Live Concert Review #M6Q4

Country Thunder, Craven SK.

This past weekend I attended Country Thunder located just outside of Regina in Craven Saskatchewan. This is my second year and both have been the most amazing experience. Now, the majority of people I talk to have the wrong idea about Country Thunder. Many think it is a weekend dedicated to drinking and country people doing stupid things. To many, this weekend is more than just a party. It is some of the best music country has to offer all in one place where you are surrounded by the people you love without any worries.

The artist I have chosen to focus on from the entire weekend is Sundays headliner, Luke Bryan. I strongly believe that they left the best for last and they probably do that so nobody goes home early.

  

Before anything else, I want to touch on Lukes choice of clothing for his performance. Luke is wearing his Humboldt strong shirt proud in the perfect possible setting as all of Saskatchewan and so many attending Craven would have been affected by the tragic crash. I think this alone represents the overall environment of the concert: one large bonded community coming together. Bryan showed his support for Saskatchewan while sharing music with is that we loved. This tragedy would have also hit home with him as, at 19, Bryan’s brother was killed in a car accident and while wearing this shirt he was showing us that we all have each other and can heal through music as a family. Not only did he lose his brother in 1996 but his sister also passed in 2007 and it seems Bryan poured his mourning and feelings into his music.

Thomas Luther Bryan is an American Singer from Georgia who has made and continues to make a massive impact in popular country music. Born in 1976, Bryans family claimes they always knew he was going to make it and it was the death of his siblings that really inspired him to chase his dreams. this is clear because Luke Bryan first became known in 2007, shortly after the unexpected passing of his sister. It didn’t take long for Bryan to drop single after single and quickly make a name for himself in the world of country music. Aside from having an amazing voice and phenomenal country songs, Bryan is also extremely charming and fans fell in love with him when he began judging American Idol year after year.

This little girl accurately represents how my friends and I felt the second Luke Bryan stepped onto the stage. I’m sure all of Craven was feeling the same way or similarly.

Bryan’s music and songs tend to have a meaning to him and have connected with so many like he did at the concert in Craven. Yes some music is about partying and country people doing country things but like any genre of music, there is more to be heard that the surface. Bryans hit song, ‘Drink a Beer’ isn’t at all about drinking and partying but is a memorial to his siblings who passed.  Many probably didn’t know what this song means to Thomas and how the Hombolt crash and wearing of the shirt made him feel but he still wanted to reach the audience with his music. Country music, like all music, can be used as a form of healing or be used to bring up the mood of an audience with fun songs to dance to and forget everything that isn’t in the moment.

In this song, Bryan Sings, “Funny how the good ones go, too soon but the good lord knows” and “so long my friend until we meet again.” This song shows the strength behind country music and how it goes deeper into our roots. To me, Luke showing Humbolt pride while sharing his music and emotions with us made the concert that much more meaningful. Drink a beer is one of Bryans hit songs that has unbelievable powerful lyrics. Since this is a slower song I think I should also focus on a more fast-paced song to represent more of Bryans musical talent.

Above are just two more hot songs Bryan played at craven which he sang with perfect harmony. While it is clear how amazing his voice is, he also keeps his pitch and tune while staying on beat to all slow or fast songs. I think it’s crucial for artists to find a balance between songs people can party to with songs people can connect their emotions to and Bryan does an amazing job as a musician with finding that balance. While the tempo changes, Bryans talent remains amazing.

Craven was a perfect venue for Luke Bryan because country music is hugely celebrated and loved by prairie people. Personally, I have lived in towns all over Saskatchewan where country music is part of the culture and Luke Bryan has been one of my favorite artists for a while. Craven is a fun place where I got to see some of my favorite musicians while listening to some amazing live music and I plan to go back every year for as long as I can.

Bibliography:

Luke Bryan Biography. A&E Television Networks. The Biography.com website, 2018. https://www.biography.com/people/luke-bryan

 

The Far-Reaching Influence of Elvis

Hey guys! So it’s time for blog number two!

I knew right away I wanted to do this blog on Elvis, but I honestly had no idea which line of influence I wanted to choose! I have absolutely loved Elvis’s music (and his face obviously) since I was in my early teens. The walls in my room were covered with records, the majority of them being Elvis, and I frequently listened to them on an old record player I had “borrowed” from my grandparents. Anyway, choosing Elvis for this blog was the easy part. The hard part came when I had to choose a line of influence. I love all music. Well except for country, I have to be in a certain mood to listen to that haha. But my main muse when it comes to music is 80’s rock, metal, hardcore, etc. I also enjoy hip-hop, though I’m not a huge fan of the direction it’s been going in the past few years (what the hell is a “lil broccoli” anyway?), but that’s a story for another blog. Now, two of my favorite bands of all time are Metallica (which I couldn’t find on the visual lines of influence, but then again staring at it too long gave me a headache) and Lamb of God. However, I chose to go with Elvis –> Misfits –> Avenged Sevenfold because the Misfits were my favorite punk band throughout high school and I have a love/hate relationship with Avenged (I genuinely hate “melodic metal” which they frequently make), but they have a few songs I absolutely love, and when I went to their show here in February and it was absolutely amazing.

So let’s see if I can get this right…

Elvis –> Misfits

Glenn Danzig was the founder and lead singer of the Misfits. Now, you might be wondering how the hell Elvis could have influenced this…

BUT, he definitely had an influence on Danzig, and Danzig created the Misfits.

According to an article published on rollingstones.com, Elvis was the initial reason Danzig even got into music. Danzig states that “When I was a kid, I was cutting school pretending I was sick and I would lie at home watching old movies, and Jailhouse Rock came on with Elvis. I was like, ‘I want to do this. This is great.’ And that’s how I veered to music”(Grow). Furthermore, in another article published on blabbermouth.net, Danzig mentions that “If you took Elvis and SABBATH out of my life, I probably wouldn’t be the Glenn Danzig you know!” It’s quite obvious that Elvis had a massive impact on Danzig as a kid and was the driving influence that got him into music in his later adolescent years. The Misfits even covered Elvis’s “Devil in Disguise”. Elvis isn’t really someone you’d envision a punk band covering, but if you take a listen you’ll see how amazingly similar Danzig’s voice is to Elvis’s, and how they are able to keep the punk feel with a heavier sound than Elvis’s original.

And here is Elvis’s original version for reference

It’s pretty clear Elvis was a musical influence for Danzig (and the Misfits). It’s evident in the amazing job they did on this cover. Danzig does a great job recreating Elvis’s voice and the Misfits do an awesome job covering his song with a punk twist.

Moving on..

