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The Tin Pan Alley Pop Era (1885-Mid 1950'S)
OVERVIEW: The Foundation of Rock And Roll During the Great Migration more than 100,000 African-American laborers moved from the agricultural South to the urban North bringing with them their music and memories. Also, during the 1920’s the phonograph and the rise of commercial radio began to spread Hillbilly music and the Blues. This gave rise to an appreciating of American vernacular music, both white and black. Ultimately, the homogenizing effect of blending several regional musical styles and cultural practices gave birth to 1950’s rock and roll. The Tin Pan Alley Po ra 15-mid 1950’s) “The Great American Songbook” 1940’s Big Bands 1950’s Polar sic New York: “Tin Pan Alley” 14th St. and 2nd Ave. 1 Tin Pan Alley - New York 15-thogh 1940’s) The msic was distribted throgh sheet msic Proessional songwriters dominated the eriod George Gershwin and ole Porter omosers wrote or o msic Broadway and ilm ventally Tin Pan Alley tradition was relaced by the ock and oll tradition Tin Pan Alle – Ke oints 1. Written b a proessional oten non-peroring song-riters 2. ophisticated arrangeent 3. ncopated rhth accents on unepected, eak beats) 4. lever, ell-crated lrics 5. triving or upper-class sensibilities 6. Priar audience Adults 2 “Roots Music” - K oits 1. Riona ou o music 2. tu usicis 3. ot o tut 4. tou o titio 5. o maistream ican ists 6. o t i co cois “Roots Music” = he Blues D Country music he Blues Country Music 1920’s: Mississippi Delta Blues 1920’s: Cowboy Songs 1930’s: rban Blues 1930’s: Hillbilly Music 1940’s: ump Blues 1940’s: Country Swing -
Updates & Amendments to the Great R&B Files
Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the -
Volume 6 March 2017
Volume 6 ♦ March 2017 Worship COMMITTEES... Premium Dues, Ellen Kurtz, Elizabeth Ward, [email protected] Food Pantry, Pam Millian, [email protected] Calendaring, Rachel Eckhaus, [email protected] Adult Learning, Jennifer Lemberg, [email protected] B’nai Mitzvah, OPEN [email protected] College Youth, Stacey Matusow, [email protected] ECP, Cindy Musoff, [email protected] Green Team, Bonnie Hagen, [email protected] Israel, Jack Berger, [email protected] Religious School, Jen Labovitz, CONGREGATION KOL AMI [email protected] A REFORM SYNAGOGUE Youth Groups, Karen Reynolds, [email protected] Marketing, Leslie Wiesen, [email protected] 252 Soundview Avenue • White Plains, New York Inter-Faith Families, 914.949.4717 • www.nykolami.org [email protected] Men’s Council, AdamHutter, [email protected] A Member of the Union for Reform Judaism Leadership Development, Michael Elkin, Lisa Borowitz, [email protected] RABBIS Membership, Adrienne Pollak, Dana Ross, [email protected] Rabbi Shira Milgrom & Rabbi Tom Weiner Retreat, Genna Farley, [email protected] CANTOR Worship, Sheryl Brady, [email protected] David Rosen WRJ Sisterhood, Sheryl Brady, Rachel Eckhaus, Stacey Matusow, [email protected] Annual Fund, David Okun, [email protected] Executive Director • Jess Lorden Budget and Operating, Jeff Gelfand, [email protected] Religious School Director • Felice Miller Baritz Capital Budget, OPEN ECP -
The Funky Diaspora
The Funky Diaspora: The Diffusion of Soul and Funk Music across The Caribbean and Latin America Thomas Fawcett XXVII Annual ILLASA Student Conference Feb. 1-3, 2007 Introduction In 1972, a British band made up of nine West Indian immigrants recorded a funk song infused with Caribbean percussion called “The Message.” The band was Cymande, whose members were born in Jamaica, Guyana, and St. Vincent before moving to England between 1958 and 1970.1 In 1973, a year after Cymande recorded “The Message,” the song was reworked by a Panamanian funk band called Los Fabulosos Festivales. The Festivales titled their fuzzed-out, guitar-heavy version “El Mensaje.” A year later the song was covered again, this time slowed down to a crawl and set to a reggae beat and performed by Jamaican singer Tinga Stewart. This example places soul and funk music in a global context and shows that songs were remade, reworked and reinvented across the African diaspora. It also raises issues of migration, language and the power of music to connect distinct communities of the African diaspora. Soul and funk music of the 1960s and 1970s is widely seen as belonging strictly in a U.S. context. This paper will argue that soul and funk music was actually a transnational and multilingual phenomenon that disseminated across Latin America, the Caribbean and beyond. Soul and funk was copied and reinvented in a wide array of Latin American and Caribbean countries including Brazil, Panama, Jamaica, Belize, Peru and the Bahamas. This paper will focus on the music of the U.S., Brazil, Panama and Jamaica while highlighting the political consciousness of soul and funk music. -
