American Popular Music Larry Starr & Christopher Waterman Copyright © 2003, 2007 by Oxford University Press, Inc. This condensation of AMERICAN POPULAR MUSIC: FROM MINSTRELSY TO MP3 is a condensation of the book originally published in English in 2006 and is offered in this condensation by arrangement with Oxford University Press, Inc. Larry Starr is Professor of Music at the University of Washington. His previous publications include Clockwise from top: The Dickinson Songs of Aaron Bob Dylan and Joan Copland (2002), A Union of Baez on the road; Diana Ross sings to Diversities: Style in the Music of thousands; Louis Charles Ives (1992), and articles Armstrong and his in American Music, Perspectives trumpet; DJ Jazzy Jeff of New Music, Musical Quarterly, spins records; ‘NSync and Journal of Popular Music in concert; Elvis Studies. Christopher Waterman Presley sings and acts. is Dean of the School of Arts and Architecture at the University of California, Los Angeles. His previous publications include Jùjú: A Social History and Ethnography of an African Popular Music (1990) and articles in Ethnomusicology and Music Educator’s Journal. American Popular Music Larry Starr & Christopher Waterman CONTENTS � Introduction .............................................................................................. 3 CHAPTER 1: Streams of Tradition: The Sources of Popular Music ......................... 6 CHAPTER 2: Popular Music: Nineteenth and Early Twentieth Centuries .......... ... 1 2 An Early Pop Songwriter: Stephen Foster ........................................... 1 9 CHAPTER 3: Popular Jazz and Swing: America’s Original Art Form ...................... 2 0 CHAPTER 4: Tin Pan Alley: Creating “Musical Standards” ..................................... 2 6 CHAPTER 5: Early Music of the American South: “Race Records” and “Hillbilly Music” ....................................................................................... 3 0 CHAPTER 6: Rhythm & Blues: From Jump Blues to Doo-Wop ................................. 3 4 Big Mama Thornton ................................................................................ 3 9 James Brown and Aretha Franklin ........................................................ 4 0 Jazz Gallery ............................................................................................. 4 4 CHAPTER 7: Country Music: Songs of Tradition and Change ................................ 5 6 Hank Williams ......................................................................................... 6 1 CHAPTER 8: Rock ’n’ roll : A Generation’s Identity .................................................. 6 2 Bob Dylan ................................................................................................. 7 0 CHAPTER 9: Music: The Business ................................................................................ 7 2 Bill Haley and “Rock Around the Clock” .............................................. 6 5 CHAPTER 10: Music Technology: Innovations and Controversies ............................ 7 6 The Electric Guitar .................................................................................. 8 0 CHAPTER 11: � Hip-Hop: The “Rapper’s Delight” ......................................................... 8 2 Prince ........................................................................................................ 8 8 The Message ........................................................................................... 8 9 CHAPTER 12: � World Music Collaborations: Crossing Cultural Boundaries ............ 9 0 Glossary .................................................................................................... 9 4 Introduction opular music, like so much Lacking a mixing board, Prach used will encounter here crooners and of American culture, reflects a karaoke machine and sampled old rappers, folkies and rockers, the a kaleidoscope of contribu­ Khmer Rouge propaganda speeches “King,” a Prince, and the “Queen of Ptions, a cross-fertilization of styles, for his powerful musical condemna­ Soul.” Explained here is the latest in and a blending of dreams. It could tion of the Cambodian genocide. musical technology, from the solid- hardly be otherwise in this nation We hope the pages that follow body electric guitar to the lossless of immigrants. Arguably the United convey a sense of creative ferment, compression digital file. And read­ States is a perfect musical laborato­ of artistic drive, and of how Ameri­ ers will learn about the people who ry: take people from every corner of cans, borrowing from diverse musi­ make the music, truly American in the globe, give them freedom to cre­ cal traditions, have made their own their stunning diversity. Theirs are ate. Distribute their effort: by sheet original contributions to humanity’s perhaps the most wonderful stories music, phonograph, radio — or, for truly universal language. The reader of all. the younger reader: by Blu-ray Disc, mp3, Internet stream. And what results! European ballads recast with African poly­ rhythmic textures or blended with a Cuban-flavored habanera (bold­ faced terms are defined in the glos­ sary) or a more “refined” rumba. “Cold” bop. “Hot” jazz. “Acid” rock. “Gangsta” rap. We might speak less of a singular American popular mu­ sic than of a constellation of mutu­ ally-enriching American popular “musics.” Elvis Presley borrows from African-American blues, and black Motown stars recast “white” pop. Ask Khmer-American rapper Prach Ly, also known as “praCh,” about American popular music and he’ll speak of growing up with Snoop Dog, Dr. Dre, Run DMC, and Public Enemy on the radio and of cutting Musicians gather around the great Louis Armstrong, seated at the piano. his first album in his parents’ garage. Armstrong grew up in New Orleans in the early part of the 20th century and gave the world a lasting legacy — jazz. 3 Louis Armstrong in a 1931 photo Consider the African-American As he later wrote: That boy’s name was Louis Arm­ child, born in 1901 and living in a One day when I was on the wagon strong. He would give the world jazz. poor New Orleans neighborhood. with Morris Karnovsky … we American popular music is the At the age of seven, with his mother passed a pawn shop which had sound of countless Louis Arm­ and sister in poverty, he found work in its window — an old tarnished strongs sharing the music in their with a family of junk dealers — Rus­ beat up “B” Flat cornet. It cost souls. It spans a matchless range of sian Jewish immigrants nearly as only $5. Morris advanced me $2 human experience, from matters poor as his own family. “They were on my salary. Then I put aside 50 of the heart — Sinatra bemoaning always warm and kind to me,” he cents each week from my small a lost love “in the wee small hours later would write — indeed, as one pay — finally the cornet was paid of the morning” — to the political scholar later put it, they “virtually in full. Boy, was I a happy kid. protest of Country Joe and the Fish adopted him.” The boy would ride performing the “I Feel Like I’m Fixin’ the junk wagon and blow a small tin to Die Rag.” Some tunes propel horn to attract potential customers. couples to the dance floor, there to 4 Clockwise from upper left: � twist or jitterbug, hustle or tango. “Without music, life would be a A couple whirls across the dance � Songwriters depict their muses so mistake,” the German philosopher floor of Harlem’s Savoy Ballroom, � 1953; Dancers “Twist” at New � vividly we can almost believe them Friedrich Nietzsche wrote. Here York’s Peppermint Lounge, � real: the Beach Boys’ Caroline per­ you will meet many visionaries who 1961; Crooner Frank Sinatra, � haps, Chuck Berry’s Maybellene, would agree. 1943; Singer-songwriter Rickie � Bob Dylan’s “Absolutely Sweet Ma­ Lee Jones, 1999; Country Joe � rie,” or Rickie Lee Jones’s “Chuck E.” —Michael Jay Friedman McDonald in the late 1990s. � And sometimes what resonates is not the girl in the song, but the one with whom you first heard it, a long time ago. 5 � Streams of Tradition: CHAPTER 1 THE SOURCES OF POPULAR MUSIC Every aspect of popular The European-American Stream gardens provided an idyllic rural experience for an expanding urban music today regarded as ntil the middle of the audience. The pleasure gardens be­ American has sprung 19th century, American came one of the main venues for the from imported traditions. popular music was almost dissemination of printed songs by Uentirely European in character. The professional composers. In the 1760s These source traditions cultural and linguistic dominance of the first American pleasure gardens may be classified into three the English meant that their music opened in Charleston, New York, broad “streams”: European- established early on a kind of “main­ and other cities. stream” around which other styles The English ballad opera tradi­ American music, African- circulated. tion was also popular in America American music, and Latin At the time of the American during the early 19th century. Per­ Revolution, professional composers haps the best known is John Gay’s American music. Each of of popular songs in England drew The Beggar’s Opera (1728). The main these is made up of many heavily upon ballads. Originally an characters in ballad operas were oral tradition, ballads were circu­ common people, rather than the styles of music, and each lated on large sheets of paper called kings and queens of imported op­ has profoundly influenced broadsides. While some broadside eras; the songs were familiar in form the