Read Chapters 35- 47 including the following summaries.
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9am March 16, 2017.
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1)The central issue for blacks after World War II was
______
2) The migration of blacks to the North and West, which had begun in earnest after the turn of the century, accelerated during and especially after ______.
3) The two events that catalyzed the civil rights movement occurred within a year of each other. The first was the Supreme Court's 1954 decision, ______of Topeka, which rescinded the “______” policy
4) In 1955, Montgomery, Alabama, native ______refused to give up her bus seat to a white person. When she was arrested and sent to jail, blacks in Montgomery boycotted the municipal bus service for a year. Two years later, ______organized the Southern Christian Leadership Conference, which advocated non—violent protest modeled after that used by Mahatma Gandhi in India. All of this laid the foundation for the major advances in civil rights during the 1960s.
5) The first R&B style to emerge in the postwar era was the up-tempo music of the jump bands, and especially the music of ______. The name of his band was ______.
6) The title of his song that we listened to in class was ______
7) The instruments in a jump or rhythm and blues band consist of ______
8) An important female Rhythm and Blues vocalist was ______
9) An important song she recorded was ______
10) Jackie Brenston's song “______” (1951) was a big rhythm—and—blues hit with a big beat.
11) Muddy Waters (1915–1983), born ______, grew up in ______, Mississippi
12) Like many other southern blacks, Waters moved north during World War II, settling on ______
13) “______,” the 1954 recording that was Waters' biggest hit, epitomizes the fully transformed electric blues style. It retains the essence of country blues in Waters' singing and playing
14) ______eye toward the pop charts is clearly evident in “Sh-Boom,” which we might describe as “jump-band lite.”
15) Define “Doo-Wop” ______
16) A cover version of “Sh-Boom” by the ______reached No. 1 on the pop charts just a week after the Chords' original. Their remake was a white take on a black song.
17) Little Richard’s song ______was covered by a white artist ______
18) In the early 1950s, rhythm and blues acquired a second name: ______. After 1955, the two would diverge racially and rhythmically, principally through the innovations of two black men, ______and ______, and ______“white man with the negro feel.”
19) For the first part of the 1950s, ______was simply another term for ______, but in 1954, white artists began to cover R&B hits.
20) Rock and roll began as an outsiders’ music. Its first stars were mostly ______or ______. The music resonated with many teens.
21) During the latter half of the 1950s, rock and roll and rhythm and blues diverged. The first—and easiest—distinction between them was racial: Rock and roll usually featured ______performers and catered to a ______audience; rhythm-and-blues artists were ______.
22) After the war, the economy continued to boom. Economic growth meant more disposable income, some of which was spent on entertainment. America’s newfound prosperity trickled down to a newly enfranchised segment of society, ______.Berry's influence and appeal went beyond the music: the lyrics of his songs captured the newly emerging teen spirit. He talked about them (“School Days” and “Sweet Little Sixteen”), to them (“Rock and Roll Music”),
23) It was disc jockey ______who attached “rock and roll” to a musical style.
24) Bill Haley’s song “______” was heard in the soundtrack to the film ______. The connections among film, song, and performer were tenuous. The film portrays juvenile delinquents in a slum high school, but “______” is exuberant rather than angry, and Haley, at almost thirty, looked nothing like a teenaged rebel.
25) “______” is often identified as the first rock-and-roll record because it was the first big hit clearly associated with rock and roll.
26) Even as Haley’s record zoomed to the top of the charts, ______was recording a grittier kind of rockabilly at ______Records.
27) Elvis's sound brought him radio attention, but it was his looks and his moves that propelled him to stardom. Shortly after breaking through with “Heartbreak Hotel,” he made his first Hollywood film, ______.
28) The musically significant part of Elvis's career lasted only ______years. It ended in 1958, when he was inducted into ______.
29) ______embodied the new spirit of rock and roll more outrageously and flamboyantly than any other performer of the era. ______officially put rock and roll over the top. He was flagrantly gay in an era when gay meant only “happy” and the vast majority of homosexual men were locked tight in the closet. And he was black.
30) ______influence and appeal went beyond the music: the lyrics of his songs captured the newly emerging teen spirit. He talked about them in the following three songs: ______
31) No rock-and-roll artist was more covered by the creators of rock—the Beach Boys, the Beatles, the Rolling Stones, et al.—than ______.
32) ______became a training ground for both doo-wop groups and solo singing stars like ______and ______.
33) A good example of a slow doo-wop song is ______by ______
34) The ______recorded the song ______. It was written by Leiber and Stoller.
35) The two most important and influential of the black solo rhythm and blues singers in the late 1950s were ______and ______
36) In 1955 ______recorded “I Got a Woman”
37) The ______was the third of the twentieth-century Latin dance fads, after the tango and the rumba, but the first to develop on American soil.
38) A generation that had grown up listening to rock and roll, rhythm and blues, and jazz found it difficult to comprehend the widespread discrimination against ______that they saw as legitimized in too many segments of American society.
39) In the latter part of the sixties, the ______replaced civil rights as the hot-button issue for young people. In 1954, ______, formerly French Indo-China, was divided—like Korea—into two regions.
40) A small but prominent minority of young people chose to reject mainstream society completely. They abandoned the conventional lifestyles of their parents and peers; some chose to live in communes. They followed ______’s advice to “turn on, tune in, drop out.” They dressed differently, thought differently, and lived differently. They were the ideological heirs of the Bohemians of nineteenth-century Europe and the Beats of the late 1940s and 1950s. Members of the group were known as ______; collectively, they formed the heart of the counterculture. Many gravitated to ______
41) Increasingly, rock musicians took advantage of ______, an emerging new technology, to shape the final result even more precisely. ______made it possible to record a project in stages instead of all at once.