DOCSLIB.ORG

A Rhetorical History of the Politics of Respectability in Black Chicago, 1919 - 1939

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Rhetorical History of the Politics of Respectability in Black Chicago, 1919 - 1939 WOMEN SPEAKING IN AND FOR INSTITUTIONS: A RHETORICAL HISTORY OF THE POLITICS OF RESPECTABILITY IN BLACK CHICAGO, 1919 - 1939 BY ANITA J. MIXON DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communication in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Professor Cara A. Finnegan, Chair Associate Professor John M. Murphy Associate Professor J. David Cisneros Professor Ronald W. Bailey ii Abstract Institutions have been vital to the survival and uplift of Black communities. To that end, this dissertation analyzes how Black women -- as economic agents and women of faith -- used rhetoric within institutions to advocate and uplift their enclaved communities. Specifically, my dissertation explores how Black women used the discourse of labor unions and the Black Church to promote their enclaved communities in Black Chicago from 1919 to 1939. Black women often shouldered the work to help a community thrive and, while they may not be the public face of Black communities, their productivity in Black churches and labor unions challenges the male- centric narrative that Black men are more harmed by oppressive and discriminatory practices and, therefore, are in greater need of community initiatives, legislation, and protection. Through a rhetorical analysis of institutional documents from two labor unions and two Black churches that span across 20 years - including the boiling over of racial tensions, height of Black entrepreneurship, and the Great Depression - I demonstrate how Black women, both constrained and enabled by politics of respectability, worked as economic agents in defense of their labor/in advocating for greater economic equity for Black folk. My focus on the lived experiences of Black, urban Midwestern women thickens our understanding of concepts like institutions, community, identity-formation, civil rights, and citizenship. iii Acknowledgments First, I would like to express my sincere gratitude to my dissertation director, Dr. Cara Finnegan, and committee members Dr. John Murphy, Dr. J. David Cisneros, and Dr. Ronald Bailey for their generous feedback, mentorship, and encouragement as I navigated through the dissertation process and my academic career at the University of Illinois at Urbana-Champaign. Each member of my dissertation committee has taught me a great deal about research and life in the academy and I can never give enough credit to the examples that they provided as professors and mentors. Second, this work would not have been possible without the financial support of the Black Metropolis Research Consortium at the University of Chicago, the Illinois Programming for Research in the Humanities Fellowship, and the University of Illinois at Urbana- Champaign’s Department of Communication summer dissertation completion fellowship. Special thanks to the former Executive Director of the Black Metropolis, Camille Brewer, and project manager and archivist Anita Mechler for their enthusiastic support of my project and guidance in establishing networks with archival repositories that became central to my study. Thanks to Dr. Antoinette Burton and Dr. Nancy Castro also for providing a collaborative and collegial space at IPRH to share early drafts. I am grateful to the archivists who spent countless hours helping me to sort through and find documents: Beverly Cook at the Vivian G. Harsh Research Collection at the Woodson Regional Library, Ellen Keith at the Chicago History Museum Research Center, Janet Harper at the Center for Black Music Research at Columbia College Chicago, and Kristen Chinery at the Walter P. Reuther Library: Archives of Labor and Urban Affairs. Their patience and expertise made my experience in the archives a rewarding one. iv To my colleagues and friends, I will cherish the memories that we shared at the university and surrounding cities. Their friendship sustained me through the rigors of the program and the solitude of the dissertating year. Additionally, thanks to the friends scattered across the United States and abroad who have taught me to not take life so seriously and to enjoy the ride. Last, and most importantly, I would like to thank my parents, brother, and twin sister. Their love and guidance has been with me in whatever I pursued. They believed in my goals and sacrificed so that I could chase my dreams. They are the very best parts of who I am and my greatest inspiration. v Table of Contents List of Figures ........................................................................................................................ vi Chapter 1 Introduction ............................................................................................................ 1 Chapter 2 History of Chicago and Bronzeville, 1919-1939.................................................. 29 Chapter 3 Domestics, Musicians, and Black Labor .............................................................. 54 Chapter 4 Respectability and Restraint in the Church .......................................................... 92 Chapter 5 Conclusion and Implications .............................................................................. 139 Notes ................................................................................................................................... 152 Selected Bibliography ......................................................................................................... 