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Title Artist Terms Western Swing, Bluegrass, Country & Western: Great Speckled Bird Roy Acuff, 1936 from Tennessee, among the first country music “stars” “What a beautiful thought I associated with t...

Title Artist Terms Western Swing, Bluegrass, Country & Western: Great Speckled Bird Roy Acuff, 1936 from Tennessee, among the first country music “stars” “What a beautiful thought I associated with the Grand Ole Opry and mainstreaming of am thinking concerning a country music. originally a Southern church hymn based on great speckled bird” Biblical passage equating the church with a great speckled bird surrounded by enemies. strophic (ala English ballad, “old time” “folky” music), steel guitar, acoustic guitar, twangy voice. Cool Water Sons of the Pioneers, Led by Roy Rogers (from Ohio) and Bob Nolan (from Winnipeg), “All day I face the barren 1941 who form band called the Pioneers. radio host re-names them waste without the taste of Sons of the Pioneers. written by Nolan. less romantic image of water, cool water, old dan cowboy/frontier life. sophisticated song writing effectively portrays and I with throats burned” a parched protagonist haunted by mirages. Back in the Saddle Gene Autry, 1939 TV and film help make him an enormous star, “The Singing “I’m back in the saddle again. Cowboy”, wanted to be a pop star; goes to New York, but turned Out where a friend is a down by Victor Records. early on, performed many styles, friend. Where the longhorn including risqué tunes about gambling, drinking, sex. written and cattle feed on the lowly recorded by Ray Whitely in 1938. Autry re-records it, works out jimson weed. I’m back in the deal to saddle again” take credit for co-writing the song. romantic image of the cowboy and the frontier. It Wasn't God Who Made Kitty Wells, 1952 From Nashville, TN; father was a brakeman on the railroad. 1st Honky Tonk Angels female country music star. answer song to Hank Thompson’s “The “As I sit here tonight, the Wild Side of Life,” which accuses women of seducing good men jukebox playin’ the tune into bad behavior. both Thompson’s “Wild Side of Life” and Wells’s about the wild side of life. As “It Wasn’t God Who Made Honky Tonk Angels” use the melody and I listen to the words you are chord progression from Roy Acuff’s “Great Speckled Bird”. well sayin’. It brings memories known tune, but given new secular lyrics about contemporary when I was a trusting wife” gender politics. in borrowing “Great Speckled Bird,” a religious song with Biblical lyrics, Thompson in a sense claims the “moral high ground”; Wells claims it right back with “It Wasn’t God Who Made Honky Tonk Angels”. song banned by Grand Ole Opry, NBC radio, and many other radio stations; nonetheless became a huge hit; 1st song by a woman to hit #1 on Billboard Country & Western chart (no longer called “hillbilly”). steel guitar way up front; increasingly becomes a timbre distinctly associated with country music. features prominent fiddle and associates with the sound of country. Your Cheatin' Heart Hank Williams, 1947 from Alabama, born in poverty, out on streets at age 7. learned “Your cheatin’ heart will make guitar from African American street musician who went by you weep, you'll cry and cry Teetot (Rufus Payne). drifter, many jobs: rodeo, shipyards, and try to sleep. But sleep traveling medicine shows etc., songs exemplify honky-tonk won’t come the whole night culture: pain of failed relationships, hardship of poverty, through, your cheatin’ heart loneliness of drifting life, alcoholism; but also makes this life will tell on you“ glamorous (popularized Nudie suits). Also called the “father of country music” because what he did was closer in style to what really became known as “country music.” Williams the most  important quality for a country singer is sincerity. life experiences matched with a lot of themes he talked about (drinking and marital problems). he was an alcoholic and fired from the Grand Old Opry for it; had morphine addiction; died at age 29. “Your Cheating Heart” (1952) is iconic “cry into your beer” song; “hurtin’ song.” lyrics put up brave stance, but wailing voice betrays this; he’s the one that’s crying in this song, contrary to the lyrics. Big Band Singers: Minnie the Moocher Cab Calloway, 1931 bandleader and vocalist, succeeded Duke Ellington at the “Folks here’s a story about Cotton Club - chic, stylish image, popularized zoot suit. dark Minnie the Moocher, she was topic: about a prostitute addicted to hard drugs. scat vocal in a red hot hoochie hoocher, call-and-response. sold 1 million copies. used for Max Fleischer she was the” Betty Boop cartoon (1932) watched in class. Strange Fruit Billie Holiday, 1939 born Eleanora Fagan; took first name from favourite singer (Billy “Southern trees bear strange Dove) and last name from father, Clarence Holiday from father, fruit. Blood on the leaves and who left when she was an infant. her mother thrown out of the blood at the root. Black house for becoming pregnant with Billie at age 13. forced into bodies swinging in the prostitution at age 12; sang in brothels. projects “devil-may-care” southern breeze” attitude. one of first female musicians to tour with big bands; one of first black musicians to tour with white bands. extremely difficult circumstances: she faced a lot of racism and sexism. quit touring to take gig at Café Society (Greenwich Village, NYC). “Strange Fruit” (1939) composed by Abel Meeropol, a Jewish high school teacher, who wrote the song after seeing photos of a lynching. Holiday’s label, Columbia Records, wouldn’t release it due to controversial subject matter; released on independent label Commodore Records. light, thin sound, narrow range, not virtuosic. famed for phrasing and vocal improvisation. projects fragility, sensitivity. explicit, powerful lyrics. form hints at A A B A form, but ends up being A AI AII. resigned, no hope for change. Holiday arrested in 1959 for drug possession. suffered from cirrhosis; transferred to hospital, remained guarded by police on her death bed. routinely cheated out of money by music industry. died with 70 cents. Nancy (with the Laughing Frank Sinatra, 1945 started by singing with popular Tommy Dorsey big band. during Face) AFM strike convinces Victor Records to put out records under “If I don’t see her each day, I his own name, becomes extremely popular. Columbus Day miss her. Gee what a thrill. Riot of 1944 at Paramount Theatre. “Bobby soxers” Each time I kiss her, believe (adolescent girls) rioted because they couldn’t get in to see. me. I’ve got a case. On Frankie had several nicknames: “Sultan of Swoon,” Nancy. With the laughing “Swoonatra”, “The Voice,” “Old Blue Eyes,” “Chairman of the face” Board”. “Nancy (with the Laughing Face)” (1945). strings dominate; band takes backseat to vocalist. contrast with “All or Nothing at All” (1939), recorded with Harry James Orchestra. uses rubato = expression fluctuations of tempo. uses vibrato (referred to as “portamento” in reading assignment) = expressive fluctuations in pitch. highly stylized and nuanced vocal phrasing; pays great attention to every word. vocal control and mastery; musical prowess projects a sense of sexual prowess. mastered microphone as an  instrument. recording technology allowed more nuances of vocals. Nature Boy Nat "King" Cole, 1948 Born​​in Alabama; African American with middle‐class background. “There was a boy, a very father was a pastor; sang in choir and played organ in church. strange and enchanted boy. moves to Los Angeles in 1939; has successful jazz trio (Nat King They say he wandered very Cole Trio). biggest successes with sentimental ballads backed with far, very far, over land and orchestra. accused of selling out, massive success for black sea” performer, including 14 Top Ten hits on pop charts. marketed as “Sepia Sinatra”, first African American to host a weekly radio program, first African American performer to have a network TV show. in spite of (or perhaps because of) cross-over success, faced racist backlash because he “didn’t know his place”. house in wealthy Hancock Park area of Hollywood subject to racist graffiti and cross burnings (Ku Klux Klan intimidation technique). 