User:Icy500/Music of New Orleans

What is the History Behind the Music of New Orleans Musicians?

I would like to know more about how second-line music started in New Orleans. I know that New Orleanians come from various backgrounds and that a lot of people have migrated here from all over the country. The majority just enjoy playing music because they like the melody. When you ask the question of how second-line music started? The answer is always a guess. You can never get a definite answer. I am hoping that my research will answer the question. To stop guesstimating who brought second line music and in what year it arrived. I might even get an answer as to why it is called second-line music.

I am able to think about the topic differently after reading the information. I never really thought about the music of New Orleans until doing the research. As a result of the research, I discovered a lot of interesting facts that the average jazz musician would not have been able to share. I strongly believe that before an individual plays a certain type of music they should educate themselves on the origin of the music.

My research topic is now becoming more refined through the study of articles about second-line history that have been validated by a collective of scholars. It clarifies or improves the information. A key element of understanding the music of New Orleans is not only understanding what type it is but also understanding where it came from. I would like to learn more about the music of New Orleans because I have family who plays second-line music. This topic will open my knowledge of the literature.

It might change what the next steps might be in analyzing the information depending on the type of research wanted or needed to progress through the process of annotated research. As a doctor who is a specialist in his or her field. It is possible for doctors to conduct generalized practicum research. As a specialist, you dedicate yourself to school for a longer period of time and become a specialist in your medical field. To increase the subject's knowledge base, we plan to add to it. One way to accomplish this is by using annotated research. It would be helpful for me to do further research to demonstrate why I need to increase my educational status. Annotated bibliographies are required of every scholar seeking an academic degree. A scholar cannot bypass this type of work, otherwise, they will not get their degree.

My curiosity is piqued about how second-line music began in New Orleans. After reading this information, I have a completely different perspective on the topic. My investigation subject is presently getting to be more refined through the consideration of articles about second-line history that have been approved by a collective of researchers. It clarifies or makes strides the data. It might alter what other steps can be in analyzing the data depending on the sort of research needed or required to advance through the method of annotated research. Annotated bibliography works for in depth knowledge of subject. It can be connected to any topic.

Cooper, B. L. (2008). Architects of the New Orleans Sound, 1946–2006: A Bio‐Bibliography. Popular Music and Society, 31(2), 221–261. https://doi.org/10.1080/03007760701859429

The journalist B. Lee Cooper explores the history behind the Music of New Orleans while researching a multitude of well-known artists of different periods. He touches on momentous occasions and catastrophes over the years by introducing a wide range of melodies that are now historical. The author analyzes the travesty in the entertainer's life that led to the creation of Crescent City music. He studied a spectacular group of musicians. Overall, he examined beyond 100 different genres by artists across the spectrum.

Cooper’s article gives an honest glimpse of the hardship many artists endure while composing New Orleans tunes through different eras. He explains that several musicians have gone through adversity to create their own category. The article covers accomplished writers and entertainers who endured making melodies that would last for centuries.

Musicians are the intended audience for this source. Musicians often struggle when they write music, so they understand what musicians are going through. Using this source, society can gain insight into how musicians live. As a result of the hardship musicians faced, the source had a sympathetic attitude. It was effective because it provided information about a musician's journey.

Cooper, B. L. (2008). “Do You Know What It Means to Miss New Orleans?” Discovery, Dominance, and Decline of Crescent City Popular Music Influence, 1946–2006. Popular Music and Society, 31(2), 151–190. https://doi.org/10.1080/03007760701858942

Cooper's article discusses the approach New Orleans music has evolved over time by using their tunes as a framework for examining artists’ accomplishments, he analyzes what they have accomplished. It was common for musicians to switch between local and global statuses, depending on their achievements. Throughout the article, the author explores the news, rules, and recession in the Crescent City and the entertainment industry. In addition to studying the maturity of musicians, he also examines the life expectancy of entertainers.

B. L. Cooper's piece talks about the approach New Orleans music has taken all through various times. He explains that the music created by the entertainers may not always be successful and they may have to change their environment to be profitable. The author also focuses on the sophistication of the elderly performers knowing that age may stale the musician’s care.

