Music of the Depression

1. Music of the Depression Blues and Jazz in the 1930s Section II

2. Blues: Rural and Urban Blues � art form rooted in rural African American oral tradition Often an expression of sadness, isolation, loss Storytelling Poetic form of multiple stanzas, three lines each 1st and 2nd lines often identical, same length, usually rhymed 3rd line could be a refrain, repeated in each stanza, or a rhyming line that completed, explained, or responded to the first two lines Universal woes found in an individual�s daily life Lyrics � good love gone bad, evil women & worse men, alcohol, poverty, death, prejudice, despair, hope, the devil, and search for better days

3. Blues: Rural and Urban Melodic elements Blue notes Flattened (bent, or shaded) third, fifth, and seventh scale degrees Rhythm A base of an unfailingly steady beat Vocal rhythms and instrumental countermelodies Frequent syncopations and rubato, often in conversational speech-rhythm

4. Blues: Rural and Urban Twelve-bar harmonic structure Call and response Fills Improvisation Freedom and spontaneity Inflections, vocal color, bent pitches, growls, moans, slides Interplay between singer and instrument, singer and listeners, were improvisatory

5. Blues: Rural and Urban Improvised practice Crushed notes The playing of two adjacent keys at once to get the feel of the quarter tone between

6. History and Social Function Ring shout Religious tradition developed during era of slavery improvisation, call and response, movement Work song Sung by groups of black laborers in fields Emphatic rhythms and steady tempo Alternating forces, regular return to repeated refrain, variation in form

7. History and Social Function Field holler More spontaneous than work song Some brief, others long Irregular phrases Rubato tempo Melody starts high, goes low, wavelike contour

8. History and Social Function Vaudeville & minstrel show Stock characters, stereotypes of blacks Social and political satire In some ways, similar to court jester Started out all white; after Civil War, many casts were all-black

9. History and Social Function Songsters Traveling singers, first to disseminate the blues Original Dixieland Jazz Band New Orleans Rhythm Kings

10. History and Social Function Mississippi Delta in the 1890�s Large and close-knit AA population Musical expression was a central vehicle for heartfelt commentary on economic hardship and the frustrations of prejudice and discrimination

11. Country Blues vs. Classic Blues Country Blues, downhome blues, or folk blues Rooted in rural life Itinerant male singers with guitar or harmonica who played at social gatherings Fish fries, picnics, juke joints, brothels Impromptu rhythm instruments Spoons, washboard, etc.

12. History and Social Function Classic blues, vaudeville blues, or urban blues This version first brought wide recognition and commercial viability Spread first through professional touring shows and sheet music, then via recording Professional managers arranging performance schedules Dominated by female singers trained in vaudeville Sang in polished stage acts or in a recording studio, backed by paid jazz musicians

13. History and Social Function Tin Pan Alley blues White popular song establishment borrowing characteristic idioms from the blues Flatted third scale degrees, sometimes 12-bar progression, glissandos, syncapation George Gershwin Rhapsody in Blue, 1924

14. Classic Blues: W.C. Handy1873 � 1958 Father of the blues Responsible for bringing blues style to wide audience Commercial success of blues Born in Alabama Played cornet in minstrel troupe, became bandleader 1903, train platform, Mississippi Delta, hears the blues for the first time

15. W.C. Handy Memphis Blues � written in 1909, pub. 1912 1914 � St. Louis Blues Yellow Dog Blues, Joe Turner Blues, Beale Street Blues, Aunt Hagar�s Children, Atlanta Blues, Loveless Love Harry Pace Started recording in 1920 St. Louis Blues now a �Standard�

16. St. Louis BluesW.C. Handy � Sung by Billie Holiday �the wail of a lovesick woman for her lost man� using black phraseology and dialect to enhance the mood, believing that this language �often implies more than well-chosen English can express.� Handy recalled once hearing a drunken women muttering as she stumbled down the street: �Ma man�s got a heart like a rock cast in de sea.�

17. St. Louis Blues Chorus of song: Got de St. Louis Blues jes blue as ah can be, Dat man got a heart lak a rock cast in the sea, Or else he wouldn�t gone so far from me. Frequent use of lowered (minor) third in a major key, producing blue notes Many different versions of original chord progression, but always: Tonic harmony, in one form or another, in measures 1, 7, and 11 Subdominant in measure 5 Dominant in measure 9