1956, at performance in Birmingham, Alabama, stage stormed by members of White Citizens Council who sought to kidnap the “uppity Black”. “Nature Boy” (1948) goes to #1 on Billboard pop charts and stays there for 8 weeks (unprecedented for a black singer), written by Eden Ahbez (born George Aberle) eccentric proto hippie; Jewish, from Brooklyn, but moves to California to join the Nature Boys commune (vegetarian, long-haired and bearded, yoga, Eastern philosophy, sandals, etc.). lush arrangement (French horn and flute = outdoorsy sound; harp = mystical, enchanting; oboe = Eastern culture, the “exotic”; violin = played in “gypsy” style). smooth, warm, refined vocal. Urban Folk Revival: Midnight Special Lead Belly, 1934 Lead Belly (née Huddy Ledbetter) was discovered by Lomaxes in “Yonder come little Rosie, Angola State Penitentiary in Louisiana. Lomaxes foster myth that how in the world do you they helped him get out of prison. 12-string guitar, powerful voice, know? I can tell by her apron huge repertoire, undeniable musicality, and creativity. Lomaxes and the dress she wore. Let cultivate image of “authentic,” “primitive” folk musician, posing him the midnight special, shine in farmer overalls or prison clothing. Lomaxes also took co-writing your light on me” credits for most of Lead Belly’s material (both Lead Belly’s re-working of traditional songs and songs newly composed by Lead Belly). prison song; dates back to at least 1905. Lead Belly adds verse about Houston jailbreak of 1923. folk tradition of adapting tradition songs to current events. guitar accompaniment with chords and bass line (similar to “Carter Scratch” Verse-chorus with distinctive vocal style Jesus Christ Woody Guthrie, 1940 From Oklahoma, poor state, during Depression, “Okies” pushed “Jesus Christ was a man off land (Dust Bowl era) and made to become itinerant laborers. who travelled through the Guthrie takes up hobo lifestyle. traveling commentator, touring land. Hard working man and the country, taking in its natural beauty, and speaking for its brave, He said to the rich common, lowly, downtrodden masses. wrote songs about abject “give your goods to the poor. condition of the common “folk”, often explicitly pro-labor, So they laid Jesus Christ in pro-working class. e.g., “This machine kills fascists” written on his gave” guitar. “Jesus Christ” (1940) was based on 19th-century folk song about Jesse James (legend portrays him as American Robin Hood). Guthrie uses modern terms (bankers, cops, landlords, etc) to refer to those who killed Jesus. updates story of Jesus; re-claims Jesus for the political left. Guthrie becomes model for  Bob Dylan, who adopts his sound and style. Dylan referred to early on as “Woody Guthrie Jukebox”. Gospel Music: It's All Right Now Arizona Dranes, 1926 along with Biddleville Quintette, among the first to produce “Well many years i’ve religious music incorporating secular elements from popular wandered, out on a weary music (i.e., Gospel music). born in Texas; blind from birth. road. My heart was heavy attended Texas Institute for the Deaf, Dumb, and Blind Colored laden. It’s all right now, all Youth. classical training in piano and voice. joined the Church of right now, Jesus is my God in Christ in 1922. A&R man (talent scout) for Okeh Records saviour all right now” hears her on the recommendation of a local preacher in Texas. signed by Okeh and brought to Chicago to record. while recording in Chicago, she also played for church services at the Roberts Temple Church of God in Christ. there she was heard by an 11-year- old girl, who would later become famous as Sister Rosetta Tharpe. may have been heard by Thomas Dorsey, still known as “The Father of Black Gospel Music”. Church later famous for holding the open-casket funeral of Emmet till in 1955. “It’s All Right Now” (1926) piano style taken from ragtime/stride/barrelhouse piano traditions. prefigures piano style of later rock-and-roll stars like Little Richard ad Jerry Lee Lewis. secular, syncopated rhythms borrowed from dance-oriented styles. call-and-response. Dranes known to whip congregation up into a frenzy, ecstatic performances, and congregational response. can’t hear this on her recordings which were made in a Chicago studio not in church with a congregation. Take My Hand, Precious Thomas Dorsey, 1932; from Atlanta but moved to Chicago. biggest name in early Lord rec. by Mahalia Jackson, gospel music; dubbed the “Father of Black Gospel Music”. “Precious Lord, take my 1956 later, he acknowledged that Arizona Dranes preceded him in hand. Lead me on, let me recording Gospel music. started out playing Hokum Blues stand, I am tired, I am weak, as I am worn. Take my hand “Georgia Tom”. Hokum Blues: a subgenre of the blues that precious Lord” characterized by racy themes and sexual references through comical use of double entendre. Georgia Tom and Tampa Red, “It’s Tight Like That” (1928). lyrics include many thinly veiled references to sex. 1929: Stock Market Crash brings about the Great Depression. Dorsey’s bank folds and he loses everything. takes it as a sign, converts to Christianity, swears off the blues, and turns to sacred music. “Precious Lord, Take My Hand” (1932). best known recording made by Mahalia Jackson (1956). among the 1st “star” vocalists of the Gospel tradition (forerunner to Aretha Franklin). known for her soaring, “angelic” voice, vocal power and control, versatility, and strong dramatic sense. from New Orleans but moves to Chicago; starts out as “song plugger” for Thomas Dorsey. song includes blue notes and pitch bending, expressive devices used in secular music. “heavenly,” harp-like piano accompaniment. soaring melodic lines and leaps; heavy vibrato; nuanced phrasing. embodied, vocal performance of spiritual transcendence. Shout, Sister Shout Sister Rosetta Tharpe, Gospel background; brought up in COGIC. heard Arizona “If you want your soul set 1941 Dranes at age 11. aims to cross over into more commercial free, lift your voice and sing styles. collaborates with Lucky Millinder, successful band leader with me. Badada bum bum now seen as transitional figure between big bang swing and bum da bum bum bum. If the rock ‘n’ roll. Major muscular elements derived from his devil grabs your hand, here’s collaboration. Tharpe, such as the backbeat. Sister Rosetta one thing that he can’t stand” Tharpe is a pioneer of the electric guitar. Sister Rosetta Tharpe (with Lucky Millinder), “Shout Sister Shout” (1941). features clapped backbeats used in COGIC; 1st Millinder recording to do so. I've Got a Woman Ray Charles, 1954 Another pioneer of Soul Music. blind pianist and singer from “I got a woman way over Georgia. based on gospel song “It Must Be Jesus” (1954) by the town. That’s good to me oh Southern Tones. Controversial; displays the sometimes-thin line year. I got a woman” between sacred desire and sexual desire Lovable Sam Cooke, would become enormous solo star but started out in gospel “Lovable my girl, she’s 1957 quartet called Soul Stirrers. famous for falsetto voice: head lovable. She’s lovable, my voice. Cooke decides to go solo and pursue a career in secular girl. She’s lovable” music. re-records “Wonderful” with new secular lyrics as “Lovable” (1957) under the name Dale Cook. expression