When a performer and their music last the test of time and their music has gone on for centuries, they have endured. In terms of knowledge, the level was intermediate. The source was addressing fellow entertainers. It was difficult for entertainers to make a living. The majority had to switch from city to national to make ends meet. The purpose of this source was to inform the reader about the life expectancy of performers and their impact on the music industry. The effect of this source was sadness. It was sad that the musician couldn't make money in his or her own town. In order to get paid what they are worth, they had to travel globally.

Cooper, B. L. (2008). Architects of the New Orleans Sound, 1946–2006: A Bio‐Bibliography. Popular Music and Society, 31(2), 221–261. https://doi.org/10.1080/03007760701859429

The journalist B. Lee Cooper explores the history behind the Music of New Orleans while researching a multitude of well-known artists of different periods. He touches on momentous occasions and catastrophes over the years by introducing a wide range of melodies that are now historical. The author analyzes the travesty in the entertainer's life that led to the creation of Crescent City music. He studied a spectacular group of musicians. Overall, he examined beyond 100 different genres by artists across the spectrum.

Cooper’s article gives an honest glimpse of the hardship many artists endure while composing New Orleans tunes through different eras. He explains that several musicians have gone through adversity to create their own category. The article covers accomplished writers and entertainers who endured making melodies that would last for centuries. The source was intended for advanced readers. Various occasions influenced the artist's work, according to sources. It was evident that the writer was knowledgeable. In order to become so knowledgeable, he examined a spectacular group of artists. It is fascinating to see how artists rate their own categories. The purpose of this source was to inform individuals about the struggles of musicians.

Cooper, B. L. (2008). “Do You Know What It Means to Miss New Orleans?” Discovery, Dominance, and Decline of Crescent City Popular Music Influence, 1946–2006. Popular Music and Society, 31(2), 151–190. https://doi.org/10.1080/03007760701858942

Cooper's article discusses the approach New Orleans music has evolved over time by using their tunes as a framework for examining artists’ accomplishments, he analyzes what they have accomplished. It was common for musicians to switch between local and global statuses, depending on their achievements. Throughout the article, the author explores the news, rules, and recession in the Crescent City and the entertainment industry. In addition to studying the maturity of musicians, he also examines the life expectancy of entertainers.

B. L. Cooper's piece talks about the approach New Orleans music has taken all through various times. He explains that the music created by the entertainers may not always be successful and they may have to change their environment to be profitable. The author also focuses on the sophistication of the elderly performers knowing that age may stale the musician’s care. When a performer and their music last the test of time and their music has gone on for centuries, they have endured.

Sullivan, L. (1988). Composers of Color of Nineteenth-Century New Orleans: The History behind the Music. Black Music Research Journal, 8(1), 51. https://doi.org/10.2307/779503

The author Lester Sullivan examines how the collection of Crescent City music was composed in the eighteen hundred. He attempts to discuss the contribution of music written from diverse cultures, especially by Africans. Sullivan writes, “By 1848 and the end of the century people of African descent wrote at least fifty pieces of music of this sort which found their way into print through a then- thriving local sheet music industry” (51). Sullivan also informed us of the authors, and their input on New Orleans’s history.

Lester Sullivan was brutally honest in the discussion of the Big Easy writers and the authors who are behind the music of New Orleans. He explained that the melodies of the Crescent City were created by a mixed group of people who were of various races. The author again focused on the Africans and credited them with the signature of composing tunes.

The purpose of this source was to serve the educational community. The author has knowledge of this source. As if a survey had been conducted, he gives dates and describes ethnic groups of people. One of the things that made this source so interesting was the fact that only fifty pieces of music were published, and that they were composed by groups of mixed racial backgrounds.

