Paul Anka: A Real Canadian Star

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I’m Rory and here is my second blog post…………………………………… 

Earlier Career  

Image result for paul anka

Paul Anka was born in 1941 in Ottawa, Canada, and became a hit singer at a young age in his teens. He travelled to Los Angeles and New York searching for fame, he found it in the form of ABC/Paramount Records executive Don Costa. His first song “Diana” landed him as a teen idol and the start to his musical career.   

During the beginning of his career still honing his ability, he was surrounded by artists like Jerry Lee Lewis, Buddy Holly, Frankie Lyman, and Chuck Berry. Frank Sinatra was a huge role model for him as well, most likely because his musical style fits in with that Frank Sinatra’s, and moreover that Frank Sinatra was a teen idol as well. Paul Anka was part of the movement of musical history from the song to the singer, song interpretation. A major feature in song interpretation was a distinctive vocal style, another was moulding the song to their style of singing. Lastly, a key feature in song interpretation was making an impersonal song personal.  

Later on, in his musical career, the popular style of music shifted to that of rock and roll. The genre of rock and roll produced the Beatles, Elvis Presley, and more. In spite of the playing out of his music he continued in the music industry as a songwriter and went on to produce music for fellow artists. He also produced music for television shows such as writing and performing the song “Johnny’s Theme” for the Tonight Show and becoming the opening song for the show. He also created music for and performed in films such as The Longest Day in which he was nominated for an Academy Award, as well as creating the themes for No Way Out and Atlantic City. His acting career was made up of films like 3000 Miles to Graceland, Mad Dog Days and Captain Ron. He also wrote songs for add jingles, “The Times of Your Life,” written for a Kodak commercial, hit No. 7 on the Billboard charts. Paul Anka found success in everything he did it appears from singing to acting to writing add jingles, and today he is still a key figure in contemporary music, still writing and touring. 

Music  

Paul Anka’s song “Put Your Head on My Shoulder” was written and recorded in 1959 and was dubbed one of the best love songs of all time. Artists who covered the song include Ronnie Aldridge, Michael Bublé, Ray Franky, Leif Garrett, Good Charlotte the Lettermen, Maureen McGovern, P.J. Proby, Gustavo Rivera, Jerry Vale and Albert West. Paul Anka says his inspiration for the song came from the ambience created in his audience at his concerts, and as such he drawing the song from personal experience and it becomes very personal. Also in his song “Lonely Boy” drew from his experience of being one of the few teens in his career field and the isolation he felt from people his own age.  

Paul Anka was more than a great singer of his time he was also a great songwriter. He is responsible for many songs in the last half of the 20th century by huge artists. Some of these songs include; 

“This Is It” Michael Jackson  

“My Way” Frank Sinatra  

“She’s A Lady” Tom Jones  

His Significance  

He really was one of Canada’s stars, his long career of creating music that put Canada on the map in terms of popular music, his contribution to all forms of media; television, film, commercials. His contribution to artists of his generation who he helped gain fame through his songwriting. His contribution and guidance to a younger generation of musical artists. He shaped a large portion of the music industry in not just Canada but in the world. 

Other Facts 

Paul Anka was also a huge role model and mentor to the famous Canadian singer today Michael Bublé. Michael Bublé sounds while more modernized is a throwback to huge crooners like Frank Sinatra, Paul Anka, and Nat Cole. His voice is distinctive to anyone familiar with the music of the past two decades, and like the singers similar to his sound in the past the music is melded to his voice rather than his voice positioning itself within the music. In fact, Michael Bublé did a tribute to Paul Anka in this song: 

Paul Anka also was referenced in the early 2000s American hit television series Gilmore Girls in which he was brought up as pop culture, as well as other influential titles. He also plays small roles in acting in the tv series. He also is named after the dog in the show and is featured in many dreams of the major character Lorelei Gilmore.  

Image result for paul anka gilmore girl

 

Resources 

“Paul Anka.” Biography.com. April 28, 2017. Accessed July 18, 2018. https://www.biography.com/people/paul-anka-3424.

“Paul Anka.” Bob Gaudio | Songwriters Hall of Fame. Accessed July 18, 2018. https://www.songhall.org/profile/Paul_Anka.

“Paul Anka.” Go Back to the Front Page. Accessed July 18, 2018. http://paulanka.com/biography/.

“Put Your Head on My Shoulder.” Canadian Songwriters Hall of Fame. Accessed July 18, 2018. http://www.cshf.ca/song/put-your-head-on-my-shoulder/.

O’Connor, Austin. “10 Things You May Not Know About Paul Anka.” AARP. April 17, 2013. Accessed July 18, 2018. https://www.aarp.org/entertainment/music/info-04-2013/10-things-about-paul-anka.html. 

 

 

 

 

The Great American Songbook #M5Q2

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“The Great American Songbook isn’t really a book. Rather, it’s a notional collection of several hundred pop songs.”(Yagoda, 2015)

The Great American Songbook was the start of something revolutionary. It was a collection of the influential jazz and popular American songs that stemmed from the 20th century. Although called a book, it is more of a grouping of enduring music from the 1920s-1950s that were intended for theatre and musical film in New York city. Many of the earliest influential Songbook classics were composed on New York’s Tin Pan Alley. Around the 1970s many pop and rock artists took over and recreated some of the music included but the original standards were composed by men like Irving Berlin, Cole Porter, George Gershwin, Michael Feinstein, Richard Rodgers, Johnny Mercer and others. Since some of these names may not be familiar as they were not to me, some more recognizable names may include; Ella Fitzgerald, Frank Sinatra and Sammy Davis Jr.  These men and few women made a living writing sheet music for American musical theatre and Hollywood movies.

Since majority of the composers from the Songbook were men, I have chosen to place a focus on some of the women. Dorothy fields song, ‘I cant Give You Anything But Love, Baby’ which was co-wrote with Jimmy McHugh in 1928 and sung by Adelaide Hall at Les Ambassadeurs Club in New York is a staple example in the Songbook.

The first recording of this songs stems from the 1920s but is again introduced in the Songbook in the late 1930s by the well known, Billie Holiday. This is a perfect example of how songs included in The Great American Songbook were almost passed down or passed on to different artists to place their own swing on. I believe Holidays version of the song became famous because of her incredibly strong vocals, pitch and tone. She sings soft and smooth while still keeping powerful vocals.

This song in particular is one of so many that have continued to influence both the history and world of music we live in today. Although it origionated in the 1920’s, singers have contonued to keep it alive. Ella Fitzgerald also did a beautiful and more groovy version of the song in 1957. The main differance between the 1920s version when compared to the 1950s version is the more upbeat pace. Fitzgerald takes it from a smooth jazz to a more ragtime jazz.

