Test captions Copyright National cable satellite corp. 2008 the hutchinsons connect their background in music that was developed through the baptist church. They had they come from a family that was very active in the Baptist Community in New Hampshire and it taught them how to sing and how to read music. Music is a little bit problematic in rural new england at the time, right. Its dangerous. People who are musicians are seen as immoral perhaps in some way. The Church Provides a moral space for people to be able to sing because theyre singing the word of god and the hutchinson family as a whole is active in the Musical Community in New Hampshire through the baptist church. One of their brothers is the choir director of the church and provides Music Lessons for the community. The hutchinsons try to run with that in lynn and get this idea maybe we could become a performing troupe. In 1841, they decide to try their luck as three brothers and they tour new england and upstate new york and its a complete flop. They grew up, they claim, in the mountains of the old granite state, the White Mountains, even though the hutchinson was incidentally milford, New Hampshire, i think the highest point is only a couple hundred feet and they dont visit the White Mountains of New Hampshire until 1843, nonetheless present themselves as coming from the mountains of the old granite state, and they try and experiment, which is they bring their youngest sister, 12yearold Abby Hutchinson on the stage with them and these two things connecting to their the geographic location of new england generally and the White Mountains in particular, the soil, along with bringing abby on stage creates a family based presentation that instantly resonates with audiences and so this quartet creates the foundation for the hutchinson family singers that begins to work. One example in 1842, the hutchinsons play at Dartmouth College and this is one of the early concerts with Abby Hutchinson and the first night they two out, they play to the audience, its all men. They applaud, its all great. Next night they come out and its a mixed gender audience with children. Men, their wives and children have come. The first night the men are literally checking them out, right. Is this concert going to be acceptable for my wife and children to experience and so this is the kind of gender dynamic that the hutchinsons are playing around with in their stage presentation at this particular moment in time. In 1842, there is an important event in the fall that starts to push the hutchinsons in new directions. In october of 1842, a fugitive slave George Latimore and his wife rebecca arrived in boston. Seven days later they are recognized by a friend of their virginian master, who then contacts the master. The master contacts the United States marshal in boston and they are immediately thrown into jail as fugitive slaves and there is going to be a trial over whether or not the latimores are fugitive slaves and whether or not they should be reenslaved under the fugitive slave clause of 1793. The hutchinsons are involved in that by virtue of living in lynn, massachusetts, at the time and they begin their kind of steps towards perhaps becoming antislavery singers. So this idea the hutchinsons will pick up on from their own christian background is certainly one of the factors in play. The idea of social betterment that connects also to a youth movement. Many of the hutchinsons fans were of a younger generation, a generation that is increasingly mobile, socially mobile and geographically mobile. Theyre moving to cities from rural areas of the United States at this moment in time. Its predominantly a rural nation. Its not until 1890s and afterwards we consider the United States an urban population. What happened throughout the northeast, ministers would travel from town to town, stay for one or two weeks, create a revival, people would come in and camp out for a week, have a variety of celebrations and have personal spiritual awakenings and in many ways these revivals are the earliest examples of kind of a Popular Culture in the United States, these mass entertainments. Thousands of people at the largest ones would show up, so these kinds of very personal live performances, whether they be of religion or soon of music, are one of the earliest sites of entertainment in the United States and the hutchinsons kind of branch the divide if there is a divide, branch these two areas, the music the religious realm and the musical realm. The hutchinsons will be bear witness to the great antislavery circuit of 1842 who is Frederick Douglas. Frederick douglas becomes the most one of the most notable persons through his speeches at antislavery meetings throughout the northeast in 1842 and so throughout this moment of 1842, the George Latimore incident, seeing Frederick Douglas and perhaps, you know, hearing and, of course, hearing him speak, the hutchinsons, you know, decide to take that step and they will actually perform at the American Antislavery Society meeting in 1843, they will perform in boston a little before that, kind of their first foray into antislavery singing and they do this in very kind of formal meeting settings and they do it brilliantly. The hutchinsons will quite literally use tunes that other people are using, they often come from revival tents, songs that people were singing in a church setting, or in certain cases there will be tunes that are circulating in popular consciousness. This is an era of ministerials creating popular tunes and the hutchinsons will borrow and create their lyrics on top of it. One example is one example of a tune that they borrow from will be old dan tucker. Its their 1844 song get