Wop Quotes

We must not be frightened nor cajoled into accepting evil as deliverance from evil. We must go on struggling to be human, though monsters of abstraction police and threaten us. Reclaim now, now renew the vision of a human world where godliness is possible and man is neither gook nigger honkey wop nor kike but man permitted to be man.

[Chief White Halfoat:] Racial prejudice is a terrible thing, Yossarian. It really is. It's a terrible thing to treat a decent, loyal Indian like a nigger, kike, wop, or spic.

Zip zop wop boopity bop.

Half a million dead wops And he got a kick out of it The son of a bitch.

People didn't call blacks names anymore, at least not to their faces. Italians weren't wops or dagos, and there were no more kikes, Japs, chinks, or spics in polite conversation. Everybody had a group to protest and stick up for them. But women were still being called names by men. Why? Where was our group? It's not fair.

Jack Woltz: Now you listen to me, you smooth-talking son-of-a-bitch, let me lay it on the line for you and your boss, whoever he is! Johnny Fontane will never get that movie! I don't care how many dago guinea wop greaseball goombahs come out of the woodwork! Tom Hagen: I'm German-Irish. Jack Woltz: Well, let me tell you something, my kraut-mick friend, I'm gonna make so much trouble for you, you won t know what hit you! Tom Hagen: Mr. Woltz, I'm a lawyer. I have not threatened you.

He studied with the guru of rock n’ roll, Baba Oom Mow Mow, who taught his own version of the Golden Rule: "Do wop unto others as you would have them do wop unto you.

You know what, I'm going to say this and I mean it, if all else fails and I've got to shake, rattle 'n' roll and get on the woo-wop, this is going to be my heeyah zone.

Go that way, past the viaduct, and the wops will jump you, or chase you into Jew town...Polacks would stomp on you...Micks will shower you with Irish confetti from the brickyards.

He added, We knew it was going to be a big problem. You’ve got this guy with an army of upward of forty walking corpses that he acquired legally but was meant to bury a while back, it’s time for some hard conversations. He’s curing cancer, that’s great, but he’s bookended by two zombies that they’ve dressed in outfits, that’s bad. You’ve got a wizard out in the wop-wops who’s now got blanket bans from nearly every video upload site and a whole bunch of people have entered the country because of his YouTube channel, the government isn’t all, Love that small-business entrepreneur spirit. The government says, This is a cult.

The doo-wop stalker love song on a Cincinnati oldies station--you broke up with me because I was an obnoxious jerk and now you're dating him, so I drive by your house and stare in your window every night, thereby proving that I'm an even bigger creep than you thought

Racial prejudice is a terrible thing, Yossarian. It really is. It’s a terrible thing to treat a decent, loyal Indian like a nigger, kike, wop or spic.

Evelyn wondered ; why always sexual names? And why, when men wanted to degrade other men, did they call them pussies? As if that was the worst thing in the world. What have we done to be thought of that way ? To be called cunt? People didn’t call blacks names anymore, at least not to their faces. Italians weren’t wops or dagos, and there were no more kikes, Japs, chinks, or spics in polite conversation. Everybody had a group to protest and stick up for them. But women were still being called names by men. Why? Where was our group? It’s not fair. She was getting more upset by the minute. Evelyn thought, I wish Idgie had been with me. She would not have let that boy call her names. I’ll bet she would have knocked him down.

Chicago: invisible hierarchy of decorticated wops, smell of atrophied gangsters, earthbound ghost hits you at North and Halsted, Cicero, Lincoln Park, panhandler of dreams, past invading the present, rancid magic of slot machines and roadhouses.

Call them gooks, call them niggers, call them kikes, micks, spics, wops, or frogs, call them whatever you want as long as you call them something—anything—that removes one layer of human being from their bodies when you think of them. That’s the goal. If you can do that, you can get kids to cross oceans to kill other kids, or you can get them to stay right here at home and do the same thing.

He was not only 100 per cent American; he exacted 40 per cent of chauvinistic interest on top of the principal. He was on every occasion heard to say, “We ought to keep all these foreigners out of the country, and what I mean, the Kikes just as much as the Wops and Hunkies and Chinks.

We ought to keep all these foreigners out of the country, and what I mean, the Kikes just as much as the Wops and Hunkies and Chinks.

