Popular Music in the U.S.A, Updated Edition, 6th Edition Class Notes

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iInstructors Manual and Test BankforRockin’OutSixthEdition UpdatebyReebee GarofaloandSteven Waksman

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ivTable of ContentsUsing the Instructor’s ManualviIntroductionInstructors Manual1Test Bank74Chapter 1Instructors Manual5Test Bank80Chapter2Instructors Manual9Test Bank86Chapter3Instructors Manual13Test Bank92Chapter4Instructors Manual18Test Bank98Chapter5Instructors Manual23Test Bank104Chapter6Instructors Manual28Test Bank110Chapter7Instructors Manual35Test Bank116Chapter8Instructors Manual43Test Bank122Chapter9Instructors Manual50Test Bank128Chapter 10Instructors Manual55Test Bank134

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vChapter11Instructors Manual60Test Bank139Chapter 12Instructors Manual68Test Bank145

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viUsing the Instructor’s Manual•OutlineTheoutlineprovides the salient points of each section of the book.•Suggested activitiesSuggested Activitiesprovide you with ideas that will help you to encourage your students towork independently or in groups. They are intended to help students creatively explore ideas andrelate to them in a more personal way. They are designed to help students to interact with themusic in as many ways as possible through research, listening, clapping, writing, singing, anddancing.•Discussion QuestionsDiscussion Questionsare suggested ways to open dialogues with your students. These arefocused on the implications of the ideas in the text and how they relate to the students’ present-day experiences. Special attention is paid to how concepts in the book relate to each other.•Recommended ListeningRecommended Listeninglists are a mixture of well-known and obscure examples. Listening isthe most important part of this course, so find ways to have your students listen in as many waysas possible. These ways would include listening for a particular instrument, a change in feel, asection of a song, the quality of singers’ voices, a signature studio sound, or the identity of asample. The possibilities are endless.

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1Rockin' Out: Popular Music in the U.S.A.Introduction:Definitions, Themes, and IssuesOutlineI: Introduction: Definitions, Themes, and Issuesa.Popular music must be considered within its social and historical context.b.Quantitative measures of popularity are necessary in its analysis.c.Blackface minstrelsy exemplifies the fundamental role of race and racism in Americanpopular music.d.The pivotal moment was the emergence of rock ‘n’ roll in the 1950s, as the transitionfrom Tin Pan Alley pop to rock ‘n’ roll.I.1: Popular Music and Mass CultureI.1: Distinguish between popular culture and mass culture in the cultural lexiconof themid-twentieth centurya.Tin Pan Alley is a descendent of European culture.b.Among three tiers of music—folk, popular and classical—it was anexample ofthenewly createdpopular realm.c.It combined elements of high and low culture.I.1.1:Technology Makes Mass Culture Possiblea.Mass culture wascommoditizedcorporate industry rather than astep in thecontinuum of popular culture.b.Rock was both a popular music and a mass cultural form.c.It did away with the importance ofdiscussions of high vs. lowculture.I.2: The Birth of a New EraI.2: Assess the qualities of rock and roll that made it the most popular form ofmassculturea.The emergence of rock ‘n’ roll as a genre coincided with the beginnings ofyouth culture as a phenomenon.b.The emergence of the Beatles completed the creation of a dominant youthmarket.I.2.1:New Technologies, New Soundsa.Rock ‘n’ roll coincided with changes in the manner in whichthe electricguitar was played and the kinds of sounds that it was used to create.b.Through multiple track recording,sound recording became acreativeavenue in its own right.c.Music became organized sound rather than a mere pattern of notes.I.2.2:Going Against the Musical Grain

