Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan Muddy Waters Howlin Wolf Johnny Winter

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AMERIKANSKA BLUESSANGARE ELVIS PRESLEY JOHNNY ADAMS ROBERT JOHNSON STEVIE RAY VAUGHAN MUDDY WATERS HOWLIN WOLF JOHNNY WINTER PDF-31ABEPJARJSRVMWHWJW10 | Page: 127 File Size 5,636 KB | 4 Apr, 2020 PDF File: Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan 1/3 Muddy Waters Howlin Wolf Johnny Winter - PDF-31ABEPJARJSRVMWHWJW10 TABLE OF CONTENT Introduction Brief Description Main Topic Technical Note Appendix Glossary PDF File: Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan 2/3 Muddy Waters Howlin Wolf Johnny Winter - PDF-31ABEPJARJSRVMWHWJW10 Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan Muddy Waters Howlin Wolf Johnny Winter e-Book Name : Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan Muddy Waters Howlin Wolf Johnny Winter - Read Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan Muddy Waters Howlin Wolf Johnny Winter PDF on your Android, iPhone, iPad or PC directly, the following PDF file is submitted in 4 Apr, 2020, Ebook ID PDF-31ABEPJARJSRVMWHWJW10. Download full version PDF for Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan Muddy Waters Howlin Wolf Johnny Winter using the link below: Download: AMERIKANSKA BLUESSANGARE ELVIS PRESLEY JOHNNY ADAMS ROBERT JOHNSON STEVIE RAY VAUGHAN MUDDY WATERS HOWLIN WOLF JOHNNY WINTER PDF The writers of Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan Muddy Waters Howlin Wolf Johnny Winter have made all reasonable attempts to offer latest and precise information and facts for the readers of this publication. The creators will not be held accountable for any unintentional flaws or omissions that may be found. PDF File: Amerikanska Bluessangare Elvis Presley Johnny Adams Robert Johnson Stevie Ray Vaughan 3/3 Muddy Waters Howlin Wolf Johnny Winter - PDF-31ABEPJARJSRVMWHWJW10.

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Robert Johnson, Folk Revivalism, and Disremembering the American Past
The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past Blaine Quincy Waide A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2009 Approved by: William Ferris Robert Cantwell Timothy Marr ©2009 Blaine Quincy Waide ALL RIGHTS RESERVED ii Abstract Blaine Quincy Waide: The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past (Under the direction of William Ferris) This thesis seeks to understand the phenomenon of folk revivalism as it occurred in America during several moments in the twentieth and twenty-first centuries. More specifically, I examine how and why often marginalized southern vernacular musicians, especially Mississippi blues singer Robert Johnson, were celebrated during the folk revivals of the 1930s and 1960s as possessing something inherently American, and differentiate these periods of intense interest in the traditional music of the American South from the most recent example of revivalism early in the new millennium. In the process, I suggest the term “disremembering” to elucidate the ways in which the intent of some vernacular traditions, such as blues music, has often been redirected towards a different social or political purpose when communities with divergent needs in a stratified society have convened around a common interest in cultural practice. iii Table of Contents Chapter Introduction: Imagining America in an Iowa Cornfield and at a Mississippi Crossroads…………………………………………………………………………1 I. Discovering America in the Mouth of Jim Crow: Alan Lomax, Robert Johnson, and the Mississippi Paradox…………………………………...23 II.
