The blues.pptVIP

The blues On a lonely night in 1903, W.C. Handy, the African American leader of a dance orchestra, got stuck waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep on a hard wooden bench at the empty depot. When he awoke, a ragged black man was sitting next to him, singing about goin where the Southern cross the Dog and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered with his instrument. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and hed put it into a song. It was, Handy later said, the weirdest music I had ever heard. That strange music was the blues, although few people knew it by that name. At the turn of the century, the blues was still slowly emerging from Texas, Louisiana, the Piedmont region, and the Mississippi Delta; its roots were in various forms of African American slave songs such as field hollers, work songs, spirituals, and country string ballads. Rural music that captured the suffering, anguish-and hopes-of 300 years of slavery and tenant farming, the blues was typically played by roaming solo musicians on acoustic guitar, piano, or harmonica at weekend parties, picnics, and juke joints. Their audience was primarily made up of agricultural laborers, who danced to the propulsive rhythms, moans, and slide guitar. In the 1940s and early 1950s, the electrified blues reached its zenith on the radio, but began to falter as listeners turned to the fresh sounds of rock and roll and soul. In the early 1960s, however, as bands like The Rolling Stones began to perform covers of Muddy Waters and Howlin Wolf, aspiring white blues musicians in the United Kingdom helped resuscitate the genre. In the process, they created gritty rock and