I’m by no means a “fashionista”, however, I couldn’t help but notice a slight similarity between Elvis’s (sometimes) style

 

 

 

 

 

 

with bassist Jerry Only from the Misfits..

 

 

 

 

 

 

I mean, between the facial expressions, leather, and their bad@$$ attitudes, there is a striking similarity!

Anyway, according to his interview with rollingstones.com, Danzig is actually releasing a “Danzig Sings Elvis” LP right away (Grow), it might be worth listening to if you’re a fan of Elvis, Danzig (and the Misfits), or both!!

And that brings us to (drumroll please!)…

Misfits –> Avenged Sevenfold

Good ol’ Avenged Sevenfold!

As I previously mentioned, I’ve always had a love/hate relationship with this band. Back in grade nine, I loved their album “City of Evil”. I listened to it daily. However, they have a tendency to play a lot of “melodic metal”, which I absolutely despise. If the song sounds like it should be on a Final Fantasy soundtrack, count me out. With that said, they have quite a few newer songs I absolutely love. As a matter of fact, I’m going to go ahead and insert my favorite song here. I may or may not have taken a few people out in the mosh pit during this song when they were here in February haha 😉

Anyway, back on track here..

You might be wondering how Avenged Sevenfold, a hard rock/progressive metal band, was influenced by a punk band. I was wondering the same thing. To be honest, there tends to be lyrical similarities between most metal, punk, and rock bands, so that’s nothing new. Vocally, there isn’t much similarity between the Misfits and Avenged Sevenfold. The Misfits vocals are generally “loud” singing, but singing nonetheless. Here’s an example from one of my favorite Misfits songs:

Whereas Avenged, especially with their first few albums, the vocals are a lot heavier. Here’s an example from their first album:

Avenged has definitely changed their vocals over the past few years, and they definitely sing more than scream now, but for a band (the Misfits) to have influenced them, it would have had to be when they first formed the group.

So how about visual influences?

When Avenged first formed, they definitely had more of an “emo” look to them (I hate that term, but you know what I mean)

 

 

 

 

 

And the Misfits, as we all know, were very “out there” with their style..

 

 

 

 

Regardless, there are visual similarities between the two. Members from both Avenged and the Misfits wore black, leather, makeup, and had either spikey hair or the long, pointed bangs.

I wasn’t able to find much online about how the Misfits influenced Avenged Sevenfold as a whole. However, I was able to find an article titled “Music Corner” that mentions how  M. Shadows (founding member and vocalist) favoured the Misfits growing up and Zacky Vengeance (backing vocals and rhythm guitarist) considers them to be a style influence (kentangbopeng.blogspot.com).

Regardless, It’s quite clear from the “lines of influence” that Elvis had a great impact on multiple different genres of music, and on numerous amazing artists and bands. I love Elvis, I love the Misfits, and I love Avenged Sevenfold (well most of their music anyway haha). I hope you guy’s enjoyed the music in this blog as much as I did!!

Works Cited

Blabbermouth. “It Wouldn’t Be GLENN DANZIG Without ELVIS PRESLEY And BLACK SABBATH In His Life.” BLABBERMOUTH.NET, 12 Oct. 2015, www.blabbermouth.net/news/danzig-skeletons-release-date-final-track-listing/.

Grow, Kory. “See Danzig Tell Elvis, Johnny Cash and Roy Orbison Stories.” Rolling Stone, Rolling Stone, 25 June 2018, www.rollingstone.com/music/music-features/danzig-talks-elvis-influence-writing-for-johnny-cash-and-roy-orbison-65888/.

“Music Corner.” Biography of Avenged Sevenfold Members, kentangbopeng.blogspot.com/2010/01/biography-of-avenged-sevenfold-members.html.

Payola Scandal #M6Q3

‘Payola – The paying of cash or gifts in exchange for airplay’. [2] This is the broad definition of the term ’Payola’ but what this definition lacks is the substance that makes the word so memorable to so many within the music industry. The Payola scandal is one of the most significant events in the introduction of popular music into the mainstream the influence it had on future music and the music that was deemed popular at the time was all influenced by this particular event and it may have very well changed the course of music history. “Payola” is a contraction of the words “pay” and “Victrola” (LP record player). [2] This basically means hat whoever was in changed could be bribed into playing songs that were not on the set list which gave more exposure to the artists that were in need of radio play to kick off their careers.

Major Players In The Game

“In 1959, Alan Freed, the most popular disc jockey in the country, was fired from his job at WABC after refusing to sign a statement that he’d never received payola to play a record on the air. For most of America, the word payola was a new one. But for anybody in the music business, it was as old as a vaudevillian’s musty tuxedo” [1]. Although not new to many within the industry payola became an important part of the late 50’s and into the early 60’s with Alan Freed standing trial along with another popular DJ at the time Dick Clark both decreed their innocence in receiving payments to play certain songs. “It was Freed who ended up taking the fall for DJs everywhere” [1]. The question is why did Alan Freed take the brunt of these accusations when Dick Clark among many other DJ’s at the time were guilty of the same thing? Alan Freed had a reputation of being more outspoken “Freed was abrasive. He consorted with black R & B musicians. He jive talked, smoked constantly and looked like an insomniac” [1]. Whereas Dick Clark had a different persona which was reflected by his peers, “Clark was squeaky clean, Brylcreemed handsome and polite” [1]. The fate of these two major players in the payola scandal took two different paths “Freed’s friends and allies in broadcasting quickly deserted him. He refused to sign an affidavit saying that he’d never accepted payola. WABC canned him, and he was charged with twenty-six counts of commercial bribery. Freed escaped with fines and a suspended jail sentence. But he died five years later, broke and virtually forgotten” [1]. Dick Clark’s fate was much different which leads people to believe that Alan Freed took the fall for other DJ’s including Clark, “Dick Clark had wisely divested himself of all incriminating connections (he had part ownership in seven indie labels, six publishers, three record distributors and two talent agencies). He got a slap on the wrist by the Committee chairman, who called him “a fine young man”. [1]Dick Clark was clearly the largest proprietor of the payola scandal having for a DJ to be that heavily involved as an owner in those businesses he had to have been doing well financially and subsequently had a major influence on those artist’s who were looking to make it big. This marked the first time that music within the African American community got some national attention during the payola scandal Alan Freed “first played Rhythm & Blues (R & B, or “race music”) in 1951. Until that time, the music remained largely in the black community”. [4] Until this point the music that was primarily known in the African American communities had some exposure on some mainstream radio stations because of guys like Alan Freed, however the principle of exploiting these musicians and using the advantage of their position to gain some financial power at the expense of the lack of acceptance of African American’s can be considered a little disingenuous because of the situation even though these musicians had major talent which led into the birth of Rock ‘n’ Roll.

