Pop Pop
A pop-pop boat, also known as a putt-putt boat, is a simple steam-powered toy vessel featuring a small boiler and one or more exhaust tubes that operate without moving parts, propelled across water by the intermittent flashing of water into steam when heated by a candle or similar fuel source, producing a distinctive "pop-pop" chugging sound.[1] These toys typically consist of a lightweight hull, often made from tinplate or recycled materials, with the engine formed by coiled or straight metal tubes partially submerged in water.[2] The pop-pop boat traces its origins to the late 19th century, with the first known patent for such a water-impulse engine filed in 1891 in the United Kingdom, likely predating formal documentation as an informal plaything.[1] Invented by French engineer Thomas Piot, the design evolved through subsequent patents, including improvements by American Charles J. McHugh in 1915 for a diaphragm-based variant and William Purcell in 1920 for the popular coiled-tube configuration still used today.[3] Gaining widespread popularity as an affordable children's toy in the 1940s and 1950s, particularly in Europe and North America, pop-pop boats declined with the rise of plastic alternatives but remain manufactured in regions like India[4] and are often replicated in educational science projects.[5] The principle of operation relies on a cyclic oscillation of water and steam in the tubes, driven by thermal fluctuations: water enters the boiler via capillary action or suction, flashes to steam upon heating (expanding over 1,000 times in volume), ejects as a jet from the exhaust tubes to provide forward thrust per Newton's third law, then condenses to create a partial vacuum that draws fresh water back in, repeating several times per second.[6] This process generates net propulsion despite zero average mass flux, as the outflow forms a directed jet while inflow disperses more broadly, yielding an average boat speed of around 20 cm/s and thrust on the order of 5-6 mN in typical models.[6] The engine's efficiency stems from its self-sustaining vibration, demonstrating principles of thermodynamics, fluid dynamics, and heat transfer, and has inspired applications in fields like inkjet printing[3] and pulse-jet engines.[7]Development and production
Background and conception
Following the commercial and critical success of her 1989 album Flying Cowboys, which marked a polished, producer-driven phase in her career, Rickie Lee Jones sought to return to her jazz-influenced roots amid the pressures of mainstream expectations.[8] This period reflected a desire to move away from the rock-oriented production of her 1980s work, reconnecting with the intimate, improvisational style that defined her early influences and personal musical heritage.[9] Jones conceived Pop Pop around 1989 as an all-covers album of jazz and folk standards, inspired by childhood memories of her father and uncle performing songs with guitar accompaniment, as well as broader influences like Billie Holiday's emotive phrasing.[9][10] The project evolved from years of reflection, including a pivotal live performance of "Valentine" in France backed only by guitar and bass, which highlighted her vision for sparse, acoustic arrangements devoid of drums, keyboards, or electric instruments to evoke an "old flavor."[9] Initial song selections emphasized reinterpretations of classics such as "My One and Only Love" alongside unexpected choices like Jimi Hendrix's "Up from the Skies," blending her jazz sensibilities with rock edges.[11][9] Central to the album's early development was Jones' idea to collaborate with jazz bassist Charlie Haden, whose Liberation Music Orchestra work aligned with her goal of creating a natural, unadorned sound rooted in standards but infused with personal vulnerability.[11][8] This conception phase, occurring as Jones balanced motherhood with her artistic pursuits, underscored her intent to craft something "very special" and listener-friendly, free from the jazz purism she had encountered earlier in her career.[9][8]Recording and production