Between the three-different version provided, I personally prefer Ella Fitzgerald’s version not because it is the most recent out of the three but because I prefer a faster-paced beat. It doesn’t mean I don’t like soft smooth music, but everyone has different taste and often, taste changes. I believe a change in musical taste and preferences is one of the main reasons the era of the Great American Songbook may have faded as Rock and Roll took over around the 1970s and post-war period. In Module three the class really gets to understand the impacts technology and advancement had on the world of new music and I think the main reason The Great American Songbook faded can be explained in one statement:

Out with the old and in with the new?

I place a question mark here because this is a widely debated topic. Peoples taste in music prewar was probably very different from their taste in music post-war and post-Great Depression which had a massive impact on places like Harlem where music grew and thrived. People and placed who once flourished with jazz and life became corrupt and worn down, leaving room for new opportunities and new music. People alongside popular music changed after World War II. Another popular belief behind the fade of the Great American Songbook is the fact that in 1953, 34 songwriters sued radio stations and record companies and by the time the suit was over, other artists and music genres such as the African Americans who came after the Great Migration started to open the door to new flavours of popular music. Rock seems to be the most drastic turning point which led to the fade of The Great American Songbook.

So, why were songs not added after the 1960’s?

The Beatles (formed 1960) and Elvis Presley(peaked in the 1960’s).

Are The Beatles and Elvis really the reason The Great American Songbook faded?

No, they are not solely to blame but they, alongside many other artists introduced an entirely new genre of music that people loved. If you listen to ‘I Can’t Give You Anything but Love, Baby’ and then listen to ‘Twist and Shout’ it’s crystal clear the distinct difference between the two and how music drastically began to change in the 1960’s-1970’s and I’m betting more people know those two legendary names and recognized much less of the original composers in the Great American Songbook. It seems all good things come to an end and as time goes on, peoples taste in music will continue to change and some great things may fade while new things bloom.

Personally, I have the utmost respect for all the composers and songs included in the Great American Songbook as well as all musicians because music is one massive butterfly effect. Without one, who knows where we would be now. The music from the Great American Songbook is beautiful and although it may have faded it is still a staple in the history of popular music.

Works Cited:

Cafe Songbook, www.greatamericansongbook.net

Chilton, Martin. “Cover to Cover: The Story of The Great American Songbook.” You Discover Music, 2018.

Mcdermott, Jeffrey C. “What is the Great American Songbook.” The Centre for Performing Arts, 2016.

Yagoda, Ben. “Have we turned the last page in Americas Songbook?” Zocalo Public Square, 2015.

 

 

The Great American Songbook #M5Q2

Posted on by

“The Great American Songbook isn’t really a book. Rather, it’s a notional collection of several hundred pop songs.”(Yagoda, 2015)

The Great American Songbook was the start of something revolutionary. It was a collection of the influential jazz and popular American songs that stemmed from the 20th century. Although called a book, it is more of a grouping of enduring music from the 1920s-1950s that were intended for theatre and musical film in New York city. Many of the earliest influential Songbook classics were composed on New York’s Tin Pan Alley. Around the 1970s many pop and rock artists took over and recreated some of the music included but the original standards were composed by men like Irving Berlin, Cole Porter, George Gershwin, Michael Feinstein, Richard Rodgers, Johnny Mercer and others. Since some of these names may not be familiar as they were not to me, some more recognizable names may include; Ella Fitzgerald, Frank Sinatra and Sammy Davis Jr.  These men and few women made a living writing sheet music for American musical theatre and Hollywood movies.

Since majority of the composers from the Songbook were men, I have chosen to place a focus on some of the women. Dorothy fields song, ‘I cant Give You Anything But Love, Baby’ which was co-wrote with Jimmy McHugh in 1928 and sung by Adelaide Hall at Les Ambassadeurs Club in New York is a staple example in the Songbook.

The first recording of this songs stems from the 1920s but is again introduced in the Songbook in the late 1930s by the well known, Billie Holiday. This is a perfect example of how songs included in The Great American Songbook were almost passed down or passed on to different artists to place their own swing on. I believe Holidays version of the song became famous because of her incredibly strong vocals, pitch and tone. She sings soft and smooth while still keeping powerful vocals.

This song in particular is one of so many that have continued to influence both the history and world of music we live in today. Although it origionated in the 1920’s, singers have contonued to keep it alive. Ella Fitzgerald also did a beautiful and more groovy version of the song in 1957. The main differance between the 1920s version when compared to the 1950s version is the more upbeat pace. Fitzgerald takes it from a smooth jazz to a more ragtime jazz.

Between the three-different version provided, I personally prefer Ella Fitzgerald’s version not because it is the most recent out of the three but because I prefer a faster-paced beat. It doesn’t mean I don’t like soft smooth music, but everyone has different taste and often, taste changes. I believe a change in musical taste and preferences is one of the main reasons the era of the Great American Songbook may have faded as Rock and Roll took over around the 1970s and post-war period. In Module three the class really gets to understand the impacts technology and advancement had on the world of new music and I think the main reason The Great American Songbook faded can be explained in one statement:

Out with the old and in with the new?

I place a question mark here because this is a widely debated topic. Peoples taste in music prewar was probably very different from their taste in music post-war and post-Great Depression which had a massive impact on places like Harlem where music grew and thrived. People and placed who once flourished with jazz and life became corrupt and worn down, leaving room for new opportunities and new music. People alongside popular music changed after World War II. Another popular belief behind the fade of the Great American Songbook is the fact that in 1953, 34 songwriters sued radio stations and record companies and by the time the suit was over, other artists and music genres such as the African Americans who came after the Great Migration started to open the door to new flavours of popular music. Rock seems to be the most drastic turning point which led to the fade of The Great American Songbook.

So, why were songs not added after the 1960’s?

The Beatles (formed 1960) and Elvis Presley(peaked in the 1960’s).

Are The Beatles and Elvis really the reason The Great American Songbook faded?

No, they are not solely to blame but they, alongside many other artists introduced an entirely new genre of music that people loved. If you listen to ‘I Can’t Give You Anything but Love, Baby’ and then listen to ‘Twist and Shout’ it’s crystal clear the distinct difference between the two and how music drastically began to change in the 1960’s-1970’s and I’m betting more people know those two legendary names and recognized much less of the original composers in the Great American Songbook. It seems all good things come to an end and as time goes on, peoples taste in music will continue to change and some great things may fade while new things bloom.

Personally, I have the utmost respect for all the composers and songs included in the Great American Songbook as well as all musicians because music is one massive butterfly effect. Without one, who knows where we would be now. The music from the Great American Songbook is beautiful and although it may have faded it is still a staple in the history of popular music.

Works Cited:

Cafe Songbook, www.greatamericansongbook.net

Chilton, Martin. “Cover to Cover: The Story of The Great American Songbook.” You Discover Music, 2018.

Mcdermott, Jeffrey C. “What is the Great American Songbook.” The Centre for Performing Arts, 2016.

Yagoda, Ben. “Have we turned the last page in Americas Songbook?” Zocalo Public Square, 2015.