Payola Modern Day

‘playlists are the new radio.’  And like most clichés, it’s partly true: playlists on platforms like Spotify are not only a major vehicle for discovery, they are also a huge way to build a song’s popularity and an artist’s career.  For many music listeners, it’s the only way they’ll hear something new (or old)” [3]. You would figure that with the payola scandal being brought to the forefront of any mainstream media outlet so many years ago and how the reputation of such system became frowned upon, that there would not be such a system in the present day wrong! It’s still quite prevalent in the music industry primarily among the most popular way to access music online playlists and apps such as Spotify. “The only problem is that the biggest playlists on Spotify aren’t organic, they’re bought-and-sold like radio playlists of old.  Which means it’s nearly impossible to get discovered with great music alone (just like before)”. [2] Same power system used over popular music just a different platform but still as effective if not more. “So who makes the decisions on who gets into that heavily-trafficked playlist, and who gets left off?  Those decisions appear increasingly controlled by three major labels: Universal Music Group, Sony Music Entertainment, and Warner Music Group, a group that collectively owns a very substantial ownership share of not just Spotify, but other platforms like VEVO, a critical component of the largest streaming service in the world, YouTube”. [2] Even in the present day major conglomerates control what we listen to and are not held accountable for suppressing creativity which is unfortunate because these companies determine who gets recognized and who becomes famous. With that being said payola still has a stranglehold on music and to me seems unacceptable when considering all of the talent that is getting overlooked because they will not give into the capitalist machines that corrupt even the purest of art forms.

 

Bibliography

  1. Demain, Bill. 2011. Paying the Piper a Little Something Extra: A Short History of Payola. November 7.
  2. History-of-Rock. 2018. July 12.
  3. Resnikoff, Paul. 2016. Major Label CEO Confirms That ‘Playlist Payola’ Is a Real Thing…. May 20.
  4. Thornton, Steve. 2018. Rock and Roll vs. Racism. July 12.

 

 

Payola Scandal #M6Q3

‘Payola – The paying of cash or gifts in exchange for airplay’. [2] This is the broad definition of the term ’Payola’ but what this definition lacks is the substance that makes the word so memorable to so many within the music industry. The Payola scandal is one of the most significant events in the introduction of popular music into the mainstream the influence it had on future music and the music that was deemed popular at the time was all influenced by this particular event and it may have very well changed the course of music history. “Payola” is a contraction of the words “pay” and “Victrola” (LP record player). [2] This basically means hat whoever was in changed could be bribed into playing songs that were not on the set list which gave more exposure to the artists that were in need of radio play to kick off their careers.

Major Players In The Game

“In 1959, Alan Freed, the most popular disc jockey in the country, was fired from his job at WABC after refusing to sign a statement that he’d never received payola to play a record on the air. For most of America, the word payola was a new one. But for anybody in the music business, it was as old as a vaudevillian’s musty tuxedo” [1]. Although not new to many within the industry payola became an important part of the late 50’s and into the early 60’s with Alan Freed standing trial along with another popular DJ at the time Dick Clark both decreed their innocence in receiving payments to play certain songs. “It was Freed who ended up taking the fall for DJs everywhere” [1]. The question is why did Alan Freed take the brunt of these accusations when Dick Clark among many other DJ’s at the time were guilty of the same thing? Alan Freed had a reputation of being more outspoken “Freed was abrasive. He consorted with black R & B musicians. He jive talked, smoked constantly and looked like an insomniac” [1]. Whereas Dick Clark had a different persona which was reflected by his peers, “Clark was squeaky clean, Brylcreemed handsome and polite” [1]. The fate of these two major players in the payola scandal took two different paths “Freed’s friends and allies in broadcasting quickly deserted him. He refused to sign an affidavit saying that he’d never accepted payola. WABC canned him, and he was charged with twenty-six counts of commercial bribery. Freed escaped with fines and a suspended jail sentence. But he died five years later, broke and virtually forgotten” [1]. Dick Clark’s fate was much different which leads people to believe that Alan Freed took the fall for other DJ’s including Clark, “Dick Clark had wisely divested himself of all incriminating connections (he had part ownership in seven indie labels, six publishers, three record distributors and two talent agencies). He got a slap on the wrist by the Committee chairman, who called him “a fine young man”. [1]Dick Clark was clearly the largest proprietor of the payola scandal having for a DJ to be that heavily involved as an owner in those businesses he had to have been doing well financially and subsequently had a major influence on those artist’s who were looking to make it big. This marked the first time that music within the African American community got some national attention during the payola scandal Alan Freed “first played Rhythm & Blues (R & B, or “race music”) in 1951. Until that time, the music remained largely in the black community”. [4] Until this point the music that was primarily known in the African American communities had some exposure on some mainstream radio stations because of guys like Alan Freed, however the principle of exploiting these musicians and using the advantage of their position to gain some financial power at the expense of the lack of acceptance of African American’s can be considered a little disingenuous because of the situation even though these musicians had major talent which led into the birth of Rock ‘n’ Roll.

Payola Modern Day

‘playlists are the new radio.’  And like most clichés, it’s partly true: playlists on platforms like Spotify are not only a major vehicle for discovery, they are also a huge way to build a song’s popularity and an artist’s career.  For many music listeners, it’s the only way they’ll hear something new (or old)” [3]. You would figure that with the payola scandal being brought to the forefront of any mainstream media outlet so many years ago and how the reputation of such system became frowned upon, that there would not be such a system in the present day wrong! It’s still quite prevalent in the music industry primarily among the most popular way to access music online playlists and apps such as Spotify. “The only problem is that the biggest playlists on Spotify aren’t organic, they’re bought-and-sold like radio playlists of old.  Which means it’s nearly impossible to get discovered with great music alone (just like before)”. [2] Same power system used over popular music just a different platform but still as effective if not more. “So who makes the decisions on who gets into that heavily-trafficked playlist, and who gets left off?  Those decisions appear increasingly controlled by three major labels: Universal Music Group, Sony Music Entertainment, and Warner Music Group, a group that collectively owns a very substantial ownership share of not just Spotify, but other platforms like VEVO, a critical component of the largest streaming service in the world, YouTube”. [2] Even in the present day major conglomerates control what we listen to and are not held accountable for suppressing creativity which is unfortunate because these companies determine who gets recognized and who becomes famous. With that being said payola still has a stranglehold on music and to me seems unacceptable when considering all of the talent that is getting overlooked because they will not give into the capitalist machines that corrupt even the purest of art forms.

