• Know the quiz taken earlier this term - it covers the Stearns material.

• The ‘hollering' work songs, based in Bantu tribal traditions.

• Call and response or responsorial.

• Slave traditions valued rhythm and dancing over harmony and melody.

• Drums were forbidden on the platation (a potential form of communication).

• Patting juba.

• Gospel Music- The call-repsonse texture was also common in early African-American religious ceremonies.

• Know Deltablues players and lineage: Charley Patton, considered the "king of the Delta Blues" played on Will Dockery's plantation during the 20s and at times performed with Eddie ("Son") House (another former Preacher). Robert Johnson, one of the most celebrated Delta blues musicians, learned from Son House and Willie Brown (Patton acolyte) and wrote staples of the genre such as "Sweet Home Chicago", "Crossroads" (remade by Clapton, and the his life was the basis of a movie so titled), and "Rambling on my Mind."

• Lester Melrose - He put several artists together on sessions which gave the Chicago blues an ensemble sound, as opposed to the solo style prevailent in country blues.

• Muddy Waters and Chicago R&B- How did he "create" R&B.

• Willie Dixon- why important?

• Around 1950 Columbia and RCA abandoned the blues market- impact on Chess - Leonard and Phil Chess.

• Chester "Howlin' Wolf" Burnett is another Patton acolyte. Stage antics?

• Muddy helped Wolf? Did they always like each other?

• Musicologists Alan Lomax and John Work- traveled the south recording African American musicians, many of the recording now reside in the library of Congress.

• The migration of Artists to Chicago- from where, why?

• Riley "Blues Boy" King - The Django connection?

• Elmore James - Slide player, Broom wire on the wall?

• John Lee Hooker- Patton/Dockery connection, migrated where?

• Vee Jay Records - first Afriacn American label

• Antoine Fats Domino- style and main songs? Connected with Clark? Dance Crazes?

• When did Blacks get on the radio? Where on the radio? How were they heard before? R&B Market...Ironically, Southern white teens in the 50s caused the music explosion.

• Rock and roll- a term which began as what? Who first used it as a DJ?

• Chuck Berry/Little Richard- why important? Main hits? Brief background and downfall

• Alan Freed? Basic background.

• Importance of TV to Black Artists and Market conditions. How do we factor in technological advances?

• Major labels signed white signers to cover in the R&B style. Why? This is how Pat Boone got his start. Pat covered more than 60 hits including tutti fruiti, long tall sally, and aint that a shame, six of them were number 1 hits.

• When approximately did mail order music appear? Is that when RCA and Columbia got back in?

• Arthur "Big Boy" Crudup- his angst- why upset?

Chapter 2

• Rockabilly Artists Jerry Lee Lewis (Great Balls of Fire and Whole lotta Shakin goin on), Carl Perkins (Blue Suede Shoes and Boppin' the blues among many other hits), and Johnny Cash (Get Rhythm, Folsom Prison Blues, and The ballad of a Teenage Queen), Buddy Holly, and last but not least Elvis Presley. Know brief background, musical roots, where did they go to record?

• Rockabilly is a combination of what two styles?

• Sun Records

• Beal Street

• Sam Phillips

• Doug Pointdexter's Starlite Wranglers?

• The Louisiana Hayride show

• Roy Orbison- style? Did it fit? A balladeer?

• Bill Hailey had began his career in country and texas swing with such band names as The Four Aces of Western Swing and The Ramblin' Yodeler. His country roots began cross pollinating with Louis Jordan's jump style (with Tympany Five (group) and the Boogie Woogie/R&B style). This groove was the dooted 1/8th - sixteenth figure.

• Rock around the Clock - when? who did it first. A number of Artist define this song as the turning point in their lives.

• Buddy Holly - the tragedy- John Wayne connection on "That'll be the day."

• Rick Nelson - Talented? Lucky? Both? Why?

• Col. Tom Parker? Why important? Marketing genius or shifty exploiter?

• Otis Blackwell

• Elvis Backlash? Saturation?

This chapter covered several firsts which we discussed in class in reference to Freed, Elvis, Parker, and others. Firsts are important.

Chapter 3

Know what caused the rock artist plight from 1958-1963.

Dick Clark - why important? How did he change Rock, or did he retrieve pop and Tin-pan alley? Dress codes, lyrics, related businesses, "To Goof or Not To Goof." Main artists/songs associated with? Stylized dances...Chubby Checker et al?