He’s basically putting on a private doo-wop show for the seagulls. Then he stops, spreads out his arms, and adds in the harmony: “In the still of the ni-i-i-ight!

. . . I may actually do what I’ve pretended many times to have done: use my judo in self-defense. To save my—virginity? My life, she thought. But more likely he is just some poor low-class wop laboring slob with delusions of glory; he wants to go on a grand spree, spend all his money, live it up—and then go back to his monotonous existence. And he needs a girl to do it.

We knew it was going to be a big problem. You’ve got this guy with an army of upward of forty walking corpses that he acquired legally but was meant to bury a while back, it’s time for some hard conversations. He’s curing cancer, that’s great, but he’s bookended by two zombies that they’ve dressed in outfits, that’s bad. You’ve got a wizard out in the wop-wops who’s now got blanket bans from nearly every video upload site and a whole bunch of people have entered the country because of his YouTube channel, the government isn’t all, Love that small-business entrepreneur spirit. The government says, This is a cult.

why, when men wanted to degrade other men, did they call them pussies? As if that was the worst thing in the world. What have we done to be thought of that way? To be called cunt? People didn’t call blacks names anymore, at least not to their faces. Italians weren’t wops or dagos, and there were no more kikes, Japs, chinks, or spics in polite conversation. Everybody had a group to protest and stick up for them. But women were still being called names by men. Why? Where was our group?

When life comes knockin', it's the heartbroken doo-wop singer who understands regret and the price of loving, the hard-living soul man who understands "I take what I want, I'm a bad go-getter, yeah..." and the Motown divas, men and women, who know you've got to play a little bit of the white man's/rich man's game. You have to make thoughtful compromises that don't sell out your soul, that let you reach just a little bit higher until your moment comes and then you set the rules. This was the credo all along Route 9 and you'd better understand it or else you would die an ugly musical death while risking bodily injury on Saturday night.

Because in some men it is in them to give up everything personal at some time, before it ferments and poisons—throw it to some human being or some human idea. They have to. In some men it is in them—The text is ‘All men seek for Thee.’ Maybe that was why—maybe—He was a Chinaman, the fellow had said. And a nigger and a wop and a Jew. And if he believed it hard enough maybe it was so. Every person and every thing he said he was

Of course, it mean something to me to be the son of immigrants. How could it not? How the hell could it not? I grew up for a few years thinking I was just another American kid. Then I discovered at—what? five? six?—I discovered that some people thought I was a dago. A wop. A guinea. You know, like I didn't have a fucking name. That's why years later, when Harry [James] wanted me to change my name, I said no way, baby. The name is Sinatra. Frank fucking Sinatra.

Of course, it meant something to me to be the son of immigrants. How could it not? How the hell could it not? I grew up for a few years thinking I was just another American kid. Then I discovered at—what? five? six?—I discovered that some people thought I was a dago. A wop. A guinea. You know, like I didn't have a fucking name. That's why years later, when Harry [James] wanted me to change my name, I said no way, baby. The name is Sinatra. Frank fucking Sinatra.

Is it—easy to get a good job back there?” The younger truck driver said, “Sure. If you have the right color skin.” He himself had a dark brooding face with curly black hair. His expression had become set and bitter. “He’s a wop,” the older man said. “Well,” Juliana said, “didn’t Italy win the war?” She smiled at the young truck driver but he did not smile back. Instead, his somber eyes glowed even more intensely, and suddenly he turned away. I’m sorry, she thought. But she said nothing. I can’t save you or anybody else from being dark.

READING The Sound and the Fury last night, I came upon words in Quentin Compson’s thought that belonged to E. E. Cummings and the thirties, not to the year 1910. “Land of the kike home of the wop,” says Compson to himself when he buys a bun from a small Italian girl. This I would have read without flinching in Chicago but in Jerusalem I flinched and put the book down. Returning to it next day, I found Faulkner guilty of no offense. It’s possible that people at the turn of the century were saying “land of the kike” and that Faulkner didn’t borrow it from Cummings.

