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Hi,
I have music take home test I want u to read the notes and answer them. Its 50 multiple choice questions. I have attached the notes and the test. Who is willing to answer them, must answer all of them correctly from the notes. All the answer are in the notes
Notes
For
107
(1st
Test)
Minstrelsy
Minstrelsy
is
the
first
distinctively
American
form
of
popular
culture.
The
minstrel
show
was
the
first
form
of
musical
and
theatrical
entertainment
to
be
regarded
by
European
audiences
as
distinctively
American
in
character
The
minstrel
show,
or
minstrelsy,
was
an
American
entertainment
consisting
of
comic
skits,
variety
acts,
dancing,
and
music,
performed
by
white
people
in
blackface
Minstrelsy
featured
mainly
white
performers
who
artificially
blackened
their
skin
and
carried
out
parodies
of
African
American
music,
dance,
dress
and
dialect.
Today
black
face
minstrelsy
is
regarded
with
embarrassment
or
anger
Minstrel
shows
lampooned
black
people
as
ignorant,
lazy,
buffoonish,
superstitious,
joyous,
and
musical
Blackface
minstrelsy
was
the
first
distinctly
American
theatrical
form.
In
the
1830s
and
1840s,
it
was
at
the
core
of
the
rise
of
an
American
music
industry,
and
for
several
decades
it
provided
the
lens
through
which
white
America
saw
black
America
In
1848,
blackface
minstrel
shows
were
the
national
art
of
the
time
Arbiters
of
public
taste
and
morals,
including
newspaper
and
magazine
publishers,
politicians,
and
the
clergy,
ridiculed
minstrelsy
as
an
indicator
of
the
deprived
state
of
the
lower
classes,
and
urged
its
rejection
in
favor
of
more
refined
(i.e.
European-‐derived)
forms
of
entertainment
As
blacks
began
to
score
legal
and
social
victories
against
racism
and
to
successfully
assert
political
power,
minstrelsy
lost
popularity
There
are
remnants
of
this
practice
even
today.
Up
until
the
1960’s
(1930s
for
Duke
Ellington)
there
are
no
roles
in
movies
or
stage
where
you
see
roles
that
were
not
demeaning
for
blacks.
Duke
Ellington
and
Sydney
Poitier
were
the
first
to
break
out
of
such
stereotype.
The
minstrel
show
is
also
the
direct
ancestor
of
vaudeville,
a
kind
of
variety
show
that
became
the
dominant
form
of
popular
entertainment
in
the
late
19th
and
early
20th
century
America.
And
while
the
mass
success
of
the
blackface
minstrel
show
doubtless
helped
to
reinforce
racist
attitudes
among
whites,
minstrelsy
also
established
a
mobile
performance
tradition
within
which
influential
black
musicians
such
as
W.
C.
Handy,
Ma
Rainey,
and
Bessie
Smith
could
later
flourish
NOTE:
Minstrelsy
arose
during
the
1830s
as
an
expression
of
a
predominantly
white
urban
youth
culture,
which
sought
to
express
its
independence
through
the
appropriation
of
black
style.
As
minstrelsy
became
a
mass
phenomenon
in
the
decades
just
before
and
after
the
American
civil
war,
its
form
became
routinized,
and
its
portrayal
of
black
characters
more
rigidly
stereotyped.
This
basic
pattern,
in
which
a
new
genre
of
music
arises
within
a
marginalized
community
and
then
moves
into
the
mainstream
of
mass
popular
culture,
in
the
process
losing
much
of
the
rebellious
energy
that
gave
rise
to
it
in
the
first
place,
will
be
encountered
many
times
in
this
class
(whites
coping
blacks).
“Daddy”
Rice
Thomas
Darkmouth
“Daddy”
Rice
(1808-‐1860),
was
a
white
actor
born
in
New
York’s
Seventh
Ward
who
demonstrated
the
potential
popularity
(and
profitability)
of
minstrelsy
His
song
“Jim
Crow”
(1829),
became
the
first
international
American
hit
song
Jim
Crow
was
the
name
of:
the
stable
hand,
his
stage
character,
his
song
title,
then
a
derogatory
racial
epithet
for
blacks
and
later
was
the
word
used
to
describe
segregationist
laws
NOTE:
“The
early
Jim
Crow
was
not
the
late
Jim
Crow.
Jim
Crow
went
from
fond
alliance
to
hateful
segregation
as
the
civil
war
approached
and
then
as
the
Nadir
(point
of
greatest
adversity)
replaced
Reconstruction.
As
the
fires
of
white
racism
were
stoked,
first
by
the
escalating
conflict
between
the
states
and
then
by
postbellum
(after
a
period
of
war)
fears
of
black
backlash
and
economic
competition,
minstrelsy
both
reflected
and
helped
to
promulgate
(make
known,
proclaim)
the
national
obsession
with
symbols
of
racial
difference.
It
was
during
this
period
that
the
most
pernicious
(harmful,
destructive)
stereotypes
of
black
people
-‐
the
old
faithful
slave
-‐
aka
the
good
negro,
and
the
big
city
knife
toting
dandy
(the
bad
negro)
became
enduring
images
in
mainstream
American
popular
culture,
disseminated
by
an
emerging
entertainment
industry
and
patronized
by
a
predominately
white
mass
audience.
When
Rice
toured
England
in
the
1830s
he
became
the
first
native-‐born
American
performer
to
export
a
type
of
music
perceived
abroad
as
quintessentially
American
The
cakewalk
was
a
dance
he
used
to
accompany
his
stage
show
The
Cake
Walk
Whites
imitating
blacks
imitating
whites
created
the
Cake
Walk
dance
Whites
imitating
blacks
is
what
led
to
R&R
(Elvis
imitating
Arthur
Crudup,
Bill
Haley
imitating
Louis
Jordan,
Eric
Clapton
imitating
Robert
Johnson,
etc.)
Dan
Emmett/The
Banjo
The
next
big
hit
song
after
“Jim
Crow”
was
“zip
coon,”
also
known
as
“Turkey
in
the
Straw”
“Turkey
in
the
Straw”
or
“Zip
Coon”
was
composed
by
George
Washington
Dixon
The
chorus
consisted
of
the
nonsense
syllables
“zip
a
duden
duden
duden
zip
a
duden
day”
(direct
ancestor
of
the
song
“zip
a
dee
doo
dah”
featured
in
Walt
Disney’s
1947
cartoon
“Song
of
the
South.”
By
the
mid
19th
century
minstrel
songs
had
become
an
important
influence
on
the
mainstream
of
American
popular
song
Many
of
these
“plantation
songs”
were
very
successful
as
sheet
music,
and
they
were
a
dominant
force
in
the
development
of
19th
century
popular
music
Typical
instrumentation
of
the
early
1840s
was
a
fiddle,
one
or
more
banjos,
a
tambourine,
violin(s)
and
a
pair
of
rib
bones.
This
type
of
performance
still
had
little
to
do
with
African
American
musical
traditions
of
the
American
south.
Nonetheless,
minstrel
troupes
competed
with
one
another
on
the
basis
of
their
attention
to
“authentic”
details
of
southern
black
culture
One
main
instrument
that
is
associated
with
Minstrelsy
is
the
Banjo
The
5-‐string
Banjo
is
the
only
instrument
indigenous
to
the
US
Stretching
a
string
over
a
drum
is
African
and
the
fret
board
is
European
The
most
important
thing
about
Banjo
music
is
that
it’s
syncopated.
The
definition
of
syncopation
is
“rhythms
that
accent
weak
beats
or
parts
of
beats
in
the
meter.”
Dan
Emmet
was
a
virtuoso
of
the
Banjo
during
Minstrelsy
He
was
in
a
famous
group
called
“The
Virginia
Minstrels”
The
song
“Old
Dan
Tucker”
was
written
by
Dan
Emmet
He
also
wrote
“Dixie”
(the
battle
hymn
of
the
Confederacy)
Pete
Seeger
performs
the
recording
of
Old
Dan
Tucker.
Steven
Foster
Stephen
Collins
Foster
composed
around
two
hundred
songs
from
the
1840s,
to
the
early
1860s
He
is
regarded
as
the
first
important
composer
of
American
popular
song
He
was
probably
the
first
person
in
the
US
to
make
his
living
as
a
full
time
professional
songwriter,
surviving
on
the
fees
and
royalties
generated
by
sales
of
sheet
music
for
songs
such
as
“Oh!
Susanna,”
“Old
Folks
at
Home,”
“My
Old
Kentucky
Home,
Good
Night,”
“Jeanie
With
the
Light
Brown
Hair”
“De
Camptown
Races”
and
“Beautiful
Dreamer”
He
lived
in
Pittsburg,
yet
he
wrote
songs
about
the
south
and
the
ideal
life
on
the
plantation
in
order
to
get
his
songs
in
Minstrel
shows
He
was
looking
for
maximum
exposure
and
the
Minstrel
Show
was
his
medium.