168 Archival Resources ............................................................................................................. 170 vi List of Figures 1. Chicago History Museum, Historic City: The Settlement of Chicago1920, Chicago, IL. Photographed March 23, 2016. In the Settlement Map of 1920, the grey areas with light stippling are the areas that Blacks lived. ...................................................................................................... 33 2. Newberry Library, Census Tracts of Chicago 1934: Per Cent of Total Population Negro, Digital collection: http://dcc.newberry.org/system/artifacts/588/medium/Map-Census-tracts-of- Chicago-1934.jpg .......................................................................................................................... 33 3. “Racial and Nationality Map of Chicago,” Chicago Daily Tribune, March 8, 1951. The map was generated by University of Chicago students based on the 1940 census tracts. .................... 33 4. Cosmopolitan Community Church. Original Structure. Marjorie Stewart Joyner Papers, Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro-American History and Literature. ........................................................................................ 95 5. Cosmopolitan Community Church. Pastor Evans. Marjorie Stewart Joyner Papers, Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro- American History and Literature. ................................................................................................. 96 6. Olivet Baptist Church, “Greetings Celebrating the Seventy-Second Anniversary of the Church and Six Years Pastorate of Dr. L.K. Williams,” [1922], Olivet Baptist Church Collection, Chicago History Museum, Chicago. ............................................................................................. 98 7. Pastor L.K. Williams, Olivet Baptist Church, “Greetings Celebrating the Seventy-Second Anniversary of the Church and Six Years Pastorate of Dr. L.K. Williams,” [1922], Olivet Baptist Church Collection, Chicago History Museum, Chicago. ............................................................. 99 8. Sermon. Marjorie Stewart Joyner Papers, [Box 17, Folder 7], Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro-American History and Literature. .................................................................................................................................... 101 9. Sermon. Reverend J. H. Jackson papers [manuscript], Box 32, Folder 1936 June – December, “The New Age” Chicago History Museum Research Collection. .............................................. 113 10. New Front of Cosmopolitan Community Church. Marjorie Stewart Joyner Papers, Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro- American History and Literature. ............................................................................................... 120 11. Inside the Sanctuary: Marjorie Stewart Joyner Papers, Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro-American History and Literature. .................................................................................................................................... 122 vii 12. Reverend Mary Evans, 1932. Marjorie Stewart Joyner Papers, Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro-American History and Literature. .................................................................................................................................... 123 13. Director of Music. Marjorie Stewart Joyner Papers, Chicago Public Library, Woodson Regional Library, Vivian G. Harsh Research Collection of Afro-American History and Literature. .................................................................................................................................... 124 14. Left image - original
Load more

Recommended publications
  • Chicago Was a Key R&B and Blues
    By Harry Weinger h e g r e a te st h a r m o n y g r o u p o p ment,” “Pain in My Heart” and original all time, the Dells thrilled au­ versions of “Oh W hat a Nile” and “Stay diences with their amazing in My Comer.” After the Dells survived vocal interplay, between the a nasty car accident in 1958, their perse­ gruff, exp lore voice of Mar­ verance became a trademark. During vin Junior and the keening their early down periods, they carried on high tenor of Johnny Carter, thatwith sweet- innumerable gigs that connected T the dots of postwar black American- homeChicago blend mediated by Mickey McGill and Veme Allison, and music history: schooling from Harvey the talking bass voice from Chuck Fuqua, studio direction from Willie Barksdale. Their style formed the tem­ Dixon and Quincy Jones, singing back­ plate for every singing group that came grounds for Dinah Washington and Bar­ after them. They’ve been recording and bara Lewis (“Hello Stranger”) and tours touring together for more than fifty with Ray Charles. years, with merely one lineup change: A faithful Phil Chess helped the Dells Carter, formerly ©f the Flamingos reinvigorate their career in 1967. By the (t ool Hall of Fame inductees), replaced end of the sixties, they had enough clas­ Johnny Funches in i960. sics on Cadet/Chess - including “There Patience and camaraderie helped the Is,” “Always Together,” “I Can Sing a Dills stay the course. Starting out in the Rainbow/Love Is Blue” and brilliant Chicago suburb of Harvey, Illinois, in remakes of “Stay in My Comer” and “Oh, 1953, recording for Chess subsidiaries What a Night” (with a slight variation in Checker and Cadet and then Vee-Jay, the its title) - to make them R&B chart leg­ Dells had attained Hall of Fame merit by ends.