 

Bibliography

  1. Demain, Bill. 2011. Paying the Piper a Little Something Extra: A Short History of Payola. November 7.
  2. History-of-Rock. 2018. July 12.
  3. Resnikoff, Paul. 2016. Major Label CEO Confirms That ‘Playlist Payola’ Is a Real Thing…. May 20.
  4. Thornton, Steve. 2018. Rock and Roll vs. Racism. July 12.

 

 

#M5Q2 – The Great American Songbook, and “If I Loved You”

The Great American Songbook
As stated by The Center for the Performing Arts, The Great American Songbook is “the canon of the most important and influential American popular songs and jazz standards from the early 2oth century”. 1

The Songbook includes the most popular songs from musical theatre and Hollywood musical film from the 1920s to the 1950s.1

It is important to note that while many different publishers may put out books titled “The Great American Songbook”, the Great American Songbook is not a physical book with a definite list of songs; instead, it is a loose consensus of the most popular songs from the timeframe mentioned above. As so, it was not one person, or a group of people, who decided what would be included in the Great American Songbook, but society as a whole. The songs that were the most endearing to the public, and the ones that lasted the longest were the ones deemed to be part of the Great American Songbook.

The Great American Songbook directly relates to the popular music of its time, i.e. between 1920 to 1950. The Songbook also has a specific relation with the “golden age” of musical theatre, as many of the biggest musical theatre hits from that period are included in the Songbook.

“If I Loved You”
“If I Loved You” was written by Oscar Hammerstein II and composed by Richard Rodgers for the 1945 musical Carousel.2

The Rodgers and Hammerstein classic meets the general criteria for being a part of the Great American Songbook by being one of the most well-known and beloved songs from a famous Broadway musical. The success and love for Carousel led to a production across the pond on West End, a film adaptation in 1956, and has generated many revivals on both Broadway and West End. As well, the musical has garnered many Tony and Olivier award nominations and wins along its lifespan.3,4 “If I Loved You” manages to stand out amongst all this as arguably the most beloved song of the entire musical. Having survived the test of time, “If I Loved You” still remains a musical theatre favorite to this day. As so, it is clear why the song has been included in the Great American Songbook.

The song is a loose duet featuring both song and spoken dialogue, in what seems to be a 4/4 time signature. The song is opened by the female lead, Julie, who sings in a moderately slow, operatic style. The male lead, Billy, repeats the melody back in a similar style later on. The singers are accompanied by a typical Broadway orchestra, with the string section being prominent throughout the entire song. The lyrics show Julie and Billy dancing around the subject of being in love, as they are both too shy, and neither wants to admit it to the other:

If I loved you,
Time and again I would try to say
All I’d want you to know.
If I loved you,
Words wouldn’t come in an easy way
Round in circles I’d go!
Longin’ to tell you,
But afraid and shy,
I’d let my golden chances pass me by!
Soon you’d leave me,
Off you would go in the mist of day,
Never, never to know how I loved you
If I loved you. 5

“If I Loved You”, Movie Version (1956)

“If I Loved You”, Laura Osnes (2015)

Laura Osnes stays true to the operatic nature of Carousel, making her version sound quite similar to that of Shirley Jones in the movie clip. However, Osnes does have lighter touch to her voice; whether this is due to the poorer sound quality of the film clip, the “more pop-like” Broadway voice currently in style coming through, or simply genetics is unknown. As well, Osnes’ rendition doesn’t include a duet with a male counterpart, and features only a piano for accompaniment, instead of a whole orchestra. Jones and Osnes are very talented vocalists, and both seem to be staying true to the original source material. As so, it doesn’t seem like there are any glaringly unique characteristics between the two. The main noticeable difference seems to be Jones sounding more operatic in her phrasing and vibrato, as was the norm for Broadway during her time. Jones’ version is definitely more famous, as she was featured directly in the movie, whereas Osnes’ version was simply paying homage to Rodgers and Hammerstein during a concert. The Youtube views for each video agree with this.

My guess as to why songs after the 1960s were not added to the Great American Songbook would be because they simply had not been around long enough to be considered classics. Or, perhaps, the new type of music was too out of the norm and was deemed sacrilegious by the pretentious folk who didn’t know better. Another reason could be genre’s separating from each other, with the showtunes and jazz of the Great American Songbook settling into their own niches, and rock developing into its own independent genre.

While musicals and show tunes may seem outdated and irrelevant to some, the fact that Broadway and West End are still thriving and generating incredible amounts of money proves otherwise. While not the taste for some, there will always be those who singing, dancing, and acting culminating together to result in incredible stories. As so, there will always be a continued relevance for musical theatre.

References
1-Great American Songbook Foundation. “What Is the Great American Songbook?” The Center for the Performing Arts – Home of the Palladium – Carmel, Indiana. Accessed July 19, 2018. http://www.thecenterfortheperformingarts.org/Great-American-Songbook-Inititative/About-the-Great-American-Songbook.

2-“If I Loved You.” Wikipedia. July 07, 2018. https://en.wikipedia.org/wiki/If_I_Loved_You.

3-“Search Past Tony Awards Winners and Nominees.” TonyAwards.com. Accessed July 19, 2018. https://www.tonyawards.com/en_US/history/pastwinners/tonys_results.html?lname=Carousel.

4-“Olivier Winners 1993.” Official London Theatre. Accessed July 19, 2018. https://officiallondontheatre.com/olivier-awards/winners/olivier-winners-1993/.

5-“If I Loved You Lyrics by from Carousel Soundtrack.” STLyrics.com. Accessed July 19, 2018. https://www.stlyrics.com/lyrics/carousel/ifilovedyou.htm.

 

 

Queen of the Blues: The Life Mamie Smith

Many music historians “consider Mamie Smith to be the first African American woman to record blues vocals.”1 For someone who has had such a vital role in the history of both musical and African-American history, very little is known about Mamie Smith’s early years. Smith was allegedly born in Cincinnati on May 26, 1883. However, there is no physical paper trail to confirm this. Physical records were seldom kept for African-Americans during this time (due to their perceived lesser status).2 However, we do know that when she was around ten years old, she toured with the Four Dancing Mitchells, a white act. From here, she continued to perform: she had danced in J. Homer Tutt and Salem Tutt Whitney’s The Smart Set Company in 1912 before leaving to perform across theatres in Harlem.3 Smith was known for stage presence: singer Victoria Spivey claimed that seeing Smith live inspired her to become a performer herself:

Miss Smith walked on that stage and I could not breathe for a minute. She threw those big sparkling eyes on us with that lovely smile showing those pearly teeth with a diamond the size of one of her teeth. . . Her full voice filled the entire auditorium without the use of mikes like we use today. That was singing the blues! I was really inspired and kept plugging to become a singer.4