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2a.Rock ‘n’ roll did not adhere to the traditional parameters ofmusicologicalanalysis.b.Coming from an African tradition, its foundation was rhythmic.c.Its repertoire of pitch and rhythmeffects belied its harmonicsimplicity.I.2.3:Rock ‘n’ Roll Hybriditya.Since the advent of rock ‘n’ roll, therehas been a continuing debateregarding the relative proportions of African American and EuropeanAmerican influences in popular music.b.This debate is exemplified in the music of Elvis Presley, Chuck Berry, anddoo-wop groups among countless others.I.3: Marketing and the Politics of Race, Language, and GenderI.3:Evaluate the racial, language, and gender barriers that limited the development ofmusicians who were not white mena.The marketing categories of the musicindustry have often classifiedperformers as much by race as by musical style.b.Only after WWII did the categories begin to loosen.I.3.1:Crossing Overa.Historically the term connoted movement from a marginalmarketingcategory to the mainstream.b.The term “rhythm and blues” was coined asa crossoverreplacement for theterm “race music”I.3.2:Racial Categories and Musical Classificationa.The identification of music with race masks the amount of cross-culturalcollaboration that has actually taken place.b.Raphas pushed African American styles more to the center of thecommercial mainstream than it has ever been.I.3.3:No Hablamos Español: The Language Barriera.The language barrier is even more intractable than the race barrier.b.As a result, artists who might sing in other languages feel compelled torecord in English when they approach the U.S. market.I.3.4: The Long, Hard Climb: Gender Discriminationa.Women performers have often beenpressured by the industry toassumepersonas based on the stereotypes ofangel and baby to earthmother andsex goddess to bitch and “ho.”b.Technical processes such as record producing, engineering, mixing,andmastering are still overwhelmingly male dominated.c.More recently, artists like Madonna and LadyGagahave moved thebarriers slightly.

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3I.4: Regulating Popular MusicI.4: Analyze how popular music has become the ideological battlefield on whichstruggles for power, values, and identities take placea.Popular music often serves as a lightningrod for the politicalcontroversiesthat invariably accompany change.b.Tin PanAlley was accused of depravity.c.Throughout the second half of the twentieth century, popular musicwasconnected quite explicitly with social change and politicalcontroversy.d.In the 1980s and 1990s, the custodians of culture becameconvinced thatrap and heavy metal had gone too far.Suggested Activities1.Have students bring in examples ofcurrentsongs that might be consideredexamples ofcultural appropriation.2.Have students do an Internet search forartistswhorefuse to have their work on streamingsites such as Spotify. Report findings to the class.3.Play the YouTubevideo of Jimi Hendrix playingThe Star Spangled Banner. Put students ingroups of 3 and have them list the ways that Hendrix uses his guitar to produce “extra-musical” sounds.https://www.youtube.com/watch?v=TKAwPA14Ni44.Have students bring in examples of recordingsby women playing instruments on rock ‘n’roll or blues songs.5.Play the studio version of the Beach Boys’Good Vibrations.https://www.google.com/webhp?sourceid=chrome-instant&ion=1&espv=2&ie=UTF-8#q=good%20vibrations%20beach%20boysHave students predict the differences in what the live version would be like. Then play thelive version.https://www.youtube.com/watch?v=LVKCRpOewcoAre there any surprises, or was it what they suspected?

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4Discussion questions1.Play a YouTube video for the class of Al Jolson singing “Mammy.” Then play Iggy Azaleasinging “Fancy.” What connects these two videos?2.It what ways didrock ‘n’ roll both break down and support racial barriers?3.In the 20thcentury, mass culture was driven by the mass production of sheet music, records,and radio. What drives mass culture now? What do you think will drive it in the future?4.Is there still a place for “popular” as opposed to “mass” culture?5.What are some examples of current ways (such as auto-tune) in which technologyinfluences music making?6.Play a version of Ray Charles’ “I Can’t Stop Loving You” for the class. Is there anythingyou hear that signals the race of the singer?7.How far is “too far” when it comes to music and videos portraying subjects like sex andviolence? Is there a line you believe cannot be crossed?8.Why do you think it is that songs sung in English are popular in other countries, but non-English hit songs are rare in the U.S.?Suggested Listening1.Tonight We Loveby Ray Austin and Bobby Worth2.LoverbyLes Paul3.Maybelleneby Chuck Berry4.Monaby Bo Diddley

