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History of gospel music
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Gospel Sister
Sister Rosetta Tharpe is one of the most important Gospel female Guitar players that came out of the 1930s because in this time it wasn’t common for women to play instruments especially different for black women during the Great Depression also none as The Golden Age and Post Civil Rights Movement. The first national star for gospel music in the 1940”s, Sister Tharpe music is in the Gospel/Jazz/Rock n Roll (Jackson). You can hear some of Sister Tharpe’s most popular song Like “Shout Sister Shout”. I will be talking about the song “Shout Sister Shout” gospel/Jazz/ Rock n Roll influential artist in the 1930’s.
Before going into the music I would like to give a little information about Sister Tharpe Story on how it all began. She was born on Farm in Cotton Plant, Arkansas to Katie Harper and Willis B. Atkin (Gaye). Katie and Willis both were farm laborers with strong voice that played instrument. They taught Rosetta how to sing and play the guitar. Katie played the piano and mandolin; and Willis played the guitar and the harmonica. Sister Tharpe was six when she moved to Chicago where she was discovered with her mother leaving her dad in Arkansas.
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Sister Rosetta Tharpe sang and played the guitar confidently commanding the stage and making the audience feel like she was a part of the family when she grew older. Her performance and skill given to her by her parents help take her to different heights other African American women in that era. In Sister Tharpe’s, Shout Sister Shout are the timbres or a Swing/Jazz influenced band with clapping, lager horn section, strong and loud Professional vocals and a bass.
This song has a slow to medium tempo and a chorus of what sounds like a male gospel Quote. This song share her since of humor and wisdom blinded with her country morals and christen values. The song you can tell that it was catering to a young audience but the style it was performed. Swinging while praising the Lord sounds like a great combination. The values in the song are to remember what the reasons to live and have a good time shouting your praises to God. In the bible David dances out of his clothing giving God his praise. I really enjoyed this song because it represent a type of teen gospel that brought the God in
swing. Sister Tharpe’s music has a strong gospel influence came from the church and her mother performing in gospel concerts and connecting with other artist at the age of six in Chicago. At the age of 23, Tharpe moved to New York City where she started to combine gospel music into a rhythmic tempo creating a lasting but controversial image. Not letting the controversy stop her, Tharpe continued to made music that became influential and also attracted some Jazz artist like Gorge pop Forster and Mahalia Jackson. Shout Sister shout! Contrasts from you traditional gospel singles in the 30’s and 40’s because it didn’t stick to the slow or fast simple timbers of piano, drums, and bass. It was gospel music you swing to but at that time swing music was for worldly people. PBS later produced a documentary on Sister Tharpe’s music career on American Masters, marking Sister Tharpe the “God Mother of Rock n Roll” in 2013 gathered her more fans. I choose to do my essay on Sister Rosetta Tharpe because she is an artist that I have never heard of That deserves a lot of recondition for being one the first gospel artist that bridged a gap for gospel to rock and put swing in gospel. Changing live of some well none artist white and black. When you have Christian country artist, Elvis and Mr. Totty fruity himself take ques from you. You’re a big deal and people should know about your style of music.
Linda Bove was born November 30 1945 in Garfield, New Jersey with to two parents who were also deaf. Growing up deaf herself, she used ASL her whole life. In the beginning, she went to St. Joseph School for the Deaf in Bronx, New York. Later, in 1963 she was fortunate to graduate from Marie Katzenbach School for the Deaf in Trenton New Jersey where she was surrounded by her pears which helped place the foundation for her success. Upon completion of Marie Katzenbach School, Linda later attended Gallaudet University and received her Bachelor’s degree in library science. While attending Gallaudet she was in several plays including The Threepenny Opera and Spoon River Anthology. After graduation she attended a summer school program at the National
Blues music emerged as an African American music genre derived from spiritual and work songs at the end of the 19th century and became increasingly popular across cultures in America. The Blues is the parent to modern day genre’s like jazz, rhythm and blue and even rock and roll, it uses a call-and-response pattern. While Blues songs frequently expressed individual emotions and problems, such as lost love, they were also used to express despair at social injustice. Even though Blues singing was started by men, it became increasing popular among women, creating one of the first feminist movements. Ma Rainey, a pioneer in women’s
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As the Great Depression and the World War came to a dramatic close during the mid 1940s, the American society prepared for a redefinition of its core ideologies and values. During this time, the idea of a quintessential “American family” was once again reinforced after two decades of social strife. Under such historical context, the 1941 novel Mildred Pierce by James M. Cain and its 1945 film adaptation by Michael Curtiz both carries a strong idea that when one, especially a female, tries to disobey their traditional family roles and social etiquettes, undesirable consequences would inevitably follow. However, the film adaptation, utilizing a slightly different narrative configuration and plot organization, further intensifies and emphasizes
Sexual Dalliance and its Outcomes in Victorian Society: Christina Rossetti’s “An Apple Gathering” and “Cousin Kate”
The movie Lady Day: The Many Faces Of Billie Holiday paints an interesting, and thought provoking portrait of one of jazz and blues most charismatic, and influential artists. The incomparable talent of Billie Holiday, both truth and legend are immortalized in this one-hour documentary film. The film follows Holiday, also referred to as “Lady Day” or “Lady”, through the many triumphs and trials of her career, and does it’s very best to separate the facts from fiction. Her autobiography Lady Sings The Blues is used as a rough guide of how she desired her life story to be viewed by her public. Those who knew her, worked with her, and loved her paint a different picture than this popular, and mostly fictional autobiography.
