Robert Johnson Cross Road Blues

Blues music is mainly defined by its lyrics, which are more lyrical in nature, rather than narrative. In B.B. King’s song, “Every Day I Have the Blues,” King gives us a good example of what blues music is generally about,

In James Baldwin's Sonny's Blues he deals with a man trying to find his identity in a very hostile society. The blues in this story is used in a more emotional manner which recollects the past. It also repairs the relationship between the two brothers who have chosen two different ways of coping in their ghetto environment. The blues also serves as a communication devise between the two brothers. Baldwin uses the blues to state a fact; the ugliness and meanness inherent in the human condition. In order to really understand the message of the blues you have to be one that has suffered just like Sonny and the elder brother. The blues that they play also communicates to other sufferers who have had their own trials, so they know what this music is all about. Sonny's suffering are within himself, but deep suffering is common to all his listeners. Even his brother can attune himself to this suffering, which is brought on by the death of his little daughter Grace. When the brother is at the club listening to the blues he recalls his mother, the moonlit road on

First, ask yourself how would you feel after hearing the news that one of your family members had been lynched? Throughout the chapters 1-8, we can experience and observe the disheartening history of violence and lies. It is additionally an irritating depiction of a partitioned country on the very edge of the social equality development and an eerie contemplation on race, history, and the battle for truth. Throughout history, the conditions of the lynching, how it affected the legislators of the day, quickened the social equality development and keeps on shadowing the Georgia people group where these homicides occurred. During the 1900s until 19600s various African-Americans experienced various harsh conditions of violence, never being granted the right to vote and being segregated from whites based on their race and skin-color from their white masters. In general racism between whites and blacks can be seen throughout the globe during the era of slavery

Wexler’s attention to these details ensures that the lynching victims are more than flat “symbols,” constructed by a foreign and long past semiotic system, to the reader. She writes, for instance, of George Murray, or Dorsey, who had “returned [to Monroe] from the army” (167), after “four and one-half years” of service, in September 1945, that he was a man who had “love for music,” “skill as a farmer,” and a memorable smile (99). In this respect, Wexler accomplishes the same empathy for an innocent victim as the NAACP, in 1946, might have done, and in similar style—as she contends, in parallel fashion to the deceased victims’

“3 O’Clock Blues” follows the conventional lyrical structure of most twelve-bar blues (AAB, with no distinguishable chorus).

Music is such a beautiful creation, the way the melody, rhythm, tempo, all mix together to become a masterpiece. One specific genre of music, the blues, was heavily popular in the early 20th century. The blues is a tradition-oriented music style from the rural Southern African-American origin (“Jazz in America”, n.d. ). It usually had secular content, which is disparate from how it was when it first began. Blues music originated in plantations, where slaves sung, using it as a mental escape method from their oppression. Even though it started off in a simple way, it eventually turned into a serious entertainment. Bessie Smith and Billie Holliday, two well-known blues female singers, became hit sensations.

One famous jazz artist, Billie Holiday’s, is known for a famous work of jazz called “Strange Fruit.” This piece of art was a haunting protest against racism. Directly from the song, Billie sings “Southern trees bear a strange fruit, Blood on the leaves and blood at the root, Black body swinging in the Southern breeze, Strange fruit hanging from the poplar trees (Holiday “strange fruit”). The words in this quote, “Blood on the leaves and blood at the root,” show that lynching was done. The blood on the leaves and at the root portrays the gruesomeness of hanging.

Lynching was a prominent influence in the South, African Americans were constantly attacked and threatened, a result of Southerners need to show authority. Lynching became a social event for white Southerners, in Ida B. Wells narrative, she accounts the horrific events of lynchings, Wells states, “Here Smith was placed upon a scaffold, six feet square and ten feet high, securely bound, within the view of all beholders. Here the victim was tortured for fifty minutes by red-hot iron brands ... Then, being apparently dead, kerosene was poured upon him, cottonseed hulls placed beneath him and set on fire” (90). Racial classes were divided and lynchings showcased this inequality.