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky-tonks, restaurants and whore-houses, and little crowded groceries, and laboratories and flop-houses. Its inhabitants are, as the man once said, "whores, pimps, gamblers, and sons of bitches," by which he meant Everybody. Had the man looked through another peep-hole he might have said: "Saints and angels and martyrs and holy men," and he would have meant the same thing. In the morning when the sardine fleet has made a catch, the purse-seiners waddle heavily into the bay blowing their whistles. The deep-laden boats pull in against the coast where the canneries dip their tails into the bay. The figure is advisedly chosen, for if the canneries dipped their mouths into the bay the canned sardines which emerge from the other end would be metaphorically, at least, even more horrifying. Then cannery whistles scream and all over the town men and women scramble into their clothes and come running down to the Row to go to work. Then shining cars bring the upper classes down: superintendents, accountants, owners who disappear into offices. Then from the town pour Wops and Chinamen and Polaks, men and women in trousers and rubber coats and oilcloth aprons. They come running to clean and cut and pack and cook and can the fish. The whole street rumbles and groans and screams and rattles while the silver rivers of fish pour in out of the boats and the boats rise higher and higher in the water until they are empty. The canneries rumble and rattle and squeak until the last fish is cleaned and cut and cooked and canned and then the whistles scream again and the dripping, smelly, tired Wops and Chinamen and Polaks, men and women, straggle out and droop their ways up the hill into the town and Cannery Row becomes itself again-quiet and magical. Its normal life returns. The bums who retired in disgust under the black cypress-tree come out to sit on the rusty pipes in the vacant lot. The girls from Dora's emerge for a bit of sun if there is any. Doc strolls from the Western Biological Laboratory and crosses the street to Lee Chong's grocery for two quarts of beer. Henri the painter noses like an Airedale through the junk in the grass-grown lot for some pan or piece of wood or metal he needs for the boat he is building. Then the darkness edges in and the street light comes on in front of Dora's-- the lamp which makes perpetual moonlight in Cannery Row. Callers arrive at Western Biological to see Doc, and he crosses the street to Lee Chong's for five quarts of beer. How can the poem and the stink and the grating noise-- the quality of light, the tone, the habit and the dream-- be set down alive? When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will on to a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book-- to open the page and to let the stories crawl in by themselves.

Quería probar si existen ciertas ventanas temporales de maduración netamente definidas durante las cuales formamos nuestros gustos culturales (...) en concreto, si existe una edad determinada a la que las ventanas de apertura se cierran por completo. Mientras un CD con éxitos de Wagner tocados con ukelele atronaba junto a mi oficina, me preguntaba: ¿cuándo se forman nuestros gustos musicales y cuándo dejamos de estar abiertos a escuchar nuevas músicas? Empezamos a llamar a emisoras de radio especializadas en períodos musicales concretos: rock contemporáneo, música de los setenta tipo "Starway to Heaven", las emisoras de doo-wop de los cincuenta, etc. "¿Cuándo fue introducida por primera vez la música que ponéis en vuestro dial? ¿Cuál es la edad media de vuestros oyentes?" Surgió un patrón claro: no hay muchas personas de 17 años que sintonicen a las Andrew Sisters, en las comunidades de jubilados no se escucha mucho a Rage Against The Machine y los mayores fans de sesenta minutos ininterrumpidos de James Taylor están empezando a llevar vaqueros holgados. Descubrimos que la mayoría de la gente tenía 20 años o menos cuando decidió qué tipo de música escuchar el resto de su vida. (...) Si tienes más de 35 años cuando se introduce un nuevo tipo de música popular, existe más de un 95% de posibilidades de que nunca elijas escuchar esa música. La ventana se ha cerrado.

As Mae followed her, she had to remind herself that Annie had not always been a senior executive at a company like the Circle. There was a time, only four years ago, when Annie was a college student who wore men’s flannel housepants to class, to dinner, on casual dates. Annie was what one of her boyfriends, and there were many, always monogamous, always decent, called a doofus. But she could afford to be. She came from money, generations of money, and was very cute, dimpled and long-lashed, with hair so blond it could only be real. She was known by all as effervescent, seemed incapable of letting anything bother her for more than a few moments. But she was also a doofus. She was gangly, and used her hands wildly, dangerously, when she spoke, and was given to bizarre conversational tangents and strange obsessions—caves, amateur perfumery, doo-wop music. She was friendly with every one of her exes, with every hookup, with every professor (she knew them all personally and sent them gifts). She had been involved in, or ran, most or all of the clubs and causes in college, and yet she’d found time to be committed to her coursework—to everything, really—while also, at any party, being the most likely to embarrass herself to loosen everyone up, the last to leave. The one rational explanation for all this would have been that she did not sleep, but this was not the case. She slept decadently, eight to ten hours a day, could sleep anywhere—on a three-minute car ride, in the filthy booth of an off-campus diner, on anyone’s couch, at any time. Mae

Becoming American meant hearing slurs that now defined you and your people: dago, wop, guinea, spaghetti bender.