off the track which is a Campaign Song for the liberty party, the first antislavery party in the United States history. One of the most popular songs of the hutchinson family and it, indeed, becomes an anthem of the Antislavery Movement in the 1840s and 1850s is old dan tucker sped up. They used a faster tempo, but again, theyre using a tune that everybody could recognize and then putting their own lyrics on top of it. They refused to sing to segregated audiences, concert spaces in the 1840s and 1850s are and, of course, certainly throughout the 19th century into the 20th century are almost always except hutchinson family shows and a few others, are almost always segregated. Africanamericans are givens the seats in the way back, often a special section, but at the very least whites and black are not to sit together in the same rows or interspersed among one another. The hutchinsons try their best to promote a desegregated audience. This gets them a lot of criticism, a lot of criticism in boston, creates a famous mob incident in 1847 in philadelphia where a mob threatens to shut down the Musical Fund Hall where the hutchinsons are playing because theyre playing to a desegregated audience and the mob dictate to the theater owners if they allow the hutchinsons to play to black and whites together, that they will literally burn down the hall. This is a somewhat Common Threat that has been played out in pennsylvania and philadelphia in particular on several occasions where buildings have been burnt down for antislavery activism. By and large after the civil war, the hutchinson family singers, asa moves out west, the brothers founded hutchinson mn, minnesota, be asa will move to colorado and live out west for the rest of his life, john will remain centered in lynn, massachusetts, abby in new york and orange, new jersey. And travel the world. She will be in egypt and a variety of other places. She is married ludslo patton, extraordinarily wealthy, whom she weds, and the hutchinsons wont be the social voice in the 1840s and 1850s and by and large they will be what a lot of singers from the 1960s are today, right. They make money off what they once were. They are had been ps. Theyre not creating new music. Theyre going on stage as a relic in many ways that people want to remember the older age in many ways and that younger generations are curious about all these stories that their parents had about this moment. We used to listen to so and so and you go and kind of share that legacy that way. They never reach the fame and celebrity they had during the 1840s and 1850s. Almost 100 years after the hutchinsons sang for reform, singer and songwriter bob dylan begins achieving fame in the early 1960s for his music urging political change in america. Im sorry. Do you consider yourself a politician . Do i consider myself a politician . Well, i guess so. I have my own party, though. Does it have a name . Theres no president s in the party, theres no president s or Vice President s or secretaries or anything like that so it makes it kind of hard to get in. Is it a right wing or left wing of that party . No, its more or less the center. Kind of on the scale. Most people think that bob dylan is leftist or, you know, somehow associated with the Hippie Movement of the 1960s or Something Like that and voice of the generation of the 1960s, which was a label he detested. They would look at him as perhaps a great leader of the antiwar movement. He never went to an antiwar march. In fact, bob dylan is certainly not partisan. You cant stick him in democrats or republicans. I would also say that you really cant say that hes exactly left or right. There are certain themes that come through throughout bob dylans life about his politics and those subjects are social justice, support for the underdog, suspicion of institutions and authority, and a concern about abuse of power. But those things arent necessarily the domain of the right or the left. I think most people have a misconception about what bob dylan is. Bob dylan grew up in northern minnesota in a town called hibbing. That is in a portion of minnesota known as the iron range and thats kind of a special place in minnesota. If a person would have gone to the iron range in the say late 1800s, early 1900s it would have been a hotbed of radicalism. You would have run into socialists, communists. These are folks, you know, working deep underground in iron mine and so this is part of the Labor Movement that existed in america at this time. Dylan himself at one point said that more suspicion of bankers growing up than communists. Bob dylan grew up in a jewish household and that made him a minority as well, and thats going to have an impact on his support for the and you dog and that sort of thing. How many times before they fall out blowing in the wind the answer is blowing in the wind in the 1960s, early 1960s and 1950s as well, the Folk Movement in america sprung up, and it was certainly a, by and large, leftist kind of Movement Interest in civil rights, antiwar, that sort of thing. When you look at the early songs of bob dylan, weve got things like everyone knows blowing in the wind, masters of war would be another one, but there were more topical songs, songs about emmett till, for example. This wars tragedy you should all remember well the color of his skin was black and his name was emmett till these type of songs are written by many other folk singers as well and so what happens is that dylan sort of progresses beyond that and by the mid 1960s then hes writing songs that arent exactly songs you can put your finger on. Its all right mom, only bleeding, like a rolling stone, highway 61 revisited with sort of hallucination