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Down on Beale Street BLUES CITY CULTURAL CENTER Arts for a Better Way of Life Down on Beale Street Some of the most iconic symbols of American music come to life in DOWN ON BEALE STREET, a lively musical depicting notable musicians and the culture that gave birth to the blues. Man, the lead character, guides an aspiring blues singer through the lives of W.C. Handy, Bessie Smith, B.B. King and other legendary artists who left their historic footprints on Beale Street. Written by Levi Frazier Jr in 1972, DOWN ON BEALE STREET has been presented on numerous stages in Memphis and at the Richard Allen Culture Center in New York. It was first performed in 1973 at LeMoyne-Owen College during the W.C. Handy Festival. In 2016, it was performed at Minglewood Hall for over 2,000 students. Over the years, it has been viewed by over 100,000 people through live performances or public broadcasting. In African-American Theatre: An Historical & Critical Analysis, theatre historian and critic Samuel Hay described DOWN ON BEALE STREET as a musical revue that “highlights the denizens and the good times of such Beale Street spots as the Palace Theatre in Memphis. The significance of all of these musicals-with-messages is that they finally achieve what Dubois was seeking when he asked Cole in 1909 to write protest musical comedies for Broadway.” 1 Lesson Overview and Background Information As a music genre, the blues was originated by African Americans in the Deep South. Rooted in African rhythms, spirituals and field songs, it reflected the hard lives and misery experienced by blacks living in a segregated and disenfranchised society. W. C. Handy, known as the “Father of the Blues,” pointed out, "The blues did not come from books. Suffering and hard luck were the midwives that birthed these songs. The blues were conceived in aching hearts." This lesson enables students to explore and appreciate the historical significance of the blues and its impact on Beale Street, Memphis and the world. Students will also come to understand the ways in which music and culture blended to create opportunities for people of diverse backgrounds and varying degrees of power to find a common ground through shared experiences. The Memphis Blues (The Mississippi Blues Trail - http://www.msbluestrail.org/blues-trail-markers/memphis-blues) The bright lights of Beale Street and the promise of musical stardom have lured blues musicians from nearby Mississippi since the early 1900s. Early Memphis blues luminaries who migrated from Mississippi include Gus Cannon, Furry Lewis, Jim Jackson, and Memphis Minnie. In the post-World War II era many native Mississippians became blues, soul, and rock ‘n’ roll recording stars in Memphis, including Rufus Thomas, Junior Parker, B.B. King, and Elvis Presley. Memphis blues was discovered by the rest of the world largely via the works of Beale Street-based bandleader W. C. Handy, who began using blues motifs in his compositions shortly after encountering the music in the Mississippi Delta around 1903. By the 1920s many musicians from Mississippi had relocated here to perform in local theaters, cafes, and parks. The mix of rural and urban musical traditions and songs from traveling minstrel and medicine shows led to the creation of new blues styles, and record companies set up temporary studios at the Peabody Hotel and other locations to capture the sounds of Mississippians who came to town to record, such as Tommy Johnson and Mississippi John Hurt, as well as some who had settled in Memphis, including Robert Wilkins, Jim Jackson, Gus Cannon, Memphis Minnie, and Joe McCoy. 2 In the decade following World War II musicians from around the Mid-South descended upon Memphis, and their interactions resulted in the revolutionary new sounds of R&B and rock ’n’ roll. Riley King arrived from Indianola and soon became known as the “Beale Street Blues Boy,” later shortened to “B. B.” Many of King’s first performances were at talent shows at the Palace Theater, 324 Beale, co-hosted by Rufus Thomas, a native of Cayce, Mississippi, who, like King, later worked as a deejay at WDIA. King and Thomas were among the many Mississippi-born artists who recorded at Sam Phillips’s Memphis Recording Service, where Tupelo’s Elvis Presley made his historic first recordings for Phillips’s Sun label in 1954. The soul music era arrived with the Stax and Hi labels in the 1960s, and again many Mississippians were at the forefront: Stax’s roster included Little Milton, Albert King, Rufus Thomas, and Roebuck “Pops” Staples, while Hi producer and bandleader Willie Mitchell, a native of Ashland, oversaw recordings by soul and blues artists Otis Clay, Syl Johnson, Big Lucky Carter, Big Amos (Patton), and others with Mississippi roots. Origin of the Blues and Its Global Influence (A Blues History - http://ablueshistory.blogspot.com/2008/02/origins-of-blues.html) The origins of blues is not unlike the origins of life. For many years it was recorded only by memory, and relayed only live, and in person. The Blues was born in the North Mississippi Delta following the Civil War. Influenced by African roots, field hollers, ballads, church music and rhythmic dance tunes called jump-ups evolved into a music for a singer who would engage in call-and-response with his guitar. He would sing a line, and the guitar would answer. This passionate and uniquely American art form known as the blues was born in the steamy fields, dusty street corners and ramshackle juke joints of the Deep South in the late 1800s. An evolution of West African music brought to the United States by slaves, the blues emerged as southern blacks expressed the hardships, heartbreak, religion, passion and politics of their experiences through a blend of work songs, field hollers and spirituals. Many early blues songs were never written down, much less recorded, but were passed from one musician to another and played on whatever instruments were available including clapped percussions, a variety of stringed instruments, harmonicas, horns and more. By the time the 3 blues were first recorded in the early 1920s, guitars and pianos were the most frequent instruments of choice by blues artists, but the basic 12-bar style and three-chord progressions have remained essentially the same and continue to define the blues to this day. As the blues migrated from the south, through the United States and around the world, countless varieties of styles evolved, including: the raw and passionate Delta (of Mississippi river) blues of Robert Johnson and Son House, the brassy New Orleans blues, the relaxed and upbeat Texas blues, the classic blues –a commercially popular, polished style in the1920s which was performed by women like blues greats Bessie Smith and Mamie Smith-, the jug-band and vaudeville-influenced Memphis blues, the amplified and urban Chicago blues of Muddy Waters and Hollin’ Wolf, the rock-heavy 1960s British Blues of John Mayall, Eric Clapton, and the Rolling Stones, and many more. By the 1950s and ‘60s, the blues had crossed the Atlantic and young audiences and musicians in Great Britain launched a blues revival with their reverent admiration of American blues music. The blues blended into rock, and as rock and roll took center stage on the global popular music scene, the blues faded into the background for decades for many listeners and record buyers. But in the early 1990s, a renewed interest in American roots music spurred a resurgence of the blues and the art form that once inspired Willie Dixon’s remark “The blues is the roots; everything else is the fruits”. From the crossroads on Highways 61 and 49, and the platform of the Clarksdale Railway Station, the blues ended headed north to Beale Street in Memphis. The blues have strongly influenced almost all popular music including jazz, country, and rock and roll and continues to help music worldwide. Historical Beale Street Beale Street Today 4 Blues Vocabulary (A Blues History - http://ablueshistory.blogspot.com/2008/02/blues-vocabulary.html) Here is a sample of some of the words and phrases used in popular blues lyrics. Many of them have more than one meaning. It’s its own language, essential to understand the meaning of the songs. Barrelhouse - a cheap drinking and dancing establishment; a fast-paced style of blues or jazz music. Biscuit - a young woman. Black cat bone - a good luck charm that is carried in a mojo bag. Boogie - to move quickly, to get going, to dance, to party. Captain - form of address Southern white men demanded from their black employees; a prison guard. Chillum - children or people. Cold in hand - having no money. Dry so long - being poor. Dust my broom - leaving a place; breaking up with a woman. Eagle flies on Friday - payday. Easy rider - guitar hung on the back of a traveling blues man. Flagging (a train, a ride) - to signal for a train or ride to stop; to hitch a ride. Goin' up the line/ goin' down the line - line meaning railroad route; up the line means going North, down the line means going South Hoodoo – voodoo; something that brings bad luck. Juju - magic or luck. Juke joint - establishment for eating, drinking, and dancing to the music of a jukebox. Killing floor - slaughter house where many Southern blacks worked when they migrated to the North. Mojo - magic spell, hex or charm used against someone else. 5 Nation sack - donation sack carried on the belts of traveling preachers. Rambling - to move aimlessly from place to place. Riding the blinds - hitching a ride on the train between cars. Roadhouse - a drinking establishment outside the city limits.
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