We shoot our heroes and enjoy peripeteia as a spectacle akin to sport and perhaps harshly disavowing the past protects us from the disappointment of our outsized hopes—who knows, really, but shifts in taste don’t fully account for the phenomenon. At any rate, nearly everything urgent and alive becomes doo-wop down the road, at least in this country’s pop culture, and along the way a somewhat self-hating irony lays waste not only to the work but to the desires it once carried. It’s like we die into adulthood.

You know how it is nowadays, everybody’s got it in for somebody else, and half of them have gone cuckoo. When a German ship lands here a bunch of Jews go and tear the flag off it and raise general hell. If a Wop professor that’s been kicked out of Italy tries to give a lecture a gang of Fascists haul him down and beat him up. When you try your best to feed people that haven’t got a job they turn Communist on you and start a riot. It’s even got so that when a couple of bank presidents have lunch at the White House, the servants have to search the floor for banana peels that they may have put there for the President to slip on. Everyone has gone nuts.

We shoot our heroes and enjoy peripeteia as a spectacle akin to sport and perhaps harshly disavowing the past protects us from the disappointment of our outsized hopes--who knows, really, but shifts in taste don't fully account for the phenomenon. At any rate, nearly everything urgent and alive becomes doo-wop down the road, at least in this country's pop culture, and along the way a somewhat self-hating irony lays waste not only to the work but to the desires it once carried. It's like we die into adulthood.

Well into the 1980s, New Orleans restaurants continued to list "wop salad" on their menus and a glass of Chianti could be had by calling for a "dago red.

This new generation of Italian American entertainers shared Sinatra’s view of the new dance music that emerged in the 1950s. “Rock-and-roll is the most brutal, ugly, desperate, vicious form of expression it has been my misfortune to hear,” Sinatra told Congress in 1958. “Rock-and-roll smells phony and false. It is sung, played, and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd—in plain fact, dirty—lyrics … it manages to be the martial music of every sideburned delinquent on the face of the earth.” In response to the raw, driving sexuality of black-influenced rock, young Italian American men in New York and Philadelphia did to the new music what Sinatra and his generation had done to jazz. A style combining smooth vocal harmonies, romantic lyrics, and a stationary stage presence, doo-wop was invented in the 1940s by black youth on street corners, but it shot to the top of the pop charts in the late 1950s when Italian Americans adopted it as their own—just as most African American performers moved toward “soul music.” From 1958, when Dion (DiMucci) and the Belmonts placed several songs on the pop charts, until the “British Invasion” of 1964, Italian American doo-wop groups dominated American popular music. All wearing conservative suits and exuding a benign romanticism, the Capris, the Elegants, the Mystics, the Duprees, the Del-Satins, the Four Jays, the Essentials, Randy and the Rainbows, and Vito & the Salutations declared the arrival of Italians into American civilization. During the rise of doo-wop and Frank Rizzo, Malcolm X mocked the newly white Italians. “No Italian will ever jump up in my face and start putting bad mouth on me,” he said, “because I know his history. I tell him when you’re talking about me you’re talking about your pappy, your father. He knows his history. He knows how he got that color.” Though fewer and fewer Italian Americans know the history of which Malcolm X spoke, some have reenacted it.

The condition of the black race, their pain, their wounds, would in his mind become merged with his own: the absent father and the hint of scandal, a mother who had gone away, the cruelty of other children, the realization that he was no fair-haired boy -- that he looked like a 'wop'. Racism was part of that past, his instincts told him, part of convention and respectability and status, the smirks and whispers and gossip that had kept him on the outside looking in,

It can be argued that doo-wop is a great, unequivocal uniter of white men of a certain age and temperament.

I drove to Liberty Park, just south of downtown, and within minutes, Henry had his kite out and was urging LeBron James into the air. “He’s done this before,” I said in surprise. “Not in forever. I can’t remember the last time, actually,” Millie replied. “Is he doing it?” “Listen,” I said. “Can you hear it?” I listened with her, straining for a sound that would connect her to the visual. Then the kite dipped, caught the wind again, and lifted, making a soft, wop wop in the air, like laundry on a clothes line, flapping in the breeze. “I hear it!” “That’s Henry’s kite. He’s a natural.” “Will you help me get mine in the air? I could take off running, but that might be dangerous. I don’t want to run head first into the pond. There is a pond, isn’t there?” “Just run away from the sound of the ducks.

