GENERAL SYLLABUS THE CULTURAL ROOTS OF ROCK 'N' ROLL Dr. Jerry Zolten Phone (Voice Mail): 949-5113 E-Mail: [email protected] Office: 134 Arts Hours: M-W-F 12:30-1:30 Also By Appointment TEXTS:

The Rolling Stone Illustrated History of Rock 'n' Roll Jim Miller, ed.

POLICIES: No more than two unexcused absences to still qualify for an "A." Each exam counts as 30% of final grade. Remaining 10% of grade based on my assessment of your commitment to class work, including taking part in discussions, attendance, initiating meetings, etc. READINGS: From Rolling Stone History: Intro-79, 85-106, 121-157, 163-190, 199222, 238-291, 299-308, 332-347, 407-418, 510-520. USEFUL WEB SITES:

allmusic.com

bluesworld.com

rockhall.com

INSTRUCTIONS FOR FINAL PAPER: Write a two-page paper connecting something old with something new. The “something old” means any of the genres, musicians, or issues that we cover over the course of the semester. The “something new” means anything current in rock ‘n roll that you like, a genre, musicians, issues, etc. Your first page should deal with the current, the second page, connections with the past. So, for example, a hip hop fan might make a connection between the street realism of today’s best hip hop and the realism of the Chicago blues of the 1950s. Or, a pop music fan could make a connection between, say, female pop icons of the present and the great female blues singers of the past. I’ll be looking for substance, not just a checklist of names, dates, and song titles. See what you can come up with, and I encourage you to contact me via email or in class to discuss potential ideas and content.

WEEK ONE General explanations. Review syllabus. An initial visit with rock 'n' roll, 1956. Different forms in different parts of the country.

CONTRASTS: Play records from mid-fifties illustrating stylistic differences between black and non-black musical tastes. 4 Aces, McGuire Sisters, Drifters “Ruby Baby,” Dominoes “60 Minute Man,” Lawrence Welk, Willie Nix “Baker Shop Boogie,” Patty Page, Memphis Ma Rainey “Baby No, No,” Perry Como, Swan Silvertones “Trouble in My Way,” “Sinking Sand,” Tennessee Ernie “16 Tons,” Jimmy Liggins “Drunk,” Eddy Arnold, Elvis Presley “That’s Alright” VIDEO: Rock and Roll, The Early Days WEEK TWO Anglo Music of the rural South and Appalachians. Ballad Songs. VIDEO: This is Country Music Ballads, fiddles, banjos, Uncle Dave Macon, Roy Acuff, the Bristol sessions with Carter Family and Jimmy Rodgers. Bob Wills On the life and music of Bob Wills. Hank Williams Live Performance of “Hey Good Lookin’ ” MUSIC: Mullaney & Stack Maid in a Cherry Tree Dalhart Barbara Allen, Lucky Lindy Ernest Stoneman Titanic Dalhart Freight Wreck at Altoona Eck Robertson Ragtime Annie Gid Tanner & Skillet Lickers Gotta Quit Kickin’ My Dog Around, Chaw Yer Rosin Stoneman Family Cripple Creek Dr. Humphrey Bate & His Possum Tamers My Wife Died Saturday Night Uncle Dave Macon Cumberland Mt. Deer Chase Allen Bros. Salty Dog Blues Delmore Bros. Brown’s Ferry Blues Monroe Bros. Darlin’ Corey Bill Monroe & his Bluegrass Boys Blue Moon of Kentucky The Carter Family Keep on the Sunny Side, Worried Man Blues Jimmy Rodgers Blue Yodel, Frankie & Johnny Carters & Rodgers Meet in Texas Milton Brown Talkin’ About You Bob Wills San Antonio Rose, Drunkard Blues, Oozlin’ Daddy, Keep a Knockin’, Dog House Blues, Ida Red Likes to Boogie Johnny Lee Wills Rag Mop Acuff Roy Freight Train Blues Hank Williams I Can’t Help It, Your Cheatin’ Heart, Hey Good Lookin’, Long Gone Lonesome Blues, Honky Tonkin’, I Saw the Light, Jambalaya Woody Guthrie Do Re Mi POINTS: American country music evolves from ballad songs brought from British Isles. Ballads are story songs. Words are changed to suit location and time. Popular instruments are fiddle, guitar, banjo, mandolin, later bass. Rock draws on guitar as central instrument, strings, etc. Also down home attitude, i.e., Opera/Grand Ole Opera, polished singers/spun singers. People’s aesthetic. Songs that follow a simple pattern, repetition, easy to learn, formulaic lines like “parsley, Sage/be bop a lula, etc.” Showmanship. "Dance-ability". Performer as songwriter. WEEK THREE African American music in the South: The Blues Turn of century-1930s VIDEO: The Gandydancers, The Search For Robert Johnson (excerpt), Down Home Blues Fest (Lonnie Pitchford)

