White People Didn't Steal Rock.

[Jone2three45]

.

 

[Jone2three45]

"Godmother of Rock n Roll", Rosetta Thorpe was doing Rockish things (she actually played a mixture of Gospel and Blues) in the 1930's and was cited as an influence by the likes of Little Richard, Chuck Berry, Johnny Cash, Elvis and Bob Dylan

That was so dope.

 

[cole phelps]

That was so dope.

old black people are BEAST on a guitar

 

[Jone2three45]

old black people are BEAST on a guitar

Yeah they were.

 

[IllmaticDelta]

That was so dope.

If you like rocking, old-time gospel-blues guitar, here is another gem

 

[IllmaticDelta]

 

[IllmaticDelta]

 

[IllmaticDelta]

Jimi had to leave the USA because he knew he could never make a career out of Rock music there. In America "Rock" meant white music and no blacks allowed for the most part. Even now when black people do rock type music they don't get any real attention.

For example, these brothers from Detroit by the name of Death..

Before Bad Brains, the Sex Pistols or even the Ramones, there was a band called Death.

Punk before punk existed, three teenage brothers in the early '70s formed a band in their spare bedroom, began playing a few local gigs and even pressed a single in the hopes of getting signed. But this was the era of Motown and emerging disco. Record companies found Death’s music— and band name—too intimidating, and the group were never given a fair shot, disbanding before they even completed one album. Equal parts electrifying rockumentary and epic family love story, A Band Called Death chronicles the incredible fairy-tale journey of what happened almost three decades later, when a dusty 1974 demo tape made its way out of the attic and found an audience several generations younger. Playing music impossibly ahead of its time, Death is now being credited as the first black punk band (hell...the first punk band!), and are finally receiving their long overdue recognition as true rock pioneers.

They basically had no shot to make it because Rock is thought of as white music so that made them unmarketable which is the same reason Jimi had to find backdoor through London to make a mark in the USA.

 

[IllmaticDelta]

what ya know about Arthur Lee?

LOVE (Rock Band): (Singing) Yes, I see you sitting on the couch. I recognize your artillery. I have seen you many times before. Once I was an Indian.

TONY COX, host:

He called himself the first black hippie. As founder and front man for the psychedelic pioneers Love, Arthur Lee led what was possibly the first mixed-raced lineup in rock music history. A fixture on the Sunset Strip in the mid-1960s, Lee was both controversial and beloved.

His band influenced peers like Jimi Hendrix and Jim Morrison in the 1960s. And today, Love's album Forever Changes is consistently cited as one of popular music's most important albums. Lee passed away last week at the age of 61 of leukemia.

Joining me now to talk about Arthur Lee and his legacy is Charles Cross, author of A Room Full of Mirrors: A Biography of Jimi Hendrix. The book includes a section on how Arthur Lee's work influenced Hendrix. Charles, welcome to the show.

Mr. CHARLES CROSS (Author, A Room Full of Mirrors: A Biography of Jimi Hendrix): Thank you, Tony.

COX: Musically, what did Arthur Lee and his band do that was so different?

Mr. CROSS: Well, he was really, truly one of the first psychedelic acts. What was so interesting about Arthur is that, you know, because he came from African-American background, people were surprised when he started walking around Sunset Strip as what he called the very first hippie. He's universally accepted as the first Black hippie, but he thought he was the first hippie regardless of race.

(Soundbite of music)

LOVE: (Singing) Yeah, I heard upon that plane somebody said to me you know that I would be in love with almost everyone. I think that people are the greatest fun. And I will be alone again tonight with you.

Mr. CROSS: The music that he explored with Love was truly some of the first psychedelic music that the American music scene every saw. You know, he brought psychedelic and pop music and mixed those things. And the records that they created back in the mid-60s truly were revolutionary.

COX: Known as a hippie is one thing, but he also spent 12 years in prison and struggled with drug and alcohol addiction. When you look back on his life, how do you think he should be remembered?

Mr. CROSS: Well, certainly the records that Love created. Most specifically, Forever Changes, which is a record that consistently ends up on critic polls as one of the greatest records in rock and roll history, despite the fact that it's sold very few copies, even today.