 

 

CLOUDY WITH A CHANCE OF MA RAINEY: THE BIOGRAPHY AND SIGNIFICANCE OF MADAME RAINEY

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Hi everyone! I’m Kaitlyn, a fourth year BA Honours Psychology student. I have taken ten years of piano lessons and am so blessed to say I have been teaching piano for the past six years. Although my major is in psychology, I have taken many Women and Gender Studies classes, and after a quick Google search of Ma Rainey, I knew I wanted to learn more about this strong, shameless woman! With that said, here is my blog post about Ma Rainey.

[1] Ma Rainey, probably thinking about her next hit blues song

Even if her name is not familiar to you, Ma Rainey’s impact on jazz culture and performance has likely impacted the work of some of your favourite entertainers. Ma was the first popular stage performer to integrate true blues music into her pieces. Before she was dubbed “Mother of the Blues”, Rainey was Gertrude Pridgett, a charismatic girl born in Columbus, Georgia on April 26, 1886. By the time Pridgett was 14, she was travelling around the South singing cabaret in various talent and tent shows.[2] In fact, Rainey first experienced blues at one of these shows, when a fellow performer shared a song about a man leaving her – Rainey was instantly intrigued. At age 18, Gertrude married William Rainey, a comedy songster. The couple began touring together in 1915 and were dubbed the “Assassinators of Blues”.[3]  Only a year later, William and Getrude separated, which led to Gertrude choosing to venture into solo headlining under the name Ma (short for Madame) Gertrude Rainey.[4] Ma’s performances were known for their extravagance: acrobats, contortionists, and comedy bits were common before Ma hit the stage, and when she finally graced the audience with her presence, it wouldn’t be unlike her to do so in a golden gown, tiara, gold-capped smile, and with an ostrich plume and gun in hand.[5] She was a true performer, always bringing zest and power to slow, blues songs with her commanding voice and amazing stage presence. It is safe to that Ma Rainey was one the original black divas, as she was confident in dazzling costumes and felt completely comfortable being herself on stage. Her lyrics also often included messages of poverty, racial inequality, and sexual fluidity, which adds to her significance as an artist.[6] Instead of trying to succeed by hiding the challenging parts of her identity, such as an appearance that was not deemed beautiful by society, being a member of a marginalized race, and a sexual orientation that was outside of the societal norm, Ma was open about these aspects of her life and used them to help build her legacy.

Black and white pictures don’t do Ma Rainey justice – above is a picture of actress Mo’Nique portraying Ma in the HBO Special ‘Bessie’. This picture perfectly demonstrates Rainey’s glamorous, golden getup!

In 1923, Rainey began recording for the Paramount label. “See-see Rider” was among the few songs she released that year, which became one of the most well-known blues songs of all time.[7] Since this song was such a success for Rainey, I have chosen it to show to you. As you listen to the song, you may notice that the lyrics are quite sad – it chronicles the story of a woman who is in love with an unfaithful man, which can be heard through a slow tempo in duple time with various instruments accompanying Rainey’s voice. The pretty clarinet tune in the background gives an interesting contrast to the otherwise morose song, and the trumpet brings in the blues feel. I think that the emotion in Ma Rainey’s voice in this song is likely why it became so popular.

The next song that I have picked to help represent Ma Rainey is called “Prove It On Me Blues”, which is one of Ma Rainey’s songs that suggests her interest in women. Ma sings “Went out last night with a crowd of my friends / They must’ve been women, ’cause I don’t like no men”. The discussion of sexual matter as observed in this song is typical for blues songs. I find this song to be one of Ma’s catchier tunes even though the speed is not too fast. The inflections that Ma uses during the song and her powerful voice make it quite the earworm, especially due to the strophic form of the song in which the “Sure got to prove it on me” part is often repeated. Ma Rainey’s label promoted this song with a picture of her in a three-piece suit and fedora, talking to some women while police men watch from across the street watch (see below). Ma maintains a lower register for most of the song, and the instrumentation seems to include drums, a bass, piano, and a nice melody mimicking Ma’s voice from 1:25-2:00 that sounds like a horn of some sort.

[8] The official poster for “Prove It On Me Blues”, complete with a shameless Ma Rainey talking to some women – a couple of white police men can be seen in the distance watching from afar.

Lastly, I have chosen “Big Feelings Blues” to share with you. I chose this song because it is the last song that Ma recorded before she was dropped by her label in 1928. Ma’s contract was cancelled because Ma was unwilling to change her music style to represent a change in audience’s preference, and male swingers and swing music was taking over.[9] This song utilizes less instruments, with just a banjo mainly strumming chords in accompaniment with Rainey’s soothing voice. The tempo of this song is slightly faster than that of the last two examples I have shared: I find that this song also has a bit more of a sway to it than the last two, and it seems to have a 4-beat syncopation with an accent on the first beat of each four. I find it ironic that this is the last song that Rainey recorded with her label, because I think it best highlights the power of her voice that does not require intricate instrumentation in accompaniment.

Ma officially retired from the music scene in 1935, choosing to instead spend her time on the two entertainment venues she was involved in.[10] Four years after her retirement, on December 22, Rainey died in Rome, Georgia. Through her bold performative and musical choices, and especially her impact on blues, Rainey has inspired various other musicians such as Big Mama Thornton, Dinah Washington, and Bessie Smith, as well as poets such as Langston Hughes and Sterling Brown.[11] Ma Rainey’s integration of blues into her music has had an indescribable impact on all blues musicians to this day.

Bibliography

[1] The Biography.com website. “Ma Rainey Biography’. Biography.com. April 27, 2017. Accessed July 11, 2018. https://www.biography.com/people/ma-rainey-9542413

[2] Giamo, Cara. “The Queer Black Woman Who Reinvented The Blues”. Atlas Obscura. April 27, 2016. Accessed July 10, 2018. https://www.atlasobscura.com/articles/the-queer-black-woman-who-reinvented-the-blues

[3] The Biography.com website. “Ma Rainey Biography’. Biography.com. April 27, 2017. Accessed July 11, 2018. https://www.biography.com/people/ma-rainey-9542413

[4] Giamo, Cara. “The Queer Black Woman Who Reinvented The Blues”. Atlas Obscura. April 27, 2016. Accessed July 10, 2018. https://www.atlasobscura.com/articles/the-queer-black-woman-who-reinvented-the-blues

[5] Ibid.

[6] Obrecht, Jas. “Ma Rainey: The Life and Music of “The Mother of the Blues””. Jas Obrecht Music Arhive. August 7, 2010. Accessed July 15, 2018. http://jasobrecht.com/ma-rainey-the-mother-of-the-blues/

[7] The Biography.com website. “Ma Rainey Biography’. Biography.com. April 27, 2017. Accessed July 11, 2018. https://www.biography.com/people/ma-rainey-9542413

[8] Obrecht, Jas. “Ma Rainey: The Life and Music of “The Mother of the Blues””. Jas Obrecht Music Arhive. August 7, 2010. Accessed July 15, 2018. http://jasobrecht.com/ma-rainey-the-mother-of-the-blues/

[9] Ibid.