MUSIC: Charlie Patton Stone Pony Blues, Frankie & Albert Robert Johnson Sweet Home Chicago Blind Boy Fuller Rag, Mama, Rag, Mama Let Me Lay It On You, Sonny Terry Whoopin’ the Blues Blind Blake Diddy Wa Diddy Bukka White Shake “em On Down John Hurt Stagger Lee Kokomo Arnold Milk Cow Blues Blind Lemon Jefferson Matchbox Blues Mississippi Fred McDowell Modern recording POINTS: Delta or Country Blues. Memphis on down to New Orleans. Primary male. Dance music, not called the “blues” by performers. AABA form. Celebratory as well as plaintive. Opportunity to make money away from farm work. A meld of African tradition and white ballad and religious tradition. Legacy to rock in down home lyrics, emphasis on rhythm and guitar improv and proficiency, blue notes. Male posturing, “getting the girls,” dance beat/party music. Raw vocals. WEEK FOUR African American Music in the South: From Jug Bands to Jazz VIDEO: American Music: Scott Joplin and Ragtime Stormy Weather (Beale Street Excerpts with Fats Waller/Cab Calloway & Nicholas Brothers dance duo) MUSIC: Mississippi Jook Band Skippy Whippy Eddie Kelly’s Washboard Band Shim Shamming Memphis Jug Band Stealin’ Gus Cannon Walk Right In Alabama Washboard Stompers Pigmeat Stomp Scott Joplin Maple Leaf Rag Jelly Roll Morton Maple Leaf Rag/Whinin’ Boy Blues King Oliver St. James Infirmary Louis Armstrong S.O.L. Blues Pete Johnson & Big Joe Turner Roll “em Pete Joe Turner Shake Rattle & Roll James P. Johnson Carolina Shout POINTS: Blues is a form (AABA), jazz a philosophy of playing. Ragtime out of St. Louis influenced blues and jazz. Rural bluesmen in Delta put together ensembles with home made instruments to play a kind of pre-jazz. Jug Bands and Jook Joints. New Orleans jazz first to break out of region and define the style. Regional jazz like Kansas City with its stomps important to rock & roll beat and piano styles. First great rock vocalist comes out of KC jazz. WEEK FIVE From Spirituals to Gospel: White and Black Religious Music in the South VIDEOS: Fairfield Four: Carry It On Fairfield Four: TNN special with Leroy Parnell (1997) TV GOSPEL TIME with the Mighty Clouds of Joy Chicago on the Good Foot (first ten minutes with R.H. Harris/Thomas Dorsey)