In the case of lynching, discourses emerge from heated debates about the meaning of the practice; these debates change over the long history of lynching in America. At different times in the nineteenth and twentieth centuries, the term “lynching” has implied rather different historical acts amongst the community. It has also been used to specify acts that indicated a wide range of distinct motives, strategies, technologies and meanings, as well as a politically encumbered term. For many African Americans who grew up in the South in the eighteenth and nineteenth centuries, the threat of lynching was mundane. Photographs and postcards illustrating the popular image of an angry white mob hanging a black man does not give the full historic

The blues have deep roots embedded within American history—particularly that of African American history. The history of the blues originated on Southern plantations in the 19th century and was created by slaves, ex-slaves, and descendants of slaves. They were created by individuals who endured great hardship while performing endless hours of arduous labor and blues served as a form of escapism. To these individuals, songs provided them with the strength to persevere through their struggles. Blues songs depicted individuals who persevered in the face of adversity. They were symbols of hope to those squandering in the depths of oppression. In relations to the blues, every song has a story behind it and within every story, there is something to be said. Blues artists, through their struggles, detail how they overcame hardship and laughed at the face of oppression. They defied the rules and in doing so, showed African Americans that they too are beacons of hope for the hopeless. The best blues is instinctive, cathartic, and intensely emotional. From irrepressible bliss to deep sadness, no form of music communicates more genuine emotion than that of the blues. Like many bluesmen of his day, Robert Johnson applied his craft as a lonely traveling musician on street corners and in juke joints. He was a lonely man whose songs romanticized that existence. With Johnson’s unique vocal style, haunting lyrics, and creative guitar techniques, Johnson’s innovation embodied the essence of

Robert Johnson’s “Cross Road Blues” (Crossroads) released in 1937. Robert Johnson is a legend, known as a figure in defining the foundation of the birth of Blues. His blues style was also very influential in the shaping of Rock and Roll. Before his young death at the young age of 27,

The life of Robert Johnson, one of the most influential early blues artists, in shrouded by vague details and encompassed in mystery. His emotion filled playing and singing blends to form some of the most moving, original blues music ever produced. Ironically, despite being one of the top influences to blues music, little is known about the shy, mild mannered bluesman. "Almost nothing, is known about his life… he is only a name on a few recordings." Where did he come from? Who was Johnson’s family. Who inspired Robert to play the blues and who influenced his music? Who exactly was Robert Johnson? Only the vague recollections of his friends and family link us to the mysterious life of

“The Weary Blues,” by Langston Hughes, tells a story of an unnamed narrator recalling an evening of listening to a man sing the blues one night in Harlem. Hughes uses a somber tone, depressed voice, syntax and imagery as language styles to convey a great deal of suffering that was occurring in Harlem during the mid-1900’s.

There are several stylistic characteristics of the blues. The first one is the blue notes, which is the "bent" technique for lowering the pitch of third and seventh scale degrees in the major scale(259). The next one is the blue chorus, which is three-line lyrics, and it contains fill which is the instrument response of the call and response between vocal and instrument. The third feature is the blue progression which is the form of the combination between tonic(I), subdominant(IV), and dominant(V) chords. It is usually arranged as: I- / IV- I- / V- I-. Another characteristic is that the timbre of the vocals in blues have a wide varieties. Every single piece of blue music features a different kind of vocal texture. The rhythm in the blues has a characteristic called "swung" which means the long-short pattern of the rhythm. In all three pieces of music, the blue note and the blue chorus are applied to the composition. The "bent" texture of the pitch and the neat separation of the lyrics can be easily notice in the music. The call and response in vocals and instruments, on the other hand, is not so obvious in "Can 't Help Lovin ' Dat Man," but I think, though subtle, it is still there at the end of each line. The rhythm in the "Muleskinner Blues" is more steady instead of the long- short patterned "swung." The "swung" is not so obvious in "Can 't Help Lovin ' Dat Man," either. Overall, there are some standard blue style in all three pieces of music, but we

Eddie James “Son” House, Jr., an American blues singer and guitarist once stated, "People keep asking me where the blues started and all I can say is that when I was a boy we always was singing in the fields. Not real singing, you know, just hollerin', but we made up our songs about things that was happening to us at the time, and I think that's where the blues started (Cohn, 1993).”