"The real McCoy" is an idiom and metaphor used in much of the English-speaking world to mean "the real thing" or "the genuine article", e.g. "he's the real McCoy". The phrase has been the subject of numerous false etymologies.
The phrase "The real McCoy" may be a corruption of the Scots "The real MacKay", first recorded in 1856 as: "A drappie o' the real MacKay" ("a drop of the real MacKay"). This appeared in a poem, "Deil's Hallowe'en", published in Glasgow and is widely accepted as the phrase's origin. [1] [2] [ full citation needed ] [3] [4] A letter written by the Scottish author Robert Louis Stevenson in 1883 contains the phrase, "He's the real Mackay". [4] In 1935, New Zealand mystery writer Ngaio Marsh presented a character in Enter a Murderer who muses whether gun cartridges used in a play were "the real Mackay." [5]
In 1881, the expression was used in James S. Bond's The Rise and Fall of the 'Union Club'; Or, Boy Life in Canada. A character says, "By jingo! yes; so it will be. It's the 'real McCoy,' as Jim Hicks says. Nobody but a devil can find us there." [6]
The expression has also been associated with Elijah McCoy's oil-drip cup invention, patented in 1872. [7] One theory is that railroad engineers looking to avoid inferior copies would request it by name, inquiring if a locomotive was fitted with "the real McCoy system". [4] [7] This possible origin is mentioned in Elijah McCoy's biography at the National Inventors Hall of Fame. [8] The original appearance of this claim in print can be traced to an advertisement which appeared in the December 1966 issue of Ebony . The ad, for Old Taylor Bourbon whiskey, ends with the tag line: "...but the most famous legacy McCoy left his country was his name." [9]
In January of 1920, during the U.S. prohibition of alcohol, famous rum-runner William McCoy became the first to fill a boat with alcohol in the Caribbean, sail it up to New York City, and legally act as a floating liquor store three miles off shore. McCoy was careful to always stay outside the three mile limit, which was international waters in the early days of U.S. Prohibition. McCoy made a name for himself because he never adulterated the alcohol. While copy-cat rum runners would dilute their alcohol with chemicals like turpentine, wood alcohol and prune juice, McCoy never did. The sullied products were nicknamed "Booze," "Hooch" and "Rot Gut," while McCoy’s quality spirits became known as "The Real McCoy." [10]
In the 1996 documentary The Line King , caricaturist Al Hirschfeld attributed the phrase to his friend, 1930s pioneer radio host George Braidwood McCoy, who proved he could live off the land without paying for food or rent. During the 1939 World's Fair he ate free food from the exhibitions, slept complimentary at the Royal Scot, shaved using the new electric shavers at the display exhibits, and earned spending money by selling his story to Life . During the Second World War, McCoy could be heard broadcasting his radio show in 1944 Rome, where he would sign off saying: "This is Sergeant George (The Real) McCoy folding his microphone and silently stealing away." [11]
Alternative attributions include:
In the United States, the phrase became associated with boxer Kid McCoy. [7] One writer suggested that "It looks very much – without being able to say for sure – as though the term was originally the real Mackay, but became converted to the real McCoy in the U.S., either under the influence of Kid McCoy, or for some other reason." [4]
In 1938, the composer and song writer Cole Porter used the phrase “Or is what I feel the real McCoy?” in his popular song "At Long Last Love" for his musical You Never Know .
Pianist McCoy Tyner's famed Blue Note Records release in 1967 was eponymously entitled The Real McCoy .
In 1976, the reggae and disco artist Van McCoy also released an eponymous album called The Real McCoy.
In 1981, ABC's song "Tears Are Not Enough" cites: "And I'm looking for the real McCoy".
The 1968 song "Wonderboy" by The Kinks includes the line "It's the Real McCoy", and their 1977 song, "Father Christmas" also features the phrase in the lyrics.
Real McCoy is a Eurodance group best known for their 1993 single "Another Night". [13]
In 1987, Country singer George Jones recorded a song called "The Real McCoy" on his album "Too Wild Too Long".
In 1988, "The Real McCoy" is a song from the Scottish rock band The Silencers.
The Swedish band Troll used the phrase in their song "Jimmy Dean" (1989) about James ‘Jimmy’ Dean (1931–1955).
Connie Converse used the phrase in her song "Playboy of the Western World".
Kid Rock has used the phrase in his songs "My Name is Rock", and in "Cowboy".
In the Disney Channel show, Hannah Montana, in the song "Gonna Get This", the phrase is used with Miley Cyrus singing the line, “The honest truth, the Real McCoy”.
In the title track of their 1986 album Music That You Can Dance To , the American pop band Sparks sang “Get yourself in tune for the real McCoy”.
The phrase “Sit back and enjoy / The real McCoy” was used in the Siouxsie and the Banshees track "Monitor" off their 1981 album Juju . [14]
In Star Trek: The Original Series , the episode "The Man Trap" by George Clayton Johnson featured a polymorphic alien that at one point looked like Dr. McCoy. James Blish renamed the story "The Unreal McCoy" in Bantam Books' Star Trek , which was the first of a series of anthologies that were short story adaptations of the original Star Trek episodes.
In the Akihabara Explosion event in the English version of the mobile game Fate/Grand Order , Katsushika Hokusai, impressed by the sheer number and workmanship of the dolls in the tower, refers to their maker, the King of Figures, as "the real McCoy" in terms of their skill and speed of sculpting.