of sacred desire transformed to expression of romantic desire. no one is fooled by the name change and Cooke is kicked out of Soul Stirrers. Cooke goes on to record many other hit songs (biggest hit is “You Send Me”), but dies young under sordid, mysterious circumstances. considered a pioneer of Soul Music, soon to be recognized as a genre of secular music that incorporates Gospel influences Jump Blues and Boogie Woogie: Pine Top's Boogie Woogie Clarence "Pine Top" from Alabama, played piano on TOBA circuit (Theatre Owners “Now listen here all of you, Smith, 1928 Booking Association; Black Vaudeville circuit in south; ‘tough on this is my pine top trouble, I black asses’). gets invited to play a rent party in St Louis, want everyone to dance ‘em Missouri, and while improvising comes up with a new approach to just like I tell you” playing the 12-bar-blues on piano. “sings” over piano groove instructing party goers to dance, using the phrase “boogie woogie”. “Pinetop’s Boogie Woogie” (1928). percussive piano style with heavy, shuffled walking bass line. 12-bar blues. heavy shuffle rhythm (very close to swing cymbal rhythm). Mardi Gras in New Orleans Professor Longhair (Roy “longhair” nickname is reference to classical musicians. along “When you stroll in New Byrd), 1949 with title “professor” implies authority and prestige. often went by Orleans you ought to go see Fess. starts by tap dancing in street (“my first instrument was the the Mardi Gras. If you go to bottom of his feet”). develops percussive approach to piano. New Orleans you ought to go signed by Atlantic Records when Ahmet Ertegun hears him in see the Mardi Gras. New Orleans; has him record at J&M Studio. incorporates Somebody’ll tell you what’s Afro-Carribean rhythms carnival for” popularized by the rumba and mambo crazes of the 1930s and 1940s. Ain’t Nobody Here but Us Louis Jordan & His Phrase; racist origin (white southerners used to refer to enslaved Chickens Tympani Five, 1947 with this), mockery around slavery. Jordans turn inverts the power “One night farmer brown was dynamic, using wit and humour to reclaim the phrase. Shuffle takin’ the air locked up the rhythm. Take note in the middle out, first note worth 3 notes, barnyard with the greatest of double the length. 2 is taken out, 3-1, 3-1, 3-1 -> emphasis on third care. Down in the hen house, note. Heavy walking base line. Plays notes each, horizontally something sirred when he throughout time. Still 12 bar blues spread out. Walking baseline - shouted” da da da da Latin American Music: El Manisero Don Apiazú’s Havana The Peanut Vendor. written by classically trained Cuban composer “Ma-ní Ma-ní, Si te quieres Casino Orchestra, feat. (Moisés Simón Rodríguez) with Spanish lyrics. Not folk, por el pico divertir, professional composer, but Cuban folkore trying. uses street Cómete un cucuruchito de Machito, 1930 vendor’s cry. à “folkloric,” “exotic” flavour. claves play pronounced maní” 2/3 clave pattern. maracas play continuous driving rhythm. congas play mostly in background but also participate in call-and-response phrases. Machito sings in crooning style; marketed in the US as the “Cuban Rudy Valee”. musical texture mostly melody with percussion accompaniment. à minimal harmonic accompaniment; oscillation between two harmonies. à bass outlines harmonies using the 3-note half of the clave rhythm [also known as the tresillo rhythm). in the US, Latin American music adapted for big band ensembles (with brass, reeds, rhythm section). call-and-response between voice and muted trumpet. recorded over 200 times Mambo #5 Pérez Prado, 1950 kicks off huge Mambo craze throughout the 1950s. Rhythmic thing “No lyrics! Instrumental! not melodic. Emphasis on percussive aspect Rhythm and Blues (R&B): Good Rockin' Tonight Wynonie Harris, 1948 among the most successful R&B singers on King Records. from “Well, I heard the news: Nebraska, moves to Los Angeles and develops a regional there's good rockin' tonight. following. tours the US during the AFM strike. heard by Lucky I'm gonna hold my baby as Millinder (successful big band leader; previously teamed up with tight as I can Sister Rosetta Tharpe, who introduced him to clapped gospel Well, tonight she'll know I'm a backbeats). Harris becomes featured singer in Millinder’s band. mighty, mighty man Wynonie Harris, “Good Rockin’ Tonight” (1948). “rockin’” is a I heard the news: there's slang term for sex; common use of double entendres in R&B, as good rockin' tonight in blues before it. big backbeat at the front of the mix, followed by clapped backbeats (a la gospel/Sister Rosetta Tharpe). boogie-woogie style piano. 12-bar blues. “honking” sax solo. distorted, “dirty” timbres contribute to what many considered the raw, raunchy, sexy sound of R&B. sax will be gradually displaced by the electric guitar as the main lead solo instrument as R&B morphs into rock-and-roll. “Good Rockin’ Tonight” routinely put forward as candidate for the “first rock-and-roll song ever recorded”. other artist on King Records was Bull Moose Jackson. replaced Wynonie Harris in Lucky Millinder’s. Sixty Minute Man The Dominos, 1951 featured Clyde McPhatter, a preacher’s son, and Billy Ward, a “Sixty-minute man. musical prodigy who went to Julliard (extremely rare for Black Sixty-minute man. Lookie musicians). recorded for Federal Records, a subsidiary of King here girls I'm telling you now. Records. The Dominoes, “Sixty Minute Man” (1951). male vocal They call me "Lovin' Dan". I group derived from gospel tradition. performance of swaggering rock 'em, roll 'em all night male sexuality. lead sung be bass singer Bill Brown. huge, long. I'm a sixty-minute man” in-your-face backbeat. massive hit: went to #1 on the R&B charts. remarkable crossed over to the Pop charts, hitting #17. Mama, He Treats Your Ruth Brown, 1953 from Virginia, grew up going to segregated schools. gospel Daughter Mean background (evident in her vocals an in the foregrounding of the “Mama he treats your tambourine at the beginning of the recording. distinctive vocal daughter mean. Mama, he style (Wexler: “Let’s hear that million-dollar squeal!”). blends big treats your daughter mean band swing with R&B with an emphasis on the rhythm section. Mama, he treats your lyrics depict a woman complaining to her mother that she is in an daughter mean. He's the abusive relationship. specifically female perspective. Atlantic meanest man I've ever seen. Records would go on to be among the most successful labels in Mama, he treats me badly. history. now one of the world’s largest “majors”. Ruth Brown saw Makes me love him madly. little of the profits from her hit records and ended up cleaning Mama, he takes my money. houses. many R&B artists ended up owing the label for “session Makes me call him honey” fees”. Brown known as the “Queen of R&B” and “Ms. Rhythm”. other successful Atlantic artists include Big Joe Turner, Ray Charles, Aretha Franklin, the Drifters, Percy Sledge, Wilson Pickett. Hound Dog Willie Mae "Big Mama" From Alabama; gospel background. signed to indie Peacock “You ain't nothing but a Thornton, 1953 Records (Houston). Big Mama Thornton, “Hound Dog” (1953). hound dog. Been snoopin' written by Jerry Leiber and Mike Stoller. Lieber and Stoller, like 'round my door. Ain't nothing Syd Nathan, were “White Negroes” from Jewish immigrant but a hound dog families. grew up in rough Chicago inner city neighbourhoods; both Been snoopin' 'round my fell in love with R&B. determined to become a successful R&B door. You can wag your tail. songwriting team. recording features band led by Johnny Otis, But I ain't gonna feed you no Greek immigrant considered himself “Black by persuasion”. song more” uses 12-bar blues form. lyrics refer to no-good lazy man who mooches off his