His
songs
were
popularized
through
Minstrelsy
Many
of
his
songs
were
written
in
the
AABA
Ternary
song
form
His
most
famous
song
was
“Oh
Susanna.”
He
sold
it
before
he
knew
about
royalties.
The
song
made
millions
of
which
he
saw
nothing
He
was
the
first
American
songwriter
to
get
a
contract
to
receive
royalties
He
died
of
alcoholism
at
the
age
of
37
They
found
his
body
with
no
money,
no
identification,
no
valuables
of
any
kind
and
only
a
piece
of
paper
that
had
the
catch
phrase
for
his
next’s
song
lyrics
Tin
Pan
Alley
Tin
Pan
Alley
is
the
name
given
to
the
music
publishers
and
songwriters
who
dominated
the
American
popular
music
in
the
late
19th
century
and
early
20th
century.
Tin
Pan
Alley
was
a
specific
place
in
New
York
City
(28th
and
Broadway)
The
start
of
Tin
Pan
Alley
is
about
1885
and
its
end
was
in
the
1950s
due
to
the
rise
of
rock
&
roll
Vaudeville
performers
would
visit
Tin
Pan
Alley
firms
to
find
new
songs
for
their
acts.
Second-‐rate
performers
paid
for
rights
to
use
a
new
song,
while
famous
stars
were
given
free
copies
or
were
paid
to
perform
them.
Tin
Pan
Alley’s
goal
was
to
get
their
music
heard
by
as
many
people
as
possible
to
increase
sheet
music
sales
The
focus
of
the
power
structure
was
on
white,
middle
class,
northern,
adults
The
songs
were
very
formulaic;
the
ternary
form
was
ubiquitous
(AABA)
Tin
Pan
Alley
started
to
lose
its
power
when
the
baby
boomers
chose
to
distance
themselves
from
their
parent’s
music.
The
power
starts
to
change
hands
in
the
40s
and
50s
due
to
the
musician’s
strike,
the
formation
of
BMI,
the
onset
of
TV
(stealing
radio
programming),
radio
(playing
alternative
music
like
R&B
and
Country)
and
the
baby
boomers.
The
“The
Man
I
Love”
by
George
Gershwin,
is
an
example
of
the
music
teenagers
(baby
boomers)
were
trying
to
avoid
(also
Patty
Page
and
Bing
Crosby).
Patty
Page
(How
Much
Is
That
Doggy
…
by
Bob
Merrill,
1952),
Bing
Crosby
(White
Christmas
by
Irving
Berlin,
1940)
Ella
(The
Man
I
Love
by
George
Gershwin,
1960)
and
Frank
Sinatra
(I
Get
A
Kick
Out
of
You
by
Cole
Porter,
1953)
are
good
examples
of
Tin
Pan
Alley
songs.
Also
known
as
“The
Great
American
Song
Book.”
The
major
income
source
of
the
American
music
industry
from
its
beginnings
and
up
until
the
mid
20th
century
was
from
the
sale
of
sheet
music.
Three
Important
Tin
Pan
Alley
Composers
Irving
Berlin
(1888-‐1989)
was
the
most
successful
songwriter
in
American
history
until
Lennon
and
McCartney
supplanted
him.
His
first
big
hit
was
“Alexander’s
Ragtime
Band”
(not
really
ragtime,
but
the
word
was
used
to
help
sell
the
song
due
to
ragtime’s
popularity)
He
wrote
“White
Christmas”
“Easter
Parade”
“America
the
Beautiful”
and
was
a
Jewish
immigrant
He
had
a
moveable
piano
because
he
could
only
play
in
the
key
of
C
George
Gershwin
(1898-‐1937)
worked
as
Berlin’s
scribe
His
parents
were
Jewish
immigrants
Gershwin
had
an
affinity
for
black
music
(Porgy
and
Bess,
which
is
considered
America’s
first
opera
(also
Joplin’s
Treemonisha)
Rhapsody
in
Blue,
I
Got
Rhythm
Summertime
His
brother,
Ira,
was
his
lyricist
He
had
an
ambition
to
become
a
serious
composer,
not
just
a
songwriter
First
job
was
at
Tin
Pan
Alley
as
a
song
plugger
His
first
big
hit
was
“Swanee”
He
died
of
a
brain
tumor
Cole
Porter
(1891-‐1964) went
to
Yale
and
Harvard
where
he
studied
music
He
was
gay,
however
he
was
married
and
his
love
songs
were
written
for
men
There
is
a
movie
about
his
life
He
was
hurt
early
in
1937
when
his
horse
rolled
on
him
and
crushed
his
legs,
leaving
him
mostly
crippled
and
in
constant
pain
for
the
remainder
of
his
life.
Cole
Porter
is
one
of
the
few
Tin
Pan
Alley
composers
to
have
written
both
the
lyrics
and
the
music
for
his
songs
His
life
style
was
extravagant
and
scandalous,
with
gay
and
bisexual
activity
and
a
large
surplus
of
recreational
drugs
In
1918,
he
met
Linda
Thomas
whom
he
married
the
following
year.
She
knew
of
Porter’s
homosexuality,
but
it
was
mutually
advantageous
for
them
to
marry:
for
Linda
it
offered
continued
social
status;
for
Porter
it
brought
a
respectable
heterosexual
front
in
an
era
when
homosexuality
was
not
publicly
acknowledged.
They
were
genuinely
devoted
to
each
other
and
remained
married
from
December
19,
1919
until
Linda’s
death
in
1954
Although
he
had
some
success
before
1928,
1928
was
the
year
he
wrote,
“Let’s
Do
It”
which
established
him
for
the
first
time
on
Broadway
Frank
Sinatra
singing
“I
Get
a
Kick
Out
of
You”
ASCAP
and
BMI
ASCAP
(American
Society
of
Composers,
Authors
and
Publishers)
was
founded
in
1914
to
protect
the
interests
of
established
publishers
and
composers.
They
collected
and
distributed
performance
royalties
New
members
were
only
admitted
with
sponsorship
of
existing
members
In
the
mid-‐19th
century,
copyright
control
on
melodies
was
poorly
regulated
in
the
United
States
Competing
publishers
would
often
print
their
own
versions
of
whatever
songs
were
popular
at
the
time
Stephen
Foster’s
songs
probably
generated
millions
of
dollars
in
sheet
music
sales,
but
Foster
saw
little
of
it
and
died
in
poverty.
ASCAP
is
a
performance
rights
organization.
They
collect
fees
for
people
that
composed
music
in
their
catalog.
Radio
stations,
bars,
concert
halls,
and
any
public
performance
of
music
in
their
catalog
for
profit
is
subject
to
fees
from
ASCAP.
A
good
90%
of
all
popular
music
of
that
day
was
in
ASCAP’s
catalog.
The
NAB
(National
Association
of
Broadcasters)
represented
some
600-‐radio
stations
and
challenged
ASCAP
by
creating
BMI
(Broadcast
Music
Incorporated)
on
October
13th,
1939
to
combat
the
rising
costs
of
ASCAP’s
licensing
fees.
BMI
is
therefore
another
performance
rights
organization
(both
ASCAP
and
BMI
are
around
today)
BMI
had
been
gradually
creating
their
own
catalog
by
securing
country
and
R&B
music.
BMI
played
only
their
music,
which
was
not
licensed
by
ASCAP
The
criticism
of
the
new
music
was
spear
headed
by
ASCAP
because
they
saw
how
the
music
was
building
in
popularity.
ASCAP
was
scared
because
this
new
music
was
singer/songwriter
types,
which
would
make
ASCAP
obsolete.
ASCAP
was
trying
to
protect
itself
by
discrediting
the
new
music.
The
payola
scandal
was
spear
headed
by
ASCAP.
By
1941
BMI’s
catalog
contained
36,000
copyrights
from
52
publishers.
“For
the
first
time,
the
Tin
Pan
Alley/Broadway/Hollywood
monopoly
on
public
taste
had
been
challenged.”
By
the
end
of
the
40’s,
early
blues,
R&B
and
country
musicians
began
to
redefine
popular
music.
