It is used both melodically and rhythmically, for example as a door knock. About this sound Play 

"Two bits" is an archaism in the United States for 25 cents, a quarter. "Six bits" is occasionally used. The final words may also be "get lost" or some other facetious expression. In England, it was often said as "five bob" (slang for five shillings), although words are now rarely used to accompany the rhythm of the tune.

History[edit]

An early occurrence of the tune is from an 1899 Charles Hale song, "At a Darktown Cakewalk".[2] Other songs from the same period also used the tune. The same notes form the bridge in the "Hot Scotch Rag", written by H. A. Fischler in 1911.

An early recording used the 7-note tune at both the beginning and the ending of a humorous 1915 song, by Billy Murray and the American Quartet, called "On the 5:15".

In 1939, Dan Shapiro, Lestor Lee and Milton Berle released "Shave and a Haircut – Shampoo"[3] which used the tune in the closing bars, and is thought to be the origin of the lyric.

In Mexico, the tune is highly offensive, as it is commonly used to stand in for the vulgar phrase "chinga tu madre, cabrón" (translation: "Fuck your mother, asshole!").[4][5][6][7]

The Italian version is Ammazza la vecchia... col Flit! [i.e. "Kill the old lady with Flit!" - Flit being an old brand of DDT insecticide]. This is a humorous popular version of a post WWII commercial Ammazza la mosca... col Flit [i.e. "Kill the fly with Flit!"].[citation needed] This version is never perceived as offensive, but just as a joke.

Popularity[edit]

The tune can be heard on customized car horns,[4][7] while the rhythm may be tapped as a door knock[5][8][9][10][11][12][13][14] or as a Morse code "dah-di-di-dah-di, di-dit" ( –··–·   ·· )[15] at the end of an amateur radio contact.

The former prisoner of war and U.S. Naval Seaman Doug Hegdahl reports fellow American captives in the Vietnam war would authenticate a new prisoner's American identity by tapping the first five notes of "Shave and a Haircut", against a cell wall, waiting for the appropriate response. American POWs were then able to communicate securely with one another via the quadratic alphabet code.[16]

The tune has been used innumerable times as a coda or ending in musical pieces. It is strongly associated with the stringed instruments of bluegrass music, particularly the 5-string banjo. Earl Scruggs often ended a song with this phrase or a variation of it. On the television show The Beverly Hillbillies, musical cues signifying the coming of a commercial break (cues which were in bluegrass style) frequently ended with "Shave and a Haircut". It is the most popular bluegrass run, after the G run.[1]

In the film version of the musical of the same name, it ends the song Tom, Dick, or Harry.

"Bo Diddley beat"[17]/Son clave About this sound Play .

The Bo Diddley beat is derived from "Shave and a Haircut".[14][17]

The phrase has been incorporated into countless recordings and performances. Some notable examples include:

  • Dave Brubeck's "Unsquare Dance" incorporates the phrase into the song's unorthodox 7/4 time signature, and includes a musical twist by inserting it twice in rapid succession, taking advantage of the fact that it begins and ends on the same note.[citation needed]
  • R&B singer and bandleader Dave Bartholomew used the phrase on two of his recordings: "Country Boy" (1950) at the very end, and the original version of My Ding-A-Ling (1952) as a figure introducing each verse.[18]
  • Les Paul and Mary Ford's Capitol recording of "Magic Melody" concluded with the phrase minus the last two notes ("two bits"). Responding to complaints from disc jockeys, Capitol in 1955 released "Magic Melody Part 2"—consisting solely of the missing notes—on a 45, said to be the shortest tune on record.[19]
  • P. D. Q. Bach ends his "Blaues Gras" ("bluegrass") aria with "Shave and a Haircut", sung in Denglisch (mangled German and English): "Rasieren und Haarschneiden, zwei bitte" ("Shave and haircut, two please", ungrammatical in either language). "Zwei bitte" is a Denglisch pun, sounding like "two bits" to a speaker of both languages.[20] The melody is also used in The Short-Tempered Clavier.[21]
  • "Shave and a Haircut" was used in many early cartoons, particularly Looney Tunes cartoons, played on things varying from car horns to window shutters banging in the wind. It was also used as an ending to many cartoon shows, just after the credits. Decades later, the couplet became a plot device used by the chief antagonist Judge Doom in the film Who Framed Roger Rabbit, the idea being that Toons cannot resist finishing with the "two bits" when they hear the opening rhythm.[22]
  • In the book Genellan: Planetfall by Scott Gier, a character uses the tune to establish contact with an alien race.
An example of the couplet.