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The Devil in Robert Johnson: the Progression of the Delta Blues to Rock and Roll by Adam Compagna
The Devil in Robert Johnson: The Progression of the Delta Blues to Rock and Roll by Adam Compagna “I went down to the crossroads, fell down on my knees, I went down to the crossroads, fell down on my knees, Saw the Devil and begged for mercy, help me if you please --- Crearn, “Crossroads” With the emergence of rock and roll in the late nineteen fifties and early nineteen sixties, many different sounds and styles of music were being heard by the popular audience. These early rock musicians blended the current pop style with the non-mainstream rhythm and blues sound that was prevalent mainly in the African-American culture. Later on in the late sixties, especially during the British “invasion,” such bands as the Beatles, Cream, Led Zeppelin, Fleetwood Mac, and the Yardbirds used this blues style and sound in their music and marketed it to a different generation. This blues music was very important to the evolution of rock and roll, but more importantly, where did this blues influence come from and why was it so important? The answer lies in the Mississippi Delta at the beginning of the twentieth century, down at the crossroads. From this southern section of America many important blues men, including Robert Johnson, got their start in the late nineteen twenties. A man who supposedly sold his soul to the Devil for the ability to play the guitar, Robert Johnson was a main influence on early rock musicians not only for his stylistic guitar playing but also for his poetic lyrics. 1 An important factor in the creation of the genre of the Delta blues is the era that these blues men came from.
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Robert Johnson from Wikipedia, the Free Encyclopedia
Robert Johnson From Wikipedia, the free encyclopedia Background information Birth name Robert Leroy Johnson Born May 8, 1911 Hazlehurst, Mississippi Died August 16, 1938 (aged 27) Greenwood, Mississippi Genres Delta blues Occupation(s) Musician, songwriter Instruments Guitar, vocals, harmonica Years active 1929 – 1938 Notable instruments Gibson L-1 Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American singer-songwriter and musician. His landmark recordings in 1936 and 1937, display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early Influence in their first induction ceremony in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone′s list of the 100 Greatest Guitarists of All Time. Life and career Early life Robert Johnson was born in Hazlehurst, Mississippi possibly on May 8, 1911, to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884).
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Counseling at the Crossroads
Counseling at the Crossroads By: Craig Cashwell, CACREP Chair, Fall 2009 "I went down to the crossroads, fell down on my knees. I went down to the crossroads, fell down on my knees. Asked the lord above for mercy, save me if you please.” - Robert Johnson This article originally appeared in The CACREP Connection and is reprinted with per- mission from CACREP. I am a huge Robert Johnson fan. In 27 short years, a poor man from the Mississippi Delta wrote and performed music that remains popular and has influenced many blues and rock artists, including Muddy Waters, Led Zeppelin, Bob Dylan, The Rolling Stones, and Eric Clapton. Clapton once called Johnson the most important blues singer that ever lived. There is a legend that when Johnson was a young man living in rural Mississippi, he longed to be a great blues musician. He took his guitar to a crossroads at midnight and met the Devil who tuned Johnson’s guitar, played a few songs, and then returned it to Johnson. The legend holds that Robert Johnson then created the greatest blues anyone had ever heard….in exchange for his soul. I believe that the Counseling profession has gone down to the crossroads. The choices that have fragmented us as a profession are taking a toll. The choices we make over the next decade will shape the future of our profession. Have we sold our soul? As a profession, we struggle with the fact that the term “counselor” has a generic quality, unlike “Psychology” or “Social Work”. This is a given that we must always strive to overcome by communicating a clear sense of who we are as Professional Counselors.
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Robert Johnson, Blues Musician
Robert Johnson, Blues Musician Robert Jr. Lockwood Compiled from an interview with Worth Long When I was young, I couldn't play reels and popular tunes at home 'cause I was living with my grandfather. We played them on the organ when my folks would leave. But when they'd come back, we'd play church music. There was no name for the first songs I started playing. I had two cousins who could play two or three little tunes on the piano, and I just watched them and learned how to play it. Maybe I was born to play. Because Robert was living with my mother, he told me I could go watch him play. I didn't have a guitar. Everytime he set the guitar down, I'd pick it up. He'd set the guitar down, and he'd be with momma, and I'd pick it up. He finally asked me, "Do you really want to play?" and he decided to teach me. He'd play a tune and then show me how he did it, and I would do it. He didn't have to do it but once for me. I had a sense of time, and I knew three musical changes, so when I started playing the guitar, it wasn't a problem. I couldn't get the real feel of it like he was doing but I could still do the notes. Within three months time, I was playing. I was only 14. Robert Jr. Lockwood After I learned to play, I went to Clarksdale with Robert.
