Tuesday, October 27, 2015

Gospel Music's Influence

Warm Up:1) Play the short clip from Kanye West’s “Gold Digger.” Listen closely to the lyrics and identify the central message of the song. Identify the person mentioned in the lyrics

In your groups, answer the questions at the following link. Make sure you enter all group names.



Guided Practice:   

1) Play Ray Charles’ “I Got A Woman" (1954). 

a) Listen closely to the lyrics and identify the central message of the song. Identify the key figure mentioned in the lyrics: ___________________


b) Think about whether the song reminds you of any music you have heard before:
________________________



2) Play an excerpt from the Southern Tones’ “It Must Be Jesus” (1954). 

a) Listen closely to the lyrics and identify the central message of the song.

b) Identify the key figure mentioned in the lyrics: ________________

c) Think about whether the song reminds you of any music they have heard previously.
                   
3) Discuss in groups:
a) How similar are the three songs, musically speaking?

b) What is similar, and what changes?

c) How has the central figure in the song changed through the three versions?

d) What has happened to the overall meaning of the song and the emotions it portrays through the three versions?

e) Who is Kanye West? What kind of music is he known for?

f)  Does “Gold Digger” have anything to do with Jesus? With religion in general? With love?

g) Why might Kanye West have borrowed from a traditional R&B song in “Gold Digger”?

h) What does the Ray Charles sample bring to West's song?

i) What do these three clips suggest about how Gospel music has influenced and continues to influence popular American music?

Part 2:

Listen to and compare the following hits:

1) "(He Is) Wonderful” (1959), by Sam Cooke and the Soul Stirrers, and “Loveable” (1956), which was originally released under the name "Dale Cook."

a) What overall effect do they have on the listener?

b) Complete the song comparison chart.


a) Why might white audiences be receptive to music that was influenced by the music of the African-American church?

b) Complete the song comparison chart.

2) The Jordanaires, “Dig a Little Deeper” (1950) and Elvis Presley with the Jordanaires, "Too Much" (1957). 


a) What does the second comparison have in common with the first? Who are the singers singing about in each song?

b) How similar are the vocal stylings of "Didn't It Rain" and "Tutti Frutti"?

c) Would it matter whether they were even aware of this influence when listening to popular music?

Assessment: Write a paragraph explaining how Gospel music influenced pop music of the 50's and 60's.



Closure: S. Share sentences.Vocab: comparison, receptive

Friday, October 23, 2015

Beginning of Hip Hop Part 2

Look at the guitar chord charts above the musical notation, indicated beside the red arrow. How many chord changes do you count throughout this excerpt of the song? 


How many guitar chord changes do you count throughout this excerpt of the song? 
Discuss as a class:
  • As a guitarist, Bo Diddley would often play just one chord throughout an entire song. What other musical elements does this allow him to focus on? 
  • What relationship might one repetitive chord have with a repetitive (or looped) beat on a Hip Hop track?

In addition to his rhythm-driven musical style, Bo Diddley also differed from his contemporaries in terms of his lyrics. Distribute Handout 1: Lyrical Comparison
Play the first minute of Chuck Berry performing “ School Days ” (1957). Take notes on the key images presented in the song.

10. Next, listen to an audio clip of Bo Diddley performing “Who Do You Love” (1956). As you listen, take notes on the key images presented in the song.
Discuss as a class:
  • What types of images are evoked in each song?
  • Which song do you think has imagery that would be familiar to a 1950s suburban teenager? Which images may seem foreign or strange to typical teenagers?

11. Some historians believe that “Who Do” in the title of Bo Diddley’s “Who Do You Love,” was meant to be a play on the word “hoodoo,” a practice of folklore and spirituality found in the Deep South, where Bo Diddley was born. Distribute Handout 2: Hoodoo and Zora Neale Hurston. Invite student volunteers to read aloud, alternating paragraphs.
Discuss as a class:
  • What are some images from Bo Diddley’s recording of “Who Do You Love” that you think might be related to hoodoo? 
  • Zora Neale Hurston explains that “ Africa Hoodoo, or Voodoo, as pronounced by the whites, is burning with flame in America with all the intensity of a suppressed religion.” Why would hoodoo be unfamiliar to most white, mainstream audiences?

12. Display the following quote on the board and ask a student volunteer to read it aloud:
In summary, write a paragraph answering the following:
  • According to the music historian Ned Sublette, how does Bo Diddley, a “first-generation” Rock and Roll artist, relate to the genre of Hip Hop?

Monday, October 19, 2015

The Beginning of Hip Hop

What are the elements of Hip Hop? List as many things as you can to describe it...