type lyrics and what happens is as American Society is changing people start to read in a very heavy, political message in dylan at a time where with if youre really looking at it objectively, you couldnt say that these songs are necessarily overtly political. Diplomat who carries on his shoulder a siamese cat and people go, what does this mean . There must be some deeper message. Johnny is in the basement mixing up the medicine, im on the pavement thinking about the government. He doesnt say what hes thinking about the government, but you, the listener, then inject your own meaning into that. Hes not really offering answers throughout this time. This voice of a generation thing, he says the answer is blowing in the wind. Well, its a great song and, you know, if i were to make a play list of 1960s music that song would be on there, but the answer is blowing in the wind isnt particularly helpful if youre searching for answers. Thats, i think, how we have to understand his political output. Its not, again, thats what i mean when i say that its not exactly what people think. I would like to know about the meaning of the photograph with you wearing triumph tshirt . What would you want to know about it . I would like to know, thats an equivalent photograph and means something, and i would like to know i would like to know visually what it represent us to. Youre a part of that. Um, i havent really looked at it that much. Ive thought about it a great deal. When people are looking to bob dylan for the answers, its a great thing to Youtube Bob Dylan press conference 1965, no matter which one you hit its going to be great. If you start to think what it must have been like to have every little thing you do or say looked at so intently, you know, how many times has someone said, whats the meaning of the shirt youre wearing right now . Well, you know, what are you going to do with that . Just had to grate on a person. I think any thinking person that was in his situation would just find a lot of this inane. I believe thats a big reason why he really got away from that voice of the generation protest music. He saw it as, in my opinion anyway, he saw it as a prison. Once he got locked in to being this one thing, he could never get out. In 1965 he went electric, starting playing electric guitar rather than au caustic and harmonica. People would come to his concert and boo him and how dare he and that sort of thing. Once again, i think he looked at all that and said, you know, no thanks. And so by 1966, hes out of there. He goes to upstate new york and starts having children and starts writing love songs and, you know, sort of domestic bliss and that sort of thing. Its a whole new dylan after 1966. In the 1970s when he becomes a born again christian, he for the first time is telling the audience i have the answer and people arent interested in hearing what his answer is. The publics reaction to the new dylan by the 1980s, were a whole generation from the 1960s. Theres a whole group of kids growing up in the 80s and i would have been one of them, who are watching mtv and bob dylan for as great of a songwriter he is, is not maybe the most mtv persona for a 14yearold. It really depends on which public at this point because the baby boomers are adults and theyve got mortgages and jobs, et cetera, not following music as closely and so, you know, in some ways dylan is slipping through the cracks a little bit. When we are the world comes out hes invited and he sings on that. Hes not forgotten, but hes not quite the same public figure that he had been. You know, as a dylan fan, when people find out that im a dylan fan, some people well his voice, i like his songs, dont like his voice, well listen, listen deeper and by the way his voice is often very good. Its like a leather coat, you know. Its broken in. And thats when it fits best. You know, really he is a remarkable artist and, you know, it might not necessarily be everybodys favorite style of music, but something he has said will resonate with you. In july of 1966, bob dylan suffered serious neck injuries in a motorcycle accident forcing him to decline an invitation to a musical festival the following summer in monterey, california, that would help to define 1967s summer of love in america. We love you all. This is very man. Monterey is very groovy man. This is something. This is our generation, man. All you people, were all together, man. Its groovy, dig yourselves. Its really groovy. The festival was a threeday musical event in june of 1967 so it kicked off that summer of love, but it really was the first real big sort of rock and roll musical festival to happen here. The city of monterey, pretty conservative community at that point and there was a lot of concern about these what they call then the word hippie was a new word at that point, in the past years or so, they were always used as this youngster Hippie Movement and a lot of the news over the past seven months the summer of love is happening in San Francisco and no one quite understood what that was all about. These kids, these boys with the long hair and drug thing, and they were concerned about this. The chief of police felt so confident and so comfortable about this group that was here,s they groups that wouldnt cause any problems, that he actually released a big number of his policemen because there was a fire a at one of the old canneries that night, the policemen would go down and monitor the fire. He felt fine with what was going on at the festival that particular night. Whats great about the monterey pop festival, it wasnt just rock and roll music. They brought in all different genres of music here. African jazz, soul music, lou rawls sang here on