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Lucille Bogan (April 1, 1897 – August 10, 1948) was an American blues singer, among the first to be recorded. She also recorded under the pseudonym Bessie Jackson. The music critic and sexologist Ernest Borneman stated that Bogan, along with Ma Rainey and Bessie Smith, was in "the big three of the blues".
She was born Lucille Anderson in Amory, Mississippi, and raised in Birmingham, Alabama. In 1914, she married Nazareth Lee Bogan, a railwayman, and gave birth to a son, Nazareth Jr., in either 1915 or 1916. Lucille later divorced Nazareth and married James Spencer, who was 22 years younger than herself.
She first recorded vaudeville songs for Okeh Records in New York in 1923, with pianist Henry Callens. Later that year she recorded "Pawn Shop Blues" in Atlanta, Georgia, which was the first time a black blues singer had been recorded outside New York or Chicago. In 1927 she began recording for Paramount Records in Grafton, Wisconsin, where she recorded her first big success, "Sweet Petunia", which was covered by Blind Blake. She also recorded for Brunswick Records, backed by Tampa Red and Cow Cow Davenport.
"Black Angel Blues", also known as "Sweet Black Angel" or "Sweet Little Angel", is a blues standard that has been recorded by numerous blues and other artists. The song was first recorded in 1930 by Lucille Bogan, one of the classic female blues singers. Bogan recorded it as a mid-tempo, twelve-bar blues, featuring her vocal with piano accompaniment.
In 1934, Tampa Red recorded "Black Angel Blues" for Vocalion Records (no. 2753). The song was performed at a slower tempo and featured prominent slide-guitar lines by Tampa Red. These early songs were released before Billboard or a similar reliable service began tracking such releases, so it is difficult to gauge which version was more popular, although subsequent versions showed Tampa Red's influence. Robert Nighthawk recorded "Black Angel Blues" in 1949 for Aristocrat Records (no. 2301); accompanying Nighthawk on vocal and electric slide guitar were bassist Willie Dixon, and pianist Ernest Lane (the single, with its flip side "Annie Lee Blues", listed the performers as "The Nighthawks"). The following year Tampa Red recorded an updated version of the song, substituting a lyric and calling it "Sweet Little Angel" for Victor Records 22-0107); in 1953, Earl Hooker recorded it as "Sweet Angel" (Rockin' 513).
The term bogan (/ˈboʊɡən/) is an Australian and New Zealand slang word that can be used to describe a person with a lower working-class background, or whose speech, clothing, attitude and behaviour exemplify a gratified working class mentality and depending on the context, can be pejorative or self-deprecating. The bogan person will generally lack sophistication and refinement.
Over the course of the last several decades, the bogan has become a very widespread and well recognised subculture, often as an example of bad taste. Various localised names exist that describe the same or very similar groups of people.
The origin of the term bogan is unclear; both the Macquarie Dictionary and the Australian Oxford Dictionary cite the origin as unknown. According to anecdote, the term emerged in Melbourne's outer-western and outer-eastern suburbs in the late 1970s and early 1980s.
The term became widely known in the late 1980s when the teenage character Kylie Mole (played by Mary-Anne Fahey), in the sketch comedy television series The Comedy Company, frequently used the term to disparage anyone she disliked. The same program included a sketch about a magazine called Bogue (a parody of Vogue), which featured traditional bogans. Merrick and Rosso (from Melbourne) also used the term on their Triple J national radio show.
Bogan is a surname. It is from ÓBoughain—a Cinel mBinnigh sept in Donegal and Waterford.
Fictional characters:
Bogan can refer to:
Bo-Easy, Bo-Easy, where have you been so long
Bo-Easy, Bo-Easy, where have you been so long
Ain't a man been in my backyard, way back since you been gone
Bo-Easy, Bo-Easy, don't you hear me calling your name?
Bo-Easy, Bo-Easy, don't you hear me calling your name?
I ain't calling you for your name, I'm calling you for that same old thing
Bo-Easy, oh Bo-Easy, Lord
Bo-Easy, baby, I'm layin' down 'cross my bed
And you got me with these blues and I'm talking all round my head
Ooh Bo-Easy, baby won't you take your time
Ooh Bo-Easy, Bo-Easy, won't you take your time