[10] The Biography.com website. “Ma Rainey Biography’. Biography.com. April 27, 2017. Accessed July 11, 2018. https://www.biography.com/people/ma-rainey-9542413

[11] The Biography.com website. “Ma Rainey Biography’. Biography.com. April 27, 2017. Accessed July 11, 2018. https://www.biography.com/people/ma-rainey-9542413

M5Q4

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Background

I went to the Saskatchewan Roughrider game on June 30th.  At this game, they commemorated all the victims of the Humboldt bus crash.  To commemorate this event, the Roughrider Saskatchewan and grew up in this province.

 

The Hunter Brothers are made up of five brothers; Luke, J.J., Ty, Brock, and Dusty.  They were born in Shaunavon, Saskatchewan.  The Hunter Brothers grew up on a farm and loved music.  In their early years in between seeding and harvest on the farm, they mainly performed in U.S. and Canada performing gospel music (Hunter Brothers).  During the winter, they loved to play hockey, which again is why they were the performing group at the Roughrider game.  Four of the five brothers played junior hockey, and one of the brothers (J.J.) even played for the Edmonton Oiler farm team (Hunter Brothers).  It is evident that their love for hockey runs deep.

 

The band primarily performed gospel music until they released their first original song in 2016 called “El Dorado”.  Later, in March of 2017, they had their debut album “Getaway” where five of their songs were in Canada’s top 40 radio hits (Billboard).  Their hit songs were; El Dorado, Getaway, Long way to Love You, Those Were the Nights, and Born and Raised which even made it to the top 10.  Today, they continue to create music and perform them across Canada at various festivals and special events.

 

Sound

The Hunter Brothers’ sound was very good.  One of their best songs is “Born and Raised” which they performed at the venue.  From personal experience, some groups who perform live, sound nothing like their recordings, however the Hunter Brothers sounded very similar to their recordings, which is very important to many fans.  Another aspect of the Hunter Brother’s is that they are actually brothers, and brothers can normally harmonize so well together.  They grew up singing together and their harmony was very impressive, not only in this one song, but throughout the concert.

 

The instruments in the band vary from song to song.  The group mainly plays with one lead guitarist and another guitar to place the harmony (chords).  Another brother plays bass guitar, and the other plays the drums.  The last brother is the main vocalist, but all the brothers do sing along to the songs and harmonize.  In some songs, depending on what they play, one of the guitarists will switch and play the mandolin as well.  For the most part, their songs all have a faster rhythm, and with a faster rhythm, means more upbeat and happier music.  Their music is very uplifting and fun to dance along to.

 

Venue and Reflection

As briefly mentioned above, the venue was at the Roughrider stadium in Regina. Looking across the stadium, many people were nodding their head or tapping the foot to the beat of the music, while the die hard country fans were singing along to every word (me).  Saskatchewan is made up of a diverse group of people and while not everyone at the venue was there for the concert, people in Saskatchewan generally can appreciate the odd country tune here and there. However, this was not just a concert just because, it was a concert to commemorate the Humboldt bus crash victims.  Keeping in mind that it was a football game, they tried to keep things very upbeat and positive, but the crash victims were in minds of many throughout the game.  The Hunter Brothers’ love and appreciation if hockey and their involvement with junior hockey themselves growing up, it hit home for many people.

 

The concert was very well performed, but the one comment I would say negatively towards the group was that while the music was good, watching them was a little boring.  I am not sure that it was due to the small stage or the fact that they are still a little inexperienced, but the group does not really move around much on stage.  While that is not a requirement and they do not have to go crazy, it is rather dry and mundane to watch.  I remember watching Alan Jackson at concert many years ago, while he is one of country music’s icons and his music is arguably some of country’s best, he sat on a stool in the middle of the stage and stayed there for the entire concert.  This made for a very boring concert as there was no entertainment that came along with the music.

 

Overall, I felt the concert was very good, even though it was fairly brief.  The band sounded very similar to their recordings, which to me is very important as I appreciate music without it being auto-tuned.  The brothers can all harmonize very well with each other that it is enviable by many.  This Saskatchewan group’s future looks very bright.

 

 

 

Austin, P. L. (2017, September 29). LifeHacker. Retrieved July 4, 2018, from How The Negro Traveler’s Green Book Helped Black People Get Around in the 1950s: https://lifehacker.com/how-the-negro-traveler-s-green-book-helped-black-people-1818994434

Billboard. (n.d.). Billboard Biz. Retrieved July 7, 2018, from https://www.billboard.com/biz/search/charts?f[0]=ts_chart_artistname%3AHunter%20Brothers&f[1]=itm_field_chart_id%3A-&f[2]=ss_bb_type%3Achart_item&type=2&artist=Hunter%20Brothers

English Club. (n.d.). English Club. Retrieved July 3, 2018, from History of Country Music: https://www.englishclub.com/vocabulary/music-country.htm

Ganzel, B. (2007). Wessels. Retrieved July 4, 2018, from Farming in the 1950’s & 60’s (Music): https://livinghistoryfarm.org/farminginthe50s/life_19.html

Hunter Brothers. (n.d.). Hunter Brothers Those Were The Nights. Retrieved July 7, 2018, from Biography: http://www.hunterbrothers.com/

Ivey, W. (1976). Record Anthology of American Music. Retrieved July 5, 2018, from Country Music in the Modern Era: 1940s-1970s : http://www.newworldrecords.org/liner_notes/80207.pdf

Kakutani, M. (2013, August 27). New York Times. Retrieved July 4, 2018, from The Lasting Power of Dr. King’s Dream Speech: https://www.nytimes.com/2013/08/28/us/the-lasting-power-of-dr-kings-dream-speech.html

Kendi, I. X. (2017, Feb 22). New York Times. Retrieved July 3, 2018, from A History of Race and Racism in America, in 24 Chapters: https://www.nytimes.com/2017/02/22/books/review/a-history-of-race-and-racism-in-america-in-24-chapters.html

Martinez, D. (2012, November). Music During the Great Depression. Retrieved July 5, 2018, from Country Music During the Great Depression: http://musicduringthegreatdepression.blogspot.com/p/country-music-during-great-depression.html

I did not get the greatest pictures, so here is one of the screen.

M4Q3

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Country music, like others have experienced many different kinds of dichotomy over the years.   One of the most common form of dichotomy in country music history was the difference between white country music, and black (African American) country style of music.  While they both are respectably unique in their own way, they also share some similarities as well.  The separation between these two groups was a result of the racism in the United States in the early years of country up until the mid 1960’s.

 

The origins of country music can be traced in the United States all the way back to the 1920’s where it originated from folk music after World War 1 (English Club).  Throughout the decades it gained popularity across the country.  During this time, racism was still very much alive in the United States against the African American population (Kendi, 2017).  As a result, the African American people were often not welcome to “white” clubs (Austin, 2017).  The two races were at odd’s and often could not come together as equals.  Thus the African Americans had to have their own locations in which they can get together and enjoy their own country music (Austin, 2017).  It was not until the mid 1960’s after Martin Luther King made his famous speech that African Americans started gaining more rights and were able to come together with white people and enjoy country music together (Kakutani, 2013).