friday night and one of the biggest hits of the entire festival was otis redding. Most of the audience had no idea who he was. He had been singing many years before that. He came here and blew this place away. Ive been loving you too long he actually died a few months after that festival in a plane crash, so there was a lot they brought a lot of different ideas to the festival and opened up peoples eyes, not just here, but that lived in the monterey area. One of the musicians that Paul Mccartney suggested was a young africanamerican man not well known in this country, very well known at that point in london by the name of jimi hendrix and hendrix grew up in seattle and was in the army. Hendrix was in the army in 1961 stationed here in monterey. He knew monterey and he had been here and he played here in monterey at the festival and he really no pun intended ignited this place. Takes lighter fluid, pours it on his guitar and lights the guitar on fire and gets on his knees and burns the guitar and smashes it and throws it up into the audience. People just, you know, are stunned by this. Burn marks on the stage. Its really kind of the monterey pop mythology. He is exactly what he was when he did that. The story was that that hendrix came down the next day after the festival and carved his name in there. There was a covering on the stage here, they put a wooden coverage on the floor and as you can see in the film and it was somebody else a few years later that came and carved the name underneath that. The monterey pop festival was different, a different kooifr audience and opened monterreys eyes we can combine cultures together and although they were very unsure about it, but once they saw there wasnt really a lot of problems, i think it was good for monterey. Seven of the ten musicians and bands that played at the 1967 monterey pop festival went on to be inducted in the rock and roll hall of fame. Located in cleveland, the louder than words exhibit impacts american politics. Were to the going to take it no, we aint going to take it all i want to say is that they dont really care about us all i want to say is they dont really care about us were very excited to have you here at the exhibit. This is a brand new exhibit at the rock and roll hall of fame that looks at cultural events, our history and how we process things all through the lens of rock and roll. A lot of what we do here at the rock and roll hall of fame looks at artists and genres and the impact of the music, of course, but when you step back and look at rocks ability to shape how we view things, how we process things, how people understand things, this notion of rock as a very powerful art form that really has a tremendous impact on some of the most important conversations that were having in our culture. All i want to say is they dont really care about us weve been talking about this exhibit for a number of years. Its something we thought was a fruitful topic and now as the rnc comes to cleveland were partnering with the museum in d. C. To open this 2016 in cleveland as the rnc comes into town but then also have it travel to the newseum in d. C. For the next president ial inauguration. We organized this exhibit to look at topics like lbgt issues, freedom, protest songs, rocks use in political campaigns, rocks ability to help, you know, coalesce and create a movement and look at those different topics and organize them by president ial administration from eisenhower going through today with obama and see how our perspective has changed over time, how issues have evolved through lyrics and through the art form of rock and roll and how our society has reacted as a result and how music has also reacted as society has changed. A big part of what were doing at the rock and roll hall of fame is telling stories. People come here for these artifacts just to see that object, an object that has so much power and so much history embedded. Its magical. This is really a sacred object for us. This is jimi hendrix electric guitar, its a 1968. This is also the guitar that hendrix used on stage when he infamously played the star spangled banner at woodstock. He had a lot of people that were considering a rock and roll distorted guitar version of the star spanxled banner just short of burning the flag, seen as a protest movement at a time when a lot of people were frustrated with the protests that were going on and the turbulence being created by these hippies. When hendrix gets on the show and talks about this, he says, this is not a protest, this is a tribute. Im a patriot. This man was in the 101st airborne so when you write your nasty letters in nasty letters . When you mention the National Anthem and talk about playing it in any unorthodox way you immediately get a guaranteed percentage of hate mail for people thats not unorthodox . It isnt . No. I thought it was beautiful. This was a way for him to use his ability to connect that passion of this new sound of rock and roll and demonstrate his patriotism, demonstrate his love for the country. 