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5Rockin' Out: Popular Music in the U.S.A.Chapter 1: Constructing Tin Pan AlleyOutline1.1: Minstrelsy and the Making of Mainstream U.S. Culture1.1:Describe minstrelsy, where white performers appropriated qualities ofblackness for their own economic and cultural gain to the amusement ofwhite onlookersa.The initial audiences for blackfaceminstrelsy tended to be white,workingclass, and male.b.Blackface dates back at least to the Middle Ages in Britain andEurope incertain ritual dramas such as morris dancing andmummer’s plays.c.Rituals of West African origin involving parading, reveling, and grotesquemasking that worked their way to the “NewWorld” during the slave trade.d.Thomas Dartmouth Rice is credited with institutionalizing thepractice ofracial impersonation through his character “Jim Crow.”1.1.1:Minstrelsy Comes into its Owna.In the 1840s the genre began to take shape as a self-contained ensembleperformance of its own.b.By 1890 nearly one hundred minstrel groups could be identified.c.African American performers also performed.1.2: Sheet Music, Sound Recording, and the Sounds of Music1.2:Explain how the music industry cameto be driven by sales of sheetmusic andthen by sales of recorded sounda.After the Civil War, minstrelsywas replaced byvaudeville.b.Sheet music was the main vehicle for the mass dissemination ofmusic.1.2.1:Musical Reproduction Dominates Sound Recordinga.Edison’s phonograph was not intended for music.b.The cylindrical graphophone performed better.c.The companies’manufacturing prerecorded cylinders grewindependentlyof Tin Pan Alley.1.2.2:Sound Recording Takes a New Turna.With the establishment of the Victor Talking Machine Company, flat discsbegan their dominance of the recordingindustry until the radio era.1.2.3:Cultural Hierarchies in the Golden Age of Acoustic Recordinga.Early in the 20thcentury thesales of discs vs. cylindersexpressed thefragmentationof the public along class,geographical and racial lines.

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6b.Tin Pan Alley and the recording industry effectively developed as separateindustries largely due to Tin Pan Alley’sreliance on songwriting andpublishing.1.3: Tin Pan Alley Creates Musical Tradition1.3:Identify the various music forms that Tin Pan Alley came to be associated witha.Tin Pan Alley centralized the U.S. popular music business during theascendancy of vaudeville.b.Irving Berlin was the most prolific and popular composer of the era.1.3.1:Tin Pan Alley Incorporates Ragtimea.Connections between Tin Pan Alley and ragtimeexemplifiedtheinequitable pattern of cultural borrowing and economic rewardin Americanpopular music.b.For Tin Pan Alley, ragtime was a craze to be incorporatedinto popularsong.1.3.2:Blacks, Whites, and the Bluesa.Unlike ragtime, the blues preserved the originalpatterns of Africanmusic.b.W. C. Handy was one of the first songwriters to bring theblues into the world of popular composition.c.Blues songs comprising the “blues craze” that swept thecountry in the second decade of the twentiethcentury wereactuallywatered-down versions of the blues.1.3.3:Jazz Enters the Mainstreama.Early appropriations of jazz created the impression amongmainstreamlisteners that jazz was the product of “politesociety” white dance bands.b.George Gershwin’s identification with jazz was the exceptionto the rulethat Tin Pan Alley was isolationisttoward blackmusic.1.3.4:Dance Crazes, Latin Influences, Musical Theater, and Recordsa.The Copyright Act of 1909 brought Tin Pan Alley in closerassociation tothe recording industry.b.The dance team of Vernonand Irene Castle brought the“Latin tinge” toAmerica via the tango.c.James Reese Europe led the first black jazz orchestra to beawarded arecording contract.d.Black artists were routinely excluded from ASCAP, and weretherebydenied copyright protection.