    [Show full text]
  • Complete John Lee Hooker Session Discography
    The Complete John Lee Hooker Discography –Part II from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info The Great R&B Files (# 2 of 12) Part II Updated 2017-09-23 MAIN CONTENTS: page Hooker Singles in Disguise 82 Hooker’s First and Last Albums 94 The Body & Soul CD-series 112 Giant of Blues – an Essay by Les Fancourt 114 The Complete EP Collection 118 The Real Best of Selection (with Trivia) 132 The three “whole career” double-CDs 137 JLH Recording Scale 138 Bootlegs and DVDs 142 Nuthin’ but the Best! – Fictional Album 145 The World’s Greatest Blues Singer Supplement to The John Lee Hooker Session Discography http://www.rhythm-and-blues.info/02_HookerSessionDiscography.pdf Part II of the John Lee Hooker Session Discography - compiled by Claus Röhnisch - The R&B Pioneers Series: Volume Two (Part II) of twelve The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info page 81 (of 164) The Complete John Lee Hooker Discography – Part II from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info The BEST of the CDs featuring Johnnie’s pirate recordings Check Ultimate CD’s entries in the Session Discography, Part One for more details ….. and check Singles discography for pseudonyms. ”Boogie Awhile” – Krazy Kat; ”Early Years: The Classic Savoy Sessions” (1948/49 and 1961) - MetroDoubles; ”Savoy Blues Legends: Detroit 1948-1949” – Savoy; ”Danceland Years” – Pointblank ”I’m A Boogie Man: The Essential Masters 1948-1953” – Varese Sarabande; ”The Boogie Man” – Properbox;
    [Show full text]
  • VJ-SAMPLE-CHAPTER.Pdf
    i SECTION ONE—SINGLES OF SIGNIFICANCE Please, Please Me b/w Ask Me Why From Me To You b/w Thank You Girl Please, Please Me b/w From Me To You Twist And Shout b/w There’s A Place Do You Want To Know A Secret? b/w Thank You Girl Love Me Do b/w P.S. I Love You The Beatles on Oldies 45 Foreign Singles and other 7” Wonders of the World Fine Fakes of Significant Interest SECTION TWO— FINE ALBUMS OF SIGNIFICANT INTEREST Introducing The Beatles (Version One) Introducing The Beatles (Version Two) Jolly What! The Beatles & Frank Ifield on Stage Songs, Pictures and Stories of the Fabulous Beatles The Beatles vs The Four Seasons The Beatles & Frank Ifield on Stage ii Hear The Beatles Tell All The 15 Greatest Songs of The Beatles Counterfeits of Significance iii How To Use This Interactive Ebook Apps: GoodReader is the only tablet app we’ve found so far that will allow you to use all the interactive features like the GET BACK button, search, an- notate, markup and bookmarks. It has a ton of features, including syncing to drop- box. It currently costs $4.99, and it is well worth it. We have found that most other PDF readers do not handle some of the interactive features. Hopefully, as apps are Table of Contents Table updated, you will find others that work as well (let us know if you find one). Each eReader software has different ways of navigating, zooming and viewing, so please refer to your app instructions for more information.