It was during one of these performances that she met African-American musicians Perry Bradford, who convinced OKeh Record’s Fred Hager to sign her. Bradford argued that African American artists were an “untapped market” who wanted to listen to their own distinctive music. She her first singles, “That Thing Called Love” and Can’t Keep a Good Man Down” were met with controversy: Hager received threats from those who were uncomfortable with OKeh endorsing “black” music (in fact, Smith was almost replaced with Sophie Tucker, one of her “white” contemporaries). However, her next hit, “Crazy Blues” was incredibly popular and had sold over a million copies within the year. Despite racism, Smith was hugely popular. For example, according to the Richmond Palladium Sun-Telegram, Smith sold out in the town of Richmond, which was only 5% African-American. Additionally, it is estimated that nearly 45% of all white males in the town belonged to Whitewater Klan #60, which was Richmond’s local Klu Klux Klan chapter.5 Thus, one can assume that either a portion of the white citizens overcame their prejudice in order to appreciate Smith’s music or black citizens from surrounding areas travelled to Richmond in order to see Smith perform. Either way, Smith was able to overcome racism and break the colour barrier found in the recording industry. This was due to a few factors. While Smith is considered the first African-American woman to record “blues music,” it is worth noting that her music was not entirely “blues” but rather “blues-pop.” According to Derrick Stewart-Baxter, she was only moderately talented as a “blues” vocalist and she did not have the vocal inflection of other “blues” singers. It has also been said that her singing style was more at home in a Victorian parlour than at a music hall.6  This likely made her accessible to white audiences. In fact, one article from 1920 claims that Mamie Smith was “the only colored girl that sings for records, which we all like to hear.”  However, this caused controversy within the African American community: some claimed that record companies used artists like Smith, who “pandered” to European tastes, to exclude other black artists who were more “authentic.”7  Nonetheless, Smith was popular among African-Americans simply because she “ushered in a new era of music divas who presented themselves as upper-class, educated, rich, and demanding of respect.”8 In addition to recording songs, she acted in a number of African-American films, such as Paradise in Harlem and Mystery in Swing. She died in 1944 after a long illness.9

“That Thing Called Love:”

As previously mentioned, Mamie Smith’s “That Thing Called Love” as one of her first recorded song, which makes it one of the first blues songs recorded by an African-American woman.10 The song is accompanied by a white band.11 This can be heard in the song, as the musical accompaniment is more “melodic”. Lyrically, the song is similar to other blues songs” which chronicle stories of scorned women mourning lost relationships.

“Crazy Blues:”

While “Crazy Blues” was not Smith’s first song, it was her first major hit. Not only did it sell over a million copies within its first year, Jas Obercht claims that “Crazy Blues” “could be heard coming from the open windows of virtually any black neighborhood in America”c  While the song’s musical accompaniment (while not as “gloomy” as other blues songs) is slightly melancholy when compared to Smith’s somewhat upbeat inflection. Thematically, the song is about a miserable woman suffering through a tough breakup. All these facets make the song a paradox (perhaps this is what the “crazy” in “Crazy Blues” refers to). While the “Don’t Care Blues” was the first song recorded by an African-American woman, “Crazy Blues” was the song that brought “black” music closer to the mainstream and paved the way for future black musicians.

“You Can Have Him, I Don’t Want Him:”

“You Can Have Him, I Don’t Want Him,” rather than mourning the loss of a relationship (a theme typically found in blues music”), celebrates the newfound freedom that comes with breaking up with a cheating boyfriend. The song is jubilant in nature and the lyrics are relatively cheerful (when it comes to blues music, anyhow). The reason why I have selected this song is that it reminds me of a far more modern song performed by another influential black artist: Beyoncé.

In “Sorry,” Beyoncé (at least, within the song), celebrates the loss of a cheating lover (an unnecessary aside from myself: get it together, Jay-Z). She even describes this loss, like Smith, as a death and everything afterwards as a quasi-religious resurrection. However, what really interests me is that fact that Beyoncé, an artist that literally owes her ability to record to Mamie Smith, recorded a song so thematically similar to written nearly 100 years ago, which shows us how truly timeless Mamie Smith is.

 

Endnotes:

  1. Jill Weiss Simins, “‘Oh Boy! She’s Coming to Richmond’: Mamie Smith Brings the ‘Crazy Blues,’ 1921,” Hoosier State Chronicles, last modified October 6, 2016, https://blog.newspapers.library.in.gov/mamie-smith/.
  2. Stevens C. Tracy, Going to Cincinnati: A History of the Blues in the Queen City (Chicago: University of Illinois Press, 1998), 5-6.
  3. Barry Kernfeld, “SMITH, Mamie,” in Harlem Renaissance Lives from the African American National Biography, ed. Henry Louis Gates and Evelyn Brooks Higginbotham (Oxford: Oxford University Press, 2009), 458.
  4. Victoria Spivey, quoted in Ibid., 459.
  5. Simins, 2016.
  6. Tracy, 6.
  7. Grace Kenny, “Mamie Smith’s ‘Crazy Blues,’” MUS 345: Race Identity, and Representation in American Music, last modified October 10, 2017, https://pages.stolaf.edu/americanmusic/tag/mamie-smith/.
  8. Simins, 2016.
  9. Kernfeld, 458.
  10. Simins, 2016.
  11. Kernfeld, 458.
  12. Simins, 2016.

Bibliography:

Kenny, Grace. “Mamie Smith’s ‘Crazy Blues.’” MUS 345: Race, Identity, and Representation in American Music. Last Modified October 10, 2017. https://pages.stolaf.edu/americanmusic/tag/mamie-smith/.

Kernfeld, Barry. “SMITH, Mamie.” In Harlem Renaissance Lives from the African American National Biography. Edited by Henry Louis Gates and Evelyn Brooks Higginbotham. Oxford: Oxford University Press, 2009.

Simins, Weiss Jill. “‘Oh Boy! She’s Coming to Richmond’: Mamie Smith Brings the ‘Crazy Blues,’1921.” Hoosier State Chronicles. Last Modified October 6, 2016. https://blog.newspapers.library.in.gov/mamie-smith/.

Tracy, Steven C. Going to Cincinnati: A History of the Blues in the Queen City. Chicago: University of Chicago Press, 1998.

 

Bonobo’s alarming, but that doesn’t stop the music.