50 years later now you see its not uncommon for someone to play a guitar, electric guitar version of the star spangled banner in front of a basketball game or ballpark. At the time it was controversial. It was a moment in time when that performance captured the turbulence of the time, the kind of juxtaposition of a patriotism and a love for the country, with a change in society that says were not going to do things the same way and hendrix didnt do the star spangled banner the same way. He did it his own way. We have a couple artifacts including the 45 from sergeant sadler, the ballette of the green berets and vietnam and this is johnny cashs shirt. When you look at these two artists its really easy to look back 40, 50 years later and to think that everyone was against the vietnam war, but theres often some surprises that we forget about, like the ballard of the green berets men who fight by night and day so theres a lot of times throughout history where you see its not just what we remember, its not just what gets kind of elevated in pop culture, vietnam is a story that its very clear that we know that rock played a role there, but when you really dig deep theres some surprises in there and theres some alterna tv perspectives and theres some stories that sometimes get lost. You also have examples of artists like neil young and southern man, criticizing some political views in the south. Southern change at last now your crosses are burning Lynyrd Skynyrd responding with, i hope neil young will remember. A southern man you have these times when the debate just doesnt happen in society with an artist putting out a song, but you have the debate actually happening with the songs and the single that people release. Compare whats happening now to what has happened in the past, it sometimes provides some insight and some new perspective and some new way of moving forward. We have here some artifacts from dee snider who helped us unveil this exhibit this year. Dee snider wore these items when he testified in the u. S. Senate committees hearing on censorship the 1985 hearings. You say your song under the blade is about surgery. Have you ever had surgery with your hands tied and your legs strapped . The song was written about my guitar player. He was having polyps removed from his throat and he was fearful of his operation and i said eddie, while youre in the hospital im going to write a song for you. The congress put together a list of the filthy 15, the songs they identified as public enemies number 1 through 15 in making the case that rock and roll has to be controlled, censord, this led to warning labels being put on cds, and, you know, this these songs, if you talk to artists, werent that outrageous and when they brought dee snider, its really easy to understand why they wanted dee snider there. He was this metal head, he wore mascara, he was a character. Its not a wild jump and i think what i said at one point was that songs lallow a person o put their own imagination, experiences and dreams into the lyrics. People can interpret it many ways. She was looking for bondage and found it. Someone looking for surgical references would have found it as well. He was deliberately chosen to be the one to testify in front of the senate but what they didnt know, that this was a sober, articulate, family man who was very passionate about the subject and really helped make this case about the reason that rock and roll and art forms shouldnt be censored. Theres a couple instances in our history where the government starts to get involved. Theres the pmrc hearings when al was investigated by government for pay yola scandal. Hello, everybody. This is alan freed. Its time again for another of your favorite rock and roll sessions, records for all the gangs in the kingdom. On the surface thats a story about a guy who is corrupt according to the government and taking money to play music. Enjoy the moon dog show. But it was much more than that. They were operating under the assumption no one would play what they called at the time race music, no one would play this to white kids without some sinister motivation behind it. Clearly there was some financial gain that alan freed was gaining and it wasnt about a concern for corruption whats happening on the radio waves, it was a concern that this nascent genre of rock and roll is starting to take root and is starting to get into our kids transiter radios and ears and starting to introduce new ideas that challenge the status quo and create questions and challenge authority and that was a threat to the government. Later on, the fbi sends a letter to n. W. A. For their song f the police to say you cant do this. When Martin Luther king was assassinated, the day after that, james brown had a concert in boston. Sometimes james brown, i want you to know, ah boston was one of the few cities that didnt have riots after kings assassination because james brown kept it cool and other artists came in after him and said, be careful, you may be a target now because now the government knows if you can stop a riot, you can start one too. Several times in our history you have situations where the status quo looks at rock an roll and says its making our kids do bad things. Its promoting illicit sexual activity. Its advocating drug use. Its not really music. It should be stopped. That happens with elvis, that happens with the beatles, that happens with twisted sister, that happened with frank zappa and n. W. A. And it still happens because the status quo has the understanding that this music has a power to create tremendous unrest or to calm people and therefore they got to get involved and control it. This is one of my favorite displays in the rock and politics exhibit. These are the original costumes wore by the Village People. When you think about the Village People, they represent a time when our society is starting to change how they view homosexuality and the gay culture. The song ymca in some ways very controversial but also part of the american songbook, its played at pep rallies and ball games now, and very much accepted, part of our culture, part of our history, but that represents an important time for history because it starts to be where theres these artists are coming out and theyre making it okay. Theres a couple Different Things that are happening in that general time frame. If you think