8/1/15 Slagg Brothers Rhythm & Blues, Soul & Grooves Show
8/1/15 Slagg Brothers Rhythm & Blues, Soul & Grooves Show Dance to the Music [Single 1968, influential in the formation and popularization of the musical subgenre of 2:59 Sly & the Family Stone Master] psychedelic soul and helped lay the groundwork for the development of funk music. Backslop 2:33 Baby Earl & The Trinidads Born in Memphis in 1928. Best known for his 1952 singles, "Booted", "No More Do The Chicken (Dance With 2:35 Rosco Gordon Doggin'" and "Just a Little Bit". In 1962, he gave up the music industry and moved to You) New York where he became a partner in a laundry business with his wife. 1965, it was the group's fourth single and the first to achieve success. Featured on Let Her Dance 2:33 Bobby Fuller Four the soundtrack of Fantastic Mr. Fox 1964. Carl Wilson's first recognised writing contribution to a Beach Boys single, his Dance, Dance, Dance 2:00 The Beach Boys contribution being the song's primary guitar riff and solo. Features Glen Campbell on acoustic guitar The 'Carolina Shag' is a partner dance done primarily to Beach Music (100-130+ The Shag (is Totally Cool) 2:13 Billy Graves beats per minute). Still is the state dance of Carolina. The Madison Time, Pt 1 3:08 Ray Bryant Combo Released in 1960, featured in the 1988 movie Hairspray. Twistin' The Night Away 2:44 Sam Cooke Written and recorded by Sam Cooke in 1962. Written by Johnny Otis and originally released as a single in 1958. Lyrics are about a Willie & the Hand Jive 2:37 Johnny Otis Show man who became famous for doing a dance with his hands 1983, from Canada. -
Freedom Riders Democracy in Action a Study Guide to Accompany the Film Freedom Riders Copyright © 2011 by WGBH Educational Foundation
DEMOCRACY IN ACTION A STUDY GUIDE TO ACCOMPANY THE FILM FREEDOM RIDERS DEMOCRACY IN ACTION A STUDY GUIDE TO ACCOMPANY THE FILM FREEDOM RIDERS Copyright © 2011 by WGBH Educational Foundation. All rights reserved. Cover art credits: Courtesy of the Birmingham Civil Rights Institute. Back cover art credits: Bettmann/CORBIS. To download a PDF of this guide free of charge, please visit www.facinghistory.org/freedomriders or www.pbs.org/freedomriders. ISBN-13: 978-0-9819543-9-4 ISBN-10: 0-9819543-9-1 Facing History and Ourselves Headquarters 16 Hurd Road Brookline, MA 02445-6919 ABOUT FACING HISTORY AND OURSELVES Facing History and Ourselves is a nonprofit and the steps leading to the Holocaust—the educational organization whose mission is to most documented case of twentieth-century engage students of diverse backgrounds in an indifference, de-humanization, hatred, racism, examination of racism, prejudice, and antisemitism antisemitism, and mass murder. It goes on to in order to promote a more humane and explore difficult questions of judgment, memory, informed citizenry. As the name Facing History and legacy, and the necessity for responsible and Ourselves implies, the organization helps participation to prevent injustice. Facing History teachers and their students make the essential and Ourselves then returns to the theme of civic connections between history and the moral participation to examine stories of individuals, choices they confront in their own lives, and offers groups, and nations who have worked to build a framework and a vocabulary for analyzing the just and inclusive communities and whose stories meaning and responsibility of citizenship and the illuminate the courage, compassion, and political tools to recognize bigotry and indifference in their will that are needed to protect democracy today own worlds. -
The Shared Dreams Journey - My Reflections Written by Regina Taylor February 26, 2017