girlfriend. more forceful iteration of female perspective than “Mama, He Treats Your Daughter Mean”. growling vocals. raspy guitar; no horns (R&B evolving into R&R). clapped backbeat. call and response. like Ruth Brown, Thornton saw little of the profits from the record. Thornton claimed to have co- written the song with Lieber & Stoller but received no songwriting credits. “Hound Dog” would be a much bigger hit for Elvis Presley. Mannish Boy Muddy Waters, 1955 Muddy Waters (neé McKinley Morganfield). from the Mississippi “Oh, yeah. Oh, yeah Delta, started out playing acoustic Delta blues. moved to Chicago Everything gonna be alright during Great Migration. credited with “electrifying” the blues. known this mornin'. Now, when I as the “Father of the Chicago Blues”. Hugely influential on British was a young boy blues bands like the Rolling Stones and Eric Clapton. Recorded for At the age of five. My mother independent Chess records in Chicago. Chess founded by said I was gonna be. The Polish-Jewish immigrants Leonard and Phil Chess (also “White greatest man alive. But now Negroes”). Chess becomes most important label in the I'm a man development of Chicago Blues. gritty, raw sound of southern I'm age twenty-one. I want country blues blended with cosmopolitan, urban, electric idiom. you to believe me, honey Chess was home to several important artists in addition to Muddy We having lots of fun. I'm a Waters, including Howlin’ Wolf, Buddy Guy, Sonny Boy Williamson, man” Bo Diddley, Chuck Berry. Muddy Waters, “Manish Boy” (1955). opens with field holler. riff based song. riff = short musical phrase that repeats to provide the basis for a song. song features no chord progression, just one riff throughout the song. insistent (like the lyrics). like “Sixty Minute Man,” swaggering performance of manhood in a very braggadocios way, punctuated by female screams. lyrics also have strong racial connotation. insist on being recognized as a man rather than being called “boy.” From Rhythm & Blues to Rock ‘n’ Roll: Shake, Rattle, and Roll Big Joe Turner, 1954 from Kansas City, father killed by train when he was 4. soon “Get outta that bed, wash starts singing on street corners. by age 14, starts working as a your face and hands. Well, bartender in KC; known as “the Singing Bartender”. hired to front you get in that kitchen, make Count Basie’s big band. Ahment Ertgun hears him in KC and some noise with the pots 'n signs him to Atlantic Records.Big Joe Turner, “Shake, Rattle, pans. Way you wear those Roll” (1954). big hit for Turner; goes to #1 on the R&B charts and dresses, the sun comes crosses over to #22 on the Pop charts. hybrid of 12‐bar blues shinin' through” and verse‐chorus form. risqué lyrics dealing with gender politics (common in R&B). boogie woogie influenced piano. the Big Beat: consistent snare drum backbeat (loud in mix, doubled by gospel clapping). Shake, Rattle, and Roll Bill Haley & the Comets, Covered by Bill Haley and His Comets (1954). originally a “Well, roll my breakfast 1954 Country & Western style band; worked with Milt Gabler (Louis 'cause I'm a hungry man Jordan’s producer) to move closer to R&B sound. signed to I said, shake, rattle, and roll. Decca Records (major label). Bill Haley’s version more I said, shake, rattle, and roll. marketable and successful than Turner’s original. goes to #7 on Well, you'll never do nothing. Pop charts; doesn’t make R&B charts at all. chorus comes in To save your doggone soul. earlier in Haley’s version; get to the “hook” sooner. lyrics cleaned Wearin' those dresses with up (but not all of them). drums less prominent than on Turner’s your hair done up so nice” original version. electric guitar takes on greater prominence, eventually displacing saxophone. slapback bass provides percussive accompaniment. this version is closer to a style that would be called rockabilly. Sh-Boom The Chords, 1954 African American vocal group (gospel quartet tradition). “Life could be a dream discovered busking in New York subway station. signed to Life could be a dream. Do do Atlantic Record’s subsidiary Cat Records. 1st Black group to do do, sh-boom. Life could break the Top 10 on the pop charts (although Black solo artists be a dream (sh-boom). If I Nat King Cole and Fats Domino had done this. The Chords, could take you up in “Sh‐Boom” (1954). goes to #9 on the Pop charts. AABA form; Paradise up above vocals intensified and in higher register for the return of the A (sh-boom). If you would tell section (gospel‐style intensity); B section emphasises contrasting me, I'm the only one that you vocal register (bass). “hot” sax solo connects it to R&B. covered love” with greater success. Sh-Boom The Crew Cuts, 1954 name signified opposition to classical music (“longhair music”). “Hey nonny ding dong, alang members met at St. Michaels Choir School in Toronto. The Crew alang alang Boom ba-doh, Cuts, “Sh-Boom” (1954). crooning style singing; don’t highlight ba-doo ba-doodle-ay Oh, life contrasting voices as the Chords do. slower tempo. less could be a dream (sh-boom) aggressive rhythms: downbeats emphasized. “sweet” horn If I could take you up in arrangement. use of novelty sounds. silly scatting. tympani “boing”. paradise up above goes to #1 on Pop charts (sh-boom)” Mystery Train Junior Parker, 1953 from Clarksdale, Mississippi; moves to Memphis, TN; starts band “Train I ride, sixteen coaches called Blue Flames. signed by Sam Phillips. owner of Sun long Train I ride, sixteen Records, Memphis (independent label), and producer. Junior coaches long Well, that long Parker and the Blue Flames, “Mystery Train” (1953). Sam Phillips black train carry my baby took partial song-writing credit. 12‐bar blues, complete with AAB from home” lyric format. train takes his lover away, never comes back. musical evocation of the train sound (“chugging’” sound; sax imitates train whistle). Mystery Train Elvis Presley, 1955 by far the biggest rock ‘n’ roll star of the 1950s. from Tupelo, Same as above lyrics *** Mississippi; moves to Memphis, works as truck driver. goes Sun Records to record a song for his mother’s birthday. Sam Phillips brings him back and teams him up with Scotty Moore, guitar, and Bill Black, bass. “Mystery Train” (1953). faster, more upbeat. Sam Phillips developed distinctive sound at Sun Records. heavy use of reverb, an electronic effect that creates the sense of having the sound reverberate in a large auditorium. helps emphasize Presley’s distinctive, breathy, hiccupping vocal style. fans found this vocal style, along with Elvis good looks and provocative dancing, incredibly sexy. slapback bass: percussive ‘click’ sound created by slapping the strings of an acoustic bass. Elvis changes lyrics to make them more optimistic: “Well it took my baby, but it never will again”. Elvis’s version is faster, confident. Rock ‘n’ Roll, Part 1: The R&B Side Bo Diddley Bo Diddley, 1955 Bo Diddley (Elias Bates). from Mississippi but move to Chicago. “Bo Diddley buy babe a takes name Bo Diddley for traditional African homemade diamond ring If that diamond instrument. first guitar was homemade cigar-box guitar. ring don't shine He gonna popularized the “Bo Diddley beat,” based on Afro‐Caribbean take it to a private eye If that clave rhythm. Bo Diddley: “I play the guitar as if I’m playing private eye can't see He'd drums. I play drum licks on the guitar.” “Bo Diddley” (1955). stays better not take the ring from on one chord for most of the song. no harmonic progression; all me” about the rhythm. maracas prominent. 