On June 26th, I attended Bonobo’s show on the main stage at the Sasktel Saskatchewan Jazz Festival. Bonobo , also known as Simon Green, was born on March 30th, 1974 in Brighton, England. He is currently based in Los Angeles.  His music debuted with a trip- hop ( a fusion of hip hop and electronica)  aesthetic, but he has also explored different genres to experiment with including world music and Jazz.  During his live performances, he travels with a band to create organic sounds. He also uses different layers in his music to build on top of currrent sounds.

Ticket stub from the show.

This show was quite different compared to other concerts that I have attended. I had gotten. The ticket for free through work, and I didn’t familiarize myself with the music before attending. When I got there I initially surprised by how loud it was for the amount of people there. Unlike other shows at the jazz festival, this one was not sold out, or even close to selling out. One thing I did find interesting though, was that the bass vibrations were so loud, that it set off a car alarm for the entire duration of his performance. The general age range of the audience was from late teens to early 30’s. It definitely attracted a younger audience as opposed to other shows at the jazz festival.

The song Cirrus, sounds like it starts off with a mbira or a kalimba, which are African idiophones that have metal tines attached to a wood board which you strike in order to make a sound. This is a characteristic of the world music that Bonobo incorporates into his music.  Then, there is the addition of what sounds like finger cymbals which can be a characteristic of Moroccan music. Gradually as the song builds, the listener can hear the different layers of sound. It starts off relatively thin, then as the different rhythms repeat, more and more layers are added to the song. This was especially neat to see done live because of the use of different electronics to help make the sounds. The band only had 3 members so it was neat to see how they were able to put together all the layers seamlessly without any issue.

Break Apart, was a lot different from most of the music that they performed. This song included a singer and lyrics. It starts off with what sounds like a harp. Again, with this song, all of the sounds are gradually layered to create depth and dimension. The lyrics in this song show how someone might think what other people may think of them:

“It’s hard to take all of this hate

It’s hard to take all of this hate

This hate”

Throughout the song, the lyrics get a little bit more pleasant. By repeating “ You’re my favourite, you’re my favourite, But we’re phasing, but we’re phasing.”

Overall, I enjoyed the concert. It wasn’t at all what I was expecting. I was expecting some very loud electronic, dance type music, but, it was all very calming and “chill”. Even though it was a very loud show, it wasn’t obnoxious. If anything, I think i found a new artist to add to my study music playlist as each song doesn’t have a distinct melody and it isn’t like some other music where I will want to sing along with it. I’m definitely happy that I was able to go to the show and was given the opportunity to embrace a genre of music that I’m not as familiar with.

 

Sources:

Apple Music Biography on Bonobo

 

Harry Styles: Live on Tour

Hi again!

For my second blog post, I will be reviewing a recent concert I attended in
Vancouver, British Columbia. (Yes, I did in fact fly to BC for this concert) This was for none other than Mr. Harry Styles.

 

One Direction Days

Eight years ago, a young 16-year-old boy auditioned on the popular tv show called the X-Factor. It was here where thousands of people competed for the top spot. Originally, Harry Styles was trying out as a solo act but was eventually placed with four other boys to continue on as a band. Thus, One Direction was born.

Within weeks, One Direction had a huge fan base. Mostly teenage girls who loved their hair, but nonetheless people were listening to their music.  Eventually, One Direction was eliminated from the X-factor but their newfound fame did not stop. Within 5 years, One Direction had 5 albums, a movie, and sold out world stadium tours.

One Direction seemed to have everything going for them. Then, the band announced it was going on a break in August of 2015. Fast forward to May 12th, 2017 and Harry Styles released his own 10 song album.

Harry’s album fell under the Pop genre but after listening to it many, many times I found myself thinking of it as more of an alternative rock.

Sign of The Times

“Sign of the Times” was the first and most popular song Harry released back in 2017. This song has a dark and almost heartbreaking feel to it. With the long drawn out piano notes, one can sense a mix of Pink Floyd and David Bowie all in one.

To me, “Sign of the Times” is a song about coming to terms with the end of something in our lives, whether that is a relationship, friendship, or just the past in general.

“Just stop your crying it’s the sign of the times”

This meaning that there are things in our life that we can not change and as painful as it, sometimes the only thing one can do is move on.

Later in the song Styles also writes,

“Remember, everything will be alright
We can meet again somewhere
Somewhere far away from here.”

Now to me, this translates to let things happen as they may. It is never too late and no one knows what your future holds. While things might not always seem so great, whats meant to be will be, and everything will be okay in the end.

Truthfully, no one will ever fully know why Harry wrote those words or what they were meant for, however, we all have our own take and make our own inferences. That is what makes music so beautiful, everyone can take what they want from songs and make them their own story.

Kiwi

Most of the time Harry sticks to the soft acoustic songs we all know and love. Therefore, his single Kiwi was certainly a step out of the comfort zone. Debuting at number 66 on the charts, this single is hard rock and roll and has a rebellious feel to it.  With lyrics such as

“She worked her way through a cheap pack of cigarettes, Hard liquor mixed with a bit of intellect” 

one feels like they are back in the 70’s and consumed in a different world. Another thing to note about “Kiwi” is the intense work of the drums and guitar. With such a high-intensity song, it’s important the background music can keep up. I specifically enjoyed the work of the drums during faster parts of the song, and then suddenly the drums fade and only Harry’s voice is heard. For me, this allows the listener to pay more attention to the lyrics and connect that much more with the song.

Rogers Arena

As mentioned earlier, the concert took place at Rogers Arena in Vancouver, British Columbia.  The arena itself holds around 19 000 people, but yet even though almost every seat was filled, it was one of the most intimate concerts I have ever experienced.  There were no backup dancers, no extravagant stage or lights, just Harry, his band and 19 000 people softly singing along. This was a chilling experience and something I  wish I could relive.

Audience

Coming to Vancouver, I imagined the concert to be filled with screaming young girls like myself. And while there was plenty of them, there was also people of every age. I specifically remember standing in shock while a man who looked to be about in his seventies asked to sneak past me. My point is, Harry Styles produces music that everyone can find joy in and those who still label him as nothing but a “teenage boy band” couldn’t be more wrong.

Reflection

Seeing Harry Styles live and in concert has been a dream of mine since I first watched him years ago.  The feeling of joy and excitement I got before the concert even began was indescribable. One thing that stuck with me after the concert was how humble Harry Styles is. For example, as he walked out on stage he calmly spoke into the mic and introduced himself

“Hi Vancouver, my name is Harry and I am so incredibly honored to play for you guys tonight.”

I think one of the reasons this concert meant so much to me is because of how much I look up to Harry Styles and how there are so many qualities in him that I want in myself.

As much as this concert meant to me, I believe it meant just as much to others. One of the many reasons millions of people love Harry Styles as much as I do is because of how accepting he is. It doesn’t matter about the color of your skin, your sexuality, or gender. Harry wanted everyone to feel welcome and embrace who they are, or whoever they want to be.