The
AFM
Musicians’
Strike/Radio/TV/Movies/WWII:
The
American
Federation
of
Musicians
was
founded
in
1896
Radio
started
broadcasting
in
1920
and
from
1920
to
the
early
40’s,
network
radio
was
mostly
live
broadcasts,
which
created
a
lot
of
work
for
musicians
As
radio
broadcasts
gradually
shifts
from
live
to
recorded
music
(early
1940s),
the
AFM
strikes
When
talking
movies
came
out
in
1927,
thousands
of
musicians
lost
work
because
there
were
big
orchestras
in
movie
theaters
The
AFM
saw
this
loss
of
work
happening
again
because
of
radio
and
was
upset
at
losing
so
many
live
paying
jobs
to
recorded
airplay
The
AFM
strikes
against
the
record
companies
rather
than
radio
because
they
saw
the
problems
ASCAP
had
with
NBA
(NBA
started
BMI)
The
AFM
forbid
all
commercial
recording
by
union
members
in
1942–44,
in
order
to
pressure
record
companies
to
make
a
better
arrangement
for
paying
royalties
to
union
members
This
was
sometimes
called
the
Petrillo
Ban
because
James
Petrillo
was
the
president
of
the
AFM
who
called
the
strike
This
opens
up
the
airwaves
because
professional
musicians
could
not
record,
which
helped
the
underground
music
like
gospel,
country,
blues,
R&B
to
get
recorded.
The
most
important
thing
about
this
strike
is
the
rise
of
the
small
independent
record
companies.
The
big
record
companies
held
out,
while
the
small
companies
signed
agreements
with
the
AFM.
These
small
companies
are
the
ones
that
played
all
the
music
that
became
known
as
R&R
The
AFM
recording
ban
helped
to
official
end
the
Big
Band
era
(the
last
straw
syndrome)
The
big
bands
were
already
fighting
the
effects
of
WWII,
due
to
gas
and
tire
rationing,
the
draft,
and
voluntary
military
enlistment,
which
depleted
bands
of
their
personnel
and
transportation
means
Throughout
the
recording
ban
vocalists
were
still
allowed
to
record,
which
created
a
rise
in
popularity
of
vocalists
who
stole
the
spotlight
once
owned
by
the
big
band
leaders
of
the
Swing
era;
the
shift
from
the
instrumentalists
having
the
marquee
power
to
the
vocalist
begins
at
this
time
After
WWII
pop
vocals
with
studio
accompaniment
were
the
norm
The
AFM
strike
occurred
right
after
ASCAP
and
BMI’s
war,
which
was
another
very
important
piece
of
the
puzzle
that
caused
the
shift
in
popular
music
from
ASCAP’s
monopoly
to
the
rise
of
R&R.
BMI
starts
airing
new
music
(gospel/country/R&B)
and
a
ton
of
independent
record
labels
start
up
as
a
result
of
the
AFM
strike
So
radio
stops
playing
ASCAP’s
inventory
and
then
no
new
music
is
recorded
due
to
the
AFM
strike,
which
left
the
void
for
this
alternative
music
TV
was
first
introduced
to
the
general
public
at
the
1939
World’s
Fair;
the
outbreak
of
World
War
II
prevented
TV
from
being
manufactured
on
a
large
scale
until
after
the
end
of
the
war
True
regular
commercial
network
television
programming
did
not
begin
in
the
U.S.
until
the
mid
40s
By
the
mid
40’s,
TV
became
more
and
more
popular
and
started
broadcasting
the
popular
radio
shows,
which
opened
up
the
possibilities
for
even
more
record
play
on
radio
and
also
opened
doors
to
the
African
Americans
to
have
a
chance
to
be
heard
on
radio
Baby
Boomers:
BMI’s
war
with
ASCAP
was
the
1st
strike
to
Tin
Pan
Alley’s
control
over
popular
music.
The
independent
record
companies
rise;
due
to
the
AFM’s
strike
was
the
2nd
attack
WWII
helping
to
put
an
end
to
the
Swing
era
was
the
3rd
The
rise
in
popularity
of
TV,
stealing
popular
radio
broadcast,
leaving
a
void
for
radio
to
broadcast
even
more
alternative
music,
was
the
4th
The
baby
boomers
coming
of
age
was
the
5th
strike
When
white
teenage
girls
started
buying
R&B
in
big
numbers
the
6th
and
final
strike
caused
the
last
big
shift
in
redefining
popular
music.
Baby
boomers
were
coming
of
age
right
about
the
time
(early
50’s)
BMI
and
the
independent
record
companies
had
a
firm
hold
on
broadcasting
alternative
music
(gospel/country/R&B),
which
helped
redefine
popular
music
Boomers
are
widely
associated
with
privilege,
as
many
grew
up
in
a
time
of
affluence
As
a
group,
boomers
were
the
healthiest,
and
wealthiest
generation
to
that
time
By
sheer
numbers,
boomers
were
a
demographic
bulge
that
remodeled
society
The
boomers
found
R&R,
was
an
expression
of
their
generational
identity,
they
wanted
to
distance
themselves
from
their
parents
music:
“How
Much
is
That
Doggy”
for
example
The
Baby
Boom
explosion
was
a
result
of
WWII,
(men
leaving
and
returning
from
war).
R&R
history
aliens
itself
with
the
baby
boom
generation
R&R
traces
the
tastes
of
this
demographic,
which
is
also
the
first
time
in
American
history
that
the
term
“teenager”
is
used
The
50’s
are
considered
the
first
time
in
American
history
when
the
teenagers
had
their
own
culture
They
had
their
own
language,
style
and
dress,
and
demanded
their
own
music
Baby
Boomers
were
such
a
large
portion
of
the
population
that
it
became
economically
adventitious
to
market
stuff
directly
to
them
When
R&R
Becomes
a
Media
Event
Black’s
being
shunned
by
whites
(segregation/discrimination),
helped
the
independents.
Most
“black
people
had
to
find
entertainment
in
their
homes,
and
the
record
was
it.
Most
favored
the
electrified
R&B
sound.”
(Ahmet
Ertegun
of
Atlantic
Records).
During
and
after
WWII,
African
Americans
migrated
north
with
money.
The
major
record
labels
didn’t
feel
R&B
was
marketable
to
mainstream
America,
but
the
black
immigrants
were
buying
R&B
from
the
independents
in
large
numbers.
“Sales
(of
R&B)
were
localized
in
ghetto
markets.
There
was
no
white
sale
and
no
white
radio
play.”
(Jerry
Wexler
of
Atlantic
Records)
In
the
early
50’s
white
teenagers
started
buying
R&B.
“In
1952
The
Dolphin
record
store
in
LA,
which
specialized
in
R&B
records,
reported
that
40%
of
its
sales
were
to
whites.
“This
R&R
began
among
Negro
people,
was
first
recorded
by
Negro
performers
and
had
its
following
among
Negroes
of
the
south
and
also
Negro
urban
areas
in
the
north.
Suddenly
millions
of
white
teenagers
who
buy
most
of
the
‘pop’
records
in
America
have
latched
onto
R&B.”
(Mitch
Miller,
head
of
Columbia
Records)
“The
music
industry
organized
against
R&R”
The
popular
singers
of
the
day
(crooners)
testified
before
congress
in
1958:
Frank
Sinatra
said,
“R&R
is
the
most
brutal,
ugly,
desperate,
vicious
form
of
expression
it
has
been
my
misfortune
to
hear.
Rock
and
rollers
are
cretinous
(a
stupid,
obtuse,
or
mentally
defective
person)
goons
that
lure
teenagers
with
imbecilic
reiterations
and
sly,
lewd,
in
plain
fact
dirty
lyrics”
DJ’s
spoke
out
against
R&R
as
they
lost
listeners
from
their
established
pop
and
classical
programming.
ASCAP
hated
the
new
music
(R&R)
because
it
was
written
and
performed
by
the
artists
themselves
ASCAP,
in
November
of
1953,
slapped
Columbia
Records,
RCA
and
BMI
with
a
$150
million
antitrust
lawsuit,
which
really
had
no
effect
on
stopping
the
music.
The
main
thing
that
is
happening
here
is
that
the
old
power
structures
(ASCAP,
crooners,
DJ’s)
are
upset
at
loosing
their
control
(money)
to
R&R
and
the
people
that
create,
produce,
promote
and
benefit
from
R&R.
The
“Blackboard
Jungle”
where
Bill
Haley
and
his
Comets
played
“Rock
Around
the
Clock”
for
the
opening
and
closing
credits
is
what
put
R&R
on
the
map.
It’s
where
most
people
in
the
world
became
aware
of
this
new
style
of
music
called
R&R.
DJs/Alan
Freed
DJs
became
advocates
for
R&B
The
most
popular
DJ
at
the
beginnings
of
R&R
was
Alan
Freed
He
started
out
in
Cleveland,
Ohio
in
1951
Freed
became
internationally
known
for
promoting
R&B
(black
music)
on
the
radio
to
young
white
teenagers
that
were
looking
for
an
alternative
to
the
“Doggy
in
the
Window”
He
was
the
first
white
DJ
to
program
black
music
for
a
white
teenage
audience
Freed’s
show
was
called
“The
Moondog
Rock
‘n’
Roll
House
Party”
Ralph
Sylvester
Peer
coined
the
term
“race
records”
in
1920,
and
in
1946
Jerry
Wexler
of
Billboard
Magazine
(and
later
Atlantic
Records)
coined
the
term
“Rhythm
and
Blues.”
