Something I found particularly interesting in the reader was at the beginning of chapter 4, The Chicago Defender Defends Rock’n’Roll. The obvious social tensions mentioned here as a result of Rock’n’Roll’s image towards equality and away from segregation. Proceeding the famous trial in 1964 of Brown vs Board of Education, which mandated integration into public schools, the attention of the media and the public were fixated on issues relating to this transition, including the music business. Statements in the media such as, “rock’n’roll pulls the white man down to the level of the Negro” reverberated throughout society an evoked a mix of negative responses, including that of Rob Boy’s “Warning to the Music Business” in Variety magazine.  Even more severe was a attack of harassment on Nat “King” Cole during a performance, which ended up canceling his southern tour.

Though the relations created by rock’n’roll during this time was largely associated with the racial hatred that largely existed, it was also a part of what drove the rebellious spirit of rock even further. Opinions aside, the concerns and reactions provoked by rock’n’roll demonstrate how effective music can be amidst social change and stands testament to the power of music, itself.

Blues People and the Classic Blues 

In general, my reaction to this chapter was mixed between intrigue and sympathy for the blatantly obvious and shameless degree of racial inequality. Though, I found it very interesting how the term “race music” originally held negative and demeaning connotations, but also yielded positivity amidst African Americans during the time of the Harlem Renaissance.  The idea of being active and promoting the idea of equal rights became a respectable attribute.  Known as the “father of gospel music”, for example, Thomas Dorsey used his talents to provide material for many female African American artists such as Ma Rainey, Mahalia Jackson, and Willie Mae Ford Smith.  I found it amazing how the dawn of gospel and many other derivatives of this music was provoked and cultivated by one man who fought to make it popular. The efforts of Thomas Dorsey, as well as the other advocates of “race music”, helped to spawn music like piano boogie boogie, gospel, small jazz bands, blues, funk/ swing, and eventually rock and roll.

The society’s gradual but inevitable transition from “parody” entertainment at the expense of African Americans to the acceptance of true talent was something else I found very interesting. Since the time of the humiliating and maliciously intended means of entertainment know as minstrel shows, talented African Americans had to relentlessly prove themselves to be taken seriously as artists.  Fortunately, Classic Blues provided a segway to acceptance for African Americans and allowed them to secure positions in the professional entertainment industry.  Though it was not until 30 years after the end of minstrel shows that African American could plainly entertain on their own merit (and without face paint), it was incredible how it happened and the revolution that resulted from it.

Testing 1,2,3…

Welcome to your brand new blog at Indiana University of Pennsylvania Sites.

To get started, simply log in, edit or delete this post and check out all the other options available to you.

For assistance, visit our comprehensive support site, check out our Edublogs User Guide guide or stop by The Edublogs Forums to chat with other edubloggers.

You can also subscribe to our brilliant free publication, The Edublogger, which is jammed with helpful tips, ideas and more.