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See also[edit]

References[edit]

  1. ^ a b Traum, Happy (1974). Bluegrass Guitar, p.26. ISBN 0-8256-0153-3.
  2. ^ Much of this article is taken from James Fuld, The Book of World-Famous Music: Classical, Popular, and Folk. 5th ed., revised and enlarged (New York: Dover Publications, 2000), p. 495.
  3. ^ "Catchy Tune Central", Members.MultiMania.NL.
  4. ^ a b Franz, Carl; Havens, Lorena (2006). The People's Guide to Mexico. Avalon Travel Publishing. p. 319. ISBN 1-56691-711-5. 
  5. ^ a b Thompson, Chuck (2009). To Hellholes and Back: Bribes, Lies, and the Art of Extreme Tourism. Holt Paperbacks. p. 220. ISBN 0-8050-8788-5. 
  6. ^ Gerrard, Arthur Bryson (ed.) (1980). Cassell's Colloquial Spanish, 3rd revised ed. London: Cassell Ltd. p. 60. ISBN 0-304-07943-X. 
  7. ^ a b Arellano, Gustavo (2008). Ask a Mexican. Scribner. p. 26. ISBN 1-4165-4003-2. 
  8. ^ Stanton, John (September 20, 1948). "In Mexico City Traffic is Terrific". LIFE (Time, Inc.). 
  9. ^ Keenan, Joseph John (2004). Breaking Out of Beginner's Spanish. University of Texas Press. ISBN 0-292-74322-X. 
  10. ^ Axtell, Roger E.; Fornwald, Mike (1998). Gestures: The Do's and Taboos of Body Language Around the World. Wiley. p. 101. ISBN 0-471-18342-3. 
  11. ^ Axtell, Roger E. (1998). Do's and Taboos of Humor Around the World. Wiley. ISBN 0-471-25403-7. 
  12. ^ Ruiz Fornells, Enrique; Ruiz-Fornells, Cynthia Y. (1979). The United States and the Spanish World. Sociedad General Española de Librería. ISBN 84-7143-192-0. 
  13. ^ Wilder, Cora Sarjeant; Sherrier, James (1992). Celebrating Diversity. Ginn Press. ISBN 0-536-58133-9. 
  14. ^ a b Partridge, Eric; Dalzell, Tom; and Victor, Terry (2007). The concise new Partridge dictionary of slang and unconventional English, p.571. ISBN 978-0-415-21259-5.
  15. ^ King, Thomas W. (1999). Modern Morse Code in Rehabilitation and Education. Allyn & Bacon. p. 77. ISBN 0-205-28751-4. 
  16. ^ Brace, Ernest C. (May 2, 2008). "Messages From John". JohnMcCain.com. Retrieved 2008-11-26. 
  17. ^ a b Hicks, Michaël (2000). Sixties Rock, p.36. ISBN 978-0-252-06915-4.
  18. ^ Bartholomew, Dave, "The King Sides" Collectables (CD) 2883, 2004
  19. ^ Cleveland, Barry (Sep 1, 2002). "It Happened This Month". OnStageMag.com. Retrieved 2008-11-26. 
  20. ^ "Cantata 'Blaus Gras'". The Peter Schickele/P.D.Q. Bach Web Site. July 3, 2011. Retrieved 2012-12-07. 
  21. ^ http://www.mcgath.com/pdq.html#3.14159265
  22. ^ http://www.imdb.com/title/tt0096438/quotes?qt=qt0406091

External links[edit]