Freed
thought
the
term
“Race
Record”
was
too
derogatory,
so
he
changed
the
term
R&B
to
R&R
in
the
early
50s
So
Freed
gets
credit
for
coining
the
term
“Rock
and
Roll”
Freed
realizes
that
the
parents
of
his
audience
would
be
upset
with
their
kids
listening
to
black
music
(R&B),
so
he
started
calling
it
R&R
based
on
the
lyrics
to
a
lot
of
the
songs
he
was
playing
“Rhythm
and
Blues”
represented
black
music
and
the
term
“Rock
and
Roll”
was
a
metaphor
for
sexual
intercourse
Freed
reasoned
that
the
racial
connotations
of
R&B
would
be
more
offensive
than
the
sexual
connotations
of
R&R
Trixie
Smith’s
1925
recording
of
“My
Man
Rocks
me
with
one
Steady
Roll”
was
the
first
time
the
lyric
“rock
and
roll”
was
used
The
car
radio
and
the
portable
transistor
radio
became
major
conduits
of
the
new
music.
By
1963
more
than
50
million
cars
had
radios
in
a
“car-‐crazy
generation.”
He
began
organizing
racially
integrated
R&R
concerts,
which
were
a
huge
success.
The
first
show
was
called
the
“Moondog
Coronation
Ball.”
18,000
people
showed
to
an
auditorium
that
seated
9,000
The
“Moondog
Coronation
Ball”
is
known
as
the
first
rock
and
roll
concert
Freed
gained
a
priceless
notoriety
from
this
event.
His
radio
show
increased
in
airtime
and
his
popularity
soared.
Freed
called
himself
the
“father
of
Rock
and
Roll”
Many
of
the
top
African-‐American
performers
of
the
1950s
gave
public
credit
to
Freed
for
integrating
the
youth
of
America
at
a
time
when
adults
were
still
promoting
racial
segregation
In
the
1956
film
Rock,
Rock,
Rock,
Freed,
as
himself,
tells
the
audience
that
“rock
and
roll”
is
a
river
of
music
that
has
absorbed
many
streams:
rhythm
and
blues,
jazz,
rag
time,
cowboy
songs,
country
songs,
folk
songs.
All
have
contributed
to
the
big
beat.”
The
Big
Beat
refers
to
the
accent
of
beats
2
and
4
in
a
measure
like
“Shake,
Rattle
and
Roll”
His
career
was
destroyed
by
the
payola
scandal
that
hit
the
broadcasting
industry
in
the
early
1960s
There
was
also
the
conflict
of
interest
that
he
had
taken
songwriting
co-‐credits
(most
notably
on
Chuck
Berry’s
“Maybellene”),
which
entitled
him
to
receive
part
of
a
song’s
royalties
Freed
could
increase
his
royalties
by
heavily
promoting
the
record
on
his
radio
show
In
1962,
Freed
pleaded
guilty
to
two
charges
of
commercial
bribery,
for
which
he
received
a
fine
and
a
suspended
sentence
He
died
in
1965
from
complications
brought
on
by
alcoholism.
Alan
Freed
died
a
poor
and
discouraged
man
Recording
Techniques:
Thomas
Edison
invented
the
phonograph
1877
The
problem
with
Edison’s
invention
was
you
could
not
duplicate
the
recordings
Each
pressing
was
a
unique
recording
Sousa
and
Caruso
were
the
two
leading
recording
artists
at
the
turn
of
the
20th
century
About
a
decade
later
(1888)
Emile
Berliner
developed
the
Disc
recording
He
said
with
my
invention
you
could
do
3
things:
1)
You
can
use
this
as
a
master
so
you
can
make
an
infinite
number
of
copies
2)
People
will
buy
them
(as
well
as
a
phonograph
player)
to
play
in
their
homes
3)
The
performer
and
the
record
companies
can
make
royalties
off
each
copy
In
1901
Berliner
formed
the
Victor
Talking
Machine
Company.
Early
disc
recordings
were
produced
in
a
variety
of
speeds
ranging
from
60
to
130
rpm
Discs
were
produced
in
a
variety
of
sizes
ranging
in
recording
time
from
2
to
7
minutes
The
10-‐inch
size
was
the
standard
size
for
popular
music,
so
almost
all
popular
recordings
were
limited
to
around
three
minutes
in
length.
By
1925,
the
speed
of
the
record
became
standardized
at
78
rpm
Early
recordings
were
made
entirely
acoustically,
the
sound
being
collected
by
a
horn
(megaphone)
and
piped
to
a
diaphragm,
which
vibrated
the
cutting
stylus
Lillian
Hardin
Armstrong,
a
member
of
King
Oliver’s
Creole
Jazz
Band
that
recorded
at
Gennett
Records
in
1923,
remembered
that
at
first
Oliver
and
his
young
second
trumpet,
Louis
Armstrong,
stood
next
to
each
other
and
Oliver’s
horn
couldn’t
be
heard.
“They
put
Louis
about
fifteen
feet
over
in
the
corner,
looking
all
sad.”
During
the
1920s,
engineers
developed
technology
for
capturing
sound
with
microphones
During
and
after
World
War
II,
when
shellac
supplies
were
extremely
limited,
some
78
rpm
records
were
pressed
in
vinyl
instead
of
shellac,
particularly
the
six-‐minute
12-‐inch
78
rpm
records
produced
by
V-‐
Disc
for
distribution
to
US
troops
in
World
War
II.
The
12-‐inch
Long
Play
(LP)
33⅓
rpm
record
album
was
introduced
by
the
Columbia
Record
Company
in
1948.
The
original
purpose
was
for
recording
serious
music
(classical
music)
because
the
works
were
of
extended
length.
A
main
use
became
storing
a
number
of
artist
singles
In
1949,
RCA
released
the
first
45-‐rpm
single,
7
inches
in
diameter;
they
had
a
playing
time
of
eight
minutes
The
Blues:
Blues
is
form
and
genre
The
form
standard
is
12
bars,
(can
be
8
or
16)
established
due
to
the
commercial
success
in
the
African-‐
American
community
of
singers
like
Bessie
Smith
The
blues
was
black
music
created
in
the
south
The
blues
was
born
from
spirituals,
works
songs,
field
hollers,
shouts
and
chants
The
form
is
ubiquitous
in
jazz,
rhythm
and
blues,
and
rock
and
roll
Blue
notes
and
crushed
notes
(piano
playing
a
harmonic
minor
second)
John
Lennon
compares
the
Blues
to
a
chair
The
word
“blue”
has
been
a
metaphor
for
sadness
in
the
English
language
ever
since
the
1600’s
(Elizabethan
poetry)
In
America
in
the
1700’s
the
“Blue
Devils”
was
a
sickness
due
to
some
evil
forces
“Blue”
had
two
meanings
then:
sadness
and
the
devil’s
influence.
The
blues
is
an
expression
of
the
secular
side
of
black
life.
Gospel
is
the
spiritual
(sacred)
expression
of
black
life.
AAB
lyric
form
with
instrumental
fill
The
blues
is
the
first
true
expression
of
black
life
and
not
the
white
mans
version
of
it
The
blues
lyrics
are
full
of
sexual
metaphors
“Frankie
and
Johnny”
is
the
oldest
known
example
of
the
blues
progression
Covered
also
under
W.
C.
Handy:
W
C
Handy
was
known
as
“The
Father
of
the
Blues”
“The
Memphis
Blues”
was
the
first
blues
piece
(sheet
music)
that
WC
published
in
1912
His
most
famous
piece,
written
in
1914
was
“The
St.
Louis
Blues”
It
was
the
most
recorded
song
in
the
first
half
of
the
20th
century
The
first
publication
of
blues
sheet
music
was
in
1912
The
first
recording
by
an
African
American
singer
was
Mamie
Smith’s
1920
rendition
of
Perry
Bradford’s
“Crazy
Blues”
Chroniclers
began
to
report
about
blues
music
in
Southern
Texas
and
Deep
South
at
the
dawn
of
the
20th
century
John
and
Alan
Lomax
made
a
large
number
of
non-‐commercial
blues
recordings
Blues
origins
corresponds
to
the
transition
from
slavery
to
sharecropping
Scholars
characterize
the
early
1900s
development
of
blues
music
as
a
move
from
group
performances
to
a
more
individualized
style.
The
Diddley
bow
and
the
banjo
are
African-‐derived
instruments
Blues
and
Country
developed
at
the
same
time
in
the
same
place
with
the
only
distinction
being
Blues
(race
music
or
black)
and
Country
(hillbilly
music
or
white)
Blues
as
a
separate
genre
arose
in
the
1920s,
which
coincided
with
the
development
of
the
recording
industry
“Blues”
became
a
code
word
for
a
record
designed
to
sell
to
black
listeners
Blues
were
defined
as
the
secular
counterpart
of
the
spirituals
It
was
more
or
less
considered
as
a
sin
to
play
the
blues:
it
was
the
devil’s
music,
musicians
were
therefore
segregated
into
two
categories:
gospel
and
blues
singers
Gospel
music
was
using
musical
forms
of
Christian
hymns
and
blues
had
the
12-‐bar
structure
Also
covered
under
W.