18. St. Louis Blues Handy tried to make St. Louis Blues a hit by departing from well-worn paths rather than following them Starting with �real� emotion, �cut to the native blues pattern� Hoped �to combine ragtime syncopation with a real melody in the spiritual tradition� Included a second section with a tango beat Also used for instrumental introduction to entire piece Tango was a popular new dance in Memphis at the time Third section, labeled �chorus�, was based on the Jogo Blues, a number he had published separately in 1913

19. St. Louis Blues (clip) Twelve-bar blues and variations on �em! I � I � I � I IV � IV � I � I V � V � I � I Names of pitches, chords, notation

20. Recordings and Early Female Blues Singers Mamie Smith records Crazy Blues (by Perry Bradford) with her Jazz Hounds 75,000 copies sold in first two months Gertrude �Ma� Rainey, Edith Wilson, Bessie Smith, Ida Cox, Alberta Hunter All professionals working in vaudeville and musical stage Dressing and acting the part of �queens� of the blues, accompanied by piano or small jazz group Race Records Meaning black musicians performing black music for black listeners

21. Bessie Smith Dubbed �Queen of the Blues� by media and �Empress of the Blues� by Columbia Records Powerful voice, strong stage personality Traveled in style, with personal train car and entourage (posse) $2,000 a week contract with Columbia Records (more than the average family made in a year) First recording, Down Hearted Blues on the A-side and Gulf Coast Blues on the B-side, sold 780,000 copies in first six months these recordings must have appealed to audiences across racial lines

22. Country Blues Charlie Patton known for his slide guitar technique, his complex rhythms and lyrics, his rugged, rasping voice, and his wild life as a �drinker, a carouser, a womanizer, [and] a brawler.� Son House vocal techniques included moans, shouts, falsetto, and humming; his guitar playing featured tremolos and bottleneck slides

23. Country Blues Blind Lemon Jefferson recorded about eighty songs between 1925 and 1929 Blind Blake Also recorded about eighty blues songs known for a bright, ragtime-influenced guitar style and elaborate finger picking though many of his lyrics were light in tone, others were exceptionally serious, treating topics like lynching and police brutality

24. 1930�s: The Great Depression�s Effects On The Blues Blues craze dies down Recording decreased significantly Good-paying stage performances waned, with stars struggling Country blues goes in several directions One strain stays the same Another combined northern with southern styles Others blended blues with jazz or other styles

25. 1930�s: The Great Depression�s Effects On The Blues �Nobody Knows You when You�re Down and Out� Appropriate for falling star, Bessie Smith 17 minute video, �St. Louis Blues� Only known video footage of Bessie Smith Columbia cancels contract due to falling record sales Smith updates style to adapt to Swing Era �Smoke Gets in Your Eyes� & �Tea for Two� No more wigs and feathers; goes to sleek, elegant look of satin evening gowns and wept-back hair Replaces Billy Holiday at a Harlem club but dies in car crash in 1937

26. 1930�s: The Great Depression�s Effects On The Blues Classic blues ultimately absorbed into jazz �as Bessie Smith�s generation�aged, the featured spot they had held was taken over by the jazz band itself, and singers became attached to bands, instead of the reverse.� The era of the classic blues singer had ended shortly after the stock market crashed

27. �Downhome� Blues in the 1930�s Affected less dramatically than classic, because it never got as big Recording declined or shut down entirely �race records� no more Many kept recording: Leroy Carr, Scrapper Blackwell, Tama Red, Georgia Tom Dorsey Blind Blake dropped, Charley Patton considered outdated

28. �Downhome� Blues in the 1930�s Country blues became less . . . �country� Rough, male soloists with 2 or 3 instruments Based in large cities, but retained unpolished rural connotations�distinct from hybrid �show-business� aspects of classic blues/jazz Leroy Carr and Scrapper Balckwell Lyrics had �a considered, reflective quality, colored by disappointment rather than bitterness.�

29. Robert Johnson (1911-1938) (clip) Sold his soul to the devil in order to play better 30 recorded songs gave him tremendous posthumous fame and influence �highly introverted, sometimes obsessive blues, with a whining guitar sound and throbbing beat� while voice was �taut and often strained, and he sometimes used falsetto effectively�his guitar playing combined dramatic rhythms with agitated whining effects produced by a bottleneck slide.� 1990 release of complete recordings sold 500,000 copies

30. Northward Shift Record companies no longer could afford to go south to find artists/music Decca Records takes lead in AA music Chicago blues Big Bill Broonzy Helped create a �Southside Chicago� sound known as �urban blues� Muddy Waters Father of Modern Chicago Blues

31. Two new types of Blues in Chicago Hokum (also called �party blues�) �a combination of rural wit, sly urban sophistication and bawdiness�entertainment without serious intent, which mildly ridiculed country manners while helping southern immigrants to adjust to urban life. Unabashedly obscene lyrics Bill Broozny Thomas A. Dorsey (Georgia Tom) The future father of gospel music Tampa Red

32. Boogie-woogie Piano style Frantic pace, angular accompaniments OMG! I can�t believe they only have a single paragraph on this . . .

33. Jazz and Blues Beginning of �swing era� Benny Moten, Count Basie head famous jazz orchestrain Kansas City Jazz with a lot of glues influence

34. Lead Belly, Alan Lomax, and Blues as Folk Music black Americans� taste shifted toward the new urban blues of Chicago and blues-influenced jazz of New York and Kansas City white urban intellectuals in the 1930s �discovered� downhome blues Folk music collectors Corresponded with rise of left-leaning cultural movement that values �the common man� Laid foundation for folk music revival of the 1960�s

35. John Lomaxa main collector White, Mississippi-born, Texas-raised, Harvard-educated scholar Texas cowboy songs in 1910 Curator of the Archive of American Folkson at the Library of Congress in 1933 John and son, Alan, make field recordings throughout the South and Southwest, funded by the Library of Congress Discover Huddie Ledbetter (Lead Belly) at a prison in Louisiana in 1934

36. Lead Belly (clip) Pardoned by the Louisiana governor, moved to New York City, John Lomax�s chauffeur Performed folk-blues, made numerous commercial recordings (repertoire of 500 songs) work songs, ballads, popular songs, blues Twelve-string guitar Big with white, urban audience Blacks considered his style out-dated 1935 � 1940, recorded a large portion of his repertoire for the Library of Congress archives Performed at Carnegie Hall in 1938 in �From Spirituals to Swing� organized by John Hammond Robert Johnson was supposed to play, but the devil wouldn�t let him make an appearance

37. Blacks, Whites, and the Importance of Blues in the 1930�s �when blues gained white enthusiasts it lost black audiences.� white intellectuals, especially those on the political left, wanted a symbol of the pure, folk quality of African-American life, and Lead Belly met this need Wrote �The Bourgeois Blues,� which criticized the pretensions of the upper-middle class Langston Hughes, Zora Neale Hurston, Ralph Ellison Writers who allude to blues in prose and poetry

38. Blacks, Whites, and the Importance of Blues in the 1930�s �Blues was also important as the primary artistic expression of a minority culture: it was created mainly by black working-class men and women, and, through its simplicity, sensuality, poetry, humor, irony and resignation transmuted to aggressive declamation, it mirrored the qualities and the attitudes of black America for three-quarters of a century.� � Paul Oliver, Blues scholar

39. Midnight Special Texan black song tradition Title refers to a train whose light shone into inmates� cells as it passed by a prison at night Lead Belly�s singing is �full-throated with rough vibrato� Not nasal, whining, or falsetto timbres sometimes favored by slide guitar players Playing is intricate, rhythmic

40. Midnight Special

41. Midnight Special Lyrics Yonder comes Miss Rosie. How in the world do you know?Well, I know her by the apron and the dress she wore.Umbrella on her shoulder, piece of paper in her hand,Well, I'm callin' that Captain, 'Turn a-loose my man.'Let the Midnight Special shine her light on me.Oh let the Midnight Special shine her ever-lovin' light on me.When you gets up in the morning, when that big bell ring.You go marching to the table, you meet the same old thing.Knife and fork are on the table, ain't nothing in my pan.And if you say a thing about it, you have a trouble with the man.Let the Midnight Special shine her light on me.Oh let the Midnight Special shine her ever-lovin' light on me. If you ever go to Houston, boy, you better walk right,And you better not squabble and you better not fight.Benson Crocker will arrest you, Jimmy Boone will take you down. You can bet your bottom dollar that you're Sugarland bound.Let the Midnight Special shine her light on me.Oh let the Midnight Special shine her ever-lovin' light on me.Well, jumping Little Judy, she was a mighty fine girl.She brought jumping to this whole round world.Well, she brought it in the morning just a while before day.Well, she brought me the news that my wife was dead.That started me to grieving, whooping, hollering, and crying.And I began to worry about my very long time.Let the Midnight Special shine her light on me.Oh let the Midnight Special shine her ever-lovin' light on me.

42. Jazz: Origins Originated in New Orleans in first decades of twentieth century Combination of blues and ragtime elements blends improvised and notated music, popular and classical training, and casual attitudes with musical discipline

43. Music in New Orleans Prior to 1910 Vibrant port city, rivaled Philadelphia, Boston, and Charleston as a commercial and cultural center racial diversity and its proximity to the Caribbean French, Spanish, Caribbean, slaves Creoles of Color considered themselves culturally European and superior to the more recently freed, English-speaking blacks

44. Music in New Orleans Prior to 1910 European �high art� (symphonies and opera) Military bands, dance music, folk music, neighborhood parades Part of classical music circuit New York City, Havana Creole musicians (Jelly Roll Morton & Sidney Bechet) started to combine Creole music with blues and other popular music

45. Brass Bands: Marches and Arrangements Brass and wind bands played music for people long before radio and phonograph Parades, picnics, funerals, political gatherings Indoor bands played waltzes and ballads at high-society parties Strings, pianos, banjos, guitars

46. Ragtime (insert clip) Scott Joplin (1868 � 1917) Father had been a slave, mother a free black Learned classical technique & read music notation German-born teacher Sang in quartet, played violin & cornet Ragtime � a syncopated, disjunct melodic line occurring above a rhythmically steady bass consisting of a low octave alternating with a mid-range chord

47. Ragtime Joplin moved to New York City Maple Leaf Rag The Entertainer National fad for ragtime Heard in bars, brothels, and black areas of city Jelly Roll Morton developed further Irving Berlin Alexander�s Ragtime Band That Mysterious Rag

48. Jazz Emerges in New Orleans Creole Band & Original Dixieland Band Incorporated ragtime syncopation Dance halls & dance parties Dances, marches, ragtime & early jazz Shared traits: Dances & marches have steady tempo, regular meter, and phrases of equal length�usually four or eight measures Two or four phrases make a strain Expressiveness and interest came through other means Dynamics could vary, rhythm and contour of melody could be unique in mood or character Contrast in textures, melodies, moods, rhythms

49. Jazz Emerges in New Orleans Blue notes Slides Improvisation over fixed chords Remember blues tradition: Three phrases Statement/restatement/contrast; a-a-b poetic structure

50. Dixieland Jazz & Spread from New Orleans Original Dixieland Jazz Band All white From New Orleans Toured in Chicago, New York � 1910�s Three standard melody instruments Cornet or trumpet Clarinet or sax Trombone Drum set for beat Wood blocks, gourds, cowbells, gongs, and other percussion Piano provided harmonies, rhythms, riffs (short, repeated phrases that could accompany solos), sometimes complemented or replaced by banjo or guitar Polyphonic texture � impression of freedom and spontinaity

51. Louis Armstrong and the �Hot� Sound (clip) Agile technique & powerful sound Influenced by Joe �King� Oliver Moved to Chicago at Joe�s request in 1923 Unsurpassed technique Unprecedented range Extraordinary ability to improvise �Hot� sound Unevenly played eighth notes Smoother four-beat pulse Blues inflections Regular harmonic pattern

52. Armstrong Transformed jazz from traditional Dixieland style to soloist-based, rhythmically charged �swing� style If you�ve been keeping score, we�ve gone from vocal soloists, to bands where there is no �star,� back to instrumental soloists who are the star�in this case, Louis and his trumpet

53. Fletcher Henderson Makes it big leading an orchestra in NYC

54. Stride First genuine jazz piano style New genre of solo piano music Evolved in Harlem More fluid, less rigidly syncopated James P. Johnson & Fats Waller influenced . . . Duke Ellington & Art Tatum

55. Paul Whiteman San Francisco & Los Angeles

56. George Gerswin (clip) Symphonic jazz Rhapsody in Blue (fantasia 2000?) Performed in Carnegie Hall � a sanctuary of western classical music Concerto in F Porgy and Bess Highly successful songwriting career

57. Kansas City Dance bands Benny Moten Count Basie

58. Big Bands and Swing (clip) Prohibition repealed in 1933 Big Bands 10 to 15 instrumentalists �big band jazz� Sweet jazz Smooth, elegant written-out arrangements of pop songs Popular with white audiences Hot jazz More of the AA style

59. Swing Smoother than �boom-chuck, boom-chuck� Overlying rhythms often occurred between the beats Skimming along over the pulse, rather than being bound to it Lighter, drier, more flowing Eighth note pairs played unevenly, more like a triplet; 1st 8th longer than 2nd Uneven triplet figures or dotted 8th with a 16th

60. Benny Goodman�s orchestra Broadcast live from the Palomar Ballroom in Los Angeles NBC�Let�s Dance Broadcast live every Saturday night Benny Goodman Clarinet and saxophone Collaborated with Gershwin, Whiteman Employed Fletcher Henderson as arranger Clean-cut image

61. Performance Conventions of Swing Chorus Borrowed melody of pop. Song, omitted verse, leaving chorus Repeated harmonic progression Chord progression��changes� Thirty-two-bar form, in four phrases If not 32, usually twelve-bar blues progression AABA pattern melody/repeat/contrasting melody/recapitulate

62. More Swing Conventions 32 (or 12), clear, straight, with few embellishments or alterations Repeated, with new ideas added, maybe 5 or 6 times Varying instrumentation, melody, rhythm Harmony altered within limits Only basic harmonic outline and tempo remained constant

63. Conventions By 1932, 13-piece dance band was standard banjo replaced by guitar Bass replaced by tuba typical makeup (10 to 15 in same paragraph!): Three trumpets Two trombones Four reed instruments Saxophones or clarinets Rhythm section Piano, drum set, double bass, guitar Riffs, call and response Playing as a choir � each instrument on different pitch

64. Rhythm Section �walking bass� technique Still one pitch per beat; deviate from harmony on weak beats for low-pitched melodic line Jimmy Blanton piano Background beat, or foreground accented chords, sync. rhythm, melodic riffs or fills. �took solos� Guitar Chord changes in regular rhythm in background

65. Sax Buzz or husky timbre Single-reed mouthpiece, metal, conical bore Soprano (Bb) Alto (Eb) Tenor (Bb) Baritone (Eb) Bass (Bb)

66. Clarinet

67. Solos Tenor & alto sax Trumpet piano

68. Duke EllingtonComposer and Bandleader Ellington was born in Washington, D.C., in 1899 into a comfortable middle-class family Piano, composer, arranger, conductor Moved to Harlem in 1923 Irving Mills Manages band Cotton Club � nightly perf. Broadcast nat. Recording contracts

69. Duke 1931 and most of decade � toured US, Canada, & Europe commanded respect with his �dignified bearing, butter-smooth patter, and uncanny ability to draw inspired performances from his road-weary orchestra.

70. The �Ellington Effect� Give audience what they wanted and providing himself and the musicians with a gratifying level of musical challenge and innovation Incorporated James �Bubber� Miley�s style into arrangements for the band � swing! knew the strengths and character of each of his performers

71. Ellington Effect similar to what a good coach does Create arrangements that capitalized on performers differences Musical contrast Textural changes Blend sounds into a dynamic ensemble Skilled in both hot & sweet jazz Turned to larger forms to transcend the 3-min limit from 78 records Suites, theater pieces, fantasies Diminuendo and Crescendo in Blue

72. Ellington Effect Went away from standard �choir� format Instead of four trombones playing a chord, he combine members from different families to play chords � changing what and in what way-class??

73. Jungle Style Come visit our �primitive� culture Grass skirts, face paint, faux-tribal dance moves Minor mode, thick chords Dramatic dynamic contrasts & special effects Muted brass, �growl� effects, notes at the extremes Ko-ko � 1940

74. Train Theme Daybreak Express � 1933 Streamlined speed Special effects Whistle imitations Chugging rhythms

75. Mood Pieces Mood Indigo � 1930

77. �I Got RhythmGeorge Gershwin (discussed later) debuted in the Broadway show Girl Crazy (1930) Ethel Merman Piercing, brassy voice Instrumental introduction Starts in minor key, ends on a dom. 7th chord Chorus � standard 32-bar form with 2-bar tag AABA 8 bar phrases, four times, equals 32 bars Think �B� for contrasting bridge used to cross from 2nd phrase to 4th phrase

78. Cotton Tail (1940) Uses chord progression from �I Got Rhythm� Go to music guide and follow analysis while playing music

79. Special Instrumentalists playing on Cotton Tail Ben Webster on tenor saxophone Vibrato Bends notes downward Intensified already dissonant pitches��bluesy� Higher notes are �raspy� or strident��growl� Jimmy Blanton on Bass Contagious ability to swing Revolutionized jazz bass playing Harry Carney on baritone saxophone Distinctive, rich tone and deep, precise voice Agile and rhythmically precise on ungainly instrument

81. Section IIIPopular Song in the 1930�s Colonial Song Religious singing in the colonies Psalters � Psalms of David in rhymed verse form The Bay Psalm Book � 1640 Singing schools � New England Protestants Mennonites Moravians Brass and strings, woodwinds, kettledrums Performed in style of Handel, Scarlatti, Stamitz, others Folksong

82. Entertainment and Amateurs Airs Patriotic songs Broadsides Parlor Songs Chorus in four-part harmony, strophic Piano, guitar, other Courtship and love, patriotic, protest and reform, Civil War Westward expansion, labor, cowboy, gospel, nostalgic

83. Economics of Parlor Songs Lowell Mason � father of music education pianos Sheet music Violins and pianos from Sears catalogue

84. Categories and Examples of Parlor Songs Home Sweet Home Music by Henry Bishop Lyrics by John Howard Payne Clari, or The Maid of Milan Ran in NYC for 70 years! The Star Spangled Banner From British pop. tune, �To Anacreon in Heaven� Lyrics by Fransis Scott Key (from earlier poem)

85. Civil War Songs The Battle Cry of Freedom George Frederic Root Tenting on the Old Campground Walter Kittredge Dixie Dan Emmett

86. Stephen Foster �the first person in the United States to earn his living solely through the sale of compositions to the public.� I Dream of Jeanie with the Light Brown Hair Come Where My Love Lies Dreaming Gentle Annie

87. Songs of Westward expansion Home on the Range Daniel E. Kelley Old Chisholm Trail

88. Labor and Gospel Songs Songsters labor songs set new words to well-known, pre-existing tunes so that the lyrics alone could be circulated on cheaply printed booklets Jesus Loves Me William Bradbury Blessed Assurance Fanny Crosby In the Sweet Bye and Bye Fillmore Bennett

89. More folksongs Southwest folksongs Mexican Americans Native Americans European Americans Charles F. Lummis and Arthur Farwell collected Nostalgic songs Attempt to recapture an idyllic antebellum past Silver Threads Among the Gold Eben Rexford and Hart P. Danks

90. MinstrelsyDan Emmett, Stephen Foster

91. Tin Pan Alley Song Pluggers Sidewalk musicians, �plugging� the music �tinny� sounding pianos on the sidewalk George Gershwin

92. NYC & the Music Industry Center of sheet music sales Supplies: cheap sturdy paper, ink, and printing presses capable of handling music notation copyists, arrangers, advertisers, and couriers the entertainment industry consisted of live performances, theater managers and staff, booking agents, and publishers Sheet music main means of transmitting songs across the country Live Performance Broadway shows and traveling theater companies