 

Before the two groups of people came together, white and black country sounded very different.  White country was typically more enthusiastic and upbeat, whereas black country followed more of the blues style where it was more mellow and filled with pain and sorrow (Ganzel, 2007).  A good example of this would be Leroy Van Dyke’s famous song “Auctioneer” (See link below) which was a very popular song in 1956.  The song was an upbeat and enthusiastic piece and arguably his greatest song ever.  The song features various different types of guitars as well as drums to keep the music upbeat.  The social and cultural element of this song was that United States along with many other countries recently became victorious in World War 2 which gave a very positive feel to the country as they were thriving economically (Ivey, 1976).

 

In contrast, “Sweet Home Chicago” by Robert Johnson (See link below) written in 1937 has a much more blues feel.  It only features a single guitar with a classic blues beat, with a slight country twist.  While these two songs are 19 years apart, they are still a very good example of the contrast between white and black country music throughout the decades.  This song was released in the 1930’s which was also considered the “dirty thirties”.  This was prior to the break out of World War 2, and the United States was in horrible financial state with many people jobless and out of money (Martinez, 2012).  This made for a very gloomy or blues feel socially, which is reflected in the beat of the song.  Also, black country often had a blues feel because they were discriminated against, and the singers would express this through song.  While the two different kinds of country had their differences, there were still some similarities between them.

 

While the two groups (white and black) were often at odds, their music sometimes reflected similar traits.  These similarities can range from tempo, instruments, and even similar lyrics/stories.  However, these similarities only became more and more evident after the 1960’s when racism was coming to an end and the two groups of people were able to set aside their difference and come together.

 

As racism diminished over time, country music no longer had the dichotomy of black and white country, as it was no longer segregated by the race of the artist.  As both sides came together, it created the large category of country music.  Country music has a large range of diversity.  This means it can range from a fast tempo enthusiastic feel, to sad and sorrow.  Country music has not forgotten its grass roots originating from both sides as it still embraces the blues from the “black” country, as well as the more upbeat folk polka style of the “white” country.

 

In my opinion, this dichotomy no longer exists.  With racism being a thing of the past (mostly), the newer African American country artist’s music sound very similar to the white country music.  Black country music used to be mostly about oppression, but now African Americans have just as much opportunity as the next race.  As a result, their music has become less gloomy.  This does not mean that they cannot have blues style music, it is however much less common to see.  From the white county music perspective, it continues to be the upbeat country style that they were, but have been able to embrace the black country style and have numerous ballads as well.  Overall, country music has not lost its grass roots as both sides continue to be embraced by country artists.  What has changed is that race no longer dictates or limits the style of music one sings.

 

 

 

 

Leroy Van Dyke “Auctioneer”

https://www.youtube.com/watch?v=WaVTxiPBJgM

 

Robert Johnson “Sweet Home Chicago”

https://www.youtube.com/watch?v=O8hqGu-leFc

 

 

 

Works Cited

Austin, P. L. (2017, September 29). LifeHacker. Retrieved July 4, 2018, from How The Negro Traveler’s Green Book Helped Black People Get Around in the 1950s: https://lifehacker.com/how-the-negro-traveler-s-green-book-helped-black-people-1818994434

English Club. (n.d.). English Club. Retrieved July 3, 2018, from History of Country Music: https://www.englishclub.com/vocabulary/music-country.htm

Ganzel, B. (2007). Wessels. Retrieved July 4, 2018, from Farming in the 1950’s & 60’s (Music): https://livinghistoryfarm.org/farminginthe50s/life_19.html

Ivey, W. (1976). Record Anthology of American Music. Retrieved July 5, 2018, from Country Music in the Modern Era: 1940s-1970s : http://www.newworldrecords.org/liner_notes/80207.pdf

Kakutani, M. (2013, August 27). New York Times. Retrieved July 4, 2018, from The Lasting Power of Dr. King’s Dream Speech: https://www.nytimes.com/2013/08/28/us/the-lasting-power-of-dr-kings-dream-speech.html

Kendi, I. X. (2017, Feb 22). New York Times. Retrieved July 3, 2018, from A History of Race and Racism in America, in 24 Chapters: https://www.nytimes.com/2017/02/22/books/review/a-history-of-race-and-racism-in-america-in-24-chapters.html

Martinez, D. (2012, November). Music During the Great Depression. Retrieved July 5, 2018, from Country Music During the Great Depression: http://musicduringthegreatdepression.blogspot.com/p/country-music-during-great-depression.html

 

Would the real Ma Rainey please stand up?

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I wanted to ease into blogging by picking an easy topic that I could get my feet wet as they say. I chose to do a biography on Ma Rainey who is often called “The Mother of Blues”[i]. I thought, I am a mother and maybe we have somethings in common that I could blog about and win lots of creative points. Well, I hate to disappoint but I did not come up with many comparisons between our lives! I will include a few points where our lives differ for your reading enjoyment.

 

Ma Rainey was not her real name, her birth name was Gertrude Pridgett and she was born in 1886 in Columbus, Georgia. Gertrude started working at the ripe old age of 14 participating in a show called The Bunch of Blackberries at the Springer Opera House[ii]. She met a man and married him a few years later in 1904. The man that she married was William “Pa” Rainey and this is how she came to be known as Ma Rainey. She was only 18 year old when she started performing as the Ma to his Pa. Ma and Pa toured together for years while performing blues, country style.

*My name is Jennifer and I have always been known as Jennifer or a derivative of that name. I was married at 23 and Ma was married at 20. I also work with my husband in the same building similar to how she toured with her husband. Ma started working at the age of 14 and I started working at 15 years old. Unlike her job as a performer, my first job was at McDonalds.

Although Ma was very young when her career started, she soon came to be thought of as an authentic blues singer. She seemed to be able to portray true feeling and perhaps empathy to the situations and everyday issues that black people faced at that time and still face today. Her delivery of song lyrics with serious subject matter (incarceration, adultery, abuse etc.) was delivered with humor at times which is a style that was often employed in the slave era[iii]. This would have made her a very entertaining performer that would draw crowds as they could understand her lyrics as their own stories.

Ma Rainey was the first black woman to be recorded while singing the blues and she had a lot of challenges to overcome in her career. She was a black woman running her own career in the first two decades of the twentieth century and this was before women had the right to vote! Sources say that Ma was a true professional in how she ran her travelling troupe which was rare of a blues singer at the time. While photos of Ma Rainey are flattering, she is NOT reported to be a great beauty but she captured her audience with her performance and personal style[iv]. I am sure the spectacle to seeing Ma perform while being swathed in flashy fabrics, iced in diamonds and flashing gold when she smiled didn’t hurt her stage cred either!

*The most expensive piece of jewellery that I own is my engagement ring that cost my husband $900 in 2003! My family and I were once hired to be in a photoshoot for Co-Op Agro but it was because we were a regular family and could represent their customers well.