1st Black performer on the Ed Sullivan show; played “Bo Diddley” against the network’s wishes, was supposed to perform a cover of Tennessee Ernie Ford’s Sixteen Tons. Maybellene Chuck Berry, 1955 originally from St. Louis, Missouri. turned down by several record “Maybellene, why can't you labels who thought he sounded “too country” for a Black artist. be true? Oh, Maybellene, travelled to Chicago where he met Muddy Waters. gets signed to why can't you be true? You Chess Records. great lyricist: “poet laureate of rock ‘n’ roll”. done started doing the things creative use of language, rhyme schemes, flow. major figure in you used to do As I was bringing the electric guitar to the forefront of rock ‘n’ roll. motivatin' over the hill I saw displaces the lead sax of R&B. great stage presence. famous Maybellene in a Coupé de “duck walk” “Maybellene” (1955). lyrics make references to car Ville A Cadillac a-rollin on the culture. common topic in rock ‘n’ roll songs. car is an emblem of open road Nothin' will” mobility, freedom, intimacy, etc. car increasingly becomes associated with style. Brown-Eyed Handsome Man Chuck Berry, 1956 “Brown-Eyed Handsome Man” (1956). lyrics comment directly on “Arrested on charges of racial issues in the US. precursor to the “Black is Beautiful” slogan unemployment He was sittin'” of the Civil Rights Movement Tutti Frutti Little Richard, 1955 Little Richard (Richard Perriman). grew up in Macon, Georgia. “Wop bop a loo bop a lop kicked out of his house by his father at age 13 due to his bom bom Tutti frutti, oh rootie sexuality. taken in by the family of Enotris Johnson. strong Tutti frutti, oh rootie Tutti gospel background. starts out performing on streets the Dew frutti, oh rootie Tutti frutti, oh Drop Inn. signed by Specialty Records (Los Angeles). 1st session rootie Tutti frutti, oh rootie” at J&M Studio in New Orleans not going well until they take lunch break at the Dew Drop Inn (famous drag bar in New Orleans) and Little Richard jumps on stage and plays a lewd song about anal sex, which would become “Tutti Frutti” after the lyrics  were cleaned up a bit. “Tutti Frutti” (1955). lyrics originally about anal sex (“Tutti Frutti, good booty”). lyrics re-written by Dorothy Labostrie. high vocal range; strong falsetto voice, typical of gospel. also, controversial because spoke to teenage generation with a “coded” language (“womp‐bop‐a‐loo‐bop, a womp-bam-boom”), which parents didn’t understand and didn’t like. Little Richard’s performing style was very flamboyant, jumping on piano, etc. “Tutti Frutti” covered by Pat Boone – white, tamer version; but more successful than original. Rock ‘n’ Roll, Part 2: The Country & Western Side Folsom Prison Blues Johnny Cash, 1955 grew up in Arkansas picking cotton. grew up in poverty during “Hello, I'm Johnny Cash I depression. serves in the military, then moves to Memphis, TN hear the train a-comin', it's and worked as an appliance salesman. gets band together, rolling 'round the bend And I Johnny Cash and the Tennessee Two and auditions for Sun ain't seen the sunshine since Records with gospel songs. Sam Phillips reportedly tells him to I don't know when I'm stuck “go home and sin a little bit, then come back with a song I can in Folsom prison, and time sell.”. develops “Man in Black” image as opposed to wholesome, keeps draggin' on But that good cowboy defined by Gene Autry. “Folsom Prison Blues” train keeps a-rollin' on down (1955). recorded at Sun Records (Memphis); produced by Sam to San Antone” Phillips. country, but still uses 12 bar blues form. lyrics from point of view of someone in prison, watching train go by. slapback bass provides bass line and percussive clicking accompaniment. Common sound associated with rockabilly. Don't Be Cruel Elvis Presley, 1956 hybrid form uses AABA form, but A section is in 12-bar blues “You know I can be found form. RCA added a drummer (D. J. Fontana) and backing vocals Sitting home all alone If you (The Jordanaires). Elvis appeared on the pop charts, the R&B can't come around At least charts, and the country & western charts. desegregation of charts please telephone Don't be implied the desegregation of American society. leads to massive cruel to a heart that's true” backlash against rock ‘n’ roll and attempts to quash or contain it. That’ll Be the Day Buddy Holly & the Buddy Holly. from Texas. recorded as Buddy Holly and the “Well, that'll be the day When Crickets, 1957 Crickets for Brunswick Records, a label more geared towards you say goodbye Yes, that'll African American R&B. recorded as just Buddy Holly for Coral be the day When you make Records, geared more towards mainstream pop. like Elvis, me cry You say you're gonna suggested the erasure of racial boundaries. unlike Elvis, Buddy leave You know it's a lie Holly did not appear to have the rebellious, working-class rock ‘n’ 'Cause that'll be the day roll image. appeared like the “nerdy” boy-next-door, making rock When I die” ‘n’ roll seem more threatening. died in plane crash at age 22. Holly among first of white rock ‘n’ roll stars who wrote his own material (a la Chuck Berry and Little Richard; Elvis did not write his own material). helped standardize what would become the classic rock ‘n’ roll ensemble with lead guitar, rhythm guitar, bass, drums (no more horns). “That’ll Be the Day” (1957). borrowed from Elvis hiccupping vocal style. swaggering, confident masculinity associated with R&B. contrast with Fats Domino’s “Ain’t That a Shame,” which had a polite, vulnerable tone. unlike Fats Domino, Buddy Holly didn’t have to work against established stereotypes of black masculinity. La Bamba Ritchie Valens, 1958 Ritchie Valens (Valenzuela). Chicano (Mexican American with “Para bailar La Bamba Para strong cultural identity). Pachucos: Chicanos who flaunted their bailar La Bamba Se necesita Chicano identity with flamboyant Zoot Suits. sophisticated, sharp una poca de gracia Una look. not very welcomed identity in much of the United States. poca de gracia Pa' mí, pa' ti, famous Zoot Suit Riot involved white sailors targeting and ay arriba, ay arriba Y arriba, attacking Pachucos. Ritchie Valens changed his last name from y arriba Por ti seré, por ti Valenzuela to distance himself from his ethnicity and the seré, por ti seré” discrimination it occasioned. died with Buddy Holly in plane crash (Valens was 17 years old). “La Bamba” (1958). among the few hit songs with lyrics in Spanish. incorporates Latin American percussion instruments and rhythms (cha-cha-cha). lyrics refer to a particular dance called La Bamba. based on Mexican folk song from Veracruz region dating back to 1830s. line “I’m not a sailor, I’m a captain” (“Yo no soy marinaro, soy capitan”) is a demand for respect, much like Muddy Water’s “Mannish Boy.” Funnel of Love Wanda Jackson, 1957 among few women in early rock ‘n’ roll (for instance, influential “Here I go, Falling down, record man Sam Phillips of Sun Records signed virtually no down, down, My mind is a female artists). though her records were excellent, Wanda blank, My head is spinning Jackson did not gain the same success as male rock ‘n’ roll around and around, As I go artists. it was bad enough when white men like Elvis started deep into the funnel of love.” playing rock ‘n’ roll, which was associated with Black culture, working class values, expressions of sexuality, rebelliousness, etc. America was not ready for women to take part in rock ‘n’ roll culture. originally from Oklahoma. performed on the radio and earned a local following. was rejected by Capital Records, who told her that “girls don’t sell records”. eventually signed with Decca Records. great performer who belted out her songs with a distinctive, raspy voice, but had no major hits. “Funnel of Love” (1957). raspy vocal. woman asserting right to claim sexual desire. Doo Wop; The Backlash Against Rock ‘n’ Roll: Only You The Platters, 1955 Doo wop group from Los Angeles. recorded for King Records. “Only you can make all this among the Black