The Blues, By Jelly Roll Morton And Mamie 's Blues

When discussing jazz, the stereotype that comes to mind is red-light district. Although that is prevalent in the jazz era, it is much more than that. Jazz is defined as American interpretive music that evolved from Ragtime. By popular belief, it is also thought to have originated in New Orleans. However, New Orleans is only the source of jazz popularity and famous jazz musicians. It is up to musicians and jazz audiences to interpret their own views on the “birth place” of jazz. With this being said, there are perspectives which prove to be more historically accurate than others. Jelly Roll Morton and Sidney Bechet were and are two famous jazz musicians who hold different insights on the origin of Jazz. On one side, Sidney Bechet thinks jazz

In Langston Hughes' The Blues I'm Playing, the blues are the source of Oceola's life and her choices. Langston is trying to illustrate the conflict between life and art. The art in this story is represented in a confined manner, as a disciplined career with a white woman acting as the overseer in the young lady's life. Art to Oceola, with its profit, convenience and privileges offers an array of benefits, but being embodied in Dora Ellsworth, the art seems to drift away from life's vitality. Life in Oceola sings itself in jazz and blues in Harlem, ignores the artistic East 63rd Street and the rules by which are claims its superiority. There is a

In “In Search of Our Mother’s Gardens”, Alice Walker looks to educate us on the hardships that almost all black women face when trying to express themselves through things such as art. She delves into many sociological and psychological concepts that have affected black women throughout human history. These concepts and ideologies created a realm for mass exclusion, discrimination, and oppression of many African American women, including Alice Walker’s Mother, who Alice utilizes as one of her particular examples. The writing thematically aims to show how these concepts of sexism, racism, and even classism have contributed to black women’s lack of individuality, optimism, and fulfillment for generations. The author does a tremendous job of defending and expanding upon her arguments. She has a credible background, being a black woman that produces the art of literature herself. As well as being raised by one, Walker’s first-hand experience warrants high regard. Therefore, her use of abstract and introspective language is presented clearly and convincingly. Also, her use of evidence and support from sources like Jean Toomer, Virginia Woolf, and Phillis Wheatley, all produce more validity for her stance through poems, quotes, and even experiences. All these individuals have their own accounts pertaining to the oppression of black women and their individuality. Successfully arguing that the artistry plights of black women described in “In Search of Our Mother’s Gardens” are

Blues is one of the most captivating genres of music. The genre was originated in the late 1800’s as a method used by African American slaves to express the circumstances as well as to put emphasis on their feelings and emotions. In order to create these feelings in this music, blues artists incorporate many of the same techniques used to write poetry. One of the most easily identifiable songs in which it is easy to see the relation between poetic elements and blues music is the song “Empty Bed Blues” by Bessie Smith.

In Elise Johnson McDougald’s essay “The Task of Negro Womanhood,” she elaborates on the difficulties of being a black, working woman in society. In order to understand the struggles of a black woman in America, “one must have in mind not any one Negro woman, but rather a colorful pageant of individuals, each differently endowed” (McDougald, 103). This is because to be able to understand the problems they face as individuals one must think of black women as a collective unit. McDougald focuses on the women living in Harlem because they are more free and have more opportunity to succeed than in the rest of the United States. Though they are considered more

In each of the two short stories, “Sonny’s Blues” and “Everyday Use,” allow people who read these stories to make discoveries of the lives of African American families. These people who are apart of these families have to live in society and be able to deal with struggles and difficulties around them from being equal but separate at the

In Hughes poem “Note on the commercial Theatre” he started off with an angry tone, upset that African American music was used by the whites, but the African Americans didn’t receive the credit for the artistic work: “You’ve taken my blues and gone you sing them on Broadway” (1043). Furthermore, at the end of the poem Hughes does expresses a powerful ending, our culture is beautiful, but you will never be me: “Black and beautiful and sing about me, and put on plays about me! I reckon it’ll be me myself” (1043)! Hughes poems focused on the urban cultures, while Zora Neale Hurston short story “How it feels to be Colored Me” focused on her as a woman who is discovering herself and her worth.

The Harlem Renaissance was a time of revival and awakening in which the African American community produced a new form of cultural identity. After years of oppression and slavery, African Americans struggled to discover their own distinctive culture. It was through the literature and artistry of the Harlem Renaissance that the African American community began to express the suffering and resentment they truly experienced. In addition, the movement allowed them to find a way to escape their hardships. James Baldwin’s “Sonny’s Blues” and Langston Hughes’ “The Weary Blues” address the addiction, poverty, and violence that surrounded African Americans and the triumph of life that was captured in their attempt to escape the suffering.

In the 1920’s, blues was a very popular and dominating genre in the music industry. Generally, the blues was sung by African American women because according to the book entitled, “Blues Legacies and Black Feminism” by Angela Davis, “…The most widely heard individual purveyors of the blues—were women.” (Davis 4) The blues delivers certain emotions such as sadness, loneliness, love, sex, and feelings about the certain circumstances the artist may be going through at the time. Two women who dominate this style of music are Gertrude “Ma” Rainey and Bessie Smith. As stated by “Gay & Lesbian Biography”, “The careers of Rainey and Smith are closely interwoven.” Ma Rainey is a woman who is admired for both her amazing vocals and her ability to entertain. Bessie Smith is a woman who started off as a background dancer for her peer Ma Rainey, but then went on to emulate her by outdoing her success. Both women are very talented musicians who can not only sing and entertain, but they also create an impact as two of the most influential feminists during the 1920’s who helped shape the blues into what it is today.

The poems “ I Know Why the Caged Bird Sings” and “Still I Rise” by Maya Angelou are both poems that speak on the issues of the mistreatment of African Americans, and how these challenges were created simply by the color of one’s skin and overcome. While the poems “Mother To Son” and “ Dreams” by Langston Hughes refer to the hopes of African Americans for a better standard of living, and the consequences of departing from these dreams of bettering themselves. This comparison of these four poems is important because all four aim to better society for African Americans, and inform the population struggles that they maybe be able to relate, and provide them with the inspiration to keep pushing forward. These poems explain why the desire for equality was so important to African americans at this time, and what they had to go through to get it. I believe that these poems are all used as methods of expression, information, as well as rebellion against the racial in injustice that was suffered for so long.

All three of the poems discussed in this essay relate to the struggles suffered by African Americans in the late 18th century to the early 19th century in many different ways. They had to live under harsh

Mammie, Jezebel, and the ever ready prostitute and Sapphire. In “Four Women” Nina Simone links the history of black women in America as defined

“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

No black person can escape the blues, because the blues are an inherent part of the black existence in America. To be black is to be blue. The blues tell us about black people’s attempt to carve out a significant existence in a very trying situation. The purpose of the blues is to give structure to black existence in a context where color means rejection and humiliation. Suffering and its relation to blackness is inseparable from the meaning of the blues. Without pain and suffering, and what that meant for black people in Mississippi, Tennessee, and Arkansas, there would have been no blues. The blue mood means sorrow, frustration, despair, and black people’s attempt to take these existential realities upon themselves and not lose their sanity. The blues are not art for art’s sake, music for music’s sake. They are a way of life, a life-style of the black community; and the will for survival. Thus to seek to understand the blues apart from the suffering that created them is to misinterpret them and distort the very creativity that defines them (Cone, 1980).