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William James's category of "first-hand religion" allows us to arrive at the religious from an internal and individual perspective, including in those activities and phenomena usually considered secular. B. B. King's 1972 performance at Sing Sing Prison, documented by David Hoffman, brings both the prisoner audience and the performers to an "additional dimension" distinct from the hollowness of everyday (prison) life. In addition, the presence of this intense experience on the YouTube platform creates a fluid community of second-order observers, bound not by any overarching belief but by observation of the experience itself. King's performance is in the genre of blues music, which, in turn, has associations with African religious traditions. While the study of diverse religious traditions helps inform our understanding of the kinds of activities that might constitute the religious, this study takes individual experience as primary rather than as a manifestation of a particular tradition. [ABSTRACT FROM AUTHOR]

This article provides a historical overview of the development of rock 'n' roll music in Chicago during the 1950s. It emphasizes the contributions of artists such as Chuck Berry, Bo Diddley, and Delores LaVern Baker, as well as record labels like Chess, Vee-Jay, and Mercury. The text also discusses the role of African American deejays in popularizing rhythm and blues music, the crossover appeal of rock 'n' roll to white audiences, and the economic factors that contributed to the genre's success. It highlights the challenges faced by Chicago-based musicians in the music industry and the opposition to rock 'n' roll from some members of the community. Despite these obstacles, Chicago played a significant role in shaping rock 'n' roll, with its diverse music scene and the efforts of entrepreneurs and deejays contributing to a musical revolution. [Extracted from the article]

This research has been prepared as a performance article and a research article. Blues music and Blues guitarist and composer B.B. King, who has an unforgettable place in the history of music, performed improvisation with electro and draped violin. During the performance, the infrastructure of the "Chusss Music" Youtube channel titled "E Minor Blues Guitar Backing Track BB King Style" was used. 12 gauge blues chord patterns were used. With the improvisation performance of blues rock with Kesendere, electro pitch violin, He was awarded the "Western Music-String Instruments" award by the International Rast Music Congress and Music Awards. It is very difficult to find orchestras and groups for music performed in groups such as rock music, jazz music and pop music in some cases and regions. Unfortunately, the economic costs of the established orchestras make it difficult for these orchestras to have a long life. It is recommended to use computer-accompanied music infrastructure in the face of such difficulties. [ABSTRACT FROM AUTHOR]

This article reports on a sociolinguistic study into the prevalence of African‐American English (AAE) features in the lyrical language use of blues artists, relying on data from different social and national backgrounds and time periods. It adopts a variationist linguistic methodological approach to examine the prevalence of five AAE forms in live‐performed blues music: /aɪ/ monophthongization, post‐consonantal word‐final /t/ deletion, post‐consonantal word‐final /d/ deletion, alveolar nasal /n/ in < ing > ultimas, and post‐vocalic word‐final /r/ deletion. Mixed effects logistic regression analysis applied to a corpus of 80 performances finds no statistically significant association between national/ethnic background and variant use, and indicates that blues artists, from different eras and nationalities, are highly probable to realize the AAE variant of the analyzed variables, regardless of their sociocultural background. By building on early scholarly work on language and music, existing studies considering the use of AAE by non‐members of the African‐American community, and current theorizing on authenticity, style, and indexicality, this study hence provides tentative support for the existence of a standard blues singing style, which involves performers using AAE forms as a stylistic‐linguistic strategy to index artistic authenticity. [ABSTRACT FROM AUTHOR]

Historicizing the musical genre known as "Chicago blues," I further complicate Richard Wright's already complicated attitudes toward "the folk" and modernity. Utilizing close readings of 12 Million Black Voices, I show how Wright's apparent denigration of the blues as an outmoded, pre-modern artistic form is dependent on his historical situation writing before the advent of a new electrified form of blues that developed in Chicago shortly after the book's publication. Utilizing biographical details of the life of Muddy Waters, I show how his work as a musician in Mississippi, then in Chicago, and his development of an electrified blues style, parallels and personifies the shift from an African American perspective rooted in an agrarian, pre-modern south to an industrial, modern north documented so effectively by Wright. Furthermore, the Chicago blues musicians' transmogrification of the rural Delta blues into an electrified, urban expression manifests the vernacular-modernist artistic conception which Wright seems to be envisioning and pointing toward in 12 Million Black Voices. [ABSTRACT FROM AUTHOR]

This essay celebrates John Wilson's visual masterpiece, The Richard Wright Suite (2001), a series of six elegant etchings that reimagine Richard Wright's novella, "Down by the Riverside." Wilson's images, and the story that inspired them, remember lives lost to the Great Mississippi Flood of 1927. Just as Wright's novella has been associated with accounts of the flood lyricized in blues music, Wilson's etchings visualize the blues by depicting the Mississippi River as a striking blue stream. Laboriously crafted in aquatint, the river not only memorializes the power of climate disasters fomented by industrial capitalism, but honors those Black lives claimed in their devastation. [ABSTRACT FROM AUTHOR]

