It was performed by the "Matateh" troupe, under the name "נעמוד בתור / Na'amod Bator" ("we will stand in line"). In 1934, during the Purim festivities in Tel Aviv, the song received Hebrew lyrics jokingly referring to the Book of Esther and its characters (Ahasaurus, Vashti, Haman and Esther) written by Natan Alterman, Israel's foremost lyricist of the time.That short tune is used to invite an annoying person to move along, or at least to shut up. In Italy, the melody is often sung with the words "Te ne vai o no? Te ne vai sì o no?" ( "Are you leaving or not? Are you leaving, yes or no?").''Strut, Miss Lizzie'' by Creamer and Layton.Since the piece is not copyrighted, it has been used as a basis for numerous songs, especially in the early 20th century: Its original tune, said to have been based on an original Arab song, was created around 1850 and subsequently adopted by the Foreign Legion.
In France, there is a popular song which pieds-noirs from Algeria brought back in the 1960s called "Travadja La Moukère" (from trabaja la mujer, which means "the woman works" in Spanish), which uses the same Hoochy Coochy tune. The song was also recorded as "They Don't Wear Pants in the Southern Part of France" by John Bartles, the version sometimes played by radio host Dr. The melody is often heard when something that is connected with Arabia, Persia ( Iran), India, Egypt, deserts, belly dancing or snake charming is being shown. The oldest known recording of the song is from 1895, performed by Dan Quinn (Berliner Discs 171-Z). Copyrighted in 1895, it was made popular by his wife Lizzie Cox, who used the stage name Bonnie Thornton. Songwriter James Thornton penned the words and music to his own version of this melody, "Streets Of Cairo or The Poor Little Country Maid". It included an attraction called "A Street in Cairo" produced by Gaston Akoun, which featured snake charmers, camel rides and a scandalous dancer known as Little Egypt. congressman), published the song as the entertainment director of the World's Columbian Exposition in 1893. The melody was described as an "Arabian Song" in the La grande méthode complète de cornet à piston et de saxhorn par Arban, first published in the 1850s. Ī version of the riff was published in 1845 by Franz Hünten as Melodie Arabe. Colin prend sa hotte appears to derive from the lost Kradoudja, an Algerian folk song of the seventeenth century. There is a clear resemblance between the riff and the French song Colin prend sa hotte (published by Christophe Ballard in 1719), whose first five notes are identical. Problems playing these files? See media help.
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