doo wop group who were able to cross over and world seem right Only you do well on the pop charts, first all- Black group to have number 1 can make the darkness on pop charts. clean cut, sophisticated, suits and ties. rare bright Only you and you instance of a vocal group with mixed male-female members. “Only alone can thrill me like you You” (1955). projects non-threatening image of a sensitive, do And fill my heart with love vulnerable Black masculinity that countered the stereotype of the for only you” “dangerous Black man”. polite, non- threatening sounds and styles enabled many Black doo wop groups to have crossover success on pop charts. crooning lead vocal (by Tony Williams) with vulnerable “breaks”. compound 12/8 metre, which becomes common in doo wop. Why Do Fools Fall in Love? Frankie Lymon and the Band name capitalizes on the new social and marketing category “Oh wah, oh wah, oh wah, oh Teenagers, 1956 of “the teenager”. integrated group from the Bronx, NY, featuring 3 wah, oh wah, oh wah Why Black singers and 2 Puerto Rican singers. project safe image. do fools fall in love? Why do well-dressed, in line with middle class values. “Why Do Fools Fall birds sing so gay? And in Love?” (1956). vocalist “plays” bass line0s with his voice. other lovers await the break of day vocalists sing syllables to provide vocal harmonies in lieu of Why do they fall in love?” instrumental harmonies. AABA form. Lymon among the great falsetto singers, especially on return of A section (“Whyyy”). Lyman was 13 years old; he wrote the song himself; lots of charisma; very talented. why such a short career? A Teenager in Love Dion and the Belmonts, members from Italian immigrant families from the Bronx, NYC. “Ooh, wa-ooh Ooh, wa-ooh 1959 like many immigrant groups, faced discrimination (derisively Each time we have a quarrel, called “wops” or “greasers”). doo wop genre allows Italian it almost breaks my heart Americans to counter negative stereotypes. career aided by 'Cause I'm so afraid that we appearance on American Bandstand, hosted by DJ Dick will have to part. Each night I Clark. Clark had middle-class background (unlike Alan Freed) ask the stars up above Why and sought to appeal to middle-class audiences. programmed must I be a teenager in mostly White artists (unlike Alan Freed). American Bandstand love?” had a dress code, and Clark hand-picked clean-cut audience members. “A Teenager in Love” (1959). group members snap on the backbeats, but the middle-class audience claps on the downbeats. Belmonts from the streets of New York, well versed in Black styles of making music, unlike Clark’s middle-class audience. image of sophistication, safety, middle-class success. Emphasizing teenage identity and culture. Women artists more successful in doo wop sub-genre than in rock ‘n’ roll. doo wop didn’t participate in rock ‘n’ roll’s spirit of rebellion. Maybe The Chantels, 1957 African American doo wop group consisting of 5 women. Catholic “Maybe, if I pray every night schoolgirls from the Bronx. honed skills in church choir, as You'll come back to me And opposed to on street corners. lead vocals by Arlene Smith. polite, Maybe, if I cry every day refined, middle-class “good girl” image. “Maybe” (1957). Arlene You'll come back to stay Oh, Smith wrote the song, but the producers took song-writing credit. maybe” triplets. reference to praying (church references are common in doo wop; part of its appeal as non-threatening). song would be a hit for the Chantels, and later would earn massive royalties when covered by Janis Joplin, but none went to Arlene Smith.  Country & Western: A marketing category for music that emerged in the 1940s, combining elements of folk and blues, previously referred to as "hillbilly records." The term aimed to mainstream rural music and reduce segregation in the music industry. WSM: A Nashville radio station known for its tall broadcast tower, which allowed it to reach a broad audience in the South and Midwest. It played a significant role in popularizing country music through programs like the "WSM Barn Dance," hosted by DJ George D. Hay, who coined the term "Grand Ole Opry" in 1927. Western Swing: A subgenre of country music that blends elements of jazz and swing, originating in dance halls in the Southwest US. Bob Wills and His Texas Playboys were key figures, incorporating various instruments and styles into their music. Honky Tonk: A style of country music associated with bars and dance halls, characterized by themes of heartbreak and drinking. It reflects the social environment of working-class life. The Grand Ole Opry: A weekly country music concert in Nashville, established by George D. Hay, showcasing both black and white performers. It became a significant platform for country music and helped to mainstream the genre. Zoot Suit: A style of clothing popularized in the 1940s, often associated with jazz culture and urban youth. It became a symbol of cultural identity and resistance. Lynching: A violent act of racial terror, often targeting African Americans, that was prevalent in the United States, particularly in the South. It reflects the deep-seated racial tensions and injustices of the time. Abel Meeropol: An American schoolteacher and social activist known for writing the poem "Bitter Fruit," which was later set to music as "Strange Fruit," a powerful protest against racism and lynching. BMI (Broadcast Music Incorporated): A performing rights organization that represents songwriters and publishers, ensuring they receive royalties for their music played in public. It plays a crucial role in the music industry by protecting the rights of creators. AFM (American Federation of Musicians): A labor union representing professional musicians in the U.S. and Canada, involved in various labor disputes, including the AFM Strike (1942-44), which aimed to secure better working conditions and pay for musicians. AFM Strike (1942-44): A significant labor strike by musicians against record companies, protesting the lack of royalties for recorded music. During this time, singers were not considered musicians and were not bound by the strike, leading to a shift in the music industry where singers became more marketable than band leaders. Bobby Soxers: Adolescent girls who became fervent fans of Frank Sinatra, known for their enthusiastic and sometimes riotous behavior at his concerts, such as the Columbus Day Riot in 1944 when they rioted at the Paramount Theatre because they couldn’t get in to see him. Columbus Day Riot, 1944: A riot involving Bobby Soxers at a Paramount Theatre due to their inability to see Frank Sinatra, highlighting the intense fan culture surrounding him and the marketing of his image as a teen idol. Rubato: A musical term referring to expressive fluctuations in tempo, often used in vocal performances to enhance emotional delivery. Frank Sinatra utilized rubato in his singing to create a more nuanced and expressive performance. Vibrato: A technique involving expressive fluctuations in pitch, contributing to the emotional quality of vocal performances. Sinatra's use of vibrato added depth and expressiveness to his singing style. Urban Folk Revival (1940s): A movement that sought to revive traditional folk music, often associated with social and political activism. It emphasized music as a form of expression for the people, challenging the commercialization of music.  