Franke Avalon/ Annette

Payola Scandal (1959-60)- how did it impact Clark and Freed.

ASCAP vs. BMI - why? Don't they play on the same team?

Don Kirshner - his dynamic duos, Tinpan or Teenpan Alley? Afew main artists/tunes- What about Carol King and Neil Sedaka?
Brill Building - the modern remanifestation of Tin pan alley - the Kirshner connection?

Doo Wop - Urban music for unbanites? Is rock or rock influenced?

Phil Spector's wall of sound from doubling tracks (copying the same track 3 times to thicken it up)

Chapter 4

California Economics?

California Music- why different music? Couldnt they just use the blues or Rockabilly?

The Movie Gidget? What did it spawn?

Surfing- imported sport from Hawaii, a sport of kings

Artists: Dick Dale (Only Video and Pulp Fiction), Beach Boys (Surfin' Sarfari V42, Good Vibrations V09, I Get around V29) Jan and Dean (Surf City), The Safaris (Wipe Out)

Chapter 5

The Death of John Kennedy as the moment when innocents was lost. That is when blacks lost hope for legal change and became militant, when middleclass white college students questioned the actions of their parent's government, world consciousness....

Protest Folk Music? Why did we need it? Where did it start: Woody Guthrie, Seeger et al?

IWW?

The importance of Dylan pluggin up - he basically abandoned protest folk music soon afterwards and began electric folk, opening up all possibilities for folk artists.

Chapter 6

Did much of the Elvis mania move to the Beatles and other Mersey Beat bands?

What is Mersey Beat?

Where did their influences come from? Teenpan Alley or the Delta?

What is the Rock/Blues pedigree?

How popular was Dick Clark and Don Kirshner products in the face of the British groups?

Many, not just Keith Richards, say that WWII lasted in England until 1954. Why?

• Described as the Mersey Sound

• Has a certain (to True Blue American) brashness

• Manchester Rockers- The Hollies? Why the name? Who was their Guitarist?

• What's the significance, in general, of the Dave Clark 5?

• The Monkees? Misspelled? Why? Talented or not? Beatles rip offs? Did they write their tunes and played their songs?

Were Stephen Stills and Charles Manson almost Monkees?

Last Train To Clarksville and I'm A Believer? Hits or not?

The Rolling Stones- England's first blues band...sortof? Influences? Goals? Bad boys naturally or media gimmick?

• The Glimmer Twins, who are?

• Andrew Oldham- Epsteinesque? Read Quote on 118. (Sums up Oldham's agenda)

• America did not flip over the Stones as it had over the Beatles and other British imports. Their American TV debut on the Holly Wood Palace, hosted by Dean martin who rolled his eyes after their performance and said, "Aren't they Great?...They're off to England to to have a hair pulling contest with the Beatles...Their hair is not is not that long-it's just smaller foreheads and higher eyebrows." After the following Trampoline performer finished his act, Martin said, "that's the father of the Rolling Stones. He's been trying to kill himself ever since." The Martin quotes relay the success of the Stone's American Tour.

What did Mick do to turn the finances around. Who now manages the Stones?