MUSIC: (White Religious Music) Maskat Shrine Qt. (Texas) O Holy Father Hendersonville Qt. That Beautiful Land The Atco Quartet Don’t Be Knocking Flatcreek Sacred Singers Tell It Everywhere You Go Buffalo Ragged Five All of My Sins Are Taken Away Gentry Family You Can’t Make a Monkey Out of Me Delmore Brothers Hillbilly Boogie/Rockin’ On the Waves Stanley Brothers The White Dove (Af Am Traditions) The Spiritual Singers Swing Low Southern Plantation Singers This Train Willie Johnson God Don’t Never Change Gary Davis Twelve Gates to the City Rev. J.M. Gates These Hard Times Famous Blue Jay Singers Didn’t It Rain Fairfield Four Don’t You Let Nobody Turn You Round Golden Gate Quartet Bones, Bones/Jezebel/Atom & Evil Dixie Hummingbirds Amazing Grace/Christian Automobile Sam Cooke You Send Me Soul Stirrers Peace in the Valley Rolling Stones The Last Time Five Blind Boys May Be The Last Time Sister O. M. Terrell Bible’s Right Rosetta Tharpe That’s All/This Train Dorothy Love Coates That’s Enough Mahalia Jackson Dig a Little Deeper Georgia Tom Tight Like That POINTS: While blues may provide the beat, gospel provides the heart and soul. Religious singing in church is training ground for black and white vocalists and musicians alike. Spirituals are staid early Af Am religious songs. Unaccompanied. Authors unknown. Often rich in metaphor and symbolic meaning. Jubilees invented by Golden Gates are upbeat stories from Bible. Gospel is religious music with a beat. Thomas Dorsey primary inventor, great composer. Quartet tradition in and around Birmingham, 1920s, becomes pattern for quartets through 50s. Black religious music is involving. Everyone participates. WEEK SIX First Blues Recordings: The Pioneering Women of the classic blues VIDEOS: Passion and Memory: Women in the Blues (Ma Rainey, Bessie Smith, Koko Taylor and more), St Louis Blues (Bessie Smith short film), Long Night of Lady Day (Excerpt of Billy Holiday on NBC TV special, 1950s) MUSIC: Mamie Smith That Thing Called Love Ma Rainey Louisiana Hoo Doo Blues Bessie Smith Gimme a Pigfoot Sippie Wallace Going Up the Country Canned Heat same Merline “The Yas Yas Girl” Johnson Get Em From the Peanut Man Blue Lou Barker Don’t You Make Me High Alberta Hunter Take Your Big Hands Off It Billy Holiday God Bless the Child Big Mama Willie Mae Thornton Hound Dog POINTS: Called “Classic: blues because these were first blues by black artists on records. Mamie Smith with Perry Bradford does first in 1920 for Okeh records. Ma Rainey is the trailblazer. Bessie Smith takes it to great heights. Classic blues

part of vaudeville/TOBY (T.O.B.A.) circuit. Classic blues introduces the genre to nation as a whole.

WEEK SEVEN

MID-TERM EXAM

WEEK EIGHT Southern Rural Blues Migrate to the Big Cities in the North/Chicago--the Blues Mecca (with connections to Texas, Kansas City, and Louisiana) VIDEOS: American Masters: Count Basie Black Jazz and Blues: Louis Jordan T-Bone Walker: London, 1969 MUSIC: Cab Calloway Minnie the Moocher Charlie Christian Solo Flight Lionel Hampton Rag Mop Lucky Millinder Big Fat Mama, The Grape Vine Erskine Hawkins Rock and Rollers Jubilee Bumble Bee Slim Fast Life Blues, Strange Angel Peetie Wheatstraw A Man Ain’t Nothin’ But a Fool Big Bill Broonzy Mistreatin’ Mama/Trucking Little Woman Jay McShann Confessin’ the Blues Sam Price The Dirty Dozens Bob Howard If You’re a Viper The Cats and the Fiddle Public Jitterbug Cousin Joe Boxcar Shorty’s Confession Champion Jack Dupree Junkers Blues, Drunk Again Roosevelt Sykes The Honeydripper Washboard Sam Back Door, My Bucket’s Got a Hole In It Dr. Clayton Angels in Harlem Big Joe Williams Baby Please Don’t Go Big Maceo Chicago Breakdown Jazz Gillum Look On Yonder Wall Yank Rachell Tappin’ That Thing Sonny Boy Williamson Shake The Boogie Tampa Red Let Me Play With Your Poodle Arthur Crudup That’s All Right, Mama Big Three Trio with Willie Dixon Hard Notch Boogie Beat, Signifying Monkey Louis Jordan Choo Choo Ch’Boogie Aaron T-Bone Walker Stormy Monday, Papa Ain’t Salty POINTS: Massive African American migration during Depression years from South to points north. Chicago because of available work draws largest numbers. Rural blues travel with them and becomes urbanized. Big bands got the way of dinosaurs. Small combos with a beat and electrified instruments begin to take hold. Sax emerges as a prominent instrument. Horns lay down the “licks” that become the basis for guitar solos in rock. Melrose and Williams become the first “producers,” i.e., maintaining a pool of musicians and regularly turning out records for sale to ARC labels. Chicago based. The Bluebird sound with piano, harmonica, guitar, drums behind featured vocalist takes form. Willie Dixon prepares himself for 1950s role as songwriter/session man (bass)/producer for early Chicago blues. Louis Jordan sets the pattern for small combo R & B. First Charlie Christian, then T-Bone Walker define electric lead guitar style.