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University of Birmingham Two Approaches to Tonal
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal University of Birmingham Two Approaches to Tonal Space in the Music of Muddy Waters Curry, Ben DOI: 10.1111/musa.12084 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): Curry, B 2017, 'Two Approaches to Tonal Space in the Music of Muddy Waters', Music Analysis, vol. 36, no. 1, pp. 37-58. https://doi.org/10.1111/musa.12084 Link to publication on Research at Birmingham portal Publisher Rights Statement: This is the peer reviewed version of the following article: CURRY, B. (2017), Two Approaches to Tonal Space in the Music of Muddy Waters. Music Analysis, 36: 37–58, which has been published in final form at https://doi.org/doi:10.1111/musa.12084. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain.
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(I Believe I'll) Dust My Broom (Elmore James version) New Lyrics: Elmore James (Based on Robert Johnson's "I Believe I'll Dust My Broom") (Song Recorded - 1959) I(E) I'm gettin' up soon in the mornin', I believe I'll dust my broom. IV(A) I(E) I'm gettin' up soon in the mornin', I believe I'll dust my broom. V(B) IV(A) I(E) I quit the best girl I'm lovin', now my friends can get in my room. I'm gonna write a letter, telephone every town I know. I'm gonna write a letter, telephone every town I know. If I don't find her in Mississippi, she be in East Monroe I know. And I don't want no woman wants every downtown man she meets. No, I don't want no woman wants every downtown man she meets. Man, she's a no good doney, they shouldn't allow her on the street. I believe, I believe my time ain't long. I believe, I believe my time ain't long. I ain't gonna leave my baby and break up my happy home. Dust My Broom Elmore James Tab Tabbed by: Francisco & Vitor Ribeiro Suman This is one of the most traditional blues tunes ever, and has been played in many different ways by a lot of different artists. By playing this Elmore James version you can have the idea of what to play if you want a different version. James used a bottleneck, his trademark. If you have one, use it, it will sound a lot better.
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Robert Johnson's “Terraplane Blues,”
1 The Significance of Cars in the Delta: Robert Johnson’s “Terraplane Blues,” (Vocalion, 03416, 1937) Abstract: Robert Johnson's "Terraplane Blues" was a modest hit for the newly recorded bluesman. Notable musically for its elaborate intertwining rhythms and disjointed sections, interpretations of the song have revolved around its lyrical double entendres that equate a woman to a car to discuss her infidelity and the narrator's resultant inability to arouse or satisfy his partner sexually. Although the car in the title has been identified as a Hudson model, scant attention has been paid to the socio-cultural significance of cars in the Delta in the late 1930s. Cars represent a charged locus of convergence of meanings in the Mississippi Delta: a commodity that condenses not only racialized, socio-economic relations, but also the forces of modernization. Ambiguously identified as both means of mobility and significant investments, cars symbolize both escape and entrapment by the economic system. Recontextualizing the central symbol in "Terraplane Blues" with the aid of Federal Writers Project interviews and sociological studies of the Delta complicates our understanding of the meaning of the song. The affective shifts associated with sexual betrayal and frustration, as well as the musical leaps and gaps, map onto the contested meanings of automobiles among an impoverished and largely immobilized African American population during the Depression. Keywords: Johnson, Robert, 1911-1938 Blues musicians -- Mississippi Blues (Music) -- Mississippi Guitar music (Blues) Automobiles -- Social aspects -- United States -- History -- 20th century 2 The Significance of Cars in the Delta: Robert Johnson’s “Terraplane Blues,” (Vocalion, 03416, 1937) “I had a 4,000 dollar car and 3,900 dollars in my pocket.