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71.4: Commercial Broadcasting and Private Enterprise1.4:Explain the growth of commercial radio broadcastinga.Two years after the advent ofcommercial radio broadcastingin 1920,annual record revenues showed a decline.1.4.1:The Growth of Network Radioa.RCA was set up as a holding company for the majorradio patent holders inthe United States.b.Radio developed as a private entity with NBC and CBSlocking up mostavailable channels.1.4.2:The Advertisers Versus the Programmersa.Early radio broadcasters clashed with advertisersover radio content.b.Great Depression put the advertisers in a position todetermine the tone ofradio more than theprogrammers.1.5: Tin Pan Alley Goes Hollywood . . . and Latin1.5:Summarize the major role played by Tin Pan Alley compositions in Hollywoodand especially in Latin-themed filmsa.The success of 1929’sBroadway Melody, released in 1929, made itclearthat Tin Pan Alley compositions would play a major role intalking films.b.The rise of musicals led to thesuccess of Bing Crosby and his“crooner”style.1.5.1:The Latin Tinge Colors U.S. Popular Music and Filma.TheGood Neighbor policy toward Latin America led to exposure toLatinstyles (albeit confused) and Latin performers.b.The Tin Pan Alley writerswho contributed to the “latunesongbook”included luminaries such as George Gershwin andIrving Berlin.Suggested activities1.Have students research early 20thcentury sheet music and bring in examples of blackfaceand other racist images from the covers.2.Play Scott Joplin’sMaple Leaf Ragfor the class. Juxtapose it with a version of Berlin’sStopDat Rag.https://www.youtube.com/watch?v=9AJtM5Rip9IDiscuss the differences and similarities between the two pieces.

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83.Have students research atypical radio playlist from 1930. Put them in groups of four toselect 2 or 3 songs to share with the class. Have one of them act as the DJ to introduce thesongs and perhaps provide some banter related to the era.Discussion Questions1.How are cultural stereotypes expressed in the music of the modern era? Is there still someversion of blackface going on today?2.How was Tin Pan Alley able to thrive in the absence of a close relationship with therecording industry?3.Discuss the distinction between music for “polite society” and “low culture” music as itexisted in the early teens and 20s. Is there still room for such a distinction now?4.How much control should advertisers have over the musical content they sponsor?Recommended Listening“Alexander’s Ragtime Band”Artist: Bessie SmithMusic/Lyrics by Irving Berlin (published 1911)Label: Columbia (1927)

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9Rockin' Out: Popular Music in the U.S.A.Chapter2:The Segregation of Popular MusicOutlineIntroductiona.Before recording, music companies did not differentiate their audience.b.Musics that enjoyed considerable overlap in cultural terms have beendocumented anddiscussed as if they had separate histories.2.1: Blues, Jazz, and Country2.1:Describe multicultural influences in blues, jazz, and countrya.The termshillbillyandraceseparated musics more in terms of the color ofthe musician than the style.b.The blues were fundamentally African American, originating in fieldhollers and African call-and-response.c.Jazz combined improvisatory blues styles with the notated traditionofsyncopated rags.2.1.1:The Multi-Ethnic Roots of Countrya.The fiddle was a central binding agent in country music, which wasinfluenced by a wide variety of cultures.b.Despite its African derivation the banjo became progressively lessidentified with black musical styles over time.c.The guitar was simultaneouslyused by black and white musicians.As ablues instrument, its vocal qualities were developed.2.1.2:Crossing the Racial Dividea.Folkloric musical characters also cut across racial lines.b.Segregated groups were often placed in the opposite racialmarketingcategory because they “sounded” white or black.2.2: Race Music and the Segregation of Sound2.2:Summarize the careers ofprominent musicians of the race-music genre2.2.1:The Birth of the Bluesa.Early blues can be divided into “country blues” and “classic blues.”b.The era of women blues singers beganwith the recording of “CrazyBlues”by Mamie Smith in 1920.c.The surge of classic blues was followed by more recordings ofcountryblues artists like Blind Lemon Jefferson.d.Field recordings brought wider recognition for country bluesartists likeRobert Johnson.