The Shared Dreams Journey - My Reflections Written by Regina Taylor February 26, 2017 I would first like to thank God for his continued grace and mercy in my life. I want to thank my pastor, Pastor Trollinger; Rabbi Shira; Captain Abbe and the entire Congregation Kol Ami for what was a life-changing experience for myself and my daughter, Brooke. We were blessed to be included in an interfaith civil rights journey with people of the Jewish faith. We sojourned from Birmingham, Alabama to Montgomery to Selma and then onto Atlanta, Georgia. I want to share with you some of the memories from my journey. As I walked downstairs to the basement of the 16th Street Baptist Church in Birmingham, I passed a painting of four little girls beautiful, smiling and representing every shade of our exquisite rainbow of complexions. Downstairs a bit further and a feeling of sadness began to overwhelm me. “September 15, 1963”, the tour guide, Barry McNealy said, “here is where they were found… hours after the blast. They were near the women’s lounge. It happened between Sunday school and morning worship service.” I wondered if they were happily playing in their church basement or having breakfast like Calvary’s children so often do at that time. But the thought that would not escape me is… they were in church…. a sacred place where all are welcome to worship and share in the goodness of the Lord, a place which welcomes all people through its doors. Four innocent babies were murdered. Their lives taken in a calculated act of terrorism. -
An Investigation Into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected]
San Jose State University SJSU ScholarWorks Faculty and Staff ubP lications Library January 2006 From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska Paul Kauppila San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/lib_pub Part of the Music Commons, and the Social and Behavioral Sciences Commons Recommended Citation Paul Kauppila. "From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska" Social and Economic Studies (2006): 75-91. This Article is brought to you for free and open access by the Library at SJSU ScholarWorks. It has been accepted for inclusion in Faculty and Staff Publications by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. "FROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF JAMAICAN SKA Kauppila, Paul Social and Economic Studies; Mar/Jun 2006; 55, 1/2; ABI/INFORM Complete pg. 75 Social and Economic Studies 55: I & 2 (2006): 75-91 ISSN: 0037-7651 "F"ROM MEMPHIS TO KINGSTON": AN INVESTIGATION INTO THE ORIGIN OF" .JAMAICAN SKA F'AUL KAUPPILA ABSTRACT The distinguishing characteristic of most Jamaican popular music recordings, including reggae and its predecessor, ska, is an emphasis on the offbeat or afterbeat instead of on the downbeat as found in most American popular music. Many explanations have been proposed to explain this tendency. This study critically examines these theories through historical and musicological analyses and concludes that the prevalence of the downbeat is a mixture of Jamaican folk and African-American popular music influences in its earliest incarnation, but was later deliberately emphasized in an attempt to create a unique new musical style. -
Click Here to Continue
Premieres Sunday September 28 at 9pm on This interactive document contains printable pages, downloadable photography, a video sample, music samples, and a link to The Blues Web site at www.pbs.org/theblues. Note that you can elcome navigate this document using the table of contents and the navigation buttons on each page. W Click here to continue. This document automatically adjusts to the size of your screen. The view may be adjusted under the View menu. Click below to navigate What is the Blues? Series Release Fact Sheet About the Films Director and Producer Biographies Performances in The Blues Quotes for The Blues Volkswagen “Celebrates the Arts” Release Contents Photography Index Video Sample Music Samples www.pbs.org/theblues Home pbs.org/theblues By Jason Emmons and edited by Robert Santelli, Blues Historian and Director & CEO of Experience Music Project In 1903 W. C. Handy, the African American leader of a dance orchestra, got stuck one night waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep at the empty depot on a hard wooden bench. When he woke, a ragged black man was sitting next to him, singing about “goin’ where the Southern cross the Dog” and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered it with his guitar. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo & Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and he’d put it into a song. -
JUNE 09, 2008 ARTIST RUFUS THOMAS TITLE the Sun Years, Plus…
