Author, Lecturer, Broadcaster & Cultural Arts Expert;
President of Art Collage JANG/J Music/J Art/J Books & Media.
Author of over 40 books published on Amazon, including The Crimson Horror series and The Great and Immortal Painters’ Stories series.
Dedicated to sharing insights into art, culture, literature, and creative expression through writing, lectures, media, and content creation.
Showing posts with label Rhythm and Blues. Show all posts
Showing posts with label Rhythm and Blues. Show all posts
I had 24th live broadcast of “Pops
Lounge” yesterday in TBN Ulsan Traffic Broadcasting Network’s “Studio1041”. The
topic of yesterday's broadcast was “Contemporary R&B", one of the
genres of popular music which were popular in America in the 1990s.
I uploaded content of yesterday's
broadcast on YouTube, and please enjoy the below link.
I
had 5th broadcast of“Pops Lounge” yesterday in
TBN Ulsan Traffic Broadcasting Network’s “Studio1041”. The topic of yesterday's
broadcast was "Rhythm and blues," a genre of popular music in the
1950s. Studio 1041 “Pops Lounge” of TBN Ulsan Traffic Broadcasting Network will
continue at 10:30 am every Tuesday.
This
week's lecture is “1950s”, the 4th topic of “Blues”, which is a summary of the contents of“113.
Blues: 4. 1950s”introduced on November 29th (Wed),
2017.
The
transition from country blues to urban blues, which began in the 1920s, was
driven by a series of economic crises and booms, which caused many rural blacks
to migrate to urban areas, known as the “Great Migration”. The long boom after
World War II led to another large-scale migration of African-Americans, the
“Second Great Migration,” which resulted in significant increases in the real
income of the urban blacks and new migrants constituted a new market for the
music industry.
The term “race record” was originally used by the music
industry for African-American music, but was later replaced by the term “rhythm
and blues”, and the rapidly evolving music market reflected in Billboard
magazine's Rhythm and Blues chart. This marketing strategy reinforced trends in
urban blues music, such as the use of electric instruments and amplification,
and the generalization of blues beat and blues shuffle, which were found
everywhere in rhythm and blues. This commercial flow also had a significant
impact on blues music, which, along with jazz and gospel music, became a component
of rhythm and blues.
The cover of race records catalogue of Victor Talking Machine Company
After
World War II, new styles of electric blues became popular in cities such as
Chicago, Memphis, Detroit and St. Louis. Electric blues was played through a
microphone and PA system or overdriven guitar amplifier using electric guitars,
double bass (later replaced by bass guitars), drums and harmonica. From 1948,
when Muddy Waters recorded his first success "I Can't Be Satisfied",
Chicago became a center for electric blues. Chicago blues was heavily
influenced by Delta blues, as many of the performers had migrated from the
Mississippi area.
Muddy Waters
In
the 1950s, blues had a major impact on mainstream American popular music.
Popular musicians such as Bo Diddley and Chuck Berry were influenced by the
Chicago blues, but their passionate playing styles helped break the prejudice
that blues is melancholic.
Bo Diddley
Chuck Berry
In
the late 1950s, a new style of blues pioneered by Magic Sam, Buddy Guy and Otis
Rush appeared in Chicago's West Side. This "West Side sound" was
supported by powerful rhythm parts from rhythm guitar, bass guitar and drums,
and an amplified electric lead guitar dominated the sound, and the expressive
guitar solo was a key feature of the music.
Buddy Guy
Around
the late 1950s, a genre called “Swamp Blues” developed near Baton Rouge.
Strongly influenced by Jimmy Reed, swamp blues was characterized by a slower
pace and simpler harmonica use than the Chicago Blues style.
This
week's lecture is “Origin”, the 2nd topic of “Blues”, which is a summary of the contents
of “111. Blues: 2. Origin”
introduced on November 15th, 2017.
Currently,
the exact origin and year of origin of the music now known as blues is
difficult to pinpoint, primarily because the associated music style has evolved
over a long period of time before it was fully documented as the current blues
style.
The
earliest blues-like music was a call-and-response style without accompaniment
or harmony and unbounded by the form of a specific musical structure, and this
music expanded into simple solo songs with emotional content, transforming
African slave’s field shouts and field hollers. Many of these blues elements,
such as the call-and-response form, can have their origins in African music.
Field
holler music was an early form of African American music, described in the 19th
century, and field hollers laid the foundations for the blues, spirituals, and
ultimately rhythm and blues.
The
most important precedent for blues music in America was spiritual, a form of
religious song rooted in the camp meetings of the Great Awakening of the early
19th century. Spirituals, in the form of passionate songs, conveyed to
listeners a feeling of rootlessness and misery, like the blues. However, unlike
blues, spirituals were less concerning the performer but about the general
loneliness of mankind. Despite these differences, however, blues and spirituals
are so similar that they cannot be easily separated, and perhaps if the term
“blues” was used at the time, many spirituals would have been called blues.
The
social and economic reasons for the emergence of the blues are not fully known.
Blues has evolved from an unaccompanied vocal music of poor black laborers into
a variety of styles and sub-genres across the United States, with regional
variations. African American work songs were an important precursor of the
modern blues, including the songs sung by laborers like stevedores and
roustabouts, and the field hollers and shouts of slaves.
It is difficult to define
exactly when the blues first appeared, but it is often mentioned between 1870
and 1900. This period coincides with the transition of agriculture system from
slavery to sharecropping and small-scale agricultural production, following the
emancipation of the slaves in the southern United States, and the development
of the blues was associated with these newly acquired freedoms of the slaves.
One
of the major reasons for the lack of data on the origins of the blues is that
the wandering tendency of the earliest blues musicians resulted in leaving
little or no records of what sort of music they played or where it came from.
Blues was generally regarded by the upper- and middle-classes as lower-class
music, unsuitable for documentation, study, or enjoyment.