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102.2.2:All That Jazza.The New Orleans mixture ofstyles that became jazz started in NewOrleans at the turn of the century with Buddy Bolden.b.In 1914 the New Orleans styleof syncopated dance music spreadacross thenation.c.Fletcher Henderson was credited withinaugurating the “big band”era ofjazz in New York in the mid 20s.d.Duke Ellington began his rise at the Cotton Club in the late 20s.e.Count Basie’s band remained committed to the dance orientationthatpaved the way for rhythm and blues and rock ‘n’ roll.2.3: Hillbilly Music and the White Working Class2.3:Describe the success of hillbilly music and the musicians whopopularized ita.Hillbilly music suffered and profited from a conflicting set of imagesheldby Americans that ranged fromstability and enchantment todecadence andcultural degeneracy.b.The Carter Family explored the traditional folkloric component ofcountrymusic.c.Jimmy Rodgers represented the archetypal “ramblin’ man.”2.3.1:The First Country Stara.Rodgers performed across racial lines and with Hawaiiansteel guitarists.b.He influenced a generation of country musicians.2.4: Disseminating Blues, Jazz, and Country2.4:Explain the temporary decline in popularity of blues and jazz visàvis countrymusic in the earlytwentieth century.a.Broadcasters and film producers in the late 20s and 30s favoredcountrymusicians over blues and jazz.b.Radio featured mainstream tastes, not grittier forms of music.c.Eventually, the Grand Ole Opry overshadowed all other countrybroadcasts.d.Western motifs and the “singing cowboy” image became prevalent.e.Country’s cultural mixing paved the way for Rock ‘n’ Roll.2.5: The Long Road Back for Records2.5:Describe the role of the jukebox and other technological advances inbringing therecord industry back to its earlier levels of prosperitya.After the Depression, bars and nightclubs began using jukeboxes leading toa massaudience for records.b.In 1932, the Duo Jr., a record player that could run through a radio,wasmarketed.c.Columbiaproducer John Hammond brought a diverse array of talent intothe recording studio, influencing the music world in significant ways.

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11Recommended Activities1.Play this video for the class of June Carter singing:https://www.youtube.com/watch?v=hoUn1ffpKsAPlay a bit of the banter. At 5:47 June sings a song. Ask them what kind of music this is.Have everyone write down one word on a piece of paper. It’s actually a typical blues formwith a bridge. How many say country? Discuss the implications of this.2.Put students in groups of three. They will write the words toa classic blues in the style ofBessie Smith.This means a 4-bar phrase thatis repeated, followed by another phrase in anaabrhyme scheme. Have each group write theaphrase. Then have each group pass theirwords to the next group. This group will write thebphrase. Pass it along. The third groupwill assign melody to the words. One or more student from each group will perform thesong for the class.Discussion Questions1.Is it possible to talk about popular music without using terms that were employed tosegregate music to sell to different audiences? What kind of terminology would you use?2.From Electro-Rock to Air Pop, there are many new musical terms out there today. Askstudents to list musical designations that exist for genres of music today. How fine can theyslice it?3.Have students listen to Robert Johnson’sMe and the Devil Blueshttps://www.youtube.com/watch?v=3MCHI23FTP8Now listen to Blind Lemon Jefferson’sBlack Snake Moanhttps://www.youtube.com/watch?v=h3yd-c91ww8Discuss the differences between the two in terms of form.4.How have the two opposing images from earlycountry music played themselves out overthe years in different strains of music?Who can be identified as in the “ramblin’ man” campand who might fit with the “family values” camp?5.Why is it that the first country star, Jimmie Rodgers, often played across cultures and yetthere is so little of that now in country music?6.Watch this videofrom a Shirley Temple movie:https://www.youtube.com/watch?v=wtHvetGnOdM

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12What kinds of thoughts and emotions arise watching this?7.Have the class watchSt. Louis Blueswith Bessie Smithhttps://www.youtube.com/watch?v=D6kbQmjD_JkIs there a discernible difference between images of African Americans in this movie asopposedto those in Hollywood movies of that era (and later eras)?8.Ask the class:What typical images come to your mind when you think of “country music”?What have you learned that does not fit your stereotypes?9.There has been a market recently for a return to records. Why do you think that is?What is your preferred medium for listening to music?10.John Hammond called for a “lessening of differences between country and popular music,between folk, rock, jazz, gospel, and other categories.” To what extent has his plea beenanswered?Recommended Listening“Crazy Blues”Artist: Mamie Smith (1883–1946)Music/Lyrics: Perry BradfordLabel: OKeh (1920)“Blue Yodel #9 (Standin’ on the Corner)”Artist: Jimmie RodgersMusic/Lyrics: Jimmie RodgersLabel: RCA Victor (1931)“Crossroad Blues”Artist: Robert JohnsonMusic/Lyrics: RobertJohnson1937 Vocalion Records“St. Louis Blues”Artist: Bessie SmithMusic/Lyrics: W.C. Handy1925 Columbia Records