about, you know, the disco sucks movement, that was a really passionate, powerful Grassroots Movement where people were protesting a type of music and, you know, in hindsight, sometimes looked ridiculous. Like why do you need to protest what someone listens to, but if you look at that, that might have been not always understood at the time, but in some ways a dog whistle from the conservative side saying were not okay. Were not okay with this studio 54 and the Village People and the gay culture being out. Throughout history, you see examples of artists, you know, especially in Race Relations, making a statement, sometimes its nina simon talking about overt rage. They try to say its a communist plot all i want is equality for my brother, my sister, my people and me that also, that history connects to today when you look at the Race Relations in our country, Janelle Monae is out writing songs about walter scott, trayvon martin, michael brown, using her popularity and her voice to make a statement. Were going to be all right kendrick lamar, at the b. E. T. Awards has this politically overt all right song that really kind of coalesced and uses his celebrity and popularity to give movement to the black lives matter movement. You know, still to the day this music and these artists provide a voice to people who might not always be heard otherwise. Were presenting this exhibit not as a look at artists or genres but a look at our culture through the lens of rock and roll. You want people to understand that this is a very powerful art form that has the ability to help us process things, to bring a voice to people that might not have otherwise been heard, and to help us work through some of the most important conversations in american culture. There are over 700 inductees in the rock and roll hall of fame. We continue our look at the intersection of music and American History with the story of james brown, a member of the hall of fames first class of inductees. I feel good i knew that i would now i feel good i knew that i would now so good so good i got you we are in the museum of history in augusta, ga. We call this exhibit james brown, the godfather of soul. It gives the different perspective of him, the man, the music, and his messages in his music. Youll see beautiful memorabilia, a beautiful grand cape that he designed, as well as instruments from his home and its a great way to learn about godfather of soul visiting his exhibit at the Augusta Museum of history. I am one of the daughters of mr. James brown, the godfather of soul. Im also president of the James Brown Family Foundation and founder of the james Brown Academy of music pupils, known as jam. Some would call him the native son here. He actually was born across the bridge in South Carolina. This area is called the csra, central Savannah River area, and it borders the Savannah River, South Carolina as well as georgia. He was born right across the bridge a little bit down in barnwell county, but he grew up in augusta. Thats why he made the beautiful song georgalina because he had a good heart for both areas. Georgialina i was raised in georgia born in carolina im a georgelina my grandmother and my grandfather were poor and so he grew up in the augusta downtown area, which at that time was called the terry, for the territory of where the black lowincome people, very poor people lived, and his days were growing up in our aunt honeys place, and it was some things going on in aunt honeys house, it was a prohibition house so the military gentlemen came down to visit the ladies of the evening at aunt honeys place and as a young boy he got a chance to see some things, but that, the area, and with the surroundings that he grew up in. He met bobby byrd, which i call uncle bobby. He met uncle bobby in a detention home in rome, georgia. He uncle bobby was part of a gospel group. They came and they performed in the boys home. Dad was there as an inmate, and they met there. They became friends because in order for dad to be able to get out of that boys home, that detention home for boys, he needed a home, he needed a place to go, somebody had to take him in, and so uncle bobby talked his mom into taking dad in as the young boy so he could get out of the detention home that he was in. From that point on, they started to make Music Together and they started, of course, doing gospel music, but dad kind of changed that a little bit when he started bringing in some of his favorite songs at that time, like a lot of choo choo songs back in the day, this was in the early 50s, back in the early 50s, and so they begin to start doing r and b as we know it. The first big hit was please, please, please in 1956. Please, please, please dont go please dont go from the early 50s on to the 90s, late 90s, dad used to always be really amazed by how people were so into him and into his music, and he would be so amazed, especially when he traveled around the country. He would call me sometimes when i did radio and hed be in china, he would be in prague, he would be in these places and these people didnt even speak english, but they knew so much about him and they loved his music. It amazed him how his reach was so far, so deep to people who didnt even speak english and it amazed him, especially being where he came from. I think sometimes he wrestled with trying to understand that. It was baffling to him, like how could a poor, young boy from South Carolina come in to such grace, such favor from god, to be able to make this music. Never went to school, never finished high school, never went to college, never went to a music school. It just came to him. He always wanted to be for the common man, somebody who would go and work those 