Jackson, J. M. (1995). The Changing Nature of Gospel Music: A Southern Case Study. African American Review, 29(2), 185–200. https://doi.org/10.2307/3042290

The author J.M. Jackson examines gospel music's origins as they relate to African American religious communities. It is possible to find gospel music in a variety of genres, he states. Oftentimes, faith-based music associated with religious artists developed due to their living conditions. It was around the Civil War that black indentured servants developed melodies as a means of responding to the supervised environment in which they found themselves. Due to African American influences, faith-based music evolved.

In Jackson’s piece, he respectfully discusses the plight of African Americans and the influences gospel music had on their social environment.

He examines the impact faith-based music has on religious institutions. As the author explains, doctrine music plays a crucial role in society. It is vital that non-performers be part of the gospel network in order to continue the gospel custom. It is through faith-based music that the community can truly be conveyed. A basic person is the one being addressed by the source. Gospel music plays an influential role in the community, which they can understand. Because he explains how religious music plays a significant role in society, the writer is knowledgeable. It's interesting that black indentured workers came up with the tunes while in a managed environment. This reflective source serves as a reminder that the gospel has always been around, and we must participate in it. Pride was the emotion affected.

Baron, J. H. (1987). Music in New Orleans, 1718-1792. American Music, 5(3), 282. https://doi.org/10.2307/3051737

‌            The author, John H. Baron, examines how the Big Easy’s data was inadequate in the early 1700s. The Harmony Center presents a challenging environment for setting records. Melodies were made secret or accessible to all in the 20th century through ritual ballads. During that time, no publications were available. Likewise, many journalists at that time focused solely on current events. As a means of increasing volume, the Chaplains’ chanting was incorporated into the earliest arranged tunes composed by Europeans. A great deal of information on composers is lacking for the first French, German, African, and Native American composers.

Baron claimed forthrightly that the Chaplains were the first structured musicians. According to him, data in the early 1700s was well documented, but not accessible. Over the course of his literary career, the author has written extensively about the significance of music in history. Their heritage included ethnic devotional and service tunes, even though they had no artists of their own.

It is the historical community that is the audience. Having lived during the twentieth century, the author tells us that no publications existed at that time. The tunes were kept secret, which was an interesting aspect. This source is meant to remind us that music wasn't always available. Surprise was the emotion affected.

Adams, P. (2009). The lost years: The impact of cirrhosis on the history of jazz. Canadian Journal of Gastroenterology, 23(6), 405-406.

The author Paul Adams discusses the reasons why so many musicians die so young. Where the performers often played, the Crescent City is considered the birthplace of ragtime. In addition to the Dixieland entertainers, many others passed away tragically early as well. During their pilgrimage, Ragtime performers were confronted with a number of obstacles. There was dope and marijuana available at the blues lodge, an entertainment venue. Many artists have achieved innovation through the use of drugs. Their taxing behavior is evidently causing performers to approach the end of their lives.

Paul Adams' straightforwardness when discussing life after death and drugs led to jazz performers' deaths. In his explanation, the artist explained that their economic and ethnic challenges were some of the reasons why they chose dope and cannabis. Two of the main concerns of the author as to why so many musicians die at a young age are finances and race.

The writer is writing to the general public and is aware of the drugs musicians take. The fact that musicians often die at an early age is an interesting fact. Using this source, we can learn that entertainers suffer a lot of hardship and turn to drugs to cope. The emotional response was triggered by surprise.

Reference

Adams, P. (2009). The lost years: The impact of cirrhosis on the history of jazz. Canadian Journal of Gastroenterology, 23(6), 405-406.

Baron, J. H. (1987). Music in New Orleans, 1718-1792. American Music, 5(3), 282. https://doi.org/10.2307/3051737

Cooper, B. L. (2008). Architects of the New Orleans Sound, 1946–2006: A Bio‐Bibliography. Popular Music and Society, 31(2), 221–261. https://doi.org/10.1080/03007760701859429

Cooper, B. L. (2008). “Do You Know What It Means to Miss New Orleans?” Discovery, Dominance, and Decline of Crescent City Popular Music Influence, 1946–2006. Popular Music and Society, 31(2), 151–190. https://doi.org/10.1080/03007760701858942