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13Rockin' Out: Popular Music in the U.S.A.Chapter 3:“Good Rockin’ Tonight”OutlineIntroductiona.The buildup to WWII caused a wide dispersal of local music, creating new exposure toblues and country.b.Soaring profits from economic recovery created power struggles that neither the lawnor theindustry were prepared for.3.1: The Publishers and the Broadcasters: ASCAP Versus BMI3.1:Discuss the conflict between ASCAP andtheBMI over music rightsa.By 1939, ASCAP was dominant and demanding more.b.BMI was formed to counterbalance ASCAP’s financial and programmingdominance.c.In 1941, a boycott of ASCAP proved thatauthentic regional music couldcompete with Tin Pan Alley, Hollywood,and Broadway.3.2: Enter the Deejay3.2:Analyze how the conflict between the NAB and AFM affectedmusiciansa.Records challenged the primacy of live performance on radio and broughton a conflict between NAB and the AFM.3.2.1:Recorded Music Begins to Push Out Live Musica.As deejays became more common,the practice of programmingonly livemusic on radio became harder to maintain.b.The Deejay became a VIP and record companies coddled them.3.2.2:Musicians Push Backa.AFM president James C. Petrillo ordered a recording ban in 1942 to forcethe radio stations to revert to live music.3.2.3:Resolution Paves the Way for Changea.The strike ended when the record companies agreed to pay a royalty onrecord sales.b.Records again dominated airplay.3.3: From Big Bands to Solo Singers3.3:Relate the rise of solo singers to the decline of big bands3.3.1:Sinatra Sings His Way to the Topa.Frank Sinatra was the first pop vocalist to create hysteria among his fans.b.His success is an indicator of the rise of the solo singer over the bigbands.

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143.3.2:Big Bands Begin to Falla.Conditions after WWII, such as a rise in gas prices and a dwindlingofdance culture, caused big bands to fold.b.This created a void in popular music.3.4: The Major Labels Reclaim Country Music3.4:Describe how major record labels were able to dominate the country musicbusinessafter World War IIa.The end of the war did away with restrictionon the number of records thatcould be produced, opening up a wider specialty market for music.3.4.1:Country Music and Rhythm and Blues Enter the Mainstreama.After the war, labels replaced the termracewithrhythm and bluesandhillbillywithcountryorcountry and western.b.Country and Westernmusicianswere again in the hands of mainstreamlabels.3.4.2:Hank Williams, Country Hit Makera.MGMrecords picked up Hank Williams, who went on to be thebiggeststar since Jimmie Rodgers.b.His Honky Tonk backbeat sound was anearly influencer of rock ‘n’roll.3.5: The Independents Promote Rhythm and Blues3.5:Explain the rise in popularity of rhythm and blues in working-class blackcommunitiesa.Major labels rejected the raw sounds ofR&Bas inappropriate for themainstream.b.Louis Jordan represents the transition from big bands to rhythm and blues.c.Jordan’sinstrumentationwas emulated bymany later bands.3.5.1:Rhythm and Blues Turns Up the Volumea.A schism existed between middle class jazz and working classR&B.b.After the war, working class blacks asserted theirR&Btastes.3.5.2:King Records Mixes It Upa.Cincinnati’sKing Records had both R&B and c&w divisions.b.King’s Syd Nathan had the brilliant ideato have each division covertheother’s hits, creating a great deal of cross-pollination.3.5.3:Chess Records Gives Chicago the Bluesa.Chicago’s Chess records boughtin many of the era’s greatundiscoveredblues players.