13, 14 hours a day and still dont make enough money for their family, you know, but still go and do it each and every day. He wanted to speak for the common man because he did not forget being in that position when my grandfather had to walk from South Carolina to augusta just to find a little bit of work for a little bit of money, but a whole lot of time spent. He always spoke with president s starting with lyndon b. Johnson, all the way up, about opportunity for africanamericans, young africanamericans, job opportunities, education opportunity, and then, of course, housing in the inner cities, for families to be able to live in. Dad is it some things that was way ahead of his time back in the late 60s and the early 70s. In bib county in macon, georgia, he had a restaurant called the gold platter. It would be like a walmart today. Not maybe as big, but you could go grocery shopping, but you could also have a meal there. You could also eat. There was a restaurant in there. You can go to walmart and do just about anything, you can get something to eat, shop, get your hair done. He was really way ahead of his time. He even created a system where people could have food stamps so that they could be able to purchase the food in the stores. He was so far head of his time in trying to help his community. We wont quit until we get our share say it loud say it say it loud say it loud im proud make a threeminute song, say it loud im black and im proud and that had so much power on generations to come, i dont even think that my dad realized what he was doing at the time. I believe he realized the impact that it would make at that time during those days in the 60s during the Civil Rights Movement, but have we even came out of that movement to what is going on today to what has happened today in ferguson and new york with young black men being shot down. Are we have we left that movement . It may have appeared that we really have not, that we are still in a Civil Rights Movement and until the still to this day, that song is relevant and it means a lot because now its introduced to a whole new generation who needs to understand, to be black and to be proud. Dad, when i did radio, he would always tell me that when i play that song, to expand it because we are in a different day and time now and thats how he made it for different day in time no. At that time he made it for that purpose, but he would always say come back behind that with reminding people that whatever it is you are you come from, be proud of it. If youre a woman be proud. If you are indian be proud. If you are german be proud. Whatever it is, wherever youre from, whatever your culture, you be proud. James brown legacy for me is the james Brown Academy of music peoples. These students are awesome. When dad used to always talk about the importance of Music Education in the schools his biggest gripe was that students needed to continue learning how to play instruments. He said you put an instrument in a childs hand it changed their life. Ive seen that literally happen with these students that i work with. I never in a million years thought that id be doing it. But what i have seen is the exact thing that my dad told me i would see. And these children have embraced his music. They learned music theory, music composition. They learn a lot of his songs. They learn a lot of artist music, but its all clean because that was very important to my dad. From the georgia home of the godfather of soul we now travel further south where the New Orleans Jazz Museum features this form of american music. People say that jazz is the only original art form. Im not sure its the only original one but it certainly is the most famous and most world renowned change the world kind of music. Its something the country can be proud of. Its something that has defined america not only for americans but for people outside of america. And like any great art has spoken profoundly, you know, to the truths and the great issues of our time and of humanity. Right now were on the second floor of the New Orleans Jazz Museum at the u. S. Mint. Jazz museum has been in this building since 1983. Then after Hurricane Katrina the jazz exhibit was moved out and put in storage until basically now. We have slowly but surely started taking the instruments and the artifacts out of the archive and putting them back here. And slowly but sewerly having the instrument cases right behind me. The gonzalez mural, all but slowly but surely weve been getting it out so there is an actual jazz museum. And the eventual plan is turn the entire second floor into a history of new orleans jazz exhibit. It brings to mind a collectively improvised dance music influenced by blues and spirituals and ragtime and assorted other kind of things that have come through the city. Jazz starts new orleans for a lot of different reasons. One is that new orleans is a huge port town, so lots of different cultures that contributed to jazz came here through the port through people bringing goods either from europe or from the caribbean or from the northern parts down to mississippi. There also was a very large presence of enslaved africans here and yet the laws governing how you treated these enslaved africans were much more lenient than any other place in the country. Im not at all saying it was easy to be a slave here. It was as difficult as you could expect, but these slaves had it a teenier bit easier here. They had to have a day off, you couldnt split up families when you sold slaves. They could own their own property, have their own businesses. So it was a little more lenient for them, and that meant that the kind of things they brought from africa, the culturaltropes stayed