WEEK NINE Post-War Chicago Blues VIDEOS: PBS History of Rock ‘n’ Roll: Part 1&2 (Chess Family on recording blues) Excerpts from “History of Rock” (Muddy Waters at Newport in ‘60s) Muddy Waters Concert:”Manish Boy” The Blues Brothers (John Lee Hooker on Maxwell Street) PBS History of Rock ‘n’ Roll: Part 5 (30 minute excerpt on Chicago blues and English rockers in 60s) MUSIC: Baby Face Leroy with Little Walter Bo Weevil (1950) Willie Dixon Walkin’ The Blues Howlin’ Wolf Sitting on Top of the World, Forty Four, Smoke Stack Lightnin’ Muddy Waters with Baby Face Leroy and Little Walter Rollin’ and Tumblin’ (1950), Rolling Stone (1950), Hoochie Coochie Man, Got My Mojo Workin’, Mannish Boy Little Walter Juke, My Babe Sonny Boy Williamson Fattening Frogs For Snakes Junior Wells Hodo Man John Lee Hooker Boogie Now J.B.Lenoir Talk to Your Daughter Elmore James Dust My Broom Willy Mabon I Don’t Know Lowell Fulson Reconsider Baby Otis Rush Groanin’ the Blues Jimmy Reed What You Want Me To Do, Ain’t That Lovin’ You Baby Koko Taylor Wang Dang Doodle Etta James I’d Rather Go Blind POINTS: Chicago remains a center of blues talent after WWII. Willie Dixon, bass player, singer, songwriter, producer, responsible for many classic sessions. Chicago a Mecca for independent labels. Independents would also be vital to birth of rock ‘n’ roll. Phil and Leonard Chess record some of the most important urban blues on their Chess and Checker labels. Maxwell Street market becomes a training ground for blues acts. Electrification of instruments part of the Chicago blues sound. Standard instrumentation includes guitar, bass, drums, harp, with a vocal lead up front. Male dominated with some exceptions. Country blues slide style finds its way into Chicago electric blues. Chicago blues main source of inspiration for British rockers like Clapton, Mayall, Rolling Stones, etc. WEEK TEN Honkers and Shouters; Chuck Berry & Bo Diddley; Vocal Groups: All under the umbrella of Rock ‘n’ Roll in the mid 1950s VIDEOS: PBS History of Rock Vol. 1 & 2:Chuck Berry and Bo Diddley Rock, Rock, Rock (performance by Chuck Berry and Frankie Lymon and the Teenagers) MUSIC: Joe Turner Blues Jumped a Rabbit, Shake, Rattle, & Roll Bull Moose Jackson Bow Legged Woman, Big Ten Inch Wynonie Harris Bloodshot Eyes, Lovin’ Machine Roy Brown Cadillac Baby, Good Rockin’ Tonight Bo Diddley I’m a Man, Bring It To Jerome, Diddley Daddy, Bo Diddley Chuck

Berry Maybelline, Wee Wee Hours, Sweet Little Sixteen, Reeling and Rockin’, School Day, Roll Over Beethoven, Johnny B. Goode The Ink Spots Java Jive Ravens Midnight Blues, White Christmas, Don’t Have to Ride No More, Rock Me All Night Long The Orioles Deacon Jones, Tell Me So, Crying in the Chapel The Crows Gee The Du Droppers Can’t Do 60 No More The Cadillacs Speedoo The Chords Sh Boom Heartbeats A 1000 Miles Away The 5 Satins In the Still of the Night Silhouettes Get a Job Chantels Maybe Bobbettes Mr. Lee Drifters Such a Night, Ruby baby, Drip Drop, Up On the Roof Clovers Blue Velvet, Devil or Angel, Love Potion #9 Frankie Lymon and the Teenagers Why Do Fools Fall in Love The Isley Brothers Shout Penguins Earth Angel Robins Smokey Joe’s Cafe Coasters Searchin’, Poison Ivy, Charlie Brown Big Mama Thornton Hound Dog Richard Berry Louie Louie Charles Brown Black Night Bobby Day Rockin’ Robin Thurston Harris Little Bitty Pretty One Johnny Otis Hand Jive POINTS: By early 1950s, a number of black musical styles would evolve into what became known as rock ‘n’ roll. Big Voiced male singers, blues shouters, like Joe Turner were role models to Elvis. Shouters straddled blues and big band. Vocal lead with large instrumental unit, big beat, “honking” saxophone and horn sections. Roy Brown covered by Presley. Then Chess released records by Bo Diddley and Chuck Berry. Mississippi born Diddley drew on folk themes for his lyrics, used repetitive (no chord changes) licks against “shave and a haircut, two bits” rhythm. Played the guitar like drums. Berry, from St. Louis, grew up on hillbilly and blues, incorporated the two and wrote lyrics with teenagers in mind. Catchy guitar work, a sense of humor, and stage antics put him over big with the rock ‘n’ roll crowd. In urban areas along East Coast and in Chicago and LA, the vocal group tradition thrived. Draws heavily on a cappella gospel quartet tradition. Oriole out of Baltimore and Ravens out of New York set the trend. Bring a rawer, more youthful, "blues-ier" sound to what the Mills Brothers and Ink Spots had been doing in the 40s. Spawn the doo wop “bird” groups of 50s rock ‘n’ roll. Leiber & Stoller, white teenagers, write a string of r & b hits for black artists. Humor in the lyrics, simplicity in the songs, but made great by performances. WEEK ELEVEN Regional Rhythm & Blues and Renegades (Early to mid 1950s) VIDEOS: Go, Johnny, Go (The Flamingos) The V.J. Story (The Impressions) The Ray Charles Story That Was Rock ‘N’ Roll (James Brown) PBS History of Rock ‘N’ Roll, Pts. 3-4 (Sam Cooke and Jackie Wilson) MUSIC: Flamingos I Only Have Eyes For You Moonglows (Harvey Fuqua) Sincerely Spaniels Goodnight Sweetheart Goodnight Dells Oh What a Night