C.
Handy:
In
the
1920s,
the
blues
became
a
major
element
of
African
American
and
American
popular
music,
reaching
white
audiences
via
Handy’s
arrangements
and
the
classic
female
blues
performers
TOBA
booked
blues
musicians
in
nightclubs
like
the
Cotton
Club
and
bars
along
Beale
Street
in
Memphis.
Record
companies,
Okeh
Records,
and
Paramount
Records,
began
to
record
African
American
music.
As
the
recording
industry
grew,
country
blues
performers
became
more
popular
in
the
African
American
community.
Sylvester
Weaver
was
the
first
to
record
the
slide
guitar
style
in
1923,
(knife
blade
or
the
sawed-‐off
neck
of
a
bottle).
The
slide
guitar
became
an
important
part
of
the
Delta
blues.
The
first
blues
recordings
from
the
1920s
are
categorized
as
a
traditional,
rural
country
blues
and
a
more
polished
‘city’
or
urban
blues.
Classic
blues
singers
popular
in
the
1920s:
Mamie
Smith,
Gertrude
“Ma”
Rainey,
Bessie
Smith
The
transition
from
country
to
urban
blues
began
in
the
1920s
driven
by
the
Great
Migration.
Blues
influenced
rock
and
roll
and
soul
and
became
part
of
mainstream
popular
music.
White
performers
had
brought
African-‐American
music
to
new
audiences.
Black
musicians
popularity
stopped.
They
started
looking
for
new
markets
in
Europe.
Blues
festivals
in
Europe
popularized
blues
music
abroad.
In
the
UK,
bands
emulated
US
blues
legends,
and
UK
blues-‐rock-‐based
bands
had
an
influential
role
throughout
the
1960s.
White
audiences’
interest
in
the
blues
during
the
1960s
increased
due
to
the
Chicago-‐based
Paul
Butterfield
Blues
Band
and
the
British
blues
movement.
The
style
of
British
blues
developed
in
the
UK,
when
bands
such
as
The
Animals,
Fleetwood
Mac,
The
Rolling
Stones,
The
Yardbirds,
and
Cream
performed
classic
blues
songs
from
the
Delta
or
Chicago
blues
traditions.
Many
of
Led
Zeppelin’s
earlier
hits
were
renditions
of
traditional
blues
songs.
The
British
and
blues
musicians
of
the
early
1960s
inspired
a
number
of
American
blues
rock
fusion
performers,
including
Canned
Heat,
Jefferson
Airplane,
Janis
Joplin,
Johnny
Winter,
and
The
Allman
Brothers
Band.
Jimi
Hendrix,
was
a
rarity:
a
black
man
who
played
psychedelic
rock.
Hendrix
was
a
pioneer
in
the
innovative
use
of
distortion
and
feedback
In
the
early
1970s,
The
Texas
rock-‐blues
style
emerged,
which
used
guitars
in
both
solo
and
rhythm
roles.
The
British
rock-‐blues
movement
influenced
the
Texas
style.
Texas
styles
are
Johnny
Winter,
Stevie
Ray
Vaughan,
and
ZZ
Top.
W.
C.
Handy:
W
C
was
known
as
the
“Father
of
the
Blues”
He
was
the
first
to
popularize
blues-‐influenced
music
among
non-‐black
Americans
Handy
is
among
the
most
influential
of
American
songwriters
He
was
one
of
many
musicians
that
played
the
blues,
yet
he
is
credited
with
giving
it
its
contemporary
form
Handy
was
not
the
first
to
publish
music
in
the
blues
form
but
is
often
credited
as
such
He
took
the
blues
from
a
regional
music
style
to
one
of
the
dominant
forces
in
American
music
His
Father
considered
Handy’s
music
the
Devil’s
music
In
1903
while
waiting
for
a
train
in
Tutwiler,
in
the
Mississippi
Delta,
Handy
was
exposed
to
the
blues
“Memphis
Blues”
was
originally
written
for
a
political
candidate
“Memphis
Blues”
sheet
music
introduced
his
style
of
12-‐bar
blues
and
was
credited
as
the
inspiration
for
the
invention
of
the
foxtrot
dance
step
by
Vernon
and
Irene
Castle
“The
primitive
southern
Negro,
as
he
sang,
was
sure
to
bear
down
on
the
third
and
seventh
tone
of
the
scale,
slurring
between
major
and
minor.
I
tried
to
convey
this
effect
by
introducing
flat
thirds
and
sevenths
(now
called
blue
notes)
into
my
song,
although
its
prevailing
key
was
major,
and
I
carried
this
device
into
my
melody
as
well.
“The
transitional
flat
thirds
and
seventh
in
my
melody”
were
his
attempt
“to
suggest
the
typical
slurs
of
the
Negro
voice”
Handy
first
used
the
AAB
lyric
Handy
wrote
that
the
“(tonic,
subdominant,
dominant
seventh)
was
already
used
by
Negro
roustabouts,
honky-‐tonk
piano
players,
wanderers
and
others”
Because
of
the
difficulty
of
getting
his
works
published,
Handy
published
many
of
his
own
works
Although
Handy
wrote
his
famous
blues
works
before
jazz
was
first
recorded,
bands
dove
into
Handy’s
repertoire,
making
many
of
them
jazz
standards
In
1912,
Handy
met
Harry
H.
Pace
and
Pace
later
became
manager
of
Pace
and
Handy
Sheet
Music.
Whites
were
more
likely
to
play
Handy’s
music
than
blacks
because
whites
were
looking
for
novelty
songs
while
blacks
played
the
hits
of
the
day.
“Negro
vaudeville
artists
wanted
songs
that
would
not
conflict
with
white
acts
on
the
bill.
The
result
was
that
these
performers
became
our
most
effective
pluggers.”
Handy
also
published
the
original
“Shake
Rattle
and
Roll”
written
by
Al
Bernard.
The
Joe
Smith
recording
of
“Yellow
Dog
Blues
(1919)
became
the
best-‐selling
recording
of
Handy’s
music
to
date
(I
couldn’t
find
the
recording)
The
success
of
“Crazy
Blues”
created
a
lot
of
competition
for
Handy
and
his
biz
began
to
fail
In
1920
Pace
amicably
left
Handy,
with
whom
he
also
collaborated
as
lyricist.
As
Handy
wrote:
“To
add
to
my
woes,
my
partner
withdrew
from
the
business.
He
disagreed
with
some
of
my
business
methods,
but
no
harsh
words
were
involved.
He
simply
chose
this
time
to
sever
connection
with
our
firm
in
order
that
he
might
organize
Pace
Phonograph
Company,
issuing
Black
Swan
Records
and
making
a
serious
bid
for
the
Negro
market.
With
Pace
went
a
large
number
of
our
employees.
Still
more
confusion
and
anguish
grew
out
of
the
fact
that
people
did
not
generally
know
that
I
had
no
stake
in
the
Black
Swan
Record
Company.”
In
1920
Pace
amicably
left
Handy
to
start
Black
Swan
Record
Co.
In
the
1920s,
he
founded
the
Handy
Record
Company
in
New
York
City.
Bessie
Smith’s
January
14,
1925,
Columbia
Records
recording
of
“St.
Louis
Blues”
with
Louis
Armstrong
is
considered
by
many
to
be
one
of
the
finest
recordings
of
the
1920s.
Handy’s
“St.
Louis
Blues”
became
a
RCA
motion
picture
shown
before
the
main
attraction.
Handy
used
Bessie
Smith
because
she
of
her
popularity
with
that
tune.
The
picture
was
shown
in
movie
houses
from
1929
to
1932.
Handy’s
songs
do
not
always
follow
the
classic
12-‐bar
pattern,
often
having
8-‐
or
16-‐bar
bridges
between
12-‐bar
verses.
Mamie
Smith:
First
female
African
American
artist
to
make
vocal
blues
recordings
in
1920
“Crazy
Blues,”
was
a
million-‐seller
that
revealed
a
fresh
market
for
what
Ralph
Sylvester
Peer
labeled
“race”
records,
performances
by
black
artists
specifically
targeted
at
black
buyers.
“Crazy
Blues”
caused
record
companies
to
realize
the
benefit
of
selling
to
blacks,
which
created
a
sharp
increase
in
the
popularity
of
race
records
“Crazy
Blues”
was
inducted
into
the
Grammy
Hall
of
Fame
and
was
preserved
in
the
National
Recording
Registry
at
the
Library
of
Congres
The
success
of
Smith’s
record
prompted
record
companies
to
seek
to
record
other
female
blues
singers
and
started
the
era
of
what
is
now
known
as
classic
female
blues.