    [Show full text]
  • Rock, Rhythm, & Soul
    ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notes NO. 13 / WINTER 2008-2009 Rock, Rhythm, & Soul: The Black Roots of Popular Music liner notes final 031009.indd 1 3/10/09 5:37:14 PM aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for the purpose of research and I write this column on January music critics and scholars to discuss study of African American 20, 2009, the day our country and the socio-political history, musical music and culture. the world witnessed history being developments, and the future of black www.indiana.edu/~aaamc made with the swearing-in of the 44th rock musicians and their music. The President of the United States, Barack AAAMC will host one panel followed Obama, the first African American by a light reception on the Friday elected to the nation’s highest office. afternoon of the conference and two Table of Contents The slogan “Yes We Can” that ushered panels on Saturday. The tentative in a new vision for America also fulfills titles and order of the three panels are From the Desk of part of Dr. Martin Luther King, Jr.’s “What Is Rock: Conceptualization and the Director ......................................2 dream for a different America—one Cultural Origins of Black Rock,” “The that embraces all of its people and Politics of Rock: Race, Class, Gender, Featured Collection: judges them by the content of their Generation,” and “The Face of Rock Patricia Turner ................................4 character rather than the color or their in the 21st Century.” In conjunction skin.
    [Show full text]
  • SOUL Publications, Inc. Records, 1955-2002
    http://oac.cdlib.org/findaid/ark:/13030/kt167nd8xg No online items Finding Aid for the SOUL Publications, Inc. records, 1955-2002 Processed by Simone Fujita in the Center for Primary Research and Training (CFPRT), with assistance from Kelley Wolfe Bachli, 2010; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia funds. UCLA Library, Performing Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2008 The Regents of the University of California. All rights reserved. Finding Aid for the SOUL Publications, 342 1 Inc. records, 1955-2002 Descriptive Summary Title: SOUL Publications, Inc. records, Date (inclusive): 1955-2002 Collection number: 342 Creator: SOUL Publications, Inc., 1966-1982 Extent: 70 document boxes (35 linear feet)6 shoeboxes1 oversize box Abstract: SOUL Magazine was the principal publication of SOUL Publications, Inc., a Los Angeles-based enterprise founded by Regina and Ken Jones in 1966. Initially established to engender greater visibility for Black artists in the music industry, SOUL ultimately provided a space for critical engagement with Black artistic expression as well as social issues. The collection includes newspaper and magazine issues, research and clipping files on artists and public figures, audio cassettes of interviews and performances, photographs, and administrative files. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library.
    [Show full text]
  • Stevie Wonder's Musical Politics During the 1970S and 1980S a Thesis
    UNIVERSITY OF CALIFORNIA Los Angeles Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African American Studies by Sandra Marie Kilman 2017 © Copyright by Sandra Marie Kilman 2017 ABSTRACT OF THE THESIS Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s by Sandra Marie Kilman Master of Arts in African American Studies University of California, Los Angeles, 2017 Professor Robin Davis Gibran Kelley, Chair The problem of racial injustice in the United States continued to plague the nation during the 1970s despite the gains made by the Civil Rights Movement during the preceding decades. Under Republican administrations during the 1970s and 1980s, working Americans encountered new financial challenges as the lion’s share of economic growth benefitted the wealthiest citizens. As socially and politically conscious popular music faded in popularity, Stevie Wonder continued to express his concerns about the obstacles to the promise of freedom and equality that many Americans continued to face. This paper examines four songs, written and performed by Wonder - “Living for the City,” “You Haven’t Done Nothing,” “Happy Birthday,” and “It’s Wrong,” - to track the trajectory of his commentary from local, community-based issues to national, political topics and, finally, to international causes. ii The thesis of Sandra Marie Kilman is approved. Richard Yarborough Shana Redmond Robin Davis Gibran Kelley, Committee Chair University of California, Los Angeles 2017 iii Acknowledgments This paper is dedicated to my family, whose love has sustained me throughout my life.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with the Honorable Jerry Butler
    Finding Aid to The HistoryMakers ® Video Oral History with The Honorable Jerry Butler Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Butler, Jerry Title: The HistoryMakers® Video Oral History Interview with The Honorable Jerry Butler, Dates: June 11, 2002 Bulk Dates: 2002 Physical 9 Betacame SP videocasettes (4:24:50). Description: Abstract: Music composer, county commissioner, music producer, and singer The Honorable Jerry Butler (1939 - ) is a legendary soloist known as "the Iceman," and an original member of the Impressions. Butler is also the former Cook County commissioner. Butler was interviewed by The HistoryMakers® on June 11, 2002, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2002_070 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Award-winning performer, producer and composer Jerry "The Iceman" Butler was born in Sunflower, Mississippi on December 8, 1939. He moved to Chicago, Illinois at the age of three and grew up in an area later known as the Cabrini- Green Housing Projects. Butler met Curtis Mayfield, with whom he began his musical career as part of a quintet called "Jerry Butler and The Impressions." In 1958, The Impressions had their first hit with the classic "For Your Precious Love," after which the group cordially split and 18-year-old Butler went on to pursue a solo career. Spanning five decades, Butler's musical career has produced pursue a solo career. Spanning five decades, Butler's musical career has produced over 50 albums, numerous hit songs and three Grammy Award nominations.