Impressions People Get Ready Hank Ballard Work with Me Annie, Annie Had a Baby, Finger Poppin’ Time, Teardrops on Your Letter, The Twist RAY CHARLES Lonely Avenue, What’d I Say James Brown Please, Please, Please, Think, Papa’s Got a Brand New Bag Jackie Wilson Lonely Teardrops, Doggin’ Around Sam Cooke You Send Me, Chain Gang, Wonderful World, Change Is Gonna Come, Bring It On Home B.B.King 3 O’Clock Blues, Everyday I Have the Blues, You Upset Me Baby, The Thrill Is Gone Robert “Bobby” Bland Good Lovin’, Farther On Up the Road, Turn On Your Love Light, Jackie Brenston (Ike Turner) Rocket “88” POINTS: Midwest group sound includes Chicago’s Flamingos, Louisville’s Moonglows, VeeJay’s Dells and Spaniels. Live shows highlight dance moves. Curtis Mayfield and Jerry Butler of the Impressions move r & b closer to gospel and soul and lyrics dealing with growing civil rights movement. This trend fueled by Georgia born performers like Ray Charles and James Brown. Charles melds gospel and blues=soul. Brown plays up the rhythm and political lyrics. Godfather of funk and soul. Jackie Wilson and Sam Cooke both come into rock from gospel backgrounds. Wilson, former boxer, brings his “steps” and incredible vocal range into the act. “White” sounding backdrops at odds with his vocal style. Wilson’s management uses and abuses him. Cooke, on the other hand, controls his own career. Memphis and Beale Street, with DJs like Rufus Thomas, produce BB King and Bobby Bland. King moves electric guitar up from Charlie Christian and T-Bone Walker into r & b. Models singing after gospel greats like Sam McCrary and Ira Tucker. Sam Phillips, meanwhile, records black artists like Howlin’ Wolf in his Sun studio. Ike Turner with Jackie Brenston singing lead record “Rocket 88.” WEEK TWELVE Regional Rhythm & Blues Continued; Elvis Presley and Rock-a-Billy VIDEOS: PBS History of Rock n’ Roll Vols 1 & 2 (Radio, R & B, and New Orleans, Fats Domino, Little Richard, Sam Phillips and Sun Records, Elvis Presley) Don’t Knock the Rock (Little Richard) Clifton Chenier/The King of Zydeco New Orleans Now:Mardi Gras Indians MUSIC: Fats Domino The Fat Man, Blueberry Hill Lloyd Price Lawdy Miss Clawdy, Stagger Lee, Roy Byrd Hey Little Girl, Bald Head Clarence Henry Ain’t Got No Home Huey Smith Don’t You Just Know It, Rockin’ Pneumonia Frankie Ford Sea Cruise Sugarboy Crawford Jock a Mo Dixiecups Iko Iko Neville Brothers POINTS: New Orleans with a mix of cultures produces a mix of pre-rock ‘n’ roll. Due to influence of performers like Roy “Professor Longhair” Byrd, N.O. R & B tended to be piano based with a horn section and pumping mambo-ish rhythms. Cajun music includes both a white and black tradition. Black cajun music is called “zydeco.” Features accordion, rub board, and French r & b lyrics. Little Richard finds his sound in New Orleans after years of playing blues in clubs and dance halls.