She
was
billed
as
“The
Queen
of
the
Blues”
Ma
Rainey:
One
of
the
earliest
known
blues
singers
Known
as
“The
Mother
of
the
Blues”
Helped
popularize
the
blues
Influenced
Bessie
Smith
She
first
recorded
in
1923
and
made
over
100
recordings
Ma
Rainey
also
recorded
with
Louis
Armstrong
She
retired
in
1935
She
was
exposed
to
blues
music
in
1902,
hearing
a
girl
sing
in
a
tent
in
Missouri,
and
incorporated
it
into
her
performances
(proving
blues
was
around
well
before
it
was
documented)
Rainey
met
Bessie
in
1914,
they
worked
together
and
became
friends.
Bessie
sang
backup
for
Ma
Rainey
In
1923,
Rainey
signed
a
recording
contract
with
Paramount
In
1924
she
recorded
“See
See
Rider”
with
Louis
Armstrong
In
1943,
a
version
by
Wee
Bea
Booze
became
a
#1
hit
on
the
Billboard
“Harlem
Hit
Parade”,
precursor
of
the
rhythm
and
blues
chart.
Some
blues
critics
consider
this
to
be
the
definitive
version
of
the
song
The
chart
(Harlem
Hit
Parade),
initiated
in
1942,
is
used
to
track
the
success
of
popular
music
songs
in
urban,
or
primarily
African
American,
venues,
another
name
for
race
records
Starting
in
1924,
she
toured
with
TOBA
Bob
Dylan
refers
to
Rainey
in
the
song
“Tombstone
Blues”
“See
See
Rider”
was
inducted
in
the
Grammy
Hall
of
Fame,
and
the
National
Recording
Preservation
Board
in
the
Library
of
Congress
Bessie
Smith:
Bessie
was
known
as
“The
Empress
of
the
Blues,”
and
was
credited
with
being
the
most
popular
female
blues
singer
of
the
1920s
She
was
a
major
influence
on
subsequent
vocalists
In
1912,
she
was
hired
by
the
Stokes
troupe
as
a
dancer
rather
than
a
singer,
because
Ma
Rainey
was
already
with
the
company
In
the
early
1920s,
Smith
starred
in
a
Broadway
musical
with
Sidney
Bechet
called
How
Come?
She
lost
the
Broadway
show
due
to
a
run
in
with
the
producer
(she
was
replaced
by
Alberta
Hunter)
moved
to
Philly
and
married
Jack
Gee,
a
security
guard,
in
1923
just
before
her
break
through
recording
of
“Down
Hearted
Blues”
made
her
the
highest-‐paid
black
entertainer
of
her
day
Alberta
Hunter,
the
composer
and
singer
had
already
turned
it
into
a
hit
on
the
Paramount
label
The
marriage
strained,
with
cheating
on
both
sides.
During
the
marriage,
Smith
became
the
biggest
headliner
on
the
TOBA
circuit.
Bessie
Smith’s
January
14,
1925,
Columbia
Records
recording
of
“St.
Louis
Blues”
with
Louis
Armstrong
is
considered
by
many
to
be
one
of
the
finest
recordings
of
the
1920s
In
1929,
she
ended
the
marriage,
but
never
got
a
divorce.
Smith
then
had
a
common-‐law
husband,
Richard
Morgan,
who
was
Lionel
Hampton’s
uncle.
She
stayed
with
him
until
her
death
In
1933,
John
Hammond
recounts
that
he
asked
Smith
to
record
four
sides
for
Okeh
and
said
she
was
working
as
a
hostess
in
a
speakeasy
in
Philadelphia.
Bessie
worked
at
Art’s
Cafe
on
Ridge
Avenue,
but
not
as
a
hostess
and
not
until
the
summer
of
1936.
In
1933,
when
she
made
the
Okeh
sides,
Bessie
was
still
touring.
Hammond
was
known
for
his
selective
memory
and
gratuitous
embellishments.
His
story
about
her
death
was
also
fabricated.
The
reason
might
have
been
to
bring
light
upon
the
injustice
of
the
African
American.
Bessie
was
paid
a
flat
fee
of
$37.50
for
each
selection
and
these
recordings
were
her
last.
Made
November
24,
1933,
they
show
the
transformation
she
made
her
blues
artistry
into
the
“swing
era”.
The
relatively
modern
accompaniment
is
notable.
“Gimme
a
Pigfoot
and
a
Bottle
of
Beer”
continues
to
be
ranked
among
her
most
popular
recordings.
Died
in
a
car
crash
on
September
26th,
1937
After
Smith’s
death,
a
discredited
story
emerged
about
the
circumstances;
namely,
that
she
had
died
as
a
result
of
having
been
refused
admission
to
a
“whites
only”
hospital.
John
Hammond
gave
this
account
in
an
article
in
the
November
1937
issue
of
Down
Beat
magazine.
A
one-‐act
play
was
written
about
the
fabricated
story
of
her
death
10,000
mourners
filed
past
her
coffin
on
Sunday,
October
3
Her
legal
husband
pocketed
all
the
money
raised
for
her
stone
The
grave
remained
unmarked
until
August
7,
1970,
when
a
tombstone,
paid
for
by
singer
Janis
Joplin
and
Juanita
Green,
who
as
a
child
had
done
housework
for
Smith,
was
erected
As
a
teenager,
she
heard
Bessie
Smith
and
Leadbelly,
whom
Joplin
later
credited
with
influencing
her
decision
to
become
a
singer.
Blind
Lemon
Jefferson:
He
has
been
labeled
“Father
of
the
Texas
Blues”
The
first
rural
blues
man,
folk
blues
man
to
be
discovered
and
recorded
was
Blind
Lemon
Jefferson
in
1926
or
27.
Was
blind,
discovered
on
a
street
corner
playing
for
money
by
a
record
executive
Jefferson
in
1917
met
T-‐Bone
Walker.
Jefferson
taught
Walker
the
basics
of
blues
guitar,
in
exchange
for
Walker’s
occasional
services
as
a
guide
“Long
Lonesome
Blues,”
recorded
in
Chicago
in
1926,
became
a
success,
with
sales
in
six
figures
(one
of
his
first
recordings
for
Paramount)
B
L
Jefferson
and
Ma
Rainey
helped
Paramount
become
the
leading
recording
company
for
the
blues
in
the
1920s
(Bessie
was
with
Columbia)
In
1927
Jefferson
moved
to
OKeh
Records,
and
OKeh
quickly
recorded
and
released
Jefferson’s
“Matchbox
Blues”
backed
with
“Black
Snake
Moan”
both
very
successful
Matchbox
Blues
was
later
recorded
by
Led
Zeppelin,
which
they
called
“The
Lemon
Song”
after
B.
L.
Jefferson
There
are
different
versions
of
how
he
died.
The
most
resent
version
is
from
the
book,
“Tolbert’s
Texas,”
claimed
that
he
was
killed
while
being
robbed
of
a
large
royalty
cash
payment
by
a
guide
escorting
him
to
Union
Station
to
catch
a
train
home
to
Texas.
We
have
learned
that
Sylvester
Weaver
was
the
first
to
record
with
a
bottleneck
or
knife
blade
to
create
the
slide
guitar
sound.
I
have
also
read
where
B
L
Jefferson
was
the
first
to
do
that.
The
Work
Song:
The
work
song
helped
ease
the
burden
of
labor,
more
efficient,
time
passed
faster
The
work
song
is
the
predecessor
of
the
blues
Even
up
till
1950,
Blacks
were
considered
a
cheap
source
of
labor
Mississippi
Delta
area
was
originally
a
rain
forest
that
was
cleared
with
cheap
labor
Prison
work
gangs
supplied
much
of
the
labor
force
Joe
Turner,
a
lawman,
placed
many
blacks
in
prison
without
cause
to
generate
a
labor
force
Whites
racists
had
a
hard
time
finding
work
and
this
fueled
their
hatred
Two
waves
of
the
“Great
Migration”
caused
the
blues
to
become
part
of
our
national
culture
and
heritage
Leadbelly:
Leadbelly
was
an
American
folk
and
blues
musician,
had
strong
vocals,
and
played
the
12-‐string
guitar
Often
spelled
Leadbelly
but
he
spelled
it
Lead
Belly
Leadbelly
was
in
and
out
of
prison.
John
and
Alan
Lomax
discovered
him
in
prison
and
helped
to
secure
his
release
There
were
many
theories
on
how
he
got
his
nickname:
One
story
for
the
name
is
that
he
had
lead
in
his
gut
from
a
gunshot
wound
and
the
other
is
his
stomach
was
strong
as
lead
Leadbelly
went
to
NY
to
work
as
Lomax’s
driver
and
attained
fame
but
not
fortune
He
began
recording
for
Columbia
Records.