SHIPPING DATE: MAY 26, 2008 (estimated) STREET DATE: JUNE 09, 2008 ARTIST RUFUS THOMAS TITLE The Sun Years, plus….. His R&B recordings 1949 - 1956 LABEL Bear Family Records CATALOG # BCD 16695 PRICE-CODE AH EAN-CODE 4000127 166951 ISBN-CODE 978-3-89916-410-7 FORMAT CD digipac with 68-page booklet GENRE R&B TRACKS 29 PLAYING TIME 85:19 KEY SELLING POINTS • 29 tracks including all known surviving recordings from 1949 - 1956 • 2 recently discovered sides from his first recording session for Star Talent • all 8 original 78 rpm discs for Star Talent, Bullet, Chess, Sun, and Meteor. Some of these now for the first time ever from the first generation-tape • 3 recordings from the Memphis Recording Service, not originally issued • 2 original versions of songs Rufus covered (1 by Joe Hill Louis, 1 by Rosco Gordon; previously unissued) • the original version of Hound Dog by Big Mama Thornton • 2 bonus recordings by Rufus's fellow DJ, Moohah Williams • 2 extracts from Rufus on radio WDIA in the 1950s • a rare radio interview with Daddy Cool • mastered as only Bear Family can do it SALES NOTES A newly researched 68-page booklet by Martin Hawkins largely based on interviews by himself and Dave Booth, plus rare photos and adverts. Rufus Thomas was a one-off: a larger than life character who made as great a contribution to the performance and style of American music as he did to the recording of it. He saw it all from black vaudeville to rap... and played a major role in the evolution of African American music. -
Black Institutions and the Rise of Student Activism In
SHELTER IN A TIME OF STORM: BLACK COLLEGES AND THE RISE OF STUDENT ACTIVISM IN JACKSON, MISSISSIPPI DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jelani Manu-Gowon Favors, B.A., M.A. The Ohio State University 2006 Dissertation Committee: Warren Van Tine, Adviser Hasan Kwame Jeffries, Co-Adviser Leslie Alexander William Nelson Jr. Approved by Adviser Graduate Program in History Co-Adviser Graduate Program in History Copyright by Jelani M. Favors ABSTRACT The most underdeveloped area of study concerning the Civil Rights Movement of the 1960’s is the effect of Black student activism during the explosive decade. The field is currently dominated by two-dimensional studies that define student activism under the banner of the Student Nonviolent Coordinating Committee (SNCC), or the Black Studies campaigns on white college campuses in the latter half of the decade. Assessing student protests merely through this lens yields a narrow view of this generation of activists. One cause of our failure to identify these students is that scholars of the Civil Rights Movement have ignored the very environment in which the majority of student activists lived, learned, socialized, and ultimately revolted. Analyses of Black colleges invariably conclude that they were paternalistic and their curriculums were conformist, if not geared toward assimilation. Students from these all-Black institutions in the South succeeded in their public and private assault against the policies of Jim Crow and at the dawn of the Civil Rights Movement they vaulted the struggle for human rights to unprecedented levels. -
The Anniston Star Friday, May 14, 2021 Page 2 Friday, May 14, 2021 FREEDOM RIDERS the Anniston Star
The Anniston Star Friday, May 14, 2021 Page 2 Friday, May 14, 2021 FREEDOM RIDERS The Anniston Star Trent Penny/The Anniston StarHank Thomas: One of the The mural of the Greyhound bus can be seen at the Freedom Riders National Monument. Anniston’s place in civil rights original Freedom Riders BY SHERRY KUGHN At about 1 p.m. on Sunday, May 14, 1961, 19-year-old Howard University history and memory student Henry “Hank” Thomas came into Anniston with 17 other passengers on a Greyhound bus. He remembers BY JENNIFER GROSS, PHD In 2007, a historical marker was erected courthouse lawns and town squares. the median on Quintard Avenue. Today, all the tension he felt as he rode through at the site of the bus burning. Shortly These monuments tell a story. that remains is a concrete pad. town with the group, seven of whom I recently had the pleasure of talking thereafter, several city notables, white It is not a story of the wartime heroism So why does it matter that the were Freedom Riders on his bus, and with Ray Arsenault, the author of the and black, began an effort to publicly of Confederate soldiers as many modern Confederate monument is gone and the representatives of the Congress on Racial ground-breaking work “Freedom Riders: acknowledge the role Anniston played in supporters claim. It is a story of white national monument to the Freedom Rides Equality (CORE). Already, they had 1961 and the Struggle for Racial Justice.” the Freedom Rides, capitalizing on some supremacy and the effort to maintain it is in place? It matters because monuments encountered resistance in other states and Our conversation ranged from small talk of the historical tourism money being after slavery was abolished.