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many musicologists and researchers of popular music have recently stressed the omnipresence of covers in today’s music industry. In the sociolinguistics of music, however, studio-recorded covers and their potential differences from ‘original’ compositions have certainly been acknowledged in passing, but very few sociolinguists concerned with the study of song seem to have systematically explored how language use may differ in such re-imagined musical outputs. This article reports on a study which examines the language use of 45 blues artists from three distinct time periods (viz., 1960s, 1980s, and 2010s) and three specific social groups (viz., African American; non-African American, US-based; and non-African American, non-US based) distributed over 270 studio-recorded original and cover performances. Through gradient boosting decision tree classification, it aims to analyze the artists’ use of eight phonological and lexico-grammatical features that are traditionally associated with African American English (viz., /aɪ/ monophthongization, post-consonantal word-final /t/ deletion, post-consonantal word-final /d/ deletion, alveolar nasal /n/ in ultimas, post-vocalic word-final /r/ deletion, copula deletion, third-person singular deletion, and not-contraction). Our analysis finds song type (i.e., the distinction between covers and originals) to have no meaningful impact on artists’ use of the examined features of African American English. Instead, our analysis reveals how performers seem to rely on these features to a great extent and do so markedly consistently, regardless of factors such as time period, socio-cultural background, or song type. This paper hence builds on our previous work on the language use of blues performers by further teasing out the complex indexical and iconic relationships between features of African American English, authenticity, and the blues genre in its various manifestations of time, place, and performance types.

A literary criticism of the book "Blues People: The Negro Experience in White America and the Music That Developed From It" by Amiri Baraka is presented. Topics discussed include the historical importance of the book which focuses on African American music and culture, its relevance to blues and jazz aficionados, and Baraka's prophetic tone and pro-left sympathies in the book.

The transformation of blues into rhythm and blues in the mid-twentieth century mirrored the experience of migrants who traveled from the South and adapted to bustling city life in the North and Midwest. When millions of Black Americans moved to cities during the Great Migration, traditional blues traveled with them, but the faster pace of urban life engendered new approaches to blues that reflected the new environment, and rhythm and blues emerged in the early postwar period as an urbanized transformation of the earlier genre. Rhythm and blues was loud, emphatically energetic, and, through greater use of new modern instruments, highly electrified. These attributes were, as many have observed, artistic responses to the new urban setting and marked a distinct divergence from the genre's prewar origins. What have received less attention than timbre, tempo, and volume, though, are the many new formal approaches that mark the new style: the urban environment engendered a corresponding creative explosion of new variants on the traditional twelve-bar form, many of them characterized by faster textual pacing, greater phrase-rhythmic density, and elaborate stylization. These transformations are the formal counterparts to the electrification and livelier tempos that mark the urbanization of blues and its metamorphosis into a new postwar genre, and they appear throughout the work of many pivotal rhythm and blues musicians, including Willie Dixon, Ruth Brown, Howlin' Wolf, Ray Charles, Big Mama Thornton, Fats Domino, Chuck Berry, and Little Richard, the main artists explored in this study. [ABSTRACT FROM AUTHOR]

A historical focus on Chicago offers a rich opportunity to explore the hopes and dreams that multiple generations of blues performers attached to their music, along with the myriad styles in which these musicians expressed themselves. From the 1920s through the 1950s, Broonzy's musical identity repeatedly took new shape, "from old-time fiddler to country blues artist to black pop artist to American folk revivalist and European jazz and blues artist" (p. 5). European promoters, as well, insisted throughout the 1950s that he perform in overalls as an old-fashioned folk-blues musician, energetically resisting any efforts by Broonzy to share the sophisticated, jazz-tinged blues music he had once pioneered in black Chicago. Broonzy is recalled today not only as a towering figure on the Chicago scene but as one of the most successful blues performers of the twentieth century. [Extracted from the article]

Copyright of Procesos Historicos is the property of Universidad de Los Andes (Venezuela) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The emergence of blues from the aesthetics of the so-called "big-beat" in Polish popular music is a process that largely coincides with a parallel phenomenon observed in other European countries. With the expansion of rock and roll in the UK during the 1960s, many beat performers (e.g. The Rolling Stones, The Animals) turned towards blues aesthetics, attempting to imitate black American performers. It should be emphasised that this was done in isolation from the cultural context and "root" performance tradition and was a kind of experiment that, despite some cases of apparent stylistic deviation from the blues genre, brought many positive results, such as the emergence of the blues-rock subgenre or the penetration of blues elements into hard rock and progressive rock. The article's title uses the term "inversion", reflecting the reversed order of genre evolution. In Europe, blues did not imply the development of jazz or rock and roll, but through these genres, musicians and listeners became interested in the blues form and used its elements to transform the beat style into rock, eventually developing traditional blues performance. This article attempts to reconstruct the process of adapting blues in Poland and transforming the beat into a blues-rock style. The analysed phenomena' chronological framework reaches back to jazz's beginnings in the interwar period, while the clear boundary marking the emergence of blues-rock and its emancipation is the release of Breakout's Blues album in February 1971. [ABSTRACT FROM AUTHOR]