The recording sessions for Pop Pop took place in 1989 at Skyline Recording in Topanga, California, emphasizing live, minimalistic takes to capture an intimate, organic feel.[12][13] Co-produced by David Was and Rickie Lee Jones, the process incorporated experimental jazz elements through Was's involvement, drawing on his background in innovative jazz-funk arrangements.[11][9] Key production decisions centered on acoustic-only instrumentation, eschewing electric guitars and full drum kits in favor of occasional snare or bongo percussion, which helped prioritize the warmth and closeness of Jones's vocals.[12][14] Charlie Haden's bass lines provided a foundational, resonant depth that defined the album's cozy, naturalistic tone across several tracks.[11][12] The selection of the final 12 tracks, blending jazz standards and eclectic covers, was refined and confirmed amid these sessions.[11]Musical content
Style and influences
Pop Pop is primarily a vocal jazz album, blending elements of folk jazz through its intimate interpretations of standards spanning the 1940s to the 1970s, including jazz ballads and subtle bossa nova influences in tracks like "Hi-Lili Hi-Lo."[13][15] The album features covers of classic material, such as the jazz standard "My One and Only Love" (Guy Wood and Robert Mellin) and Bobby Timmons' "Dat Dere," reimagined with acoustic warmth that evokes mid-century jazz sensibilities.[13] Jones draws key influences from Billie Holiday's phrasing, adapting extended, emotive lyric delivery to infuse her vocals with raw vulnerability and nuance.[16] The inclusion of Jimi Hendrix's "Up from the Skies" nods to rock-jazz fusion, bridging her eclectic roots with improvisational flair, while the overall aesthetic channels 1950s cool jazz through restrained, atmospheric tones.[15][17] Stylistically, the album emphasizes intimate, stripped-down arrangements featuring acoustic guitar, upright bass, and selective horns, avoiding electric instruments, keyboards, and full drum kits to cultivate a vintage, unadorned sound—occasional percussion like bongos appears sparingly.[9] Jones' eccentric vocal delivery stands out, marked by husky timbre, scat-like improvisations, and quirky detours that bend melodies into personal expressions of emotion.[17][13] This project marks a significant departure from Jones' earlier work, such as her 1979 self-titled debut, which leaned into pop-rock with jazz inflections and fuller band arrangements, toward pure acoustic jazz covers that prioritize emotional intimacy over pop accessibility.[15] The shift underscores a deeper exploration of vulnerability, stripping away the eclectic pop elements of prior albums like Flying Cowboys (1989) for a focused, interpretive jazz mode.Track listing
Pop Pop consists entirely of cover versions spanning jazz standards, Broadway tunes, and rock songs, with no original compositions by Rickie Lee Jones. The album's total runtime is 49:53.[18]| No. | Title | Writer(s) | Length | Notes on origin |
|---|---|---|---|---|
| 1. | "My One and Only Love" | Guy Wood, Robert Mellin | 5:54 | Jazz standard first recorded by Vic Damone in 1947. |
| 2. | "Spring Can Really Hang You Up the Most" | Fran Landesman, Tommy Wolf | 3:56 | From the 1955 revue The Littlest Revue, first recorded by Jeri Winters in 1955. |
| 3. | "Hi-Lili, Hi-Lo" | Bronisław Kaper, Helen Deutsch | 3:38 | Title song from the 1953 film Lili, originally performed by Les Compagnons de la Chanson. |
| 4. | "Up from the Skies" | Jimi Hendrix | 4:30 | From Jimi Hendrix's 1967 album Axis: Bold as Love, originally performed by The Jimi Hendrix Experience. |
| 5. | "Second Time Around" | Sammy Cahn, Jimmy Van Heusen | 4:49 | Academy Award-winning song from the 1960 film High Time, first recorded by Bing Crosby. |
| 6. | "Dat Dere" | Bobby Timmons, Oscar Brown | 4:27 | Jazz standard first recorded by Bobby Timmons in 1960. |
| 7. | "I'll Be Seeing You" | Sammy Fain, Irving Kahal | 3:43 | Popular standard from 1938, first recorded by Mitchell Ayres and His Follies in 1938. |
| 8. | "I Won't Grow Up" | Betty Comden, Adolph Green, Jule Styne | 2:48 | From the 1954 Broadway musical Peter Pan, originally performed by Mary Martin. |
| 9. | "Bye Bye Blackbird" | Mort Dixon, Ray Henderson | 3:49 | 1926 Tin Pan Alley song, first recorded by Sam Lanin's Dance Orchestra in 1926. |
| 10. | "For No One" | John Lennon, Paul McCartney | 2:12 | From The Beatles' 1966 album Revolver, originally performed by The Beatles. |
| 11. | "Little Yellow Bird" | Marilyn Keith, Norman Luboff, Paul Gannon | 3:12 | English adaptation of the Haitian folk song "Choucoune," first recorded by The Norman Luboff Choir in 1959. |
| 12. | "I Can't Get Started" | Ira Gershwin, Vernon Duke | 3:47 | From the 1936 musical Ziegfeld Follies of 1936, first recorded by Bunny Berigan and His Orchestra in 1937. |