Like
many
performers,
what
income
he
made
during
his
lifetime
would
come
from
touring,
not
from
record
sales.
The
Lomax’s
and
Leadbelly
parted
ways
in
1935
Life
magazine
ran
a
three-‐page
article
titled,
“Lead
Belly
-‐
Bad
Nigger
Makes
Good
Minstrel,”
in
the
April
19,
1937
issue.
They
had
photos
showing
Lead
Belly’s
hands
playing
the
guitar
(with
the
caption
“these
hands
once
killed
a
man”).
The
article
attributes
both
of
his
pardons
to
his
singing
of
his
petitions
to
the
governors,
who
were
so
moved
that
they
pardoned
him.
The
article’s
text
ends
with
“he
may
well
be
on
the
brink
of
a
new
and
prosperous
period.”
In
1939,
Lead
Belly
was
back
in
jail
for
stabbing
a
man.
Alan
Lomax
(24)
helped
raise
money
for
his
legal
expenses.
After
his
release,
he
became
a
fixture
in
New
York
City’s
folk
music
scene
and
befriended
Woody
Guthrie,
and
Pete
Seeger.
Lead
Belly
was
the
first
American
country
blues
musician
to
see
success
in
Europe.
In
1949
Lead
Belly
was
diagnosed
with
Lou
Gehrig’s
disease.
Lead
Belly
died
later
that
year
in
New
York
City.
In
some
recordings
where
Lead
Belly
accompanied
himself,
he
would
make
an
unusual
type
of
grunt
between
his
verses.
Many
of
his
songs
feature
this
vocalization.
Lead
Belly
explained
that,
“Every
time
the
men
say
‘haah’,
the
hammer
falls.
The
hammer
rings,
and
we
swing,
and
we
sing”
a
reference
to
prisoners’
work
songs.
The
grunt
represents
the
tired
deep
breaths
the
men
would
take
while
working,
singing
and
pausing
in
cadence
with
the
work.
Leadbelly
recorded
the
folk
song
“The
House
of
the
Rising
Sun”
which
became
a
hit
for
the
Animals.
Charley
Patton:
He
is
considered
the
“Father
of
the
Delta
Blues”
(as
is
Son
House)
Patton
was
one
of
the
first
stars
of
the
Delta
blues
genre
Patton
was
the
first
authentic
Delta
blues
musician
to
be
recorded
He
made
his
first
records
in
1927
Patton’s
music
might
have
been
a
result
of
being
hired
rather
than
sharecropping
He
used
the
body
of
his
guitar
to
produce
rhythm
Robert
Palmer
raves
about
Patton
in
his
book
Deep
Blues
Patton
was
a
mix
of
white,
black,
and
Cherokee
In
1916,
W
C
Handy
offered
Patton
a
position
in
his
band
He
was
about
38
when
he
first
started
recording
in
the
late
20’s
Died
about
6
years
later
in
1934
of
heart
failure
“Pony
Blues”
(his
composition)
was
his
first
release
Patton
gained
notoriety
for
his
showmanship,
often
playing
with
the
guitar
down
on
his
knees,
behind
his
head,
or
behind
his
back
Boogie
Woogie:
The
blues
becomes
danceable
The
rural
or
country
tradition
of
the
blues
that
is
rhythmic
and
is
the
most
direct
influence
on
early
American
R&R
is
a
instrumental
version
of
the
blues
called
Boogie
Woogie
The
essence
of
what
makes
R&R
is
the
blues
but
danceable
and
the
blues
doesn’t
become
danceable
until
you
get
to
boogie
woogie
(BW)
A
lot
of
early
R&R
recordings
are
really
instrumental
BW
The
bass
line
is
ubiquitous
and
defines
the
BW
style
(“8-‐to-‐the-‐bar”
bass
line)
Big
Bands
in
the
Swing
era
made
BW
recordings,
when
they
downsized,
they
could
be
considered
the
first
R&R
bands
When
you
mix
R&B
with
Swing,
you
have
Jump
Blues
“Choo
Choo
Ch’Boogie”
by
Louis
Jordon
would
be
one
example
Chuck
Berry
said,
“It
used
to
be
called
boogie
woogie,
it
used
to
called
the
blues,
it
used
to
be
called
R&B,
its
called
rock
now”
The
first
BW
recording,
“Honky
Tonk
Train
Blues”
was
made
in
1927
my
Meade
Lux
Lewis
It’s
piano
music
that
grows
out
of
Ragtime
It
evolved
out
of
ragtime
spontaneously
in
the
Midwest.
Another
theory
was
that
it
got
its
start
with
the
piano
players
at
Kaminski
Park
in
Chicago
entertaining
the
baseball
fans
The
record
companies
success
with
the
female
blues
era
caused
them
to
seek
more
talent
The
result
is
we
start
to
see
the
recordings
of
the
rural
blues
and
BW
by
the
late
20s
The
depression
kills
all
recordings
and
BW
goes
underground
until
John
Hammond’s
Spirituals
To
Swing
concert
at
Carnegie
Hall
BW
was
part
of
the
concert
Hammond
found
all
the
BW
players
in
Chicago
and
KC
doing
odd
jobs
and
brought
them
to
the
stage
of
CH
where
the
music
and
the
artists
were
rejuvenated
and
both
became
popular
again
due
to
this
concert
Big
Joe
Turner
and
Pete
Johnson
doing
“It’s
All
Right
Baby”
and
“Low
Down
Dog”
John
Hammond:
Hammond
was
an
American
record
producer,
musician
and
music
critic
from
the
1930s
to
the
early
1980s
He
discovered
numerous
musicians
ranging
in
style
and
time
fame
to
everyone
from
Benny
Goodman,
Charlie
Christian,
Billie
Holiday,
Count
Basie,
to
Aretha
Franklin,
George
Benson,
Bob
Dylan,
Bruce
Springsteen,
and
Stevie
Ray
Vaughan
Born
in
New
York
to
great
wealth
as
the
great-‐grandson
of
William
Henry
Vanderbilt
His
sister
Alice
married
musician
Benny
Goodman
in
1942.
He
studied
classical
music
but
was
more
interested
in
the
music
sung
and
played
by
his
black
servants
In
his
teens
he
began
listening
to
black
musicians
in
Harlem
In
1927
he
heard
Bessie
Smith
sing,
which
influenced
the
rest
of
his
life
In
1928,
Hammond
entered
Yale
University
where
he
studied
the
violin
In
1931
he
dropped
out
of
school
for
a
career
in
music
His
first
job
was
the
U.S.
correspondent
for
Melody
Maker
(a
music
newspaper
in
the
UK)
By
1932–1933,
Hammond
arranged
for
the
US
Columbia
label
to
provide
recordings
for
the
UK
Columbia
label
(most
of
it
being
black
music)
In
1938,
he
organized
the
first
From
Spirituals
to
Swing
concert
at
Carnegie
Hall
Hammond
oversaw
the
reissues
of
Robert
Johnson’s
recorded
work
and
convinced
Columbia
Records
to
issue
the
album
King
of
the
Delta
Blues
Singers
in
1961
Robert
Johnson:
Johnson
is
probably
the
most
famous
of
the
rural
blues
musicians
He
was
probably
the
greatest
and
most
influential
of
all
the
rural
blues
singers
His
songs
dealt
with
death,
dying
and
the
devil.
Two
reasons
could
be:
1)
Many
in
the
black
community
believed
a
blues
musician
was
doing
the
Devil’s
work
and
so
he
came
to
believe
that
as
well
2)
At
one
point,
he
lived
with
his
stepfather
who
ran
a
mortuary,
so
death
and
dying
were
concepts
he
understood.
The
most
famous
story
about
Johnson
is
how
he
sold
his
soul
to
the
devil
His
mammoth
transformation
shocked
those
that
knew
him
(supposedly
before
and
then
after
he
sold
his
soul
to
the
Devil).
Johnson
himself
helped
to
perpetuate
the
story
He
can
play
rhythmic
and
melodic
lines
at
the
same
time
He
was
a
womanizer,
which
most
likely
contributed
to
his
early
death
(he
was
poisoned
by
a
jealous
husband)
He
was
only
recorded
on
two
different
days
in
1938
and
his
entire
discography
consists
of
only
about
18
songs
During
his
like
time,
only
a
handful
of
those
recordings
were
released
but
none
became
big
hits
He
supported
himself
as
an
itinerate
blues
musician
John
Hammond
heard
his
recordings
and
booked
him
in
the
“Spirituals
to
Swing
concert
at
Carnegie
Hall
Johnson
died
just
before
the
concert
at
CH
and
Big
Bill
Broonzy
replaced
him
Columbia
buys
Vocalion
records.
Hammond
works
for
Columbia
and
has
all
of
Johnson’s
recordings.