around here longer than other places. In terms of all the things that kind of came together for jazz you can start seeing it in the early 1890s and then probable by about the early 1900s, 1904 to 1910 somewhere in those neighborhoods you could start hearing something if you heard it today you could go, okay, thats jazz. In new Orleans Music has always been an essential part of the culture. They say the first opera ever performed in america was performed here at several opera houses. There were also lots of dance halls, lots of places to hear music. So music has always been an inherent part of the culture. And because of that music is a part of every kind of cultural tradition. Theres always music there at your parades, parties, christenings, your funerals. Everything generally you hire a band for. We have the largest collection in the world related to new orleans jazz. The jewel of the collection was this kornet that was a cornet Louis Armstrong first learned to play. Louis armstrong was born on jane alley which is now where the Municipal Traffic Court is. And he was born about as poor as you could probably be in this country. And he started out kind of, you know, running the streets and singing in a Singing Group with his friends and kind of like being one of those kids you see with the bottle caps on the bottom of their shoes on bourbon street with a hat in front of them. Very resourceal kid, and, you know, played a little bit, sang and then he was arrested new years eve when he was about 7 or so for shooting off his moms boyfriends pistol in the air on new years eve and was sentenced to a year and a half and thats where kind of the bandleader there saw he might have some potential and got him in the band, and he started playing in the band. And by the time he got out of there he had some idea he wanted to be a musician and started playing music along with some other the other odd jobs he had. Oliver was kind of a mentor and was a father figure to him. He and oliver and his wife would have dinner at home and stuff like that. It was played by kids not only during the time armstrong was there but for many, many years afterwards. And peter davis the superintendent presented it to Louis Armstrong and as a gift to the New Orleans Jazz Museum back in 1965, and Louis Armstrong confirmed this was the horn. But the notches he made in the mouthpiece and you can see the notches still today. Louis felt it gave him more of a grip with his lips on the instrument. So weve moved into another area of the museum. This is anair where we have a number of instruments on display. And this one is a trumpet owned by Dave Bartholomew. Hes still living. Hes in his 90s now, and he was a prolific producer and arranger, writer and bandleader. And he was really fundamental in pats dominos career. He helped produce and create arrangements for pats dominos earlier work. So Dave Bartholomew as a jazz musician and arranger is direct link from jazz to rock and roll. This is one of pats dominos pianoes. It was in the den of his home and despite being internationalally known, one of creators of rock and roll he return today his home and wanted to live in new orleans. His home was damaged in katrina, flooded heavily. This piano was in there, floated in about 12 feet of water. And once the water receded it was heavily damaged. The legs had broken off, and basically the entire piano was in just really horrible condition. Its been conserved. Its not playable, but its been conserved and brought back close to its original appearance. The conservators and repair folks said if we tried to make it playable again it wouldnt be the same piano, but we didnt want to lose the historical nature of the piano. Fats domino was from new orleans and he influenced really all of early rock and roll. The beetles were some of his biggest fans. And actually when the beatles came here in 65 they asked if they could meet with him. And they went onto influence many others and create their own music and their own dance. So he had a very Strong Influence on music here in new orleans but really around the world. Fats passing i guess a year ago was a major blow to the city and of course his family, but he left a wonderful legacy, and he influenced so many people with his warmth and with his music. So sweet ema barrett was born in 1897 and died in 1983. She was a true new orleans character. She was really wellknown by the bells she wore on her ankles. You can see that here in this photo right here. She was a wonderful musesitiicid in her later years i want to say beginning in the 60s or so. Okay, so now weve moved into the collection storage area so come this way. And this is a really neat drum set here. This was the drum set of ram hall, and he was a long time drummer, and theres some wonderful footage of this drum being played with the band. So this would have been a jazz band that was led of course by kid ory. Were just happy to have this. This came to us about 6 years ago as a donation. And right over here speaking of drums we have a drum snare shell. Thats one of drums. Many drummers think of baby dodds as kind of the father of modern drumming. And it came with this full beautiful white pearl set dodds played in the latter half of his career. And itll be one of the prime drum exhibits were doing on drums later this year in september. When folks come to the music id like for them to take away several things. The deep history of the music here. It is a living breathing art form still in new orleans and most of the country. It is a part of everything that goes on around here. Even people who say they dont like jazz or dont know jazz, know jazz songs. Its a part of your life here even if you dont realize it. As jