Elvis is supposed to be the king rock 'n' roll, can you tell me why?  Herbie Hancock is like 50 +years. The creators of Jazz were long dead. I believe Jazz took a nose dive when black got access to Education. Took to learning classical music and sh*t like that. They lost something. Herbie Hancocks jazz isn't my cup tea. Sounds to whitey(CLASSICAL MEETS JAZZ)... surprise! :rolleyes: ---------------------------------- FOR THOSE WHO DO NOT KNOW THE HISTORY OF AMERICAN MUSIC READ! THE PATRIOT MAY SKIP OVER THIS:  Elvis is supposed to be the king rock 'n' roll, can you tell me why?  Herbie Hancock is like 50 +years. The creators of Jazz were long dead. I believe Jazz took a nose dive when black got access to Education. Took to learning classical music and sh*t like that. They lost something. Herbie Hancocks jazz isn't my cup tea. Sounds to whitey... surprise! :rolleyes:  Jazz  jazz, the most significant form of musical expression of African-American culture and arguably the most outstanding contribution the United States has made to the art of music.[/b]  Origins of Jazz Jazz developed in the latter part of the 19th cent. from black work songs, field shouts, sorrow songs, hymns, and spirituals whose harmonic, rhythmic, and melodic elements were predominantly African. Because of its spontaneous, emotional, and improvisational character, and because it is basically of black origin and association, jazz has to some extent not been accorded the degree of recognition it deserves. European audiences have often been more receptive to jazz, and thus many American jazz musicians have become expatriates. At the outset, jazz was slow to win acceptance by the general public, not only because of its cultural origin, but also because it tended to suggest loose morals and low social status. However, jazz gained a wide audience when white orchestras adapted or imitated it, and became legitimate entertainment in the late 1930s when Benny Goodman led racially mixed groups in concerts at Carnegie Hall. Show tunes became common vehicles for performance, and, while the results were exquisite, rhythmic and harmonic developments were impeded until the mid-1940s. -------------------------------------------------------------- gospel music, American religious musical form that owes much of its origin to the Christian conversion of West Africans enslaved in the American South. Gospel music partly evolved from the songs slaves sang on plantations, notably work songs, and from the Protestant hymns they sang in church. However, gospel music did not derive as much from Protestant hymns as did spirituals. Gospel music, more emotional and jubilant, also stemmed from the call-and-response singing between preacher and congregation, which became common in black churches. Gospel lyrics often call for obedience to God and avoidance of sin in order to obtain the reward of heaven's kingdom; they also celebrate God's love. Gospel style makes use of choral singing in unison or harmony, often, but not always, led by a lead singer or singers. The songs are performed with fervent enthusiasm, vigor, and spiritual inspiration, with much ornamentation in the solo vocal lines. -------------------------------------------------------------- Rock 'n' roll  ...The innovation of rock and roll. The first step was set by some inventive members of what by now had become a prospering occupational category, the disk jockeys. The active search for rhythm and blues by a white minority meant the beginning of a trend that did not go by unnoticed. At that time, a couple of deejays witnessed this change in preferences and they succeeded in persuading the owners and directors of their stations to give them some air time for programming rhythm and blues music for white youth audiences — see for the names of the most influential deejays and of the radio stations where they made their programs: Gillett (1970: 38-39). Alan Freed has become the most well-known of them. He had his way in Cincinnati in 1951, where he organized a radio show filled with rhythm and blues music which he called Moondog's Rock and Roll Party. From 1952 onwards, Freed presented the same and other, mostly black, artists also in live shows that became very popular among young audiences. This made him ... the white champion of black pop ... (Ennis, 1992: 8). Examples of songs he and other deejays played are Sixty Minute Man (1951) by the Dominoes, Fool Fool Fool (1951) by the Clovers, Lawdy Miss Clawdy (1952) by Lloyd Price, Rocket 88 by Jackie Brenston and Willie Mae Big Mama Thornton's Hound Dog (1953). [b]... [b]The attempts of Alan Freed and other adventurous deejays to bring black pop to white audiences were important contributions to the social construction of rock and roll as a new format in popular music. First, Freed gave a selection of the existing rhythm and blues music — those songs of which the beat, the feeling, and the lyrics appealed to his young audience — a new name. This labeling of specific musical pieces as rock and roll allowed for marking these and similar pieces off from other forms of popular music and made it possible to treat them as a new musical entity. Second, these deejays brought this erstwhile segregated music to the attention of a wider circle of white youth. The effect was that more and more white listeners turned to programs of disk jockeys who played black music instead of the programs of the mainstream pop radio stations in which the original rhythm and blues records were ignored (Gillett, 1970: 38-39) By creating their own audiences, [b]these deejays brought the unknown black music into the mainstream of American popular music and gave young Americans a form of music they could enjoy, relate to, and identify with. The eager reactions of white youngsters to this programmatic innovation played an essential role in the take-off of rock and roll. Their enthusiasm did not only put pressure on the — mostly conservative — owners of the radio stations, but initiated reactions of the juke box distributors and other people in the music industry as well. The former put more and more rock and roll records in their machines and thus ... provided a new channel of communication for white record buyers who did not yet tune in to black radio stations (Gillett, 1970: 14). The music industry, in its turn, increasingly crossed the boundary between the white and black pop music. More and more rhythm and blues songs reached the pop charts and an increasing number of rhythm and blues hits were covered. The result was that black artists and their music were introduced to a growing number of white youth next to those who already listened to deejays like Alan Freed. Together, the actions and reactions of white youth, deejays, juke box owners, and the music industry created the foundation on which rock and roll could develop in its own way and evolve into a separate stream — the seventh stream — in American popular music (Ennis, 1992). The elaboration of rock and roll. During the times rock and roll was being innovated as a new musical stream, the external conditions enticing producers and artists to experiment with new musical forms played the most important role. Making the step toward elaboration, the internal dynamics of the field itself more overtly come into play — and with it the role of individual contributions. This second step in the social construction of rock and roll involved the shaping of the music into a format in its own right, once its foundation was laid. This transformation was wrought by a specific segment of the music business in a specific region. In the South, artists, small record producers and independent record companies now were deliberately looking for ways to combine rhythm and blues with the musical traditions they grew up in themselves. They sensed that there was a market for pop music with a markedly black influx alongside the existing rhythm and blues music. Johnnie Ray's instant success — two millions copies were sold of his Cry (1951; for 11 weeks at number-one) and its flipside The Little White Cloud That Cried — was an indication that they could be right.  -------------------------------------------------------------   ]...This music excited the young, who were quick to adopt it and with it the accompanying behavioral style elements, and shocked their parents, who perceived it as a form of protest against the existing order. The adult world reacted vehemently: rock and roll records were smashed or burned in public, stage shows were banned or interrupted by the police, and deejays who ventured to spin rock and roll songs on their turn tables were fired on the spot (Miller and Nowak, 1977: 303-307).    [b]...Settled society, in turn, reacts disapprovingly and condemns the young as well as their music. As time goes by, though, people get used to it and the novelty wears off, the fad wanes, and the situation turns back to normal. The same thing had happened earlier on with swing and the jitterbug and now it just happened again. Rock and roll, however, proved to be different. First, the music existed already as a partition of rhythm and blues, the popular music of the African-American community living in the margins of American society. So, rock and roll was not newly created, but rather discovered by artists and music producers (Marcus, 1982: 12; Brown, 1983: 15; Pratt, 1990: 136; Tosches, 1991: 2). Second, rock and roll was not a fad. The music did not disappear after a few years of frenzy, but stayed on in constantly changing forms. It became a new music — youth music — and a cornerstone of a new culture — youth culture. The development of this culture was part and parcel of rock and roll's emergence. Third, the negative reactions to rock and roll did not fade away either and the active opposition to it remained — see in this respect the detailed account of anti-rock and roll activities by Linda Martin and Kerry Segrave (1988, part I).  .:D  You wanna tell me the story of Freedman bring rock 'n' roll to white listeners is a lie? :rolleyes::rolleyes::rolleyes:You just keep coming back with the same things over and over , the same things that have been proved to be incorrect. Anyone can look back at THIS thread and the other thread to the people who say whites stole rock from blacks in the OV and see you are wrong. I'm about to get Bob James up on here to give you a lesson in Jazz history but I don't think he would like this site...You're not worth my time anymore man, you're just a nuisance. Whatever you think is true my friend. You can go listen to your African Jazz music I'll listen to the stuff that is descended from Marching Band music, Classical and French and Spanish traditions that was first played in New Orleans in the early 1890s by the all White Razzy Dazzy Spasm Band as well as others, and was popularized around the US and the world by all White groups like the Original Dixieland Jazz Band which happen to be the inventors of the Dixieland style of Jazz, and the first group to call themselves a Jass band, and the first to ever record, and I can't forget about the importance of Papa Jack Laine, Tom Brown, Emmett Hardy, Sharkey Bonano, the Louisiana Five, the New Orleans Rhythm Kings, Bix Beiderbecke, Bill Evans, Gil Evans, Clare Fischer, the RDSB cover band that called themselves the Razzy Dazzy Jazzy Band which was the first known instance of the word jazzy being applied to music in 1900, Gene Krupa, Bud Shank, Jimmy Giuffre, Woody Herman, Glenn Miller, Chick Corea, Keith Jarrett, Gerry Mulligan, Bob James, Chet Baker, Henry Mancini, etc....... Jazz is White, not African, I've already laid it all out for ya several times man. Wow, anyone who thinks Jazz bears more resemblance to African music than Marching Band music, Classical or French Quadrilles in the first place is a moron. Even Jelly Roll Morton(mulatto by the way not Black) said Jazz can't exist without a certain Latin tinge the rhythms in Jazz are Spanish and French not African, Jelly Roll Morton even slipped when he said that. And later Black Jazz stars like Miles Davis, Louis Armstrong, and Herbie Hancock were heavily heavily influenced by White Jazz players and Classical composers. Jazz is not Black music any way you wanna look at it. Nothing African about it at all.    You can go on listening to your African Rock N' Roll man, but I'll listen to my Rock N' Roll that is descended from Country music, hillbilly music, Old Timey, Bluegrass, and Celtic music, not Africa land tribal drumming. You're in DA NILE, floating around in your little rickety, leaky 8000 year old hollowed out log that you call a boat. See ya round kiddo. I wonder if the Black Stormfronter NoobV1 heard anything that sounded even remotely similar to Jazz, Rock or the Blues when he was in Africa recently..If he did it was because someone was playing it on a radio. See ya round kid. Remember...whatever you think is true. It's okay for you to be in denial. It can be difficult accepting the fact that all of these musical genres that your lying thieving Black and jewish sources tell you are African are actually of European origins. I know. Blacks never created any type of American music, just played it. Even rap isn't completely original. But if you want to live your life in da Nile that is perfectly understandable, you would like to believe you negros actually created something all on your own, you like to claw and grasp at any little scrap you can get to claim your own, even if it isn't true.