I would say that Ma Rainey was important to blues history for:

1) Her extensive touring and almost 100 recordings helped to distribute blues around the country[v]

2) For not being afraid to sing about taboo subjects at that time. Subjects like lesbianism, spousal abuse, incarceration, and blatant sexuality; all of which would have been frowned upon by the general public (aka. the majority of the White population). She essentially loaned her voice to be a voice for her people.

One of the unique tidbits that I discovered was that Ma Rainey could draw both black and white a customers to her shows. At times, the white crowd would fill up the allocated seating but sat in the seating reserved for the black customers so that they could take in the show[vi]. This peaceful integration was a testimony of her gift for singing the country blues and her remarkable showmanship. No one could stay away!

*I cannot sing and I do not have the kind of stage presence that Ma had. Well, that’s not entirely true. I have been known to draw the eye of fellow commuters as I belt out a song in my car 😉

Ma Rainey has many recorded songs to choose from (92 to be exact[vii]) but I only choose three songs for your listening pleasure and to showcase her vocal talents.

“See See Rider”

This song by Ma Rainey has a typical blues feel as she sings it. Her vocals start off high and ends low. It was actually her first recorded song from 1925. My favorite thing about this song is the opening line that Ma Rainey sings “I’m so happy…” but her voice is so low that it does not sound happy at all!

“Trust No Man”

I appreciate how this song has a conversational deliverance. It feels like I am in the room watching Ma Rainey sing it to me, eye to eye. I can see how her audience enjoyed her performance.

“Black Eyed Blues”

This song has a typical county blues feel. The banjo (or electric guitar played to sound like a banjo) leads the song and this lends itself to a true country blues feel.

I hope that you enjoyed learning about the Ma Rainey as much as I did. As I said in my intro I thought that Ma and I might have a few things in common but it turns out that our lives are wildly different (go figure!) Are you and Ma Rainey more alike than her and I? I would love to read your comments below!

___

Endnotes

[i] (“Ma Rainey”, Biography.com 2017)

[ii] (Jones 1974), page 28.

[iii] (Davis 1998), page 105.

[iv] (Jones 1974), page 25.

[v] (“Ma Rainey”, Brittanica.com 2018)

[vi] (“Ma Rainey: The Life and Music of “The Mother of the Blues”, jasobrecht.com 2010)

[vii] (“Ma Rainey”, Brittanica.com 2018)

___

Bibliography

  1. “Ma Rainey”, Biography.com. April 27. Accessed July 18, 2018. https://www.biography.com/people/ma-rainey-9542413.
  2. “Ma Rainey”, Brittanica.com. April 19. Accessed July 18, 2018. https://www.britannica.com/biography/Ma-Rainey.

2010. “Ma Rainey: The Life and Music of “The Mother of the Blues”, jasobrecht.com. August 7. Accessed July 18, 2018. http://jasobrecht.com/ma-rainey-the-mother-of-the-blues/.

Davis, Angela, Y. 1998. Blues legacies and Black feminism. New York, NY: Pantheon Books.

Jones, Hettie. 1974. Big star fallin’ mama: five women in Black music. New York, NY: The MacMillan Company of Canada Limited.

 

Latin Music USA – Bridges

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Hello! My name is Jennifer Rysavy and I would like to welcome you to my blog for Music 111. I enjoy the rhythm and energy of Latin music so I decided that watching a documentary and reporting on it would be an enjoyable blog post for myself to write and for you to read!

The text book required for Music 111 is Popular Music in America: The Beat Goes On and it covers Latin music in America in middle of the twentieth century. However, it does so briefly with coverage over a page and a half of the text. This was a vibrant time in American history where Latin music was a gem in the crown of New York so it should be remembered by more than a few paragraphs.

[i]

In the documentary “Latin Music USA”, 1940’s Latin music is discussed in the episode entitled Bridges. The episode is called Bridges because the type of music discussed was essentially two musical worlds (jazz and Afro Cuban rhythms) being bridged together.

Mario Bauza (interviewed in the documentary) and his brother in law Francisco Raúl Gutiérrez Grillo (aka Machito) are cited as the creators of fusing Cuban rhythms and big band music in the 1940s.[ii] This style of music is called Latin Jazz or Afro Cuban jazz.[iii] This fusion was achieved with the help of their band, Machito and his Afro Cubans. The documentary states that even the name of the band was ground breaking just like their sound. It was ground breaking because no one was referring to Africa with this musical revolution. I found this interesting that Mario Bauzo and Machito were so forward in their culture that they shook up the scene with their direct band name that unashamedly causes a listener to identify their heritage.

While Mario Bauzo and Machito were creating new rhythm fusions, Dizzy Gillespie was falling in love with their sound. By all reports, Dizzy was an amazing jazz trumpeter that also was a leader in the Be Bop style. With his interest in the Afro Cuban rhythms, he became a champion for the sound. He brought along composer and percussionist Chano Pozo for the ride.[iv] They produced the song “Manteca” that showcases the fusion between Afro Cuban rhythms and jazz. I like the blaring horn riffs, the energetic rhythms and the conga drums that can be heard. It is a toe-tapping and exhilarating piece of music that makes me want to shimmy onto the dance floor.

Dizzy Gillespie & Chano Pozo – Manteca

In the mid-twentieth century, the new Latin Cuban rhythms could be found in New York, East Harlem. This was an area of New York that was often called “Spanish Harlem” as many of the Puerto Rican immigrants made this their home base. If Spanish Harlem was the where the Latin-Cuban rhythms could be heard, the Palladium Ballroom was where those rhythms could be showcased.

The Palladium Ballroom was a dance studio where the only rule to enter was that you had to be able to dance. There was a special group of people that you would encounter at the Palladium, the mambonicks. A mambonick is a person who likes to dance, especially the mambo. The Palladium did not differentiate by race or social class, just by dance ability. This was truly unique because it was a time in history where racial integration was frowned upon (to put it lightly). If you were at the Palladium, you would have undoubtedly seen every race and culture showcasing unique dance steps.

Over time as Latin music became more popular it was mainstreamed for the masses. This happened through:

  • The television show “I Love Lucy”. This was a new ground breaking tv show that featured a white woman and a Cuban man living in matrimonial harmony.[v]
  • The Cha-Cha-Cha dance was created and popularized Latin jazz music instead of the mambo because it was easier to dance. The documentary recorded people saying that this dance was the “idiots dance” because it was so easy to learn, thus the mass appeal.

The popularity of Afro Cuban music was short lived. The growing boom of Latin music was stopped in it tracks due to a major political reason and one unstoppable musical reason. The political reason that Latin music’s popularity was halted was that Cuba was taken over by Fidel Castro. The source of the music was no longer allowed entry into America. The unstoppable musical reason for the reduction in the boom of Latin music was because a band seemed to take over the whole world, The Beatles. When The Beatles took the stage, no artist or band could compete. The Beatles were drawing huge numbers at all of their performances and their massive appeal drew the mainstream ears to their songs and away from other types of music.