Chapter 7 Motown
The first African-American label, Vee Jay Records (1953) of Chicago, was started by DJs Vivian Carter and her Husband James Bracken. They signed delta blues players like guitarist Jimmie Reed. The label had some hits but was not nearly as successful as the next African-American label - Tamala, AKA - Motown. Barry Gordy (b.1929) began Motown records in Detroit (later called Hitsville by Gordy) in 1959, at the age of 30. Its the same year Don Kirshner started Aldon Music in NY and parled several east coast girl groups to stardom. Gordy worked numerous odd jobs, including a stint with the Ford Motor Co. Gordy immersed himself into every aspects of the music business. As a song writer he scored his first hit, Reet Petite (V29-12) performed by Pro-boxer turned singer Jackie Wilson, in 1957. With the song Lonely Teardrops, he began the Jobete music publishing company in 1958. The hit "Money" went to #2 in the R&B charts in 1959, the same year he and Smokey Robinson decided that Motown should also distribute their own records. Shoparound (V19 CD1-2) followed in 1960, recorded by Smokey (as lead for the Miracles). Gordy wanted to tap into the girl group craze and did so in 1959 with Mary Wells and her hit Bye, Bye, Baby. Other girl group hits soon followed including Motown's first no.1 hit, Please Mr. Postman (V19 - CD#1-3) by the Marvelettes in 1961. Martha Reeves joined Motown as a receptionist to work her way into the business and scored a hit with the Vandellas in 1963 with Heatwave (V22 - 2) and the next year with Dancing in the Streets (V19 CD1-3). In 1964 the Civil Rights Act passed. It forbid discrimination in all public places such as restaurants, bathrooms, hotels, libraries, etc., it created the Equal Employment Opportunity Commission, banned discrimination in all Federal funded services and activities, and established a 6th grade education as the minimum voting requirement. The biggest problem was until this time, African-Americans had not voted and were forcibly stopped from doing so in the south. Later in 1964, congress established the Criminal Justice Act which provided free legal services as stated in the Miranda Rights. Gordy expounded a unifying message of peace and integration and channeled these ideals through motown. He also recorded and sold Martin Luther King's speeches. Gordy also understood the financial benefits targeting the Whtie American market. He hired Maxine Powell to teach the singers pose and grace, etiquette, and sophistication - in action, dress, and behavior. Choreographer Cholly Atkins taught them dance steps and gestures to interpret the music as they sang. Gordy, like Dick Clark, strived to mold his talent into parent friendly, TV friendly, and socially acceptible, acts. He also picked his music very carefully. He liked BB King and the other blues acts as much as anybody, but he felt that music would not reach white america. His music pushed a pounding rhythm, funky guitars, horn punctuations, and gospelesque call and response vocal styles. He crafted his music carefully and molded his hit machine in the image of Ford Motors and the assembly line ideal. He learned several things during his auto plant days: 1) quality control - at the end of each week, everyone would get together for a quality control meeting. All the tunes recorded that week would be played and Gordy would ask a simple question. Would you want this record bad enough to buy it if you only had enough money to eat? He learned assembly line construction. He had a select collection of writers, himself included, along with Smokey Robinson, Mary Wells, the Holland-Dozier-Holland team, Norm Whitfield, and others. They created lyrics and melodies and formed the skeleton of the tune. He used the same stable band of players to back up every artist recorded. This created the consistent Motown sound and consumer brand loyality. He kept the best players around him, paid them well, and they did the backing ground work. This group of players became known as the Funk Brothers. And they took the skeletons and fleshed out the guitars, horns, bass, and drum parts. Though the line up changed from 59-71, the most influencial players were, James Jamerson (Bass), Benny Benjamin (drums), Earl Van Dyke (Jazz pianist extraordinaire), and the self described Oreo guitar section of Robert White, Joe Massina and Eddie Wills. The production and mixing styles were borrowed from those of Phil Spector and his Philadelphia wall of sound. The Supremes were signed in 1960 but had to go through a name change, personel change, the Gordy finishing scholl before they were ready to hit the charts in 1964 with Where did our Love go (D7-2) which topped both the pop and R&B charts in 1964. The writers quickly put out several other songs, and most became hits, admittedly patterned exactly after Where did our love go such as Baby Love, Come See About Me, Stop! In the Name of Love, and Keep Me Hangin' On. These clones were sensational hits and catapulted Motown to the top Musically and Financially. Gordy also knew, like Col. Tom Parker, about the power and influence of TV and soon had his acts on every show possible: Ed Sullivan, Dean Martin, The Tonight Show, and others. Gordy was, by accounts abit of a control freak and micro manager. He only gave the supremes $100 a week to spend out of their $300,000 a year profits. The Temptations were also singed in 1960, and like the Supremes, it would take 4 years, finishing school and some personnel changes to get the hits going. But when they recorded Smokey Robinson's hit, My Girl (V25-CD2-1), the hits began to happen. Soon Aint too proud to beg (V25-CD2-21), Get Ready, and others were riding high in the charts. The Four Tops also revived their Doo-Wop career via the Gordy makeover. The Funk brothers, and the song writers merged black and white talent together and Gordy was openly proud of the integration. By 1967, Motown began to decline due in large part to Gordy's control issues, and money. The Holland-Dozier-Holland team quit in 1968 over royalties. Gordy moved Motown from Detroit ot LA in 1971 to expand into films and further the careers of Smokey Robinson and new talent Stevie Wonder. The movie aspect didn't pan out and Stevie Wonder rebelled against Gordy's control habits. Motown fell apart at the same time Blacks and whites were becoming more militant of rights and the expanding Vietnam war.