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Rockin Out

All right. Well today… Trying not to get the light in your guy’s eyes sorry about that. Today we’re going to be in my fireplace room. I mean, it’s a little messy right now, so I’m not going to show you, but in this room, it’s kind of more school books and music books. So when we’re looking through kind of look for music book I guess. I got some kids’ books in here, but we’ll go over to this section. Music and art, I guess. All right. I get it were kind of cheating and a little bit, because it’s not random because I already kind of knew we were picking music or art. But again, maybe we’ll find something different. (Silence)

I [inaudible 00:01:04] Grimm’s Fairy Tales, that’s old. Look at that another sales book. Let me turn this down because I want to read it later. Turn it the other way. (Silence) Hope you guys are saying something interesting in the comments or whatever. You can always tell me if you want me to pick up a book and see if it’s actually interesting or not. What is this Rocking Out? Popular Music in the United States, the examination copy. [inaudible 00:02:06]There you go, right here. There you go where you can see me without any glare. Let’s see what we got in here. Introduction obviously. Constructing Tim Pan Alley, don’t know what that is from… No idea, blues, jazz country, the segregation of popular music. “Good Rockin’ Tonight”: The Rise of Rhythm and Blues, Crossing Cultures: The Eruption of Rock n’ Roll, The Empire Strikes back: Recreation to Rock n’ Roll. Sometimes I can’t read. Popular Music and Popular Culture.

Are we the world? Music Videos, Superstars and Mega events. Oh, okay. Rap and Metal, the voices of youth culture. Oh, okay. So just going through. What is this book called again? Popular Music in the United States. Let’s go, Segregation of Popular Music. Race music, the popular sounds of black America. Well, so blues, jazz, and country. Blues, jazz and country more equal than separate. And these are just some little chapters of it. Yeah, I think this is going to be an interesting one. So, I mean, this is going to be pretty long from 38 to 55. So… Let’s go 39. We’re going blues, jazz and country more equal than separate, right? there. Where are we? 39.

Yeah, this is going to be pretty interesting. Okay. This is more like a textbook. (Silence) [inaudible 00:04:25] (Silence). All right, well listen to this guys. So this guy named Polk Brockman owned a furniture store in Atlanta, Georgia, and his customers were both black and white and remember this was in the 1920s. So if you know the deep South or in Georgia in the 1920s, it wasn’t very, very friendly. Let’s just put it like that. And what he said is he put a phonographs and being attuned to musical tastes of his diverse clientele and Brockman and others like him, Sam Price in Dallas and Henry S. Spear in Jackson, often served as local talent scouts for record companies. In fact, Brockman had a very lucrative sideline supply in both black and white talent to Oakey Record Company where black artists were assigned to the labels, 14,000 race Series and the white artists to the 15,000 Series as marketing categories.

Designations like race and Hillberry intentionally separated. Artists are on graceful lines and conveyed the impression that their music came from different sources. Nothing could have been further from the truth. Across the social divide of segregation these artists were aware of and influenced by each other’s work. In cultural terms, blues, jazz, and country are far more equal than they were separate. Look at that. So in the twenties, they purposely separated the music and made it seem like they were coming from different places to fuel racism. Did not know that so again, what we’re going to do with this video, if that was interesting to you, which it was to me. I will be doing this entire chapter, Blues, Jazz, and Country: The Segregation of Popular Music. And yeah. So look out for that one. The link for that will be somewhere around here, I don’t know. So just look and don’t forget to like, and subscribe and share.