The blues emerged as a distinct African-American musical form in the early twentieth century. It typically employed a twelve-bar framework and three-lined stanzas; its roots are based in early African-American songs, such as field hollers and work songs, and generally have a melancholy mood. The blues can be divided into many sub-genres, including Classical, Country, and Urban. The purpose of this paper is to focus on the careers of two of Classical blues most influential and legendary singers: Ma Rainey and Bessie Smith.
Women’s sufferage was at it’s peak with the ratification of the United States Nineteenth Amendment. Women recived more independence after the end of the First World War and took a greater part in the work force. In the 1920s, there were many famous women Jazz artists such as Lovie Austin, a piano player and band leader, Lil Hardin Armstrong, a pianist who was originally a member of King Oliver’s band, and Bessie Smith, an African-American blues singer who inspired women like Billie Holiday and Janis Joplin. Although women were also making a difference in the Jazz industry, it wasn’t until the 1930s when they were recongnized as successful artists in the music world.
Nina Simone used music to challenge, provoke, incite, and inform the masses during the period that we know as the Civil Rights Era. In the songs” Four Women”, “Young Gifted and Black”, and Mississippi God Damn”, Nina Simone musically maps a personal "intersectionality" as it relates to being a black American female artist. Kimberly Crenshaw defines "intersectionality" as an inability for black women to separate race, class and gender. Nina Simone’s music directly addresses this paradigm. While she is celebrated as a prolific artist her political and social activism is understated despite her front- line presence in the movement. According to Ruth Feldstein “Nina Simone recast black activism in the 1960’s.” Feldstein goes on to say that “Simone was known to have supported the struggle for black freedom in the United States much earlier, and in a more outspoken manner around the world than had many other African American entertainers.”
Sojourner Truth was a Civil Rights Activist, and a Women’s Rights Activist 1797-1883. Sojourner Truth was known for spontaneous speech on racial equal opportunities. Her speech “Aint I a Women? “Was given to an Ohio Women’s Rights convention in 1851. Sojourner Truth’s was a slave in New York, where she was born and raised and was sold into slavery at an early age (bio, 2016)
As I initially began reading Hendricks’ critique of contemporary gospel music, I found myself in agreement. I thought, yes, gospel music has transitioned and no longer is as strongly rooted in liberation, freedom, and justice. My thoughts immediately took me to the works of Kirk Franklin and Yolanda Adams whose gospel songs could be heard during primetime on hip hop radio stations. But then I asked myself, is this so bad and I continued to read further. Gospel “music today…is unmindful and uninvolved with the ongoing freedom struggle of Black people in America.” (page 556)
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originally composed by Bob Dylan in 1968, "All Along The Watchtower" is one of those songs that have already passed into history, both the music and lyrics and, of course, that this woman was trying to express. It is well known that Dylan always hide "hidden" in his lyrics ... well, rather than hidden messages, songs were a critique of American society at the time, although in appearance his lyrics speak of something else. Another example is the "All Along The Watchtower" (Along the Watchtower / Watchtower) that constituted a critique of American capitalism, a call to transgression, to break the rules, and that became a myth Hippy movement. It has been covered several times by the best musicians. Many will remember the most famous of these,