The impact of this musical style can be found in many popular songs throughout the decades. A Latin influence can often be heard in the Cha-Cha-Cha rhythm, conga drums (or conga drum style) and the fact that some of these songs are actually covers of Latin music songs.

Some songs that you may have heard and may not have realised had a Latin influence are:

  • “Day Tripper” – The Beatles
  • “Save the Last Dance for Me” – The Drifters
  • “Good Lovin’” – The Rascals
  • “Louie, Louie”- The Kingsmen

I would recommend this documentary to anyone wanting more information on the rise of Latin jazz in the 1940s. It was entertaining to watch and gave me a greater appreciation for the creators of this movement. Leave a comment after you watch the documentary because I would love to read your thoughts!

___

[i] “Latin Music USA”, PBS.org. Accessed July 18, 2018. https://bento.cdn.pbs.org/hostedbento-prod/filer_public/latinmusicusa/lmusa_logo.png

[ii] “Latin Music USA”, directed by Daniel McCabe (2009; WGBH Educational Foundation and BBC), DVD.

[iii] “Latin Jazz,” Brittanica.com, accessed July17, 2018. https://www.britannica.com/art/Latin-jazz#ref1088975

[iv] Ibid.

[v] “Why Lucille Ball Was More Revolutionary Than You Think,” Huffingtonpost.ca. Accessed July 17, 2018. https://www.huffingtonpost.ca/entry/lucille-ball-revolutionary_n_7138476

___

Bibliography

Campbell, Michael. Popular Music in America: The Beat Goes On. 4th ed. Boston: Schrimer/Cengage Learning, 2013.

“Latin Jazz.” Brittanica.com Accessed July17, 2018. https://www.britannica.com/art/Latin-jazz#ref1088975

Latin Music USA, “Bridges,” directed by Daniel McCabe. 2009; WGBH Educational Foundation and BBC, DVD.

“Why Lucille Ball Was More Revolutionary Than You Think”. Huffingtonpost.ca December 6, 2017. Accessed July 17, 2018. https://www.huffingtonpost.ca/entry/lucille-ball-revolutionary_n_7138476

Robert Johnson: A Pioneering Bluesman

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As I researched Robert Johnson I quickly realized just how significant his contribution has been, and still is, to the history of popular music. His music has had tremendous influence on nearly all of the rock and blues music that came after him, evidenced by a never-ending amount of tributes to many of his songs by later artists.

Johnson has even been claimed “the most esteemed of the early Delta Bluesmen.” -Campbell 

Johnson’s “deep blues” [1] sound is simple yet highly unique; his signature shuffle rhythm is one of the primary characteristics that drew me into his music and reminded me of much of the modern blues that I enjoy today. The “country blues” that came out of the South lacks the instrumentation that we hear and see in modern blues music, and nearly all popular music. Nonetheless, Johnson’s masterful guitar playing often sounded like there were two guitarists playing [2], which allowed for a more rounded sound than other solo guitarists.

Some History

Robert Johnson was born May 8th, 1911 in Hazlehurst, Mississippi; sadly, he passed away at the young age of 27, on August 16th, 1938 [3]. His death is suspected to be cause by a “deliberate poisoning” [3] via strychnine; rumour has it the poisoning culprit was the “jealous husband” [1] of a woman who was friendly with Johnson.

Robert Johnson’s life is still a large mystery to this day, but by far one of the most common stories heard about him was the supposed selling of his soul to the devil, in exchange for the mastery of the guitar. This exchange was said to have occurred at the crossroads of Highways 49 and 61 in Mississippi [3], a site that was made famous in Cream’s hit song “Crossroads” , along with the movie of the same name. According to Joel Rose this is simply another myth that requires dispelling [4]. In his NPR article, Rose outlines Johnson’s early life on a plantation in the Mississippi Delta. Johnson was said to have enjoyed music more than farming life, however, and ended up focusing on guitar playing instead. Locals criticized his “lousy guitar playing” [4], leading him to take off to Arkansas. This is the point in the story where the myth emerges; years later Johnson is said to have come back to Mississippi and rumour had it he sold his soul to the devil for his newly developed guitar talent. According to Rose though, Johnson claimed at some point to have practiced with a ‘human’. Nonetheless, the story has inspired generations of music and art, instilling the dark and eerie haze over the blues legacy we have come to know and love.

Johnson’s 29 songs were recorded in 1936 and 1937 in Texas [3], but at this point the country blues had “peaked in commercial style” [1]; Johnson’s recordings did not meet their influential fate until the folk revival in the 1960’s [1,3].

“I Believe I’ll Dust My Broom”

The song I chose to highlight is “I Believe I’ll Dust My Broom.” The primary reason I have chosen this song is because it immediately reminded me of the modern blues and rock music that I enjoy so much. This song features many qualities that continue through time in the blues tradition, and it features them well.

“”I Believe I’ll Dust My Broom”, as both a phrase and a song, has been a blues staple for 75 years” -Marshall

First, Johnson is known for his distinctive turnarounds that he plays throughout many of his songs. The intro in this song begins similarly to some of Johnson’s other songs like “Sweet Home Chicago” and “Kind Hearted Woman”. Second, the signature shuffle rhythm is evident all throughout this song; I was unfamiliar with the term “shuffle rhythm” prior to studying it for this section of the blues, and now realize that it is probably the rhythmic feature I am most familiar with—I immediately identify a song as “blues” or “blues-inspired” when I hear this rhythm. The last big feature of this song that caught my attention was Johnson’s repeated guitar licks/fast picking style. This might actually be the feature that really drew me to this song as I did not hear it in some of his previous songs, like “Hellbound On My Tail.” This feature of the song was what really got me feeling a strong connection to Johnson because of it’s similarity to some of my other favourite musicians, like Stevie Ray Vaughn and Jimi Hendrix. You can hear the sound pattern that I am referring to a lot in Stevie Ray Vaughn’s solo in “Pride and Joy” between 1:40 and 2:20. Another musical feature that I will mention is the standard high to low melody that we hear in blues lyrics, with a flatter melody towards the ending phrases; typically the 3rd and 4th lines are flatter.

Go ahead and give it a listen! Feel free to comment on other things that you hear in the song that I did not discuss.

Elmore James

The second reason I chose this song is because of the way it has been taken up and expanded throughout time. Multiple artists and bands have made the song their own; its evolution is truly fascinating. The newer versions are always unique to the particular artist/band and time of expression, while they also endeavour to maintain the song’s original integrity in tribute to the legend himself. The next version I have chosen to highlight is that by Elmore James from 1951.

The first two things I notice about this version is how it has been adapted to the electric guitar and how there is more instrumentation than Johnson’s basic solo version. Indeed, in his article “A Brief History of “I Believe I’ll Dust My Broom“, Marshall identifies two of the most notable differences in this version is the addition of the harmonica and slide guitar [2].