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15b.Willie Dixon wrote hundreds of bluessongs and discovered greatslikeMuddy Waters and Howlin’ Wolf.c.Waters formed perhaps the first important electric band.3.5.4:R&B with Integrity: Atlantic Recordsa.Atlantic Records was known for honesty and integrity in itstreatment ofblack artists.b.Atlantic featured Ruth Brown and Big Joe Turner.3.6: Mass Technology and Popular Taste3.6:Examine the role of technological advances in developing tastes inmusic3.6.1:High Fidelity/Low Overheada.The development of magnetic recording tape,transistorradios,and highfidelity 45 and 33rpm discs all contributed tothe rise of the independentrecord producers.3.6.2:Television and the Suppression of FM Broadcastinga.The development of FM radio was delayed in favor oftelevision.b.The rise of television lured advertisers away from networkradio, leavingroom for independents.3.7: Independent Radio: Deejays in Your Face3.7:Summarize the role of deejays in further popularizing R&B musica.With the rise of independents, local radio deejays became dominant voicesin radio.b.This led to the rise inR&B.3.7.1:R&B Makes Radio Wavesa.In the late 40s a new breed of black deejays appeared whoseprimary rolewas entertainment.b.Because the airwaves were not segregated, white audiences forR&Bgrew.3.7.2:Alan Freed Brings Rock ’n’ Roll Here to Staya.Alan Freed was possibly the first deejay to utter the words “rock and roll”on the radio.b.After his showThe Moon Dog House Rock ‘n’ Roll Partymoved toWINSin New York, it became the number one popular music station in the city.Suggested Activities1.Have half the students research thetop societal trends in 1939 in fashion, entertainment,andlifestyle.Have the other half do the same for 1949.Put them in groups to compare and makelists of differences and similarities.

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162.Have the students listen to the main pop radio station in the area for at least an hour. Howmuch talk is there? How much time is spent on commercials? How much time is spent onmusic, and how familiar are the songs played?Have them also find a local FM station andapply the same analysis.3.If you were a musician, which organization would you register your music with: ASCAP orBMI? Is there a real difference today? Have students research the organizations and reporttheir findings.Discussion questions:1.The question, “Who should benefit, and in what proportion, from the profits derived fromthe use and sale of intellectual property?” is as relevant today as it ever was. Discuss thequestion from the perspective of today’s technological musical environment.2.Howimportantis it when you hear a live performance of a favorite band on the radio? Is itsignificantly better than listening to a recorded track?3.Can you imagine a recording ban happening today? Of course not. Why not?4.Who is moredominanttoday: bands or vocalists?5.Play Louis Jordan’s “Saturday Night Fish Fry” for the class. In what way did Louis Jordanfill the void left behind by the big bands?6.What were the conditions that allowed Frank Sinatra to be the first singer to create hysteriaamong his listeners?7.Listen to Hank Williams’ “I’m So Lonesome I Could Cry.” Describe the musical andemotional appeal of this song.8.Listen toFrankie Laine’s “Mule Train.” Why has this style been described as “halfwaybetween country and pop”?Does it surprise you that his given name wasFrancesco PaoloLoVecchio?9.Listen to Wayne Rainie’s “Why Don’t You Haul Off and Love Me?”https://www.youtube.com/watch?v=kUSvtWKgJLkHave the class predict how anR&B version would sound.Then play BullMooseJackson’s version.https://www.youtube.com/watch?v=SNZczYKipaoAny surprises?

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1710.Discuss the implications of Muddy Waters’ comment about the Rolling Stones: “They stolemy music, but they gave me my name.”11.Compare today’s portable devices with earbuds to the transistor radio. What is the effect ofeach on musical tastes? What are the major similarities and differences between the two?12.What styles of music benefit the most from current advances in digital technology?13.The early 1950s was an era of hometown deejays promoting local bands. Who are thecurrent hometown stars in your area? Are they getting airplay on the radio? Why or whynot?14.At one point in his life, Louis Jordan said, “Rock ‘n’ Roll is just rhythm and blues played bywhite performers.” Do you agree or disagree?Suggested Listening“Hey Good Lookin’”Artist: Hank WilliamsMusic/Lyrics by Hank WilliamsLabel: MGM (1951)“I'm So Lonesome I Could Cry”“Hey Good Lookin’”Artist: Hank WilliamsMusic/Lyrics by Hank WilliamsLabel: MGM (1949)“Saturday Night Fish Fry”Artist: Louis JordanMusic/Lyrics by Louis Jordan/Ellis WalshLabel: Decca, 1949“(Mama) He Treats Your Daughter Mean”Artist: Ruth BrownMusic/Lyrics by Herb Lance, John Wallace, and Charlie SingletonLabel: Atlantic (1953)

