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Negro music and America. Or. Negro music in America. An exploration of it and its impact on American culture. Here is your host for the survey's Tony look at Bach. Last week we listened to nigger music as it was heard in Chicago in the 1930s and 1940s. In this program we'll hear the blues as they are sung and played in Chicago today for today in the small clubs and taverns on the south and west sides of Chicago. A group of blues men are making some of the most exciting music to be heard anywhere in this country. The country blues take on a new feeling and emotion and drive in the hands of these men who had their failings in expressing the troubles and tensions of their city ways of life giving us an exciting hybrid style of music. The recordings we hear today were produced by Sam chartered on the vanguard label. Our first number is an original laden song by Junior Wells in his Chicago blues band a tribute to
Sonny Boy Williamson. We want to do this. You know it's not my words but I'm too big. Nice outstanding musician in tribute to him. He's nominated he made I think it will linger you know I was able to graze old bills like this baby. You got to hear me. So why we. Got ahead of me.
At all unless you got a thing you. Do little from love you. Darlin. Well. Some of it. My motto was a mild compass so I'll look cool among the models that go but you almost never. Do the old grandmothers will. Call them off the hook by. The source along with someone a bit of something like. That. God will move there I will say you just before we go. I
was a solid boy to know one thing that I would want is to lose it all the way. The most I used to do for you to hear me. I want you to remember is less. More. Money. Go home. But. You'll lose all. Gold. No. Let alone. Following the little. Ones.
The rich harmonica reproduction that you hear is obtained by the player holding his microphone in the hand with a harmonica as he plays it. My next number is a topical Blues by Junior Wells who sings for all of you who have sons in Vietnam the Vietcong blues. I will go below the small.
Town of. A little so you got all the little away and I would. Never do what. It was for my. Talent. Say it. Don't Hamel the pipe baby but. Oh. Yeah look you got to be wrong and you've got to be old enough to go. There with the Mona lane. And you don't how not to live eat. Your came by
lived up to know Chlo believe it. Can you. Not rather than just not talk all the same to you know to. Your mind not to spend all your lunch for the day but that's wow. That's why all I'm saying Lou you blew a bit of the attitude. There. Although.
For the moment. We don't know. If you. Know. Many people will watch the Rolla Mo.. Got. Door. Bang. Bang bang. Moron with the wall on the whole lotta love. Gotta. Go. It's so sad it's so sad to think a bunch of people won't do them.
One of the only. Things that you know. You're not arriving. Here it doesn't wobble. Told. Me. You're going to. Be able to look up. The. Finalists of global warming. And. Want. To smile and. Begin to look up and feel a sort of oh I believe it was your brother over there. I would have. Been a vote on. Him. The. Oldest Man our next entertainers only 33 years old but has been
called one of the greatest view blues piano men who ever lived. He came to Chicago from Jackson Mississippi when he was 17 years old and ever since has been one of the top blues piano men in the south side. Otis plays his own number for the ESPY blues. During the past few weeks we've come up river from New Orleans to Kansas City Missouri Memphis
Tennessee into Chicago tracing the development of nigger music as we are familiar with it today from today's program on my modern Chicago style blues. We'll go back again in time to the turn of the century and listen to the ragtime music which swept the country and whose influence still lingers in today's music. I won't go so far as to say that ragtime has become popular again but it is having a revival next morass a series of programs a National Educational Television ragtime festival such as a St. Louis festival and dedicated fans and students are playing ragtime more and more and reviving great interest on the part of the young people who missed knowing it because it went out of favor in the 20s. Tune in again next week and listen to some ragtime. Her. Negro music in America with Tony look at Bach for that is transcribed by the
SEIU Radio Network. Got to get into next week as we continue our exploration of the negro and American music. This is the SEIU Broadcasting Service. This program was distributed by national educational radio. This is the National Education already own network.
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Negro music in America
Episode Number
Producing Organization
WSIU 8 (Television station : Carbondale, Ill.)
Contributing Organization
University of Maryland (College Park, Maryland)
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Episode Description
This program, the twenty eighth of thirty nine parts, presents various examples of African-American folk and jazz music.
Series Description
This series focuses on music created and performed by African-Americans, including folk, and jazz styles. This series is hosted by Anton Luckenbach of Carbondale, Illinois, who also gathered interviews in New Orleans for this series.
Broadcast Date
Race and Ethnicity
Media type
Host: Luckenbach, Anton
Producing Organization: WSIU 8 (Television station : Carbondale, Ill.)
AAPB Contributor Holdings
University of Maryland
Identifier: 67-1-28 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:14:34
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Chicago: “Negro music in America; 28,” 1967-06-05, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed July 13, 2024,
MLA: “Negro music in America; 28.” 1967-06-05. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. July 13, 2024. <>.
APA: Negro music in America; 28. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from