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The Blues the Roots of the Blues
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Wisdom of the Blues Willie Dixon Compiled from an Interview with Worth Long
Wisdom of the Blues Willie Dixon Compiled from an interview with Worth Long Willie Dixon, born in Mississippi the same year as Robert jr. Lockwood, is a poet-philosopher and blues activist. He did not know Robert johnson, but like johnson, Dixon created a conceptually rich repertoire of blues songs that candidly offer his deep thoughts and feelings about critical social and cultural issues. In this interview, Willie Dixon shares some of his insight on African American secular and sacred musics. He also provides an autobiographical framework that deepens our comprehension of the genius and complexities ofAfrican American mu sic. His observations on issues of segregation, the industrialization of community musical forms and the impact of corporate manipulation of Black people's culture are trenchant and insightful. Worth Long Ralph Rinzler My name is Willie Dixon and I was born in Vicksburg, Mississippi, July 1, 1915. My whole family was from that area. I went to school there for a while. I lived around there as long as I possi bly could under starving conditions, until I had to get the hell out, so somebody else could eat. Ain't but one part of Vicksburg, and that's Vicksburg. I lived on the outskirts of town. I was about one, two blocks from the bus. At that time, Willie Dixon at the 1989 Handy Awards, Memphis, Tennessee. Photo by Lauri Law son , © 1989 Lauri Lawson we had a street car. You got on the trolley car and went straight to the back. That's where you'd sit until you got off.
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The Complete Recordings--Robert Johnson
“The Complete Recordings”--Robert Johnson (1936- 1937) Added to the National Registry: 2003 Essay by Ed Komara (guest post)* Robert Johnson Twenty-nine songs in 41 takes is a compact legacy of a bluesman’s complete career, two hours of music fitting in the palm of one hand. That was the power of the 1990 Sony/Columbia 2-CD set, Robert Johnson, “The Complete Recordings.” The genesis of that legacy began in the late 1920s, when Johnson (1911-1938) embarked on his career as a performing bluesman in the Mississippi Delta. For his models, he took the best musicians that he was hearing in the region, especially Charley Patton, Son House, and Willie Brown, along with the records being made by St. Louis musician Lonnie Johnson. But according to some accounts, Johnson wasn’t very good, and sometime around 1930-31, he spent a year or longer learning and woodshedding in Hazlehurst, Mississippi, with another guitarist, Ike Zimmerman. His musical growth was remarkable enough, upon his return to the Delta to cause wonder if he had not sold his soul to the devil during the meantime. What people speculated would have been of no concern to Johnson but what they were willing to pay to hear was. During the early to mid-1930s, he rapidly expanded his songbag, adding the artful if little-known blues of Nehemiah “Skip” James, the big-city piano blues of Leroy Carr, Peetie Wheatstraw and Jabo Williams, and additional songs by St. Louis-based Roosevelt Sykes, and even a hit by Memphis Minnie. Johnson’s first opportunity to make records came in 1936, at a time when the record industry was holding fewer sessions with southern blues musicians than it did seven or eight years before.
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How Abkco V. Lavere Bowed to Pressure from the Music Industry
Loyola of Los Angeles Entertainment Law Review Volume 22 Number 1 Article 3 6-1-2001 Can't Get No Satisfaction: How Abkco v. Lavere Bowed to Pressure from the Music Industry Benjamin Gemperle Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Benjamin Gemperle, Can't Get No Satisfaction: How Abkco v. Lavere Bowed to Pressure from the Music Industry, 22 Loy. L.A. Ent. L. Rev. 85 (2001). Available at: https://digitalcommons.lmu.edu/elr/vol22/iss1/3 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. NOTES & COMMENTS CAN'T GET NO SATISFACTION: HOW ABKCO V. LA VERE BOWED TO PRESSURE FROM THE MUSIC INDUSTRY I. INTRODUCTION In copyright law, the moment of publication is crucial. Publication occurs when an artist's work is distributed to the public.' It determines the level of protection bestowed upon an artistic creation, which in turn determines the value of the copyright itself.2 A controversial Supreme Court decision relating to publication, on the issue of whether piano rolls were a copy of the underlying work or merely a reproduced performance,3 4 helped prompt Congress to significantly revise the Copyright Act in 1909. Congress's reaction illustrates the importance of the publication issue in copyright law.
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