Analysis Of The Poem ' The Ballad Of Jed Clampett '

In the 19th century, the Southern Gothic genre quickly became popular after Edgar Allen Poe poems in the 18th century. Most writings were formed around the Civil War era, which plays an enormous part in the tone and setting in Southern Gothic writing styles. (O’Connell 63) Southern Gothic writing elements consist of “horror, romance and psychological and domestic dramas” (63). The setting of Southern Gothic was always dingy and dark which explains the tone of most southern states at this time. Southern Gothic writing styles were known to be grotesque, violent and gloomy with dark psychological twists that were to be carried on into the 20th century. There can also be other ways to exercise Southern Gothic styles like including strange events, paranormal elements and representing history in an almost comical approach. (63) There are some authors who have written very influential Southern Gothic style literature, such as A Rose for Emily by William Faulkner, A Good Man is Hard to Find and Good Country People by Flannery O’Conner.

Southern music known today as country music became popular in the 1920’s. This was music that was based on folk music of cowboys in the southeast (Collins English Dictionary, 2003). In most of the early music the artist played stringed instruments like fiddles, guitars, banjos and some were even playing harmonicas. When this type of music started some people called it

In the song, “Blue Moon of Kentucky” the instruments that are used are mandolin, steel guitar, upright bass, and a fiddle where as “Walkin’ Blues” had a strum that anticipated guitar styles of R&R. A guitar sound was used in both songs but in the “Walkin’ Blues” there was a twist as mentioned earlier. They both deliver to a certain audience in a vocal style with a strong pulse (Walkin’ Blues).

Big Mama Thornton’s style was gritty, sassy, and powerful. The tempo is slower, her words clearer (in her version, she enunciates better than Elvis Presley), as was her intent. She was fed up with her man’s philandering and she was not going to take it anymore, no matter how much he wags his tail, she was no longer going to feed it. I also decided to watch a recording posted online of Big Mama singing Hound Dog. I found two versions, one with Buddy Guy obviously performed in the latter part of the fifties or early sixties, and another performance in 1971. I thought both versions, sung in different eras of Thornton’s life, were

In November of 1925, founder of the grand ole opry, George Dewey Hay, was seeking a new location for the perfect radio station that would be equally successful as the one he had created in Chicago. This radio station, also known as “We Shield Millions”(WWS) started out as a station that played old time country music, which involved fiddles and harmonicas. These instruments are what gave the radio station it's supposed “rural sound.” As the 1930’s rolled around the corner, the producers of the WWS station decided to update the music and make it more modern, hoping this would attract more listeners. This tactic worked very well for the producers of the show. As they started to get more listeners, they decided to make live shows out of the radio show and to charge admission to those who came to watch the show live. This is where the radio station, which got the name the grand ole opry

Around 1903 when my parent's died to survive, my brother, Andrew, and I began to perform a musical act on the streets of Chattanooga. I sang and my brother accompanied me on the guitar, often in front of the White Elephant Saloon. In 1912, when Clarence my older brother returned to Chattanooga, he persuaded the managers of his troupe, Lonnie and Cora Fisher, to give me an audition. Consequently, I was hired as a dancer with the Moses Stokes Company, to perform in a show that included the Mother of the Blues, Ma Rainey. Intriguing rumors surround our meeting—legend has it that Ma Rainey literally kidnapped me, that she and her husband forced me to tour with their show, teaching me in the process how to sing the blues. Some rumors say we had

Billie’s Blues was recorded by American Jazz musician singer and songwriter Eleanora Fagan Gough professionally acknowledged as Billie Holiday in 1936 and released 1999. As a teen, Holiday started singing in clubs in Harlem. Holiday's creativeness of tunes to fit the desire was new. Somewhere in the middle of the twentieth century, Brazilian and Cuban musical influences could be heard in Jazz. It's what I think of as essential singing, something nature herself had brought together and made it well-organized to make the greatest human of cries. She had a worthy intellect of poetic content at her undeveloped age. Listening to her music Holiday had an inspiring impact on jazz music and modern singing when it comes to the Expression, Performing forces and Rhythm of her piece.