How The Whale Got His Throat By Rudyard Kipling When the cabin port-holes are dark and green Because of the seas outside When the ship goes wop (with a wiggle between) And steward falls into the soup-tureen, And trunks begin to slide; When Nursey lies on the floor in a heap, And Mummy tells you to let her sleep, And you aren't waked or washed or dressed, Why, then you will know (if you haven't guessed) You're "Fifty North and Forty West!

And our own beloved Carl Sandburg had this to say about the fire-belching evangelist Billy Sunday: You come along—tearing your shirt—yelling about Jesus. I want to know what the hell you know about Jesus. Jesus had a way of talking soft, and everybody except a few bankers and higher-ups among the con men of Jerusalem liked to have Jesus around because he never made any fake passes, and he helped the sick and gave people hope. You come along calling us all damn fools—so fierce the froth of your own spit slobbers over your lips—always blabbering we’re all going to hell straight off and you know all about it. I’ve read Jesus’s words. I know what he said. You don’t throw any scare into me. I’ve got your number. I know how much you know about Jesus. You tell people living in shanties Jesus is going to fix it up all right with them by giving them mansions in the skies after they’re dead and the worms have eaten ’em. You tell $6-a-week department store girls all they need is Jesus. You take a steel trust wop, dead without having lived, gray and shrunken at forty years of age, and you tell him to look at Jesus on the cross and he’ll be all right. You tell poor people they don’t need any more money on pay day, and even if it’s fierce to be out of a job, Jesus’ll fix that all right, all right—all they gotta do is take Jesus the way you say. Jesus played it different. The bankers and corporation lawyers of Jerusalem got their murderers to go after Jesus because Jesus wouldn’t play their game. I don’t want a lot of gab from a bunkshooter in my religion.

Bop-u-top nop-o-bop-o-dop-yop kop-nop-o-wop-sop hop-o-wop top-o sop-pop-e-a-kop ‘op-talk.

Dexter liked the Irish, was drawn to them, although time and again they had proved untrustworthy. It wasn’t duplicity so much as a constitutional weakness that might have been the booze or might have been what drove them to it. You wanted a mick to help you dream up schemes, but in the end you needed a wop or a Jew or a Polack to bring them off.

The TV cycled through soap operas and judge shows and talk shows. Like they were part of the TV, the adults went around and around the same topics: who was sick, got the cancer, probably from smoking, no it was black lung, well he’s just a-wasting away, who’s out of work, who’s got work, who’s knocked up, what happened to Tony, his momma would roll over in her grave, bail bond, wops’ll take care of their own, put up the place, when’s the trial? Sometimes

But “God” is the best song any Beatle wrote about religion, with all due respect to George’s “My Sweet Lord.” Both were produced by Phil Spector the same year—with Ringo on drums. (Talk about ecumenical.) “God” is where John does his most beautiful singing, reaching for a doo-wop tremble straight out of his beloved Rosie and the Originals, with that “Elvis echo” on his voice. It’s one of the two or three songs I’d play if I had ten minutes to convince a jury that John was the greatest of rock and roll singers-as-singers. Along with “Girl,” and maybe “Ticket to Ride.” Or “You Can’t Do That”? “Money”? “I Want to Hold Your Hand”? “Happiness Is a Warm Gun”? “Oh My Love”? “I’m So Tired”?

When he heard gunshots, he stuck his face against the window. Most people got scared, but that wop, wop, wop of bullets hyped him up.

Dear Reader: In Stacey and the Bad Girls, Stacey and her friends get into big trouble when they go to a concert. I never went to a concert when I was Stacey’s age. Instead, I went to my first concert when I was a junior in high school — almost seventeen years old. I went to hear a local group called Bop Shoo Bop that played 1950s doo-wop music. This was the early 1970s, when the TV show Happy Days was popular. My friend Beth was old enough to drive, so she drove us and a group of friends. Our parents knew what we were doing, of course, and nothing like what happened to Stacey happened to us at the concert. We just wanted to enjoy the music and have a good time. And that’s what we did. I’ve been to a number of concerts since