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18Rockin' Out: Popular Music in the U.S.A.Chapter 4:The Eruption of Rock ‘n’ RollOutlineIntroductiona.The term “rock ‘n’ initially referred to a sexual act.b.As a musical designation for purposes of this book, it began in the 1950s.4.1: TheRoots of Rock ‘n’ Roll4.1:Examine the complex interplay of social and cultural forces thatgave rise to rock‘n’ rolla.Rock ‘n’ roll resulted from a complex interplay of social and culturalforcesthat cannot be reduced to a simple formula.b.However, “Most of the first rock ‘n’ roll styles were variations onblackforms…” such as the saxophone of Illinois Jaquet and the guitarof T-BoneWalker, among others.c.Women were treated as totally dependent creatures or ideal, unrealapparitions.4.2: Structural Changes in the Music Industry4.2:Describe the structural changes in the music industry with the entry oftheindependent radio stations, the 45-rpm record, and rock ‘n’ rolla.Rock ‘n’ roll swept away the simple marketing categories that hadheldsway for years.b.Independent labels were able to compete with the majors becauseofthelightness of the 45rpm record and the dissemination of more FCClicenses.c.With Top Forty radio, the deejay became a replaceable element in atotalsoundformula.4.3: Sounds of the Cities4.3:Describe the contribution of indigenous artists from different citiestowards increasing the richness of the music industry4.3.1:New Orleans: The Fertile Crescent of Rock ‘n’ Rolla.New Orleans wasinformed by diverse musical sources.b.Cosimo Matassa created the signature New Orleans studio sound.c.Never a sex symbol or a musical iconoclast, Fats Domino managedtotranscend racism and ageism.d.LittleRichard’s outrageous personal appearance was the perfectcomplement to his uninhibited stage act.4.3.2:Los Angeles: From Jump Blues to Chicano Rock

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19a.The independent labels in Los Angelesin the late 1940s sought tosatisfythe cultural needs of the poor white, black, and Chicanomigrants.b.Johnny Otis’ big band sound and format was integral that of WestCoastpeers like Roy Milton, T-Bone Walker, and Joe Liggins.c.Otis, though white, was an importantcatalyst for African Americancultureand talent.4.3.3:Chicagoa.Chicago was a center for urbanized Delta blues musicians.b.Chess Records actively sought outSouthern blues musicians likeMuddyWaters and Howlin’ Wolf.c.Chuck Berry had the uncanny ability to relate R&B to white teenculturewithout disowning his blackness.d.A strong drum backbeat, Berry’srepeating guitar riff, and theboogie-woogie piano sound are all typical of 1950s rock ‘n’ roll style.e.He was rock ’n’ roll’s first hero.f.Vee Jay Records main success was Delta bluesman Jimmy Reed.4.3.4:Cincinnati: The Crossroads of Blues and Countrya.Syd Nathan’s King Records encouraged his artists—country andwesternand rhythm and blues—to record each other’s songs,contributing to thecultural cross-pollination that wouldyield rock ‘n’ roll.b.Its subsidiary, Federal, introducedgospel-influenced vocal harmonygroups, prefiguring doo wop music.4.3.5:R&B Sanctified: The Gospel Connectiona.In the early1950s some gospel-trained singers began to move into thesecular world.b.Atlantic produced the most influentialgospel-tinged vocalist of all—RayCharles, who saw no contradiction between gospel and R&B.c.Other gospel-influenced singers were Jackie Wilson and Sam Cooke.4.4: Doo Wop Incorporates Gospel, Jazz, and Pop4.4:List some of the popular groups and labels of doo wopa.In addition to its gospel roots,doo wop could be traced back tothe MillsBrothers and the Ink Spots, who turned out nearly fifty hitsbetween 1939and 1951.b.Doo wop was the product ofblack male urban vocal harmonygroups.4.4.1:New York Was Doo Wop Centrala.The New York label that had the most luckwith vocalharmony groups wasAtlantic.b.Two Atlantic vocal groupsachieved greatness workingwith Leiber andStoller—the Coasters and the Drifters.

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