    [Show full text]
  • Wade Flemons
    Wade Flemons by Opal Louis Nations Wade Flemons is perhaps one of the most overlooked African-American popular music recording artists of the late 1950s-early 1960s. Flemons in his heyday enjoyed three major selling records over a span of four years. These were "Here I stand," which hit Billboard's #19 spot in November 1958, "Easy Lovin'," which fared better in May 1960 and climbed to #10 after three weeks in the running, and his cover of Percy Mayfield's "Please send me someone to love" which peaked at #20 in September 1961. You would think that after three charted records, the man could at least have enjoyed a retrospective CD reissue before now. But this writer has never seen or heard of any reissue compilation or published article centering on Wade Flemons' life and times in the music business, except for odd pieces of information in connection with the birth of Earth Wind & Fire. This is indeed a pity and a shame as on October 13, 1993 Wade Flemons died of cancer in his home town of Battle Creek, Michigan. We can only piece together a profile of this shy, reserved, good-natured, unassuming singer from fragments of the one and only satisfactory obituary written by Robert Pruter and published in Juke Blues at the close of 1993. Wade Herbert Flemons was born on September 25, 1940 in Coffeyville, Kansas along the Kansas/Oklahoma border. Raised to the west in Wichita, Flemons took to singing, first in his local church choir and later in various gospel groups. While putting together his own gospel quartet, he developed instrumental skills by becoming a competent violinist in his school orchestra.
    [Show full text]
  • Vee-Jay Singles
    Vee-Jay Records: the First Fifty Singles The story of Vee-Jay Records very likely begins with people who are not usually associated with the company. In the late 1940’s, Charles and Evelyn Aron founded Aristocrat Records in Chicago. They split from one another in 1948, and Evelyn wound up running Aristocrat – together with her partner, Leonard Chess. Late in 1949, Evelyn left Aristocrat with Art Sheridan to found the American (Record) Distributing Company. This left Leonard Chess with his brother Phil, and they famously renamed Aristocrat – the new label was Chess Records. Aron married Sheridan shortly before the end of the year, and by September of 1950 they had gone back into the record business. They had signed pop singer Arnold Jones and sax player John Porter and began recording them immediately. By the end of the year, Chance had recorded several artists in preparation for a company rollout. The March 10, 1951, issue of Billboard announced the upcoming release of several singles – including Porter’s Chance 1101. Given the moniker “Schoolboy,” John Porter did a fine job and was promoted well. That attention led to the discovery that Art Sheridan had used non-union musicians to record the aforementioned single. Sheridan claimed that they had union cards but apparently had not paid their dues. This got Sheridan in trouble with the American Federation of Musicians, who threw the book at him – preventing him from recording any union musicians until May, 1952. From then on, the union had Art Sheridan on their bad list. While Sheridan’s marriage to Aron did not last long (he remarried in May, 1954), he focused on rebranding Chance Records and building it into a strong Chicago label, along with his financial manager, Ewart Abner.