He
releases
“The
King
of
the
Delta
Blues”
record
and
Johnson’s
music
becomes
very
influential
on
a
number
of
early
R&R
musicians:
Bob
Dylan,
Keith
Richards,
and
Eric
Clapton
(to
name
3)
He
became
a
star
posthumously
due
to
John
Hammond
and
a
lawyer
from
Pasadena
named
Scott
Lavare,
He
bought
all
the
rights
to
his
music
and
started
publicizing
RJ
Johnson’s
most
famous
recording
is
“Crossroads
Blues”
which
talks
about
his
encounter
with
the
devil
(notice
the
guitar
playing,
it’s
unusual
for
the
time)
Crossroads
is
a
metaphor
for
making
a
decision
and/or
the
Cross
of
Christ.
Many
say
he
is
the
beginning
of
R&R
guitar
playing
Johnson
was
inducted
into
the
Rock
and
Roll
Hall
of
Fame
as
an
“Early
Influence”
in
their
first
induction
ceremony
in
1986
The
most
famous
cover
of
“Crossroads”
was
by
Eric
Clapton
and
Cream
(Ginger
Baker,
Jack
Bruce,
and
Eric
Clapton
the
first
power
trio)
Songs
by
RJ
that
became
R&R
standards
are
“Sweet
Home
Chicago”
“I’ll
Dust
My
Broom”
and
“Crossroads
Blues,”
which
could
be
considered
the
first
R&R
record
There
were
many
covers
of
RJ’s
songs
and
“The
Blues
Brothers”
covered
“Sweet
Home
Chicago”
Big
Bill
Broonzy
Broonzy
copyrighted
more
than
300
songs
during
his
lifetime,
including
both
adaptations
of
traditional
folk
songs
and
original
blues
songs
He
was
1
of
17
children
and
his
parents
were
born
into
slavery.
His
first
instrument
was
the
Violin
(fiddle)
He
made
his
first
recording
in
1927
Between
1912
and
1917,
he
worked
as
a
preacher
He
replaced
Robert
Johnson
at
John
Hammond’s
Dec.
23rd,
1938
concert
at
Carnegie
Hall
(which
was
dedicated
to
Bessie
Smith).
(This
was
Broonzy’s
first
appearance
before
a
white
audience
where
he
preformed
“It
Was
Just
A
Dream”).
A
year
later
he
was
invited
back
and
preformed
“Done
Got
Wise”
and
“Louis,
Louis”
“Big
Bill
was
a
stand-‐in
for
Robert
Johnson,
who
had
been
murdered
in
Mississippi
in
August
that
year.”
John
Hammond
stated
in
the
program
for
the
concert
“nobody
seems
to
know
what
caused
Robert
Johnson’s
death.”
“By
late
1938
Bill
was
established
as
a
session
man
and
as
a
solo
performer
in
Chicago
and
within
weeks
of
the
1938
concert
Bill
was
recording
with
small
groups
in
a
studio
in
the
windy
city.”
“For
years
and
years,
he
has
been
the
best-‐selling
blues
singer
on
Vocalion’s
“race”
records.”
(He
did
record
for
other
labels,
even
Chess)
Ragtime/Scott
Joplin:
Was
first
developed
in
the
Midwest.
First
popularized
at
World
Fairs
and
possibly
at
Kaminski
Park.
Sedalia,
Missouri
is
considered
the
birthplace
of
Ragtime
probably
because
so
many
ragtime
performers
and
players
came
from
there.
The
name
“ragtime”
comes
from
ragged
time
or
syncopation
and
evolved
into
Jazz
Syncopation
is
defined
as
rhythms
that
accent
weak
beats
in
the
meter
or
subdivisions
of
beats
Ragtime
was
disseminated
through
piano
rolls
mostly
because
it
was
difficult
for
amateurs
to
play
Ragtime
like
Marches
has
many
different
sections
Ragtime
was
considered
immoral
and
subversive
and
looked
down
upon
by
the
pretentious
upper
class
It
was
considered
sexy
as
well
because
the
syncopation
caused
people
to
do
sexy
dances
The
best-‐known
composer
of
Ragtime
works
was
Scott
Joplin
His
best-‐known
composition
was
“Maple
Leaf
rag”
The
Maple
Leaf
Rag
was
written
after
the
Maple
Leaf
Club
in
Sedalia,
Missouri
He
made
a
lot
of
money
from
his
royalties
on
Maple
Leaf
Rag
(it
sold
over
a
million
copies)
Joplin
wanted
to
make
his
music
more
respectable
so
he
set
his
music
to
an
opera
His
first
one
is
lost
but
he
spent
his
last
dime
(from
his
royalties
on
“Maple
Leaf
Rag)
trying
to
produce
his
opera
Treemonisha
He
died
penniless
in
1917
Jazz
replaces
Ragtime’s
popularity
and
is
forgotten
until
1973
The
1973
movie
“The
Sting”
popularized
his
music
His
composition
“The
Entertainer”
was
used
throughout
Treemonisha
was
finally
produced
due
to
popularity
of
the
movie,
The
Sting
James
Reese
Europe:
James
Reese
Europe
studied
violin
and
piano
as
a
child
in
Washington,
then
moved
to
New
York
(l9O4)
where
he
later
became
a
director
for
musical
comedies
Between
1900
and
1920
there
were
a
handful
of
black
Broadway
Shows
They
played
into
white
peoples
curiosity
of
black
culture,
a
direct
descendent
of
Minstrelsy
Europe’s
band
was
the
first
black
group
to
make
recordings
(from
1913)
In
1910
he
organized
the
Clef
Club,
a
black
musicians
association
(union)
The
Clef
Club
could
be
contacted
to
supply
entertainment
orchestras
consisting
of
anywhere
from
2
to
200
black
musicians
They
played
for
upper
society
There
were
suggestive
dances
that
caused
controversy
Dancing
was
couple
dancing
which
made
these
dances
questionable
Out
of
this
controversy
comes
Irene
and
Vernon
Cassel
The
Cassel’s
created
the
Fox
Trot
There
was
nothing
dirty
about
their
dancing
JER
backed
them
with
his
Syncopated
Society
Orchestra
In
1919,
Europe’s
band
recorded
their
instrumental
version
of
WC
Handy’s
“Memphis
Blues”,
which
would
be
labeled
instrumental
ragtime
During
World
War
I
he
won
respect
with
his
military
band,
the
369th
Infantry,
and
for
his
jazz
concerts
given
in
France
After
returning
to
the
USA
in
1919
he
embarked
on
a
triumphant
tour
of
the
nation
and
was
hailed
everywhere
for
his
“gorgeous
racket
of
syncopation
and
jazzing,”
but
he
died
during
the
course
of
the
tour
Just
as
JRE
was
getting
really
big
he
was
stabbed
by
one
of
his
musicians
in
the
neck
with
a
fountain
pen
and
died
from
his
injuries
Listening
Test
Guide
1)
Crazy
Blues
Mamie
Smith
What
is
the
significance
of
this
recording?
Name
the
artist:
Mamie
Smith
Ralph
Sylvester
Peer
labeled
this
music:
Race
Music
2)
Cross
Road
Blues
Robert
Johnson
Name
the
composer:
Robert
Johnson
Name
the
artist:
Robert
Johnson
The
subject
of
this
song
is:
the
Devil
3)
De
Camptown
Races:
Name
the
composer:
Steven
Foster
This
song
rose
to
popularity
during:
Minstrelsy
The
composer
of
this
song
is
unknown:
False
4)
The
Entertainer
Name
the
composer:
Scott
Joplin
This
music
was
popular
during:
the
turn
of
the
20th
century
The
style
of
this
music
is
called:
Ragtime
5)
I
Get
A
Kick
Out
Of
You
(Frank
Sinatra)
Name
the
composer:
Cole
Porter
This
song
is
an
example
of:
The
Great
American
Songbook:
True
Name
the
vocalist:
Frank
Sinatra
6)
It
Was
Just
A
Deam
Name
the
Artist:
Big
Bill
Broonzy
Who
produced
this
concert,
where
was
it
and
when?
John
Hammond,
Carnegie
Hall,
12/23/38
Who
was
this
artist
replacing:
Robert
Johnson
7)
Julia
Ann
Johnson
This
recording
is
an
example
of:
A
Work
Song
Artist:
Leadbelly
Who
recorded
this
song:
Alan
Lomax
8)
Black
Snake
Moan
Name
the
artist:
Blind
Lemon
Jefferson
This
artist
has
been
labeled:
“Father
of
the
Texas
Blues”
9)
See
See
Rider
Bea
Booze
Name
the
vocalist:
Bea
Booze
Who
originally
recorded
this
song?
Ma
Rainey
10)
St
Louis
Blues
Bessie
Smith
Name
the
vocalist:
Bessie
Smith
Composer:
WC
Handy
Trumpet:
Louis
Armstrong