Grand Master Flash and the Furious Five


1. Listen to this clip of the Hip Hop group Grand Master Flash and the Furious Five performing “The Message” (1982). While watching, take notes on the performance and its general subject matter.
Question: The hook of the song is “It’s like a jungle sometimes, it makes me wonder how I keep from going under.” What environment is this song depicting? What images stand out to you as a listener?


Bo Diddley

Procedure:

1. Today we will be exploring the recordings of Bo Diddley, a Rock and Roll pioneer during the 1950s whose style can be viewed as a precursor to Hip Hop. Listen to this clip of Bo Diddley performing “Hey! Bo Diddley” in 1965, a song he originally released in 1957. Pay close attention to both the lyrics and the rhythmic feel of the song.
Group Questions:
  • Who is the subject of this song? What are some reasons why Bo Diddley might name the song after himself and refer to himself in the third person throughout the lyrics? 
  • Describe the instrumentation of Bo Diddley’s band. How do the guitars, drums, and backup singers reinforce the rhythm of the music? 

2. Bo Diddley stood out from his contemporaries by crafting a percussive guitar technique that differed greatly from the traditional Blues style that influenced many other guitarists. Listen to this audio clip of Robert Johnson performing “Stop Breakin' Down Blues” (1937).
Notice that this is an example of Country Blues, in which the musician mixes rhythm guitar with finger picking on an acoustic instrument.


John Lee Hooker


3. Next, lets listen to this audio clip of “Boogie Chillen” (1948) performed by John Lee Hooker, an Electric Blues artist who initially inspired Bo Diddley to learn the guitar at age 12. Pay close attention to Hooker’s guitar, on which he is playing a plucked rhythm, punctuated with single-note accents.
Group Questions:
  • How does “Stop Breakin' Down Blues” compare with “Boogie Chillen”? 

4. To contrast with these two recordings, listen to Bo Diddley performing “Bo Diddley” (1954). Pay close attention to the electric guitar style.
Group Questions:
  • How is Bo Diddley playing his guitar on this recording? Do you hear single notes being picked on the guitar, or a strumming pattern? 
  • How is Bo Diddley’s guitar style different from Robert Johnson’s “Stop Breakin' Down Blues” and John Lee Hooker’s “Boogie Chillen”? 
This distinctive rhythm (three strokes/rest/two strokes) influenced many artists and came to be known as the “Bo Diddley beat,” appearing on records by Buddy Holly, the Rolling Stones, Bruce Springsteen, U2, rapper B.o.B., and many others.

B.O.B.


5. Bo Diddley did not just break away from Blues traditions, his songs also varied greatly from his contemporaries on the Pop charts during the early 1950s. 

The Chordettes

Listen to this audio clip of the Chordettes performing “Mr. Sandman” (1954), which went to No. 1 on the Billboard Pop singles chart the year before Bo Diddley released “Bo Diddley.”

Discuss with your groups and write a paragraph:

How does the melody of “Mr. Sandman” compare to “Bo Diddley”?

Also, do you think Bo Diddley had an influence on what was later known as Hip Hop?

Share paragraphs with class.

Thursday, October 15, 2015

The Man in Black

Remember the image we said Johnny Cash wanted to portray. Why do you think he went by the nickname "the man in black?"

As a class, read a short biography of Cash detailing his persona as the "Man in Black" and his identification with marginalized people, including Native Americans and prisoners.

Play audio clip of “Folsom Prison Blues” (1968). Explain that while Cash first released the     song in 1955, this version is from a live performance for the inmates of Folsom Prison and        was recorded in 1968.

            7) Discuss in groups:
            1) What kind of imagery does Cash evoke in the song? 
            2) In this recording, Cash is performing before an audience of inmates. However, “Folsom Prison Blues” became one of his most popular and famous songs. Why do you think this song might appeal to a wider audience?
            3) Does this song seem to align more to Alger or Steinbeck’s vision of the American Dream?    How?

              Share with class

Formative Assessment: S. write a paragraph summarizing what they have learned about the “American Dream” and what it means to various people.

Closure: Define American Dream aloud and share paragraphs from above.

Vocab: Marginalized

Tuesday, October 13, 2015

The American Dream cont...

Remember what we learned about the "American Dream" last week. Be prepared to share with the class.


1) Divide students into small groups.  Distribute Handout 3: Elvis' Houses.  Students will       analyze two houses Presley lived in during his lifetime: a  two-room wooden house           (sometimes called a “shotgun shack”) in Tupelo, Mississippi, and the Graceland mansion in      Memphis, Tennessee. Groups will make observations about the two houses and discuss the             accompanying questions.  Poll answers aloud. 
​    
            2) Play trailer for the movie Love Me Tender (1956). 