    [Show full text]
  • "The 1960S", Berlin, Sept. 2011 Rock N Roll Playlist, 1947-1970
    Andrea Carosso Erasmus IP "The 1960s", Berlin, Sept. 2011 Rock n Roll Playlist, 1947-1970 Here is a basic playlist of songs from the pre-Rock n Roll, Rock n Roll and post Rock n Roll eras. This is meant as a REFERENCE for your music interests. YouTube.com is a great source for listening to these tunes. A rationale CONNECTING MANY OF THESE SONGS can be found in an article not included in the course reader, which students may download at: http://hotfile.com/dl/124033765/ff227e6/Stilwell_Robyn._Music_of_the_youth_revolution._Rock_through_the_1960s_(Cambridge_History_of_20t h_cent._music).pdf.html -- (Genre indication is often vague and debatable, as we will discuss during the mini-module) Billboard yearly Year Artist Title Label/Number ranking Genre 1947 Arthur Crudup That's alright mama not ranked R&B 1951 Johnnie Ray Cry OKeh 6840 1 Rock 1951 Howlin' Wolf Moanin' at Midnight not ranked R&B 1951 Haley, Bill, and the Saddlemen Rocket 88 not ranked RnR 1952 Big Mama Thornton Hound Dog Peacock Records not ranked R&B 1953 Orioles Crying in the Chapel Jubilee 5122 80 doo-wop 1953 Bill Haley Crazy, Man, Crazy Essex 321 87 Rock 1954 Crew-Cuts, The Sh-Boom Mercury 70404 2 Rock 1954 Chords Sh-Boom Cat 104 29 motown 1954 Bill Haley & His Comets Shake, Rattle, and Roll Decca 29204 41 Rock 1954 Joe Turner Shake, Rattle, and Roll Atlantic 1026 186 R&B 1955 Bill Haley and His Comets (We're Gonna) Rock Around The Clock Decca 29124 3 Rock 1955 Fats Domino Ain't It A Shame Imperial 5348 A 75 Rock 1955 Elvis Presley Blue Moon of Kentucky Sun not ranked RnR
    [Show full text]
  • Carries Big Stick by IAN DOVE by MIKE GROSS NEW YORK Albums by Bum Chart Where CBS Artists - NEW YORK Pop Music Sweepstakes with Four Albums U
    COIN MACHINE MAY 31, 1969 SEVENTY-FIFTH YEAR $1.00 PAGES 71 TO 75 The International Music -Record Newsweekly U. S. Hip Acts Erupt Filmation, RCA Pop Speaks Soft, In U.K. in '70: Davis Pegging TV'er Carries Big Stick By IAN DOVE By MIKE GROSS NEW YORK Albums by bum chart where CBS artists - NEW YORK Pop music sweepstakes with four albums U. S. underground groups should held 11 positions. "I believe that To New Group - LP's" is getting softer. There's been each on Billboard's "Top be selling 50,000 to 100,000 in CBS is poised for the same kind By BRUCE WEBER "soft sound" creep- chart this week. The steady sales the U. K. by the start of 1970, of chart explosion in the U. K. a noticeable ing into the works of the hard of both Campbell's and Jones' predicts CBS president Clive J. that we are experiencing in the Filma- LOS ANGELES - rock groups and, even more LP's is attributed to the regular Davis. At present, sales average U. S. regarding underground TV tion, producer of animated dramatically, there's been a re- exposure they've been receiving about 10,000 per album, he said. music and artists. programs, and RCA are team- several months on their we have ex- surgence of sales and airplay the past "Contrary to many opinions, And this is-as ing again to spring another TV - TV shows. form for the "good music" artists. weekly network the U. K. market has neither had perienced in the U.
    [Show full text]
  • Black Music Research Bulletin, Fall 1990
    Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1990 Black Music Research Bulletin, Fall 1990 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Fall 1990" (1990). Center for Black Music Research: Black Music Research Newsletter. 31. https://digitalcommons.colum.edu/cbmrnews/31 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH BULLETIN < B \I R COLUMBIA COLLEGE CHICAGO Vol. 12, No. 2 ISSN 0898-8536 Fall 199C Contents A Historical Overview of Soul Music in Chicago A Historical Overview of 1 Soul Music in Chicago 1,y Robert Pruter, Elmhurst, fllinois Robert Pruter Chicago Gospel 4 Chicago was once a major center soul factories as Detroit, Memphis, Horace Clarence Boyer for the production and recording of and New York. soul music, that "gospelized" variant Michigan Avenue, just south of Jazz in Chicago: A Historical 8 of rhythm and blues that emerged in Chicago's downtown, was the city's Overview the early 1960s and dominated black "Record Row" and the center of its Richard Wang music for the next decade. During flourishing music scene (Dachs 1964, Florence B.
    [Show full text]