Women in country songs are identified by their bodies, and clothing, which gives off a certain appearance. The song opens with talking about “bare feet” and “painted on cut off jeans”, which is calling out David Nail and his song “Whatever She’s Got” as well as “Aw Naw” by Chris Young where they both talks about the girls who “got the blue jeans painted on tight” and how everyone wants that on a saturday night. Men want a carefree woman who wears tight clothes and that everyone wants a girl who can move her body in those “painted on jeans”. Then they go on to talk about men sitting on the tailgate or their truck whistling and watching the girls, this calls out Billy Currington and his song “Hey Girl” where he talks about how all the guys are looking at her, and how she is “so hot, gotta give it a shot”, paying attention to the girl 's body and how men will flirt with women, and the control a “hot” woman has over a man making them “all tongue tied” so that they can’t think straight. Calling out multiple artist with talking about “shakin’ my moneymaker”, which makes reference to “Get Me Some of That” by Thomas Rhett

Dr. Ralph Edmond Stanley, a well known American Bluegrass artist, was born February 25, 1927, in Big Spraddle Creek, Virginia. He just recently passed away last year on June 23, 2016. During those 89 years of life, Mr. Stanley sure made a name for himself to be remembered for many years after he was gone. There were two things that made him stand out from many of the bluegrass artists. Those things were his original voice and his unique way of picking the banjo. Mr. Stanleys mother bought him his first banjo for five dollars when he was around 15 or 16. His mother taught him to play clawhammer style on the banjo and later in life he developed his own style from this strumming style. After graduation from high school in May of 1945, he went into the Army for about a year. The day he came home from the war, Carter, his Brother, and his father picked him up and later that night he made an appearance on the radio singing

First, the lyrical content of country music is very distinct. Typically within a country song, the focus of the music is on storytelling. According to the website History of Country Music, this is one of the primary characteristics of country music. Particularly, it is stated “country music should have a strong storyline” (History of Country Music). There are several notable examples of this sort of musical storytelling; one of which is “Cocaine Blues” by Johnny Cash. He recounts the saga of a man on the run from the police for the murder of his wife, who finally gets caught and must accept his punishment in a court of law. The mentioned composition is slightly atypical of country songs in general

Bill Monroe was known as the “Father of Bluegrass.” He was born in 1911 and passed in 1996. Monroe was responsible for the rise of bluegrass with his band, the Blue Grass Boys. Bill Monroe began his career by performing with his brothers and developed a style that remained loyal to old-time music. Monroe was a talented singer, guitarist and mandolin player. The Blue Grass Boys originally began in Atlanta, Georgia and eventually became a prominent name in Nashville, Tennessee at the Grand Ole Opry. This song was originally published in 1948 and is about continuing upon a journey that must go on and on.

The fiddle had a high pitched sound that went along well with the “high lonesome” singing (Langrall, 1986). It is not certain when the banjo entered, but it was the next instrument added to strings for Appalachian music. The next stringed instrument was the guitar. Bands called String Bands came around and as they were reserved, they when out and entertained people, instead of just singing with a couple of people (Langrall, 1986). These String Band players played court days, political rallies, country fairs and at other social gatherings (langrall, 1986). Sting bands would play for dances such as the waltz (Olson). As the string bands started with the fiddle when the banjo gain popularity in the Appalachian music it was included in the sting bands followed by the guitar and the mandolin

If you were a singer during this time period, you wanted a song with the Funk Brothers. Back in the 60s, when the Funk Brothers were unrecognized, music was very segregated. They had separate radio stations for “colored” singers. The Funk Brothers, along with Motown, helped knock down those

Sax Impey is a Cornish artist, who works out of the Porthmeor studios overlooking the beach, St Ives. Born in Penzance and trained in Newport, Wales where he studied . The majority of his work is inspired by the sea. Continuing the tradition set in motion by Ben Nicholson, Patrick Heron and other recognized Cornish artists. Alongside Francis Bacon as well. His work is drawn from his own first hand experiences with the ocean and its relentless energy and overwhelming power and its seeming endlessness. Growing up in Penzance Impey was always exposed to views out to sea but a lot of the work is actually inspired by navigating around the world’s oceans during his career delivering yachts around the world for TV yacht delivery, travelling thousands of nautical miles. The particular work of his I have been studying is from his exhibition “Storm” from 2011 at the Millennium Gallery, St.Ives. His work is technically very impressive with his skill of semi photographic representation and carefully calculated compositions.

However, he does remember a time when his Aunt Doodie, who had traveled all the way from some place in Florida, had bought his grandfather a record player. His grandfather, who was always a trip away, would allow Arthur to spend a lot of time with the record player, and Arthur, always captivated by music, would spend as much time as he could listening to the albums of his favorite bluegrass stars: Earl Scruggs, Lester Flatt, Bill Monroe, and the Stanley Brothers. The records he listened to became very important to him. He no longer needed to wait until the right song came on the radio to practice the picking; now he was able to listen to the songs he wanted whenever he wanted. This practicing, along with his “bluegrass blood,” allowed him to become an expert musician in his own right. He soon learned to play the Dobro and the dulcimer so that he could better imitate the sounds from the record. Back home, in his house in the holler, he was not able to play his instruments, as his family did not understand his love of the music and he was afraid his older brothers would have stolen the instruments he had so difficultly bought.