      Discuss in groups and write answers:
            1) What do you notice about Elvis’ performance style and           the character he is playing onscreen?          
            2) Why might a wide, popular audience be attracted to Elvis            in this film?
            3 ) What are some of the titles you see in the trailer?  How             do these titles support the real life story of Elvis’ emergence             as a superstar?
           
            3) Share with class

            4) Distribute Handout 4: The Man in Black.  As a class, read a short biography of Cash detailing his persona as the “Man in Black” and his identification with marginalized             people, including Native Americans and prisoners.

            5) Share with class

            6) Play audio clip of “Folsom Prison Blues” (1968). While Cash first released the song in 1955, this version is from a live performance for the inmates of Folsom Prison and was recorded in 1968.
           7) Discuss in groups:
            1) What kind of imagery does Cash evoke in the song? 
             2)  In this recording, Cash is performing before an audience of inmates. However, “Folsom  Prison Blues” became one of his most popular and famous songs. Why do you think this song might appeal to a wider audience?
            3) Does this song seem to align more to Alger or Steinbeck’s vision of the American Dream?    How?

            8) Share with class


Formative Assessment: S. write a paragraph summarizing what they have learned about the “American Dream” and what it means to various people.

Thursday, October 8, 2015

The American Dream

What is the American Dream? Spend 5 minutes conceiving and writing down a definition in 1-2 sentences. Share definitions aloud.





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Now, check out these two album covers:
Elvis Presley’s 50,000,000 Elvis Fans Can’t Be Wrong (1959)
and Johnny Cash’s At Folsom Prison (1968).  

Study these images closely. 

Discuss in your groups and answer these questions:

1) What image do you think each artist wanted to portray?

2) How can you tell?

3) Do you think you can tell anything about each artists personalities by looking at these album covers?

4) What assumptions can we make about the artists and their music based on the album covers?

Be prepared to discuss as a class how each of these two artists are depicted differently. The discussion should cover styles of dress, physical poses, personalities (if apparent), album titles, and any other visible design elements.

​    
Elvis Presley and Johnny Cash began their lives under similar circumstances before launching their massively successful performing careers:  

                 a) Presley and Cash were born three years apart in the American                        South, Presley in Mississippi and Cash in Arkansas;

                  b) Both came of age during the Great Depression and grew up                           extremely poor;

                  c) Both worked various jobs to support their families before                               recording for Sun Records in Memphis in the mid-1950s.

Today we will be analyzing the idea of the “American Dream,” how it has changed overtime, and how it relates to the music and popularity of Elvis Presley and Johnny Cash.


Now lets watch clips of Elvis Presley on the Milton Berle Show (1956)

and Johnny Cash on Ranch Party (1957). 

For a young musician in the 1950s, it was considered a major accomplishment to appear on one of these network television shows. 

Discuss as a class:

                  5) What traits do these artists seem to have in common? 

              6) What traits make each of these artists unique?

Now let's read about an idea of the "American Dream" from 1868.

In you groups, answer these questions:

7) What is Dick (the protagonist) likely to achieve by diving off the boat to save the drowning child?

8) Based on this scene, what does Alger imply about the protagonist’s moral character?

9) Over all, what does Alger suggest about a person’s opportunity to achieve upward mobility in America? In other words, what traits does an American need in order to succeed?


Now let's read read aloud a short biography of Steinbeck and an excerpt from Of Mice and Men (1937).

John Steinbeck John Steinbeck (1902-1968) grew up in California’s Salinas Valley, an agricultural region 25 miles from the Pacific Coast. After briefly attending Stanford University, Steinbeck worked several jobs—including as a laborer, a reporter, and caretaker of a Lake Tahoe ranch—before finding success as an author. In the 1930s, Steinbeck used the Salinas Valley as the setting for some of his most-acclaimed fiction, including Of Mice and Men (1937) and The Grapes of Wrath (1939). These novels explored the harsh realities of life for common farmers and their families struggling to survive during the Great Depression. Of Mice and Men follows migrant laborers George and Lennie as they travel the Salinas Valley looking for work. Throughout the novel, George, who serves as both friend and protector for the simple-minded Lennie, refers to his fantasy of owning a farm where he and Lennie will live.

