![]() You could say that ‘see you later alligator’ was the ‘lit’ or ‘fam’ of the Baby Boomer generation, albeit, an incredibly lame version, but you know it would have been all the bloody rage back in the day. “The ‘alligator’ is an all-encompassing term and relieves the party of having to recite several names,” writer, Lester Rand, says. It really breaks down the concept, perhaps a little too far: There is a heap of these articles stretching from 1951 to around 1954, but my favourite excerpt is from a piece titled, ‘Do Kids Speak English?’ which is a question I feel like I ask myself more every day. ![]() Yep, lame adults have been trying to decipher teen slang for decades. Unreal.Īccording to the website, Word Histories, it was first written about by Suzanne Kramer in 1951 in the US publication, Banner-Tribune, as part of an article titled, “Teen Biz,” which was just a teen slang translation which included the phrase, among some others. That’s right, ‘see you later, alligator’ started as ~cool~ and ~hip~ teen slang. Now, I was under the impression that the phrase came from the song, but upon digging a little deeper, it appears ‘see you later, alligator’ originated the same way most of our bizarre phrases do – teenagers. The song’s popularity skyrocketed when it was re-recorded by Bill Haley & His Comets in 1955. You may also be aware that the phrase features heavily (read: almost entirely) in a song literally titled, See You Later, Alligator, written and first recorded by American singer-songwriter, Bobby Charles in 1954. Don’t worry, it’s not racist or anything, so you’re cool to keep using it if that’s your jam, but if you’re wondering where the strange phrase actually came from, keep reading, pals.Īs you very likely know, it’s simply a way of saying goodbye, often responded to with ‘in a while, crocodile’ because, you know, rhyming. ![]() (Sept.It’s a phrase we use from time to time without giving much thought to its origins. I, Crocodile was originally published in 1999, however, and some of the cultural references in this continuation, such as “Egyptian dances,” feel out of step with current conversations about appropriation and exoticism. Puybaret shares Marcellino’s knack for detailing costumes and architecture-spreads have the lively air of a marionette theater set-and the crocodile’s bon vivant personality and the slapstick ending help create a lively telling. When Napoleon appears, prepared to dispatch the croc after plundering the city of its treasure, the Venetians defend their guest. And that appetite! Very crocodile”), his attendance at the grand ball climaxing in a dance sequence with a harlequin-clad partner. He is welcomed and praised (“Extraordinary outfit!. In Venice’s carnival atmosphere, the crocodile’s appearance is taken as an artful costume. Napoleon, he reads in the newspaper, is planning a trip to Venice, and the croc, pasta on the mind, decides to follow. ![]() ![]() The sequel opens as the Egyptian crocodile stews in a Paris sewer after escaping from Napoleon, who threatened to eat him-Puybaret paints the reptile chucking darts at Napoleon’s portrait. After his death, Puybaret ( Suite for Human Nature) was chosen to complete the work. Newbery Honoree Marcellino ( Puss in Boots) had finished the text of this sequel to I, Crocodile but died before the illustrations were complete. ![]()
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