Cooper, B. L. (2008). Architects of the New Orleans Sound, 1946–2006: A Bio‐Bibliography. Popular Music and Society, 31(2), 221–261. https://doi.org/10.1080/03007760701859429

Cooper, B. L. (2008). “Do You Know What It Means to Miss New Orleans?” Discovery, Dominance, and Decline of Crescent City Popular Music Influence, 1946–2006. Popular Music and Society, 31(2), 151–190. https://doi.org/10.1080/03007760701858942

Jackson, J. M. (1995). The Changing Nature of Gospel Music: A Southern Case Study. African American Review, 29(2), 185–200. https://doi.org/10.2307/3042290

Sullivan, L. (1988). Composers of Color of Nineteenth-Century New Orleans: The History behind the Music. Black Music Research Journal, 8(1), 51. https://doi.org/10.2307/779503

Article Draft
In George’s article, “From bounce to the mainstream: Hip hop representations of post-Katrina New Orleans in music, film and television” he overviews the fact that thousands of people who were displaced from their homes as a result of Hurricane Katrina, trapped in flooded cities without food or water as a result of the storm, which explained why so many people became angry after such an incident. Throughout the book, she discusses the musical response to Hurricane Katrina, and provides the opportunity for us to identify how individual experiences of suffering were incorporated into the broader critique of human suffering in this source of information. During the post-Katrina subgenre, rappers from New Orleans as well as across the country blamed authorities and government, including the president of the day, for their failures as a result of the hurricane (George 18). As a result of the use of music in order to demonstrate support and activism for Hurricane Katrina victims, the expression of the unnecessary suffering New Orleans had to endure and the government's failure to provide adequate support began to become a way of expressing the unnecessary suffering New Orleans had to endure (George 29). It is easy to see how the music of New Orleans underwent a change as a result of pain, injustice, violence, racism, displacements, and vulnerabilities that were expressed through these musical responses that forever changed the fabric of its music scene. This source provides background information about how in the wake of Katrina, music played a crucial role in the development and shift of rap and music nationwide particularly in New Orleans.” The fact that thousands of people who were displaced from their homes as a result of Hurricane Katrina, trapped in flooded cities without food or water as a result of the storm, which explained why so many people became angry after such an incident. Throughout the book, she discusses the musical response to Hurricane Katrina, and provides the opportunity for us to identify how individual experiences of suffering were incorporated into the broader critique of human suffering in this source of information. During the post-Katrina subgenre, rappers from New Orleans as well as across the country blamed authorities and government, including the president of the day, for their failures as a result of the hurricane (George 18). As a result of the use of music in order to demonstrate support and activism for Hurricane Katrina victims, the expression of the unnecessary suffering New Orleans had to endure and the government's failure to provide adequate support began to become a way of expressing the unnecessary suffering New Orleans had to endure (George 29). It is easy to see how the music of New Orleans underwent a change as a result of pain, injustice, violence, racism, displacements, and vulnerabilities that were expressed through these musical responses that forever changed the fabric of its music scene. This source provides background information about how in the wake of Katrina, music played a crucial role in the development and shift of rap and music nationwide particularly in New Orleans.

Zenia Kish presents the perspectives of renowned hip-hop rappers on Hurricane Katrina's catastrophic aftermath in her article, "My FEMA People": Hip-Hop as Disaster Recovery in the Katrina Diaspora, as well as how hip-hop music served as an advocacy tool. The author of the article examines the relationship between musical debuts and disaster recovery through the lens of music. In her analysis of how the government handled disaster relief after Hurricane Katrina, Kish emphasizes that the vast majority of victims were African American, displaced when flooding occurred in their homes. In response to Katrina's national tragedies, a subgenre of Katrina hip-hop emerged shortly after. In the aftermath of Hurricane Katrina, rappers from all over the country and from New Orleans condemned those responsible for the government's inadequate response to the crisis (Kish 681). New Orleans bounce artists like the 504 Boyz, Mia X, and 5th Ward Weebie, as well as mainstream hip-hop rappers like Lil Wayne, Jay-Z, and Public Enemy, helped to create a subgenre known as Katrina hip-hop. From New Orleans resident Mia X s colorful rap "My FEMA People" to Choppers "Crescent City Crisis" to 5th Ward Weebie's disaster anthem, "Fuck Katrina (The Katrina Song),"(Kish 672) these tracks are an expression of anger and fear for those who couldn’t express them, many of these tracks were emotionally charged and this music had a way of connecting to people. Bound by New Orleans' geography and social relations, bounce evolved into a new sound and interpretation of activist engagement. In addition to engaging the violence, racism, displacement, and vulnerability that came to symbolize the Katrina diaspora, these musical responses served as a cultural force of identity and activism that intervened in the construction of the event as a national emergency by framing individual stories of suffering into larger structural critiques of the human catastrophe (Kish 682). By linking the past to present before and after Hurricane Katrina, Kish gives readers a deeper understanding of Katrina's effects and illustrates how mainstream hip-hop has influenced hurricane recovery efforts. In this article, she succeeds in her purpose of educating the reader about the history, role, and effectiveness of hip-hop as a recovery method by using facts, examples, and a structured approach. By linking the past to present before and after Hurricane Katrina, Kish gives readers a deeper understanding of Katrina's effects and illustrates how mainstream hip-hop has influenced hurricane recovery efforts. In this article, she succeeds in her purpose of educating the reader about the history, role, and effectiveness of hip-hop as a recovery method by using facts, examples, and a structured approach.

In McLeese’s journal, “Seeds Scattered by Katrina: The Dynamic of Disaster and Inspiration” he discusses the renewed interest in not only the city of New Orleans’ musical production but also how Katrina also contributed to a historic peak in creative and productive output among New Orleans musicians (McLeese 213). The post-Katrina revival of music included tribute concerts, records, new collaborations, and extensive assistance to musicians as a result of the disaster. Although McLees says that the musicians didn't explicitly mention Katrina in their music, she claims the storm sparked unprecedented productivity for them. Besides bounce and rap, a variety of other musical expressions have been linked to the city's recovery from Katrina, like Mardi Gras Indians and brass bands (McLeese 215). McLeese offers multiple examples in this article and provides needed context to how the different sub-genres of New Orleans' music were affected differently by Hurricane Katrina. Throughout the article, the resurgence of music's cultural standpoint is presented in a factual and non-biased manner while emphasizing the renounced Jazz and Blues musicians and mentioning briefly how they felt after the storm and why they returned back to New Orleans, for those who had to leave. A number of prominent musicians are mentioned in this article, including Allen Toussaint, Irma Thomas, Dr. John, and Chris Thomas King. According to McLeese, many New Orleans musicians are discovering that the revival of their music and the positive reception they have received from the majority of Americans post-Katrina (McLeese 218).

According to Michael Urban, author of “New Orleans Rhythm and Blues after Katrina: Music, Magic and Myth” there was a great deal of personal and financial hardship faced by New Orleans post-Katrina local musicians during the period when the city was being rebuilt in the aftermath of Katrina, as the city was rebuilding from the ground up on a washed away slate. It is discussed the different opportunities for music that were prompted to emerge as a result of Katrina, such as the revival of Frenchman and Freret Streets, which used to be nothing before Katrina, but today it is renowned for its cultural music and is practically thought of as a musical Disneyland due to its popularity (Urban 72). During the post-Katrina period, it has been noted by many local musicians that the music tourist spots we know of today in New Orleans were not there prior to the catastrophe. As a result of Katrina, many New Orleans musicians were able to revive the city's economy after the storm by attracting tourists into the city. There were a number of advertisements and slogans featuring these musicians during this time period. However, they were seldom credited with promoting tourism in any manner whatsoever, according to this source (Urban 79). I found it interesting to read about these talented musicians' hardships, revivals, and successes in the post-Katrina New Orleans music scene, as it gives us the opportunity to see first-hand what it was like to live there after the storm.