John and Alan Lomax: Pioneering folklorists who recorded traditional American music, particularly focusing on African American songs. They believed folk culture was vibrant and contemporary, using a recording machine to capture performances in remote communities, emphasizing the importance of the performers over the songs themselves. Oklahoma Dust Bowl (Okies): Refers to the severe drought and dust storms in the 1930s that devastated agriculture in Oklahoma, forcing many families to migrate, particularly to California, in search of work. This period significantly influenced American music and culture, as many artists, including Woody Guthrie, emerged from this context. “This Machine Kills Fascists”: A slogan used by Woody Guthrie, symbolizing his belief in music as a weapon against oppression and injustice. Guthrie's songs often addressed social issues and aimed to give a voice to the marginalized. Gospel Music: A genre of African American sacred music that evolved from the 19th-century spiritual tradition. It incorporates elements of secular popular music, emphasizing uplift and spiritual transcendence, often featuring call-and-response patterns and expressive vocal styles. Pentecostalism: A Christian movement emphasizing direct personal experience with God through the Holy Spirit, often characterized by lively worship, music, and ecstatic expressions of faith. It has significantly influenced gospel music, particularly in its emphasis on embodied spirituality and spirit possession. Church of God in Christ (COGIC): An influential African American Pentecostal denomination known for its lively worship and significant role in the development of gospel music and rock 'n' roll. It emphasizes unrestrained music and has produced many prominent gospel artists. Thomas Dorsey (Georgia Tom): Known as the "Father of Black Gospel Music," Dorsey transitioned from playing Hokum Blues to gospel music after a personal crisis. He composed many well-known gospel songs, including "Precious Lord, Take My Hand," and played a crucial role in shaping the genre. The Soul Stirrers: A prominent gospel group that helped popularize the genre in the mid-20th century, known for their powerful vocal harmonies and influence on later artists, including Sam Cooke. “Dale” Cooke: A reference to Sam Cooke, who was initially a gospel singer before transitioning to pop and soul music, becoming one of the most influential artists of his time. Falsetto: A vocal technique that allows singers to reach pitches higher than their normal range, often used in various music genres, including gospel and pop, to convey emotion and expressiveness. Boogie Woogie: A style of blues piano characterized by a strong, fast-paced rhythm and repetitive bass lines, which became influential in the development of rock 'n' roll. Shuffle Rhythm: A rhythmic pattern where the first note is held longer than the second, creating a "swinging" feel. It emphasizes the third note in a sequence, contributing to a laid-back groove often found in blues and R&B. Clave: A rhythmic pattern that serves as the foundation for many Afro-Cuban and Latin music styles, including the famous "Bo Diddley" beat. It typically consists of a 2/3 or 3/2 pattern, providing a syncopated framework for musicians. Creole: Refers to a cultural group in Louisiana, blending French, African, Spanish, and Native American influences. This cultural mix significantly impacted the development of jazz, blues, and other American music forms. Jump Blues: A transitional genre between big band swing and rock & roll, characterized by smaller ensembles and a strong emphasis on rhythm. It features shouted vocals, celebratory lyrics, and "honking" sax solos, often appealing to dance audiences.  Mambo: A lively dance and music style that evolved from Cuban danzón, popularized in the U.S. by bandleader Pérez Prado in the 1950s. It emphasizes rhythmic complexity and percussive elements, becoming a significant influence on American popular music. Rhythm & Blues (R&B): A genre that emerged in the 1940s, combining elements of jazz, blues, and gospel music. It served as a new marketing category for music by Black musicians and laid the groundwork for rock and roll. Backbeat (The Big Beat): A strong emphasis on the second and fourth beats in a measure, creating a driving rhythm that is foundational in rock and roll and R&B. This rhythmic style became a defining characteristic of many popular music genres. Independent Record Labels: Smaller music labels that emerged during the 1930s and 1940s, focusing on niche markets and up-and-coming artists that major labels overlooked. They played a crucial role in promoting diverse musical styles and artists. King Records (Cincinnati): Founded by Syd Nathan, this label focused on R&B and country music, becoming one of the first integrated labels. It was known for its innovative approach to recording and promoting Black artists. Syd Nathan: The founder of King Records, he was from an immigrant Jewish family and exemplified the "White Negro" concept, being drawn to Black culture, particularly music. Under his leadership, King Records became a significant player in the R&B market. “White Negro” (Norman Mailer): A term coined by writer Norman Mailer in 1957 to describe white individuals who were deeply attracted to Black culture, particularly music and dance. This concept highlights the complexities of cultural appropriation and the benefits white individuals could reap from engaging with Black culture without facing the same societal challenges. Atlantic Records (New York): Founded by Ahmet Ertegun, the son of a Turkish diplomat, Atlantic Records became a major player in the music industry, particularly in R&B. The label struggled initially until Jerry Wexler signed Ruth Brown, whose success helped save the label, leading to it being nicknamed “The House that Ruth Built.” Ahmet Ertegun: The co-founder of Atlantic Records, he fell in love with African American R&B music after moving to the U.S. His vision and leadership helped shape the label into one of the most successful in history. Jerry Wexler: An influential figure in the music industry, Wexler was initially an R&B critic for Billboard magazine before becoming the A&R man at Atlantic Records. He played a crucial role in signing and promoting artists like Ruth Brown, contributing to the label's success. “The House that Ruth Built”: A nickname for Atlantic Records, referring to Ruth Brown's significant contributions to the label's success. The phrase is a pun on Yankee Stadium, also known as “The House that Babe Ruth Built,” highlighting Brown's impact on the label's financial stability. Phil and Leonard Chess: Founders of Chess Records in Chicago, they were Polish-Jewish immigrants who played a vital role in the development of Chicago blues. Their label became home to many influential artists, including Muddy Waters and Howlin' Wolf. (Jerry) Lieber and (Mike) Stoller: A songwriting and production duo known for their work in the early rock and roll era. They wrote and produced numerous hits for artists, contributing significantly to the sound of the time. Chess Records (Chicago): A record label founded by Phil and Leonard Chess, it became a key player in the development of Chicago blues and R&B. The label was known for its gritty sound and for launching the careers of several important artists. Chicago Blues: A style of blues music that emerged in Chicago, characterized by electric instrumentation and a more urban sound. It evolved from earlier forms of blues and became influential in the development of rock music.  