93. Typical Song Structure: Verse, Chorus; Changes 1890�1930 Triple meter (at first), with a waltz feel Duple meter became standard for TPA and Broadway later Verse often unstable, with irregular phrase lengths and modulations function was to spin a tale or build tension Chorus Stable, regular phrases Tension released or explained The Band Played On The Sidewalks of New York

94. Irving Berlin

95. NYC and Hollywood Radio and Film quickly became the most important means for disseminating popular song Music on the Radio is free! Films more economical than shows Talking pictures The Jazz Singer, with Al Jolson � 1927 Film musicals

96. Performer�s Musicvs Composer�s Music Composer�s music Features fixed in notation for precise reproduction Performer�s music leaves more to the creative discretion of the individual performer American popular song was unquestionably performer�s music �Characteristics of voice and nuances of performance became at least as important as the notes on the page.

97. Great Songwriters of the 1930�s Jerome Kern Show Boat (Broadway Musical � Oscar Hammerstein) Can�t Help Lovin� Dat Man Ol Man River Roberta (film musical) Smoke Gets In Your Eyes Swing Time (won Oscar) The Way You Look Tonight (Fred Astaire and Ginger R.)

98. Richard Rodgers

99. Cole Porter

100. George Gershwin (1898-1937) Born Jacob Gershovitz; brother, Ira Co-wrote 9 musical comedies Song-plugger for Remick Music Co. Swanee � 1918 referenced Stephen Foster�s song �Old Folks at Home� Rhapsody in Blue Porgie and Bess, an American folk opera Summertime

101. George Gershwin Hits of 1930�s Embraceable You I Got Rhythm Of Thee I Sing Shall We Dance? Nice Work if You Can Get It They Can�t Take That Away from Me A Foggy Day Let�s Call the Whole Thing Off

102. Irving Berlin (1888 � 1989) Lower East Side Of Manhattan Father died with Irving was 10 years old Dropped out of school, san on streets, waiter Alexander�s Ragtime Band � 1911 Annie Get Your Gun (1946 musical) Puttin� on the Ritz Top Hat Fred Astaire and Ginger Rogers As Thousands Cheer based on book by Moss Hart

103. Bei Mir Bist Du Sch�n To Me You Are Beautiful Bay Mir Bistu Sheyn - 1932 Yiddish; hybrid of German and Hebrew Sholom Secunda, Jacob Jacobs Sold rights to song for $30 in 1937 English version Sammy Cahn and Saul Chaplin Decca Records Made Andrew Sisters a household name

104. Andrew Sisters Patty, Maxene, LaVerne Sang ballads in 30�s and 40�s With Glenn Miller Orchestra With Bing Crosby and Guy Lombardo Beer Barrel Polka Boogie Woogie Bugle Boy went on to become one of the defining sounds of wartime American culture first female vocal group to achieve a Gold Record Only Bing Crosby sold more records during the 40�s

105. Andrew Sisters best-selling female vocal group in the history of popular music between 75-100 million records sold from a little over 600 recorded tunes 113 charted Billboard hits, 46 reaching Top 10 status (more than Elvis Presley or the Beatles) 17 Hollywood films (more than any other singing group in motion picture history) record-breaking theater and cabaret runs all across America and Europe; countless appearances on radio shows from 1935 to 1960 (including their own)

106. Bei Mir Bist Du Sch�n The Andrew sisters recording of Bei Mir Bist Du Sch�n became a favorite of the Nazis, until it was discovered that the song's composers were of Jewish descent

107. Ella Fitzgerald (1917 � 1996)sings Bei Mir Bist Du Sch�n With the Chick Webb Orchestra Which performed at the Savoy Ballroom Ella took over band when Chick died in 1939 Ella�s repertoire was �mainstream� and did not take risks Unlike Billie Holiday�s �Strange Fruit� Sang cheerful Broadway standards, lyrical ballads

108. Bei Mir Bist Du Sch�n Repetitive form, eight bars per section Verse consists of two nearly identical sections A � A � B � A i � ii � iv � V Chromatic inflections provide fresh interest Etc.

109. Bei Mir Bist Du Sch�n

110. Ella Fitzgerald