WEEK THIRTEEN The Rise of Rock-a-Billy Continued VIDEOS: Elvis ‘56

Rock, Rock, Rock (Johnny Burnette Trio)

MUSIC: Arthur Crudup/Presley That’s Alright Mama Kokomo Arnold/Presley Milk Cow Blues Bill Monroe/Presley Blue Moon of Kentucky Arthur Gunter/Presley Let’s Play House Jr. Parker/Presley Mystery Train Big Mama hornton/Presley Hound Dog Bill Haley Crazy, Man, Crazy, Rock Around the Clock, Skinnie Minnie Carl Perkins Blue Suede Shoes, Honey Don’t, Matchbox Johnny Cash Get Rhythm Roy Orbison Ooby Dooby, Pretty Woman Jerry Lee Lewis Great Balls of Fire, Whole Lotta Shakin’ Big Maybelle Whole Lotta Shakin’ Billy Lee Riley Red Hot Johnny Burnette Trio/Sticks McGee Wine Spo De O Dee Buddy Holly Peggy Sue, Its So Easy, That’ll Be the Day Eddie Cochran Summertime Blues Gene Vincent Be Bop a Lula Ritchie Valens Donna, La Bamba Rickie Nelson Hello Mary Lou The Everly Brothers Wake Up Little Susie POINTS: Memphis was a center for the rise of regional rock-a-billy. Rock-a-billy combined hillbilly and blues. The rock-a-billys were the first white rock ’n’ roll performers. In a sense rock ‘n’ roll is what happened when white country artists attempted to imitate black musicians. In essence, rock-a-billy was the first true rock ‘n’ roll. The phenomenon was short lived and not popular to as great an extent in the urban north. WEEK FOURTEEN

SECOND EXAM

Southern Soul and Northern Motown VIDEOS: PBS History of Rock ‘n’ Roll, Pts. 3-4 (Motown and Stax) Remembering Otis (Booker T & the MGs, Sam & Dave) The Blues Brothers (Aretha Franklin “Think”) Excerpts from “History of Rock ‘n’ Roll (OPTIONAL: Soul and Civil Rights) ABC TV Newcast: R & B Royalties MUSIC: Booker T & the MGs Green Onions Markeys Soul Finger Rufus Thomas Walkin’ the Dog The Falcons I Found a Love Wilson Pickett Mustang Sally, Midnight Hour Percy Sledge When a Man Loves a Woman Sam & Dave Soul Man, Hold On Otis Redding Shout Bamalama, Dock of the Bay, Respect Aretha Franklin Rock-a-bye Your Baby, Respect O.V.Wright Nickel and a Nail Barrett Strong Money Mary Wells Bye Bye Baby Miracles Got a Job, Shop Around, You Really Got a Hold On Me Marvelettes Please Mr. Postman Marvin

Gaye How Sweet It Is, Heard It Through the Grapevine Martha & the Vandellas Heat Wave Four Tops Its the Same Old Song Temptations My Girl Supremes Where Did Our Love Go, You Keep Me Hangin’ On POINTS: African Americans in the early 60s generally walked away from blues. Performers like Sam Cooke, Ray Charles, and James Brown paved the way for black entrepreneurs and soul and civil rights. Stax in Memphis had the unusual combination of primarily white musicians backing soulful black vocalists. Muscle Shoals in Alabama provided a similar deep soul back-up Stax sound featured strong funk rhythms with cutting lead guitar, organ, and a horn section behind vocals. New York-based Atlantic began sending soul artists like Wilson Pickett and Aretha Franklin to Memphis to get them a “sound.” In Detroit, Berry Gordy founded Motown. Used a stable of black Detroit jazz musicians as his house band. With in-house songwriters and producers like Smokey Robinson, he crafted an accessible black music that carried rock ‘n’ roll into the 60s. Motown artists were schooled in stage technique and poise. Great appeal to teenagers across the board, white or black, north or south. Stax, on the other hand, was more limited in its appeal. WEEK FIFTEEN This week will be used to tie up loose ends and catch-up if I can not cover all the material in the normal course of the semester—which is very likely.