Excerpts from Of Mice and Men (1937)

Passage 1 Lennie said, “Tell about that place, George.” “I jus’ told you, jus’ las’ night.” “Go on—tell again, George.” “Well, it’s ten acres,” said George. “Got a little win’mill. Got a little shack on it, an’ a chicken run. Got a kitchen, orchard, cherries, apples, peaches, ‘cots, nuts, got a few berries. They’s a place for alfalfa and plenty of water to flood it...” …His voice was growing warmer. “An’ we could have a few pigs. I could build a smoke house like the one gran’pa had, an’ when we kill a pig we can smoke the bacon and the hams, and make sausage an’ all like that. An’ when the salmon run up the river we could catch a hundred of ‘em an’ salt ‘em down or smoke ‘em. We could have them for breakfast. They ain’t nothing so nice as smoked salmon. When the fruit come in we could can it—and tomatoes, they’re easy to can. Ever’ Sunday we’d kill a chicken or a rabbit. Maybe we’d have a cow or a goat, and the cream is so God damn thick you got to cut it with a knife and take it out with a spoon.” Lennie watched him with wide eyes, and old Candy watched him too. Lennie said softly, “We could live offa the fatta the lan’.”

Passage 2 (Dialog is between Lennie and Crooks, a stable hand.) “George says we’re gonna have alfalfa for the rabbits.” “What rabbits?” “We’re gonna have rabbits an’ a berry patch.” “You’re nuts.” “We are too. You ast George.” “You’re nuts.” Crooks was scornful. “I seen hundreds of men come by on the road an’ on the ranches, with their bindles on their back an’ that same damn thing in their heads. Hundreds of them. They come, an’ they quit an’ go on; an every damn one of ‘em’s got a little piece of land in his head. An’ never a God damn one of ‘em ever gets it. Just like heaven. Ever’body wants a little piece of lan’. I read plenty of books out here. Nobody never gets to heaven, and nobody gets no land. It’s just in their head. They’re all the time talkin’ about it, but it’s jus’ in their head.” (Of Mice and Men—New York: Penguin Books, 1993 reprint edition; Passage 1: Pp. 56-57; Passage 2: Pp. 73-74)

Discuss and answer in your groups and answer questions:

10) In passage 1, what kind of imagery does George use to describe the farm to Lennie?

11) How does George’s vision connect to the idea of the American Dream?

12) In passage 2, how does Crooks respond to George and Lennie’s dream of owning a farm?

13) What does Crooks’ observation suggest about the state of the American Dream during the time of the Great Depression?

14) Explain how Steinbeck’s understanding of the American Dream is similar to or different from that of Alger’s.

Share answers with class.

Elvis Presley’s Houses House



15)  Describe Elvis’ birthplace (House A):

16) How big is the house?

17) How many rooms might a house like this have?

18) How is it decorated?

19) What construction materials can you see?

20) Who do you think might live in a house like this?


21)  Describe Graceland (House B) using the questions above. 

22) How big is the house?

23) How many rooms might a house like this have?

24) How is it decorated?

25) What construction materials can you see?

26) Who do you think might live in a house like this?

The image of Graceland is from the cover of one of Elvis’ albums.

27) Why do you think the decision was made to put the house on the album cover?

28) What statement does this make about Elvis and his relationship to the idea of the American Dream?



Tuesday, October 6, 2015

The Roots of Rock and Roll

What do you think the "roots" of rock and roll are? In other words, where did it come from?


Write down your ideas and be ready to share.


"We had a little bit of a rough time trying to get our artists to do anything resembling the blues. They were more singers like LaVern Baker and Ruth Brown . . . the [New York City-based] bands we had were composed of players from the big jazz bands and swing orchestras who had become studio musicians. They were not at all like the kind of musicians who were playing the blues in Chicago, like Muddy Waters and Willie Dixon and all those people. When we had these musicians try to play in an authentic blues fashion, it didn't work. The result, however, was quite intriguing. What emerged was music with a blues feel, but with a particularly Northern, urban influence.


Listen to the clip of Muddy Waters' "Rollin' Stone," from a live performance. 

In your groups, answer the following:
         1) How would you describe the                    sound of Muddy Waters'                              music?
          2) What do you think Ahmet                       Ertegun liked about Muddy Waters'           music?
          3) And what, again, were the                       reasons Ertegun said he couldn't                 record music like Muddy Waters' in          New York City?


Now listen to the clip of LaVern Baker performing "Tra La La."

Keep this and Muddy Waters in your minds, and in your groups write down:


        1) What instruments do you see and           hear in each song.

        2) Create a list of adjectives that                 describe Baker's song and                           performance, and then Waters'. 

Consider  differences in vocal style, in the sounds of the instruments (sweet or rough?), in the performance styles of the singers, and in the overall moods of the songs.      

You have five minutes to complete this and share with the whole group.


In closing, lets answer these questions as a whole group:
      1) Why do you think Ertegun's recording of LaVern Baker                   ended up sounding "sweeter" than the music of Muddy Waters, which Ertegun said he originally hoped to capture?


      2) What in Ertegun's statement above provides a clue to this question?