Works Cited

Lent, Jason. “The Revolution “Harry Styles”.” May 26, 2017. Accessed July 15, 2018.

Cunningham, John M. “One Direction.” Encyclopædia Britannica. June 26, 2018. Accessed July 19, 2018. https://www.britannica.com/topic/One-Direction.Penrose, Nerisha, and Lyndsey Havens.

“One Year After One Direction’s Hiatus Announcement: A Timeline.” Billboard. October 18, 2016. Accessed July 17, 2018. https://www.billboard.com/articles/columns/pop

Conte, HJ, Columbia Records, and Sony Music Entertainment. “Debut Album out Now.” Harry Styles. Accessed July 1, 2018. https://hstyles.co.uk/.

 

 

 

Other Important Figures in Early Pop Music History: James A. Bland #M2Q3

Biography

The World’s Greatest Minstrel Man, James Alan Bland, is one name that is seldom heard in the ever-changing music industry that we have today. Bland was born on October 22nd, 1845 in Flushing, New York and one was one of eight children [1]. As an African-American man in the mid 1800’s, it may seem like Bland would have had a very tough childhood as acceptance of black folk was not overly common, but he actually did very well for himself given the socio-acceptance and rate of slavery at that time. His parents were very educated, which influenced Bland to study at Howard University in Washington, D.C. [1].

                      Howard University, Washington D.C.1870 [4]

His campus-life did not last very long as he decided to pursue music as a career instead of getting a degree, and performed at whatever gigs that he could get at that time. By the late 1970’s, Bland chose to join a band, the Georgia Minstrels, which led him to become one of the first successful people to be in a black-minstrel company [2], while also composing hundreds of songs throughout his years. Minstrel bands were used to entertain through the mockery of African American people, but Bland took advantage of this mockery to become very successful.

                                        Music Poster from James Bland and his band, The Georgia Minstrels, featuring typical minstrel mockery of African-American folk,1879 [5]

By 1880, Bland was one of the most successful performers in America, but decided to move to London, England. He did not move back until 20 years later, and unfortunately was sick and had spent all his money that he earned while being famous. Even though he was an incredible composer, and composed an estimated 700 songs [3], the excitement over minstrel shows and James A. Bland himself had passed over, and there was nothing left for Bland. He later died from tuberculosis, but his music still lives on as timeless and revolutionary.

His Importance and Contributions

James A. Bland contributed a lot to the African-American community of the 1800’s. Some people may think that it is awful that he participated in the racism that minstrel shows were created for, but it may actually have been a good thing. He was a very successful black man, no matter where his success stemmed from, and successful African-American’s were scarce because of the discrimination and slavery that occurred during that time. He showed that taking advantage of your situation, even if it is unfair and not right, is still possible and you can still live a successful life, no matter what.

His Life Challenges

As a black man during the 1800’s, Bland had some major hurdles to get over. Luckily, his parents were educated and wealthy enough to get Bland out into the world and go to school, but it was still difficult as a black man. Slavery was a huge issue, and black people were overly not accepted, which is why minstrel shows became so popular. James A. Bland overcame this racial hurdle by using it to his advantage. He saw the opportunity to take this misfortune of African-American’s at the time, and become successful through it. He used what the rest of society wanted, a mockery of African-American people, and did just that.

                                    Music Poster from James Bland and his band, The Georgia Minstrels, featuring typical minstrel mockery of African-American folk,1879 [5]

The band he was in, the Georgia Minstrels, even blackened their faces more, put red makeup on their lips, and moved around in stereotypical and extravagant ways to entertain the audience [2]. No, the racism or discrimination is not fair, but Bland took that unfairness and made it positive for him and his life.

Examples of His Contribution

“Oh! Dem’ Golden Slippers” – James A. Bland

Oh, dem golden slippers!

Golden slippers I’m gwine to wear,

Becase dey look so neat;

Oh, dem golden slippers!

-James A. Bland, 1879

Bland was a very thoughtful writer. He influenced the music world has he used his compositions to tell stories of issues of his time, especially those affecting his community, the African-American people. This song is a good representation of his situation, as he writes about material things, such as a white robe, a banjo, and of course, golden slippers, which are all things that he had in his life due to his success. He writes, “t’s good-bye, children, I will have to go”, possibly meaning that he either has to get away from the fame or the American society, which he did by moving to London, or it is possible that he is referencing breaking away from the slavery that was occurring in the United States at that time. It is not clear what exactly Bland means, but either interpretation reflects the current time period for him. This shows his contribution as he used his platform to address problems that personally affected himself.

 

“Carry Me Back to Old Virginny” – James A. Bland

There’s where I labor’d so hard for old massa,

Day after day in the field of yellow corn,

No place on earth do I love more sincerely

Than old Virginny, the state where I was born.

-James A. Bland 1878

“Carry Me Back to Old Virginny” is un-arguably Bland’s most famous song that he ever composed. This had a huge contribution to his community and to the music world as a whole because it was chosen as the official state song of Virginia in 1940 [7]. A song adopted has the State Song Emeritus is one of the biggest compliments that any composer or song-writer could ever get, and puts a lot of emphasis on that singer and that song as important to the state and its history. He clearly made a huge impact, one big enough to grant him the honour of having his song as a staple in Virginia culture. Yes, there was an influx of discrimination occurring, but Bland still loved his state, and this is evident in this piece.

“De Slavery Chains Am Broke at Last” – James A. Bland

“Go carry the news to Sister Hannah,

Slav’ry chains am broke at last.

and tell her to Sweet Johannah,

Slav’ry chains am broke at last,

Go tell de brudders goodbye,

De slav’ry chains am broke at last”

-James A. Bland, 1880

Although Bland is known for his work in minstrel shows, he did not let go or approve of what was going on during that time. This song may be overlooked often when people argue that he had negative effects on the black community because it shows his actual feelings towards the happenings. Bland clearly shows his underlying contribution to the African-American community through this song, as it addressing the true issues of the time, even though African-American humility was the reason for his success.

   
Recorded version "De Slav'ry Chains Am Broke At Last" is not available. Here shows original sheet music and music poster from the song release in 1880 [6].

 

 

[1]”Bland, James A. (1854-1911) | The Black Past: Remembered and Reclaimed.” St. Clair, Stephanie (1886–1969) | The Black Past: Remembered and Reclaimed. Accessed July 18, 2018. http://www.blackpast.org/aah/bland-james-1854-1911.