Dr. Leonard H. McCoy, known as "Bones", is a character in the American science-fiction franchise Star Trek. McCoy was played by actor DeForest Kelley in the original Star Trek series from 1966 to 1969, and he also appears in the animated Star Trek series, in six Star Trek films, in the pilot episode of Star Trek: The Next Generation, and in numerous books, comics, and video games. A decade after Kelley's death, Karl Urban assumed the role of McCoy in the Star Trek reboot film in 2009.
Elijah J. McCoy was a Canadian-American engineer of African-American descent who invented lubrication systems for steam engines. Born free on the Ontario shore of Lake Erie to parents who fled enslavement in Kentucky, he traveled to the United States as a young child when his family returned in 1847, becoming a U.S. resident and citizen. His inventions and accomplishments were honored in 2012 when the United States Patent and Trademark Office named its first regional office, in Detroit, Michigan, the "Elijah J. McCoy Midwest Regional Patent Office".
Charles "Kid" McCoy, born Norman Selby, was an American boxer and early Hollywood actor. He claimed the vacant world middleweight title when he scored an upset victory over Tommy Ryan by 15th-round knockout.
Lord Reay, of Reay in the County of Caithness, is a title in the Peerage of Scotland. Lord Reay is the hereditary Clan Chief of Clan Mackay, whose lands in Strathnaver and northwest Sutherland were known as the Reay Country. The land was sold to the Earls of Sutherland in the 18th century. Lord Reay also refers to a legendary magician in Caithness folklore.
The Glove was a 1983 English musical collaboration and recording project by the Cure's Robert Smith and Siouxsie and the Banshees' Steven Severin. They released one studio album, Blue Sunshine, in 1983 as part of Severin's solo deal with Polydor. The latter came up with the band name, the album title and the blue/yellow sleeve concept, as Smith had to leave the project before completion due to prior commitments with the Cure.
John Alexander McGeoch was a Scottish musician and songwriter. He is best known as the guitarist of the rock bands Magazine (1977–1980) and Siouxsie and the Banshees (1980–1982).
Clan Mackay is an ancient and once-powerful Highland Scottish clan from the far North of the Scottish Highlands, but with roots in the old Kingdom of Moray.
The Scream is the debut studio album by British rock band Siouxsie and the Banshees, released on 13 November 1978 by Polydor Records. Its innovative combination of angular and serrated guitar with a bass-led rhythm and machine-like drums played mostly on toms, made it a pioneering work of the post-punk genre.
Kaleidoscope is the third studio album by British rock band Siouxsie and the Banshees, released on 1 August 1980 by Polydor Records. With the departure of John McKay and Kenny Morris and their replacement by two new musicians, Budgie on drums and John McGeoch on guitars, the band changed their musical direction and offered an album containing a wide variety of colors. "It was almost a different band", said Siouxsie.
Juju is the fourth studio album by British rock band Siouxsie and the Banshees. It was recorded at Surrey Sound studio with Nigel Gray as co-producer, and was released on 19 June 1981 by Polydor Records. Two singles were released from Juju: "Spellbound" and "Arabian Knights".
A Kiss in the Dreamhouse is the fifth studio album by British rock band Siouxsie and the Banshees, released on 5 November 1982 by Polydor Records. The record marked a change of musical direction, as the group used strings for the first time and experimented in the studio. Guitarist John McGeoch played more instruments, including recorder and piano. For Julian Marszalek of The Quietus, the release proved the Banshees to be "one of the great British psychedelic bands."
Hyæna is the sixth studio album by English rock band Siouxsie and the Banshees, released on 8 June 1984 by Polydor Records. The opening track, "Dazzle", featured strings played by musicians of the London Symphonic Orchestra (LSO), a 27-piece orchestra called the "Chandos Players"; it was scored from a tune that Siouxsie Sioux had composed on piano. Hyæna is the only studio album that guitarist Robert Smith of the Cure composed and recorded with Siouxsie and the Banshees.
"Hong Kong Garden" is the debut single of English rock band Siouxsie and the Banshees. It was released as a single on 18 August 1978 by Polydor Records, reaching number 7 on the UK Singles Chart.
"Mittageisen" is a song by English rock band Siouxsie and the Banshees. It originally appeared on the band's 1978 debut album The Scream as "Metal Postcard (Mittageisen)"; the track was re-recorded in 1979, this time with the lyrics sung in German, and released as a single in West Germany with "Love in a Void" on the b-side. That September the song was given a UK release by record label Polydor as a double A-side single.
"Happy House" is a song written by Siouxsie Sioux and Steven Severin and recorded by their band Siouxsie and the Banshees. It was released as a single in March 1980 by record label Polydor, then later included on the band's third album, Kaleidoscope. "Happy House" was the group's first record made with guitarist John McGeoch and drummer Budgie.
"Spellbound" is a song by English rock band Siouxsie and the Banshees. The group wrote it and co-produced it with Nigel Gray. It was released in 1981 by record label Polydor as the first single from the band's fourth studio album, Juju.
"Cities in Dust" is a song by English rock band Siouxsie and the Banshees from their album Tinderbox (1986). It was released on 18 October 1985 as the album's lead single.
John MacKay, Mackay, or McKay may refer to:
"Love In a Void" is a song by the English rock band Siouxsie and the Banshees, written by singer Siouxsie Sioux, bassist Steven Severin, drummer Kenny Morris and guitarist Peter Fenton. Originally included as the b-side to the 1979 single "Mittageisen" in West Germany, it was later released as a double A-side single in September of the same year. It was also included on the band's 1981 ten track UK Gold certified compilation album Once Upon a Time: The Singles, and on the CD reissue of the album Join Hands.
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