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The Name Game
The Name Game
The Name Game
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"The Name Game"
Single by Shirley Ellis
from the album The Name Game
B-side"Whisper to Me Wind"
ReleasedNovember 1964 (1964-11)[1]
Genre
Length2:39
LabelCongress
Songwriters
ProducerCharles Calello

"The Name Game" is a song co-written and performed by Shirley Ellis[2] as a rhyming game that creates variations on a person's name.[3] She explains through speaking and singing how to play the game. The first verse is done using Ellis’ first name; the other names used in the original version of the song are Lincoln, Arnold, Tony, Billy, Marsha, and Nick.

History

[edit]

Written by American singer Shirley Ellis (who based the song on a game she played as a child[3]) and Lincoln Chase. Ellis's recording, produced by Charles Calello, was released in late 1964 as "The Name Game". The record scored third on the Billboard Hot 100, and fourth on the magazine's R&B charts during 1965. The record was re-released in 1966 and again in 1973. An R&B singer for 10 years before that success, Ellis was also successful with "The Clapping Song (Clap Pat Clap Slap)" (No.8 pop and No.16 R&B), and "The Nitty Gritty" (No.8 on the Hot 100 and No.4 on the Cash Box R&B chart). Ellis performed on then-major television programs, including Hullabaloo, American Bandstand and The Merv Griffin Show. It later became a popular children's singalong.[3] In Canada it reached No. 2.[4]

Rules

[edit]

Using the name Katie as an example, the song follows this pattern:

Katie, Katie, bo-batie,
Bonana-fanna fo-fatie
Fee fi mo-matie
Katie!

A verse can be created for any name, with X as the name and Y as the name without the first consonant sound (if it begins with a consonant), as follows:

(X), (X), bo-b (Y)
Bonana-fanna fo-f (Y)
Fee fi mo-m (Y)
(X)!

If the name starts with a b, f, or m, that sound simply is not repeated. For example: Billy becomes "Billy Billy bo-illy"; Fred becomes "bonana fanna fo-red"; Martha becomes "fee fi mo-artha"[3]

The song as originally performed gives no indication of what to do with names where the stress falls on a syllable after the first, like Anita or Antoinette, but during the live rendition of the song on The Merv Griffin Show, Ellis uses the same rules as explained above ("Tallulah, Tallulah, bo-ballulah").[5] However, the cover version on the workout video Sweatin' to the Oldies 3 (vocals by Donna Miller) suggests that the first syllable should be dropped after the name is first said; the name Madonna is sung as "Madonna-donna-bo-bonna," etc.

Laura Branigan version

[edit]
"Name Game"
Single by Laura Branigan
from the album Touch
B-side"Cry Wolf"
Released1988
Genre
Length4:10
LabelAtlantic
Songwriters
  • Shirley Ellis
  • Lincoln Chase
ProducerDavid Kesherbaun
Laura Branigan singles chronology
"Cry Wolf"
(1988) 		"Name Game"
(1988) 		"Come into My Life"
(1988)

Laura Branigan covered the song for her 1987 fifth studio album Touch. It was released in 1988 in the Philippines as the last single from the album. The single's B-side is "Cry Wolf", which was the third single from the album.

Track listings

[edit]
  • Philippines 7-inch single[6]
  1. "Name Game" (edited version) – 3:44
  2. "Cry Wolf" (LP version) – 4:48
  • Philippines 12-inch single[7]
  1. "Name Game" (extended version) – 6:32
  2. "Name Game" (edited version) – 3:44
  3. "Cry Wolf" (LP version) – 4:48

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Name Game

View on Grokipedia
from Grokipedia
"The Name Game" is a co-written and performed by American singer , released in late 1964 as the title track of her second studio album, featuring a playful rhyming game that generates humorous variations on personal names by appending syllables like "-a-na-na" to create rhythmic chants. Inspired by a children's game Ellis played in her youth, the song was developed in collaboration with songwriter Lincoln Chase and quickly became one of her signature hits, blending spoken-word instructions with upbeat calypso-influenced rhythms and hand-clapping percussion to engage listeners in the interactive . Upon its release, "The Name Game" achieved significant commercial success, debuting on the chart on December 12, 1964, and peaking at number 3 while spending 12 weeks in the top 40, marking Ellis's highest-charting single and solidifying her reputation for infectious, participatory pop tunes. The track's enduring cultural impact stems from its simple, memorable formula, which has permeated American pop culture as a staple for rhymes, , and media references, including covers by various artists and appearances in films and television shows that evoke .