[2]  “James A. Bland: Composer of the Great Minstrel Show Tunes.” Kentake Page. April 15, 2018. Accessed July 18, 2018. http://kentakepage.com/james-a-bland-composer-of-the-great-minstrel-show-tunes/.
[3]AllMusic. “James A. Bland | Biography & History.” AllMusic. Accessed July 18, 2018. https://www.allmusic.com/artist/james-a-bland-mn0000135647.
[4]American RadioWorks. Accessed July 18, 2018. http://www.americanradioworks.org/segments/hbcu-history/.
[5]Adcock, John. “James A. Bland (1854-1911).” Yesterday’s Papers. January 01, 1970. Accessed July 18, 2018. http://john-adcock.blogspot.com/2011/12/james-bland-1854-1911.html.
[6]”Image 1 of De Slavery Chains Am Broke at Last.” Apple Computers: This Month in Business History (Business Reference Services, Library of Congress). Accessed July 19, 2018. https://www.loc.gov/resource/sm1880.11347.0/?sp=1.
[7] “The Virginia Official Song Emeritus.” New York State Information History Links Symbols Capital Constitution Flags Maps Song. Accessed July 19, 2018. https://www.netstate.com/states/symb/song/va_carry_me_back.htm.

#M2Q3 Important Figures in Early Pop History: W.C. Handy

#M2Q3

William Christopher Handy was born on November 16th, 1873 in Florence, Alabama. W.C. Handy grew uImage result for WC handyp in a deeply religious family with his father working as a pastor at the local church. Handy was exposed to music at an early age through his church where he sang. His interest in music only increased as he grew older. In his youth he bought a guitar without his parents consent and practiced in secret. However once his father came to know of it he was forced to return it as it was his father’s belief that musical instruments were “of the devil”. His passion for music didn’t go unnoticed and his father signed him up for organ lessons. In 1892, Handy formed a band called the Lauzette Quartet to perform at the World’s Fair Chicago, however he was able to perform at the show until the following year. W.C. Handy hit his first major milestone in his musical career at the age of 23 when he became the bandmaster of the Mahara’s Colored Minstrels. With this group Handy was able to travel the country extensively and even performed in Cuba with the band. Throughout his travels he was able to pickup on the rural African-American folk songs that would inspire his     mainstream blues music in the future.

Image result for wc handy young

In 1896 W.C. Handy married Elizabeth Price. In the 1910s Handy had moved to Memphis, Tennessee and wrote “Memphis Blues” which would become a blues hit. By 1918 Handy had moved to New York where he would be instrumental in promoting blues. In 1928 he was accredited with setting up the first blues concert in New York City’s Carnegie Hall. W.C. Handy was constantly producing work throughout the 1920s and 1930s including publications such as Blues: An Anthology, Negro Authors and Composers of the United States and W.C. Handy’s collection of the Negro Spirituals. In 1941 W.C Handy published his autobiography titled Father of the Blues. By the mid 1940s Handy’s eyesight began to deteriorate and he eventually became blind. In 1958, W.C. Handy passed away due to complications from pneumonia. Thousands of people came to his funeral services to pay respects. Image result for WC handyChallenges Faced by W.C. Handy:

  1. Upbringing: W.C. Handy was born into a family of pastors and was expected to follow suit. He often said about his family that “if there was any musical talent, it remained buried”. Non-religious music and musical instruments were considered taboo by his church and father. So he wasn’t able to musically express himself until he left his parents home to work and eventually pursue music.
  2.  Racism: Handy lived at a time in the South where people were having a hard time digesting the reality of slavery being over and transitioning into a new society where all were equal in the eyes of the law. W.C. Handy faced racism in general while growing up in Alabama and even more so when he began touring with the Mahara’s Minstrels. During performances the group was threatened by lynch mobs, humiliation, and racial violence. It was also because of racism he experienced in the South that he decided to move to New York later in his career.
  3. Business Exploitation: “Memphis Blues” was one of Handy’s most famous and financially successful songs however he was never able to benefit financially from its sales because he had signed over rights to the song without fully understanding the consequences it entailed. Handy let this be a lesson for himself and decided to protect his songs by opening up his own publishing company called Pace and Handy Music Company.
  4. Poverty: W.C. Handy wasn’t from a very well-off background. He did small jobs just to stay afloat while trying to pursue a career in music. There was a period of about 2 years where he was homeless living under a bridge in St. Louis, after his band Lauzette Quartet became defunct.

Contributions towards music:

  1. W.C. Handy was the first to systematically record and log Blues music.
  2. He was a skilled songwriter and composer which allowed him to produce legendary hits by combining his own compositions with blues music he had heard while travelling across the country.
  3. He played a crucial role in helping blues music achieve mainstream success and exposure by being one of the first artists to publish blues as sheet music.
  4. His efforts of preserving blues and folk music from the rural south and working to legitimize blues music as an exclusive musical form. Due to these contributions W.C. Handy came to be popularly known as “Father of the Blues”.

 

Famous Songs:

“Memphis Blues” was written by W.C. Handy in 1912 and was one of the first blues songs published that pushed blues into the mainstream scene. This song was originally written as a campaign song for mayor candidate Edward Crump. Memphis Blues became an instant hit. I chose this song because of its importance in launching W.C. Handy’s career and blues music in general. It became an instant hit.

 

Saint Louis Blues

Arguably W.C. Handy’s most famous song is “Saint Louis Blues”. It was called “the jazzman’s Hamlet” because it was sung by many famous artists including Bessie Smith, Louis Armstrong, and Guy Lombardo. Bessie Smith’s version of the song was also inducted into the Grammy Hall of Fame. The song form is 12-Bar blues written in a tango rhythm.

 

“Beale Street Blues”

Released in 1916, Beale Street Blues was a successful song by Handy that was characterized by being a hybrid between classic blues and the popular ballad style of the day.

 

Image result for wc handy statue

Legacy:

W.C. Handy undoubtedly had a massive impact on the emergence of Blues music into mainstream America. By helping to create a Blues industry and establishing publishing companies he was able to pave a way for struggling black musicians to produce music and be rewarded justly for their craft. W.C. Handy has been honored by having roads, parks, theatres, statues, scholarships, and festivals named after him.

References:

Robertson, D. (2011). W.C. Handy: The Life and Times of the Man Who Made the Blues. Tuscaloosa: University of Alabama Press.

Summer, L. S. (2002). W.C. Handy: Founder of the blues. Chanhassen, MN: Childs World.

Yeager, A. (2003). W.C. Handy, Father of the Blues. Birmingham, Alabama: Seacoast Publishing.

W.C. Handy. (2015, October 27). Retrieved from https://www.biography.com/people/wc-handy-39700