Baby Boom: Refers to the significant increase in the birth rate following World War II, leading to a large population of teenagers in the 1950s. This demographic shift created a new market for music and cultural products, influencing the rise of rock and roll. Teenager: A new social category that emerged in the 1950s, characterized by a significant increase in the number of teens and pre-teens due to the Baby Boom. This demographic became a profitable market for music labels, influencing the rise of rock 'n' roll. Television: The rise of television in the 1950s allowed national networks to broadcast performances, enabling the entire country to watch the same shows simultaneously. This visual medium became crucial for the appeal of early rock 'n' roll stars, as their looks and performances could be seen, impacting their popularity. Alan Freed: A pioneering disc jockey who popularized the term "rock 'n' roll" and was among the first White DJs to play music by Black artists. He played integrated programs featuring both Black and White artists, helping to desegregate airwaves and promote Black music to White audiences. Brown vs. Board of Education (1954): A landmark Supreme Court case that ruled segregated public schools unconstitutional. The case was argued by Charlie Black, whose racial awakening was inspired by seeing Louis Armstrong perform, and it played a significant role in the civil rights movement. Little Rock Nine: A group of nine Black students who faced violent opposition when attempting to integrate Little Rock Central High School in 1957. Governor Orval Faubus refused to comply with desegregation orders, requiring federal troops to escort the students. Cover Version: A new recording of a previously released song, often by a different artist. Cover versions of R&B songs by White artists facilitated the mainstreaming of the R&B style, now referred to as rock 'n' roll, allowing major labels to capitalize on R&B hits. Rockabilly: A genre that blends rock 'n' roll and country music, characterized by its energetic style and use of slapback bass. It emerged in the 1950s and became a significant part of the rock 'n' roll movement. Slapback Bass: A percussive bass technique used in rockabilly and early rock 'n' roll, characterized by a quick, echoing sound. It provides a rhythmic accompaniment that enhances the driving beat of the music. Stop Time: A musical technique where the rhythm is interrupted or "stopped" for a moment, creating a dramatic effect. This technique was used in songs like Bill Haley and His Comets' "Rock Around the Clock." Sun Records (Memphis): A record label founded by Sam Phillips, known for launching the careers of several iconic artists, including Elvis Presley, Johnny Cash, and Jerry Lee Lewis. Sun Records played a crucial role in the development of rock 'n' roll and rockabilly music. Sam Phillips: The founder of Sun Records in Memphis, he played a crucial role in the development of rock 'n' roll by discovering and recording several iconic artists, including Elvis Presley, Johnny Cash, and Jerry Lee Lewis. His innovative approach to recording and promotion helped shape the sound of early rock music. Reverb: A sound effect that creates an echoing quality, often used in music production to enhance vocals and instruments. It contributes to the spaciousness of a recording, making it feel more immersive. Rock and Roll: A genre that emerged in the mid-1950s, characterized by a blend of rhythm and blues, country, and other musical styles. It became a cultural phenomenon, appealing to a youth audience and challenging social norms, particularly regarding race and integration. Bo Diddley beat (Clave): A rhythmic pattern that serves as the foundation for many rock and roll songs, popularized by Bo Diddley in his 1955 hit "Bo Diddley." This clave pattern has influenced numerous artists and songs across various genres.  Dew Drop Inn: A famous nightclub in New Orleans known for its vibrant music scene, particularly in the R&B and jazz genres. It served as a significant venue for many emerging artists during the rise of rock 'n' roll. Dorothy LaBostrie: A songwriter known for her contributions to early rock and roll and R&B music. She wrote several hits, including "Tutti Frutti," which became a major success for Little Richard. Enotris Johnson: A lesser-known figure in the music industry, he was involved in the early development of rock and roll and R&B. His contributions helped shape the sound and style of the genre during its formative years. Pat Boone: A popular singer and actor in the 1950s known for his clean-cut image and cover versions of R&B songs. His success in mainstreaming Black music through covers helped bridge racial divides in the music industry. Col. Tom Parker: Elvis Presley's manager, known for his aggressive marketing strategies and business acumen. He played a significant role in shaping Presley's career and the commercialization of rock and roll. “King of Rock and Roll”: A title often associated with Elvis Presley, reflecting his immense popularity and influence in the genre. His style, charisma, and music helped define rock and roll and made him an enduring cultural icon. Chicano: Refers to Mexican Americans who embrace their cultural identity and heritage, often associated with the Chicano civil rights movement. This identity emerged in the 1960s and 1970s, emphasizing pride in Mexican roots and advocating for social justice. Pachuco: A term used to describe a subculture of Mexican American youth in the 1940s, characterized by distinctive fashion, particularly zoot suits, and a unique style of speech. Pachucos often resisted assimilation into mainstream American culture and expressed their identity through music and dance. Zoot Suit Riots: A series of racial conflicts in Los Angeles during the summer of 1943, primarily between white servicemen and Mexican American youths wearing zoot suits. The riots highlighted racial tensions and the cultural clash between different communities during World War II. “The Day the Music Died”: A phrase referring to February 3, 1959, when rock and roll stars Buddy Holly, Ritchie Valens, and J.P. "The Big Bopper" Richardson died in a plane crash. This event is often seen as a significant moment in rock history, marking the end of the early rock and roll era. Dick Clark: A prominent television personality and producer known for hosting "American Bandstand," a show that showcased musical performances and helped popularize rock and roll. He played a significant role in promoting teen idols and shaping the music industry. Payola: The illegal practice of payment by record labels to radio stations to play specific songs, raising ethical concerns in the music industry. This practice was particularly prevalent in the 1950s and led to investigations and reforms in how music was promoted. Doo Wop: A vocal style that emerged in the 1940s and 1950s, characterized by vocal harmonies and simple melodies, often accompanied by a strong backbeat. Doo wop groups typically featured a lead singer supported by a group providing harmonies and nonsensical syllables. Emmett Till: A 14-year-old African American boy who was lynched in Mississippi in 1955 after being accused of offending a white woman. His brutal murder and the subsequent trial garnered national attention and became a catalyst for the civil rights movement. Arlene Smith: A member of the vocal group The Chantels, known for their influence on the doo-wop genre. The Chantels were one of the first all-girl groups to achieve success in the 1950s, paving the way for future female artists.  Mann Act: A federal law passed in 1910 that made it illegal to transport women across state lines for immoral purposes. The act was often used to target musicians and performers, reflecting societal attitudes toward sexuality and morality. Teen Idols: Young male pop stars who gained immense popularity among teenage audiences in the 1950s and 1960s. They were often marketed for their looks and charm, with artists like Frankie Avalon and Bobby Rydell becoming iconic figures of the era. Fabian: A teen idol and pop singer in the late 1950s known for his good looks and smooth voice. He became a symbol of the teen idol phenomenon, appealing to young audiences with his romantic ballads.