The Rhyming Game

Origins

The Name Game originated as a participatory children's in mid-20th-century American culture, with roots in the through linguistic play and folk traditions centered on rhyming and altering names for amusement. This form of allowed children to creatively manipulate syllables, fostering social interaction and verbal dexterity in informal settings like schoolyards and neighborhoods. Evidence of precursor activities appears in the 1940s, where American schoolchildren engaged in similar rhyming dialogues involving name teasing and syllable repetition, often as a lighthearted way to engage or taunt peers during play. For instance, a common exchange documented in Missouri folklore included the query "What's your name?" met with the rhyming response "Puddin' Tame," followed by "Ask me again and I'll tell you the same," highlighting early patterns of repetitive, nonsensical name alteration for fun. The game's development was influenced by African American oral traditions, which emphasized call-and-response structures in children's singing games, hand-clapping rhymes, and movement activities passed down through generations. These traditions, rich in rhythmic repetition and communal participation, contributed to the interactive rhyming format that encouraged group involvement and cultural expression among youth. At its core, the Name Game features a structured rhyme that transforms a given name—such as "Katie"—by prefixing repetitive elements like "bo-" (resulting in "Katie, Katie, bo-batie") and extending to phrases like "banana-fana fo-" followed by a modified version of the name ("banana-fana fo-fatie"), omitting initial sounds like 'b,' 'f,' or 'm' to maintain flow, thereby creating humorous, memorable variations. This syllable-based manipulation underscores the game's role in playful language experimentation. By the 1960s, the rhyme's popularity transitioned into broader musical forms.

Rules and Mechanics

The Name Game is a participatory rhyming game in which players generate humorous, nonsensical variations of a through a structured that emphasizes phonetic manipulation. The core mechanic involves selecting a name and transforming it by prefixing and altering initial sounds while maintaining the original vowel structure to produce rhymes. This process creates a rhythmic sequence typically performed aloud, allowing for easy memorization and group engagement. To play, participants begin by repeating the chosen name twice, followed by four rhyming lines, and end by stating the original name once. The sequence follows this template: "[Name], [Name], bo-b[altered name]; Banana-fana fo-f[altered name]; Fee-fi-mo-m[altered name]; [Name]!" For instance, with the name "Shirley," the full becomes: "Shirley, Shirley, bo-Birley; Banana-fana fo-Firley; Fee-fi-mo-Mirley; Shirley!" The "bo-," "fo-," and "mo-" prefixes are fixed, with the altered name formed by replacing the initial consonant of the original name with B, F, or M, respectively, to ensure rhyming. Special rules apply to handle names starting with vowels or the prefix consonants to avoid redundancy or awkward phrasing. If a name begins with a vowel (A, E, I, O, or U), the full lowercase name is used after the prefix without alteration, such as ", , bo-bearl; Banana-fana fo-fearl; Fee-fi-mo-mearl; !" For names starting with B, F, or M, the corresponding prefix line omits the added consonant to prevent repetition; for example, "Billy" yields "Billy, Billy, bo-illy; Banana-fana fo-filly; Fee-fi-mo-milly; Billy!" These adjustments preserve the rhyme's flow and humor by focusing on the remaining syllables. The game is typically played in groups, such as in playgrounds or classrooms, where it is chanted or sung collectively to build and repetition for better . Players take turns suggesting names, and the group echoes the full chant, often with claps or movements to enhance the beat, making it an interactive activity that encourages listening and vocal participation. Linguistically, the game employs —repeating elements like the name and prefixes—and through consistent initial sounds (B, F, M) to generate playful, memorable variations that highlight syllable structure and sound substitution. This structure aids in by isolating onsets and rimes, turning the exercise into a lighthearted exploration of patterns without requiring formal instruction.

Variations and Examples

The Name Game can be applied to a variety of common names using the standard rhyming formula, creating playful and memorable sequences. For the name "Lincoln," the rhyme proceeds as: "Lincoln, Lincoln, bo-Bincoln, banana-fanna fo-Fincoln, fee-fi-mo-Mincoln, Lincoln!" Similarly, for "Mary," it follows: "Mary, Mary, bo-Bary, banana-fanna fo-Fary, fee-fi-mo-ary, Mary!" These examples demonstrate how the game's structure—replacing the initial consonant with "b," "f," and "m" sounds while preserving the rhyming ending—transforms ordinary names into rhythmic chants suitable for group recitation. Variations extend the game beyond human names to animals and objects, fostering in educational or recreational settings. For instance, applying the formula to "" yields: "Dog, dog, bo-Bog, banana-fanna fo-Fog, fee-fi-mo-Mog, dog!" Such adaptations encourage participants to experiment with , often used in children's activities to build . International versions appear in non-English languages, such as Spanish adaptations known as "El Juego de los Nombres," where similar rhyming patterns are applied to names like "María" to create verses like "María, María, bo-Barían, banana-fanna fo-Farían, fee-fi-mo-Marían, María!" Modern digital tools have introduced interactive twists, including generators that automatically produce customized rhymes for any input name, allowing users to generate and share verses instantly. In group play, especially in classrooms or parties, facilitators often establish rules like taking turns or passing an object to maintain order and inclusivity. Cultural adaptations emphasize sensitivity, avoiding rhymes that could produce unintended offensive or slang terms in sensitive contexts, such as educational environments. Certain names present rhyming challenges due to difficulties in forming clean substitutions, leading to humorous skips or modifications during play. For example, names like "" or "Mitch" may result in awkward or immature-sounding phrases, prompting players to bypass them for smoother .

Musical Adaptations

Shirley Ellis Version

"The Name Game" was co-written by American singer and songwriter Lincoln Chase, with production handled by . Released in late 1964 as a single on Congress Records, the track adapted the popular rhyming game into a musical format, quickly becoming one of Ellis's signature hits. The song's structure begins with a spoken introduction in which demonstrates the rhyming game's rules, emphasizing substitutions like adding "B" or "F" sounds to names while treating the initial letter as absent. This leads into sung verses featuring examples with names including "Shirley," "Lincoln," "Marsha," and "Tony," each building to a catchy chorus of "banana-fana fo-fanny" that reinforces the playful pattern. Musically, the recording employs an upbeat style infused with novelty elements, highlighted by Ellis's lively and engaging vocal performance over syncopated rhythms. The B-side, "Whisper to Me Wind," received less attention, as the A-side's infectious energy propelled its popularity. Upon release, "The Name Game" peaked at number 3 on the chart in January 1965, spending 12 weeks in the Top 40, and reached number 4 on the R&B charts. Its commercial success led to re-releases in 1966 and 1973, cementing its status as a enduring novelty hit from the era.

Laura Branigan Cover

In 1987, included a cover of "The Name Game" on her fifth studio album, Touch, released by . The track was produced primarily by David Kershenbaum, with additional production by the Latin Rascals (Tony Moran and Albert Cabrera), marking a shift from the producers of her earlier albums. Drawing inspiration from Shirley Ellis's original 1964 recording, Branigan's version updates the playful rhyming song with a synth-heavy arrangement incorporating 1980s electronic beats and house influences, diverging from the original's acoustic, calypso-inflected style. The rendition shortens the lyrics to emphasize repetitive choruses, adds upbeat backing vocals from a group of young singers, and features dynamic key changes for a more energetic, dance-oriented feel. The album version of the track runs 4:10, while a 12-inch single released exclusively in the Philippines in 1988 offers an extended mix lasting 6:32 alongside a radio edit, backed by "Cry Wolf" from the same album. Targeted toward dance clubs, the cover was noted for its engaging production that fused novelty elements with contemporary dance music, though it saw limited commercial release and did not chart on the Billboard Hot 100, unlike Ellis's top-three hit.