I think that record was one of those records that launched 1,000 other bands. People heard that, and cited it. Everyone from Led Zeppelin to more modern bands like Prince, I think, were greatly affected by that record. So I think that will be Arthur's legacy.

Clearly, his personal life was a tragedy. As you said, he did spend some time in prison on a weapons charge, and had some struggles with drug addiction. And those things, sadly, kind of stopped him the latter half of his life from really repeating the success he had as a youngster.

http://www.npr.org/templates/story/story.php?storyId=5629477

 

[cole phelps]

here some good early rock n roll ike turner is in this group

 

[IllmaticDelta]

...the Gospel roots you rarely hear talked about/people tend to forget


Musicologist Steve Baur takes us through the history of the backbeat.

host Bob McDonald presents the people behind the latest discoveries in the physical and natural sciences go to CBC .ca/ works podcast downloads and more will

dwell in music and music theory the beach is the basic unit of time. now the backbeat if the accent on the offbeat, and the element of music that has driven popular American music since the early nineteen fifties but the history behind the backbeat contains the story of the people beating back against violent oppression musicologist Steve Bauer has spent the last few years researching the history even associate professor of in the music department at Dalhousie University. need drinking right now. welcome to Main Street thief makes for having me, so I just gave a definition of the backbeat but what your definition of the backbeat. how would you phrase it out pretty close to yours of the backbeat refers to emphatic accents on the so-called weak beats typically played by a drummer in the context of popular music since the mid- twentieth century typically Western music? music is in four four meter we count for beads to measure and historically Western music is emphasized. the first and third beats as the so-called strong beats one two three four one to the backbeat is an inversion of that one two three four that becomes popularized with rock 'n roll music in the nineteen fifties, but it has a long prehistory before it erupts onto the mainstream is a drama yourself. I know this is the sort of thing that makes your heart saying and how you beat out where the back seat come from in and. time to research dealing with him. I'm looking mostly at late nineteenth century early twentieth century and the recording industry doesn't come along until early twenty century. so what happens in nineteenth century as it is up to speculation but I've found what I consider the three most important streams for the development of the backbeat one being the prison work songs in African-American prisons in the South the other being African American church music. the gospel tradition with Bartleby percussion clapping out backbeats and finally the genre of popular music called the hokum blues that emerges in the nineteen twenties, where back beats seem to be central, essential so that genre. I knew Brad 's early recordings with you. I'm starting out with one that deals with the backbeat in prison yards. can you talk about that how it's being used therein and set up to hear the clip absolutely well in the South during eighteen seventy seven prisons used actually contractor their prisoners out to private companies for labor, so working was part of being a prisoner and you would be working usually with shovels axes you name it a whole be outdoor labor and we find after American prisoners this time starting to use these tools of oppression as musical instruments actually creating a rhythmic backdrop to their workday and unlike typical Western music where one in three year emphasized they tended to emphasize the second and fourth beats the so-called backbeat the so-called weak beats and in this context I'll I would say the backbeat functions as as a means of resistance you can make this work you can force us in these horrible conditions but working to make a groove. nonetheless and oh, using tools of oppression as music was written to allow Afro-American prisoners at this time in and again, we don't get recordings of his delivered the nineteen forties. one I brought in this from the early nineteen forties, but it represents a turn, a practice that had been going on for decades before and we hear these lyrics often having to deal with the oppressive conditions of the work camp emphasized with these forceful percussive backbeats. each line. it's accented with with the percussive hit on to them for an in a and in a

to you all you love him and on to

that that is a will

soon the context the back the

occurs in situation when the body is under horrible present certain stances and through this kind of musical confirmation the situation though the labor cancer art the possibility of the body being aside of pleasure rather than a side of pain and oppression is made possible through the back be this this rhythmic accompaniment to the workday at the name that's the team lead away. that's pretty strange. yes pretty strain it refers to the train that takes you home after you've served your time in prison would be pretty told as well. at the time the backbeat is present in the world of African-American gospel that right, particularly in so-called Pentecostal or sanctified churches where there's a notion that spirituality is and should be a fully embodied experience in African-American religious traditions. we don't have the kind of mind, body or mind spirit split that we have in the West as a more holistic understanding of human nature and when African-Americans are forced to adopt Christianity under slavery. they put their own spin on it and in gospel churches, particularly the Pentecostal sanctified churches, we find that body percussion is part of the religious experience in fighting this. to possess you not just spiritually but actually physically being possessed and the rhythmic clapping that we here in the gospel churches is a means to achieve this kind of spiritual/ physical transcendence to the clip. I do this is Betsy Johnson and her Memphis sanctified singers, and this is part of. she belonged to the Church of God in Christ, which is one of the biggest Pentecostal churches. it centered in Memphis which of course is to be one of the centers for rock the development of rock 'n roll and here we hear her congregation clapping out to them for as she sings that she's got the key to the kingdom in him and him and him and will him and him and him and a