Elmore James is truly the responsible party regarding the songs major uptake in the popular music scene:

James’ version “grew to take a life of it’s own. His hard driving slide guitar work would lay the foundation for a great many songs and covers after it” -Marshall

ZZ Top

Lastly, I chose ZZ Top’s electrified version of the song. I say “electrified” lightly, because technically the song was already “electrified” by Elmore James. However, you cannot miss the fact that ZZ Top’s approach to the song is even grittier than that of James. It was difficult to decide which of the more recent versions I should include; the song has been performed by many others, including some of my other faves like the original Fleetwood Mac and The Rolling Stones.

ZZ Top’s version definitely has an intoxicating energy to it. The breaks and solos in ZZ Top’s version are more characteristic of modern day blues and guitar playing, while Johnson’s original really takes you back to the authentic blues feeling and has a nostalgic quality about it. I think depending on your mood and purpose for listening to the music, any of the three versions could fulfill a deep need for the blues.

Lyrical Identity

If you have not figured it out by now, Johnson’s notable song essentially describes the trials and tribulations of romantic tension. Analysis of the lyrics will be described below.

The song begins with the now famous metaphor:

I’m goin’ get up in the mornin’

I believe I’ll dust my broom [2]

According to Marshall, the “dust my broom” metaphor has received some debate, but the consensus seems to indicate the action “to leave and not come back” [2]. The verse ends with a reference to a “girlfriend” who’s been “lovin'” another black man, potentially signifying some type of infidelity. The song continues with Johnson saying that he’s going to “write a letter; telephone every town I know” [2]. The verse ends with lyrics indicating that Johnson knows where to find “her”… but we don’t yet know for sure which “her” he is referring to.

The third verse points further to some sort of infidelity:

I don’t want no woman; wants every downtown man she meets

She’s a no good dooney; they shouldn’t allow her on the street [2]

Well, it’s no surprise that this verse indicates some hostility towards the woman who I am assuming was sleeping around with the “black man”. While I was unable to find a definitive definition of the word “dooney”, I’m sure we all have a pretty good idea of what it could mean.

The fourth verse confirms what we thought all along with the “dust my broom” metaphor and the infidelity when Johnson says:

I believe, I believe I’ll go back home

You can mistreat me here babe, but you can’t when I’m back home [2]

The final verse refers to a woman named “China”; she’s a “good girl over there”. Ultimately, it sounds as though Johnson is singing about going back home to find the loyal woman he is in love with. With his geographical references in the final two lines, Johnson seems to imply that he’s willing to go anywhere to find her, whether that be in the Philippines or Ethiopia, but this ending specifically could be open for interpretation.

There is no doubt that the overall theme of these lyrics is still relevant today; much of today’s popular music makes reference to the struggles of love and relationships. The “good girl” metaphor is one that I would say is still common today, but without the resources I found regarding the “dust my broom” metaphor, I may not have made that interpretation quite as quickly. Furthermore, Johnson’s lyrics about the “no good woman” are rather raw and some may even find them offensive; however, I would argue that lyrics today continue to evoke similar symbolism, perhaps in a less explicit way.

Robert Johnson: A Pioneering Bluesman

After researching Robert Johnson I have gained an entirely new appreciation for the blues. I am now in a better position to understand the common conception of rock and other music having directly evolved from the early bluesmen, like Johnson. I look forward to exploring the blues even more and listening for some of the qualities that I hear in Johnson’s songs.

 

 

 

References:

  1. Campbell, Michael. Popular Music In America: The Beat Goes On. Schirmer Cengage Learning, 2012.
  2. Marshall, Matt. “A Brief History of “I Believe I’ll Dust My Broom”.” American Blues Scene, November 29, 2011. https://www.americanbluesscene.com/a-brief-history-of-i-believe-ill-dust-my-broom/
  3. “Robert Johnson”. Biography. https://www.biography.com/people/robert-johnson-9356324
  4. Rose, Joel. “Robert Johnson At 100, Still Dispelling Myths.” NPR Music, May 6, 2011. https://www.npr.org/2011/05/07/136063911/robert-johnson-at-100-still-dispelling-myths
  5. Digiacomo, Frank. “Searching for Robert Johnson.” Vanity Fair, October 8, 2008. https://www.vanityfair.com/culture/2008/11/johnson20081

 

 

The Payola Scandal

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“Payola” is a term used to describe the transfer of money as bribery for a product or service to be seen as more in demand or popular. In the 1950’s, payola primarily referred to bribery used within the commercial radio industry. In the USA, it is legal for label companies to pay to have their music played more often on a commercial radio channel, however, it must be explicitly stated to viewers beforehand. In contrast, the practice of payola does not involve disclosing this information to viewers, which is why it was considered fraud.

In the 1950’s, the number of disc jockeys was increasing drastically. Due to the newly competitive nature of the field, DJs began accepting payment in secret and the rise of payola began.

In November of 1959, the government intervened after media companies began pointing fingers. After beginning the investigation, 335 DJs admitted to accepting money from record labels to play their music on air. Alan Freed and Dick Clarke, two very influential DJs at the time, however, both denied ever accepting bribery.

Due to Freed’s rough exterior and abrasive personality, he was easily singled out by the government. His close relationships with black musicians made it hard to believe that he did not have any sort of inside deals with them, and he was later charged with criminal bribery on 26 different counts.

Clark, on the other hand, was clean cut and was described as reserved and very polite. After the trials had ended, he admitted to cutting connections with any individuals or companies that could be incriminating and managed to escape the trial without any charges against him.

In 1960, after the government trials, changes were made to the Federal Communications Act, stating that it must be disclosed to viewers if a broadcast was sponsored. This is the same law that remains in America today. Current day payola has become more sophisticated and is now referred to as “corporate sponsorship”. This involves the partnership between large corporations (such as Pepsi and Dr. Pepper) and music labels to sponsor artists and promote their work.

Payola – both new and old – affects the music we are exposed to by only playing music by artists that can either afford to pay under the table, or are able to attain sponsorships from large companies. Because of this, payola is definitely a negative influence in the world of music. New artists may be unable to become successful due to the inability to pay for views or they may fail to attract corporations for sponsorships. This causes the radio to become homogeneous, which is unappealing to viewers. Additionally, payola hurts both radio stations and artists that refuse to partake in bribery.

 

Source list:

Hutchinson, Lydia. “Alan Freed and the Radio Payola Scandal.” Performing Songwriter. August 20, 2015. Accessed July 17, 2018. http://performingsongwriter.com/alan-freed-payola-scandal/.

Owsinski, Bobby. “Artist Sponsorship is Today’s Payola.” Music 3.0. January 19, 2017. Accessed July 17, 2018. http://music3point0.com/2017/01/19/artist-sponsorship-todays-payola/

McDonald, Heather. “Payola: Influencing the Charts.” The Balance Careers. June 3, 2018. Accessed July 17, 2018. https://www.thebalancecareers.com/payola-influencing-the-charts-2460759