Other Covers and Influences

The song has inspired numerous covers across genres, particularly in and novelty recordings. In 1980, children's entertainer Joanie Bartels included a version on her album Sillytime Magic, adapting the rhyming structure for young audiences. Similarly, the Canadian children's trio recorded it in 1990 for their family-oriented repertoire, emphasizing interactive play. The ensemble featured a lively rendition on their 1991 video/album Very Silly Songs. Other adaptations highlight the song's versatility in pop and R&B contexts. Drag icon Divine covered it in 1981 as the B-side to the single "Born to Be Cheap," infusing a campy, theatrical energy into the original's playful rhyme scheme. Folk and blues artist Linda Tillery performed a soulful take in 1997 during a collaborative live set with Taj Mahal and Eric Bibb, blending it with gospel influences. International versions emerged as well, such as French singer Anne Renée's 1975 adaptation titled "Un jeu d’fou," which localized the lyrics for Francophone listeners, and Brazilian performer Xuxa's 1994 Portuguese rendition "Jogo da rima" on her children's album. A Spanish-language cover, "Juego De Los Nombres," appeared in 2009 by Mexican singer Tatiana, targeting young bilingual audiences. Lin-Manuel Miranda covered it in 2016 on The Hamilton Mixtape, incorporating hip-hop rhymes. The track's rhyming format has influenced hip-hop and rap styles, serving as an early precursor through its call-and-response elements and . cited it in 2014 as a foundational influence from his upbringing, noting how neighborhood kids adapted the game's rhythms into pre-hip-hop freestyles. Hip-hop pioneer similarly referenced "The Name Game" alongside Ellis's "" as origins for the genre's rhythmic interplay in party and DJ settings. Samples appear in tracks like Tim Dog's 1993 "I Get Wrecked" featuring and D12's 2004 "," where the hook's cadence underscores boastful lyrics. By 2025, sources document 16 direct covers and dozens more interpolations or samples, reflecting its enduring appeal in diverse musical and cultural contexts.

Cultural Impact

"The Name Game" has appeared in various television shows, often as a parody or for comedic relief. In the FX series American Horror Story: Asylum (2012), Jessica Lange's character, Sister Jude, performs a rendition of the song in the episode "I Am Anne Frank: Part 2," providing a surreal moment of levity amid the season's intense themes of institutional horror. Similarly, in The Simpsons season 5 episode "$pringfield (Or, How I Learned to Stop Worrying and Love Legalized Gambling)" (1994), Krusty the Clown sings a parody version titled "Herpes, Herpes Bo-Berpes" during a casino performance, twisting the original rhyme into a humorous commentary on health issues. The song's rhyming structure has influenced children's literature and advertising. It is referenced in educational children's books and activities focused on rhymes and phonics, such as in teaching resources that adapt the format to help young readers practice sound substitution with names. In advertising, jingles in the 1970s and 1980s occasionally drew on playful rhyme schemes reminiscent of the song. Specific events highlight the song's cultural footprint. It was parodied on Saturday Night Live during the late 1970s, influencing the creation of Gilda Radner's character Roseanne Roseannadanna, whose name was derived from the song's rhyming style to add comedic flair to the show's news parody segments. Additionally, the rhyme has been integrated into educational programs for language learning, serving as an icebreaker activity in ESL classrooms to build pronunciation skills and group rapport through name-based variations. As a product of pop culture, "The Name Game" serves as a nostalgic touchstone, evoking childhood innocence and playful during an era of social upheaval, including and cultural shifts. Its lighthearted simplicity continues to symbolize a carefree aspect of mid-20th-century American entertainment.

Legacy and Enduring Influence

The Name Game has demonstrated significant educational value, particularly in and instruction, where it has been employed since the mid-1960s to foster phonemic awareness and creative language skills. Educators integrate the song into classroom routines to help children manipulate sounds, recognize rhymes, and build confidence with through personalized name chants. For instance, and early elementary curricula often feature the song as a tool for syllable segmentation and initial sound substitution, aligning with standards for in language arts. As recently as 2024, teachers have used it to support students in learning classmates' names and building engagement through musical activities. Societally, the contributed to the playful and innovative spirit of by transforming a simple childhood rhyming game into a mainstream novelty hit that encouraged and lighthearted against conventional song structures. Reaching number 3 on the in 1965, it exemplified the era's blend of humor and accessibility in , influencing how interactive, participatory elements entered mass . Its enduring influence is evident in ongoing relevance as of , with the rhyming game remaining a staple in activities and digital adaptations, such as lyric generators that allow users to create custom verses. Recognized in cultural analyses for bridging oral folk traditions—rooted in Ellis's childhood play—with the amplification of , the song continues to promote linguistic creativity across generations.