and will I and all you and in a that old recordings from nineteen twenty seven cell using the body as as the instrument to to Anna and Pfeffer backbeat absolutely and and in this case music number one enables the spirits to to possess one and also was a sign of having the spirit in you. this kind of rhythmic fully embodied performance, so I also at this time the backbeat finding its way into the blues. that's right and in my research and due to the particular strain of the blues that seems to be the earliest genre of commercial popular music that incorporates the backbeat the so-called hokum blues which is a genre blues that incorporates lyrics that have thinly veiled double entendre was referring to sex and in this case we hear the backbeat in a way replicating the rhythms of sex often the songs have lyrics that have to do with the world of prostitution. many of the performers participated in that world both both male and female performers and the recording abroad in today is right Lil' Johnson and barrelhouse Annie comes from nineteen thirty seven Chicago and so-called must get mine in front and it tells the story of a woman who works in the bakery and she's selling her jelly rolls jelly roll being a long-standing metaphor for the female ripped up reproductive organ in this tradition, wink wink wink nod nod and as she says yes also you might my jungles but you are not on credit. yet the pay first sign that letter that ran up and down in a row and all in him and him and I know now that you and how long is the name, you're going up the river is gone knowing that they will him and him. what is the real thing. I am, and him and in him and mine 's see into this research. well I got into because of what I keep these call G from the outside. really, I'm a drummer, and when I go to graduate school, I learned that there's really no room for drugs in the world musicology. historically the field is called. he's been very conservative, and has been unwilling to deal with popular music. that all changed in that eighties and I was very fortunate to be at UCLA at a time when they brought in one of the pioneers of musicology who was making it okay to study popular music and since popular music is become a legitimate area of study within my field of musicology, there's been an explosion of research and popular music history, but most of it has not dealt with rhythm, which as we know is central to the effect of popular music release many genres of popular music, so I saw a hole in the scholarly canon that needed filling why the backbeat specifically because it's so ubiquitous it is arguably since the mid- nineteen fifties the most prevalent and common musical device in popular music and completely unstudied to this point okay, so he is done in this work. this look into this area in the last eight years. what is your water. semi- your biggest takeaways from your time spent looking at well first and foremost all musical conventions are rooted in social history sometimes difficult social histories and we need to honor that and that all musical prices have the potential to carry social meanings, and I've laid out three areas here, where the backbeat I I would consider Kerry 's very significant social meanings, and I think if we fail to remember that if we takes her knees go conventions for granted and ignore the history of them were missing the opportunity for a greater understanding and a deeper musical experience. thanks a lot for coming in today and speaking me my pleasure

http://www.voicebase.com/voice_file/public_detail/257908 ---> (click on it)

 

[ISO]

This is what happens when you don't know your history and dont pass your true history on effectively. I truly believe that what the O/P is doing right now could very well be done by someone to hip hop 50 years from now.

Think about what's popular right now, that's what the history of this era will be taught as. It doesn't matter that most of the people buying the albums are white people that don't know shyt about the culture of the music and that most nikkas don't even listen to the bullshyt that is at the top of the charts (Macklemore, Eminem, Drake, the jewish white kid Etc.). What will be taught is that first Eminem won grammies then Drake then Macklemore and that they ushered in a new era of hip hop.

It's sad really, cause even if this post should happen to ring true to you.....what exactly are you going to do differently to change the way things are?

at grouping Drake with Macklemore, at blacks not listening to Drake

 

[Mr.Big Meat McGee]

Rock / Rock n Roll was created from hardships and rebelliousness....something White people don't have. It also started in Southern Black Churches.

 

[cole phelps]

bump

 

[IllmaticDelta]