References

  1. https://www.songfacts.com/facts/shirley-ellis/the-name-game
  2. https://www.mprnews.org/story/2014/11/12/music2
  3. https://www.billboard.com/artist/shirley-ellis/
  4. https://500songs.com/podcast/pledge-week-the-name-game-by-shirley-ellis/
  5. https://www.jstor.org/stable/4420011
  6. https://www.jstor.org/stable/536189
  7. https://rosettacode.org/wiki/The_Name_Game
  8. http://www.flvpkonline.org/emergentliteracy/reading/s2/overview.htm
  9. https://www.singing-bell.com/the-name-game-lyrics-printable-pdf/
  10. https://www.myteachingcupboard.com/blog/43-rhyming-activities-for-kindergarten
  11. https://repository.arizona.edu/bitstream/handle/10150/316779/azu_etd_13200_sip1_m.pdf?sequence=1&isAllowed=y
  12. https://genius.com/Shirley-ellis-the-name-game-lyrics
  13. https://es.scribd.com/document/699342686/El-Juego-de-Los-Nombres
  14. https://thenamegame-generator.com/
  15. https://meryl.net/11-ways-to-play-the-name-game/
  16. https://music.fandom.com/wiki/The_Name_Game
  17. https://www.discogs.com/release/3265354-Shirley-Ellis-The-Name-Game
  18. https://www.songfacts.com/lyrics/shirley-ellis/the-name-game
  19. https://www.discogs.com/release/19082002-Shirley-Ellis-The-Name-Game
  20. https://rateyourmusic.com/release/single/shirley-ellis/the-name-game-whisper-to-me-wind.p/
  21. https://bertoltpress.com/2021/04/07/the-rhythm-of-shirley-ellis-the-name-game/
  22. https://www.billboard.com/charts/hot-100/1965-01-30/
  23. https://www.discogs.com/master/63433-Laura-Branigan-Touch
  24. https://genius.com/Laura-branigan-name-game-lyrics
  25. https://popdose.com/future-retro-laura-branigan/
  26. https://www.discogs.com/release/5017400-Laura-Branigan-Name-Game
  27. https://www.youtube.com/watch?v=RfF0f0iSKp8
  28. https://secondhandsongs.com/performance/275498/versions
  29. https://kidsongs.fandom.com/wiki/Kidsongs:_Very_Silly_Songs
  30. https://www.whosampled.com/Shirley-Ellis/The-Name-Game/covered/
  31. https://secondhandsongs.com/work/133292/all
  32. https://www.redbullmusicacademy.com/lectures/marley-marl-tokyo-2014/
  33. https://www.kickmag.net/2013/01/13/throwback-shirley-ellis-the-clapping-song-clap-pat-clap-slap/
  34. https://www.whosampled.com/Shirley-Ellis/The-Name-Game/
  35. https://screenrant.com/american-horror-story-asylum-name-game-jessica-lange/
  36. https://simpsonswiki.com/wiki/Herpes%2C_Herpes_Bo-Berpes
  37. https://www.what-song.com/song/217863/the-name-game
  38. https://kindergartenchaos.com/rhyming-for-little-learners/
  39. https://www.npr.org/2025/02/14/g-s1-48696/sln-at-50
  40. https://www.edutopia.org/article/different-ways-play-name-game/
  41. https://www.thoughtco.com/ice-breaker-the-name-game-31381
  42. https://www-backup.salemstate.edu/name-game-lyrics
  43. https://www.quora.com/When-people-talk-about-how-great-music-was-in-the-1960s-compared-to-today-do-they-just-not-know-about-Shirley-Ellis-and-The-Name-Game
  44. https://www.teacherspayteachers.com/Product/The-Name-Game-Animated-Step-by-Step-Song-Regular-4791004
  45. https://files.eric.ed.gov/fulltext/ED420199.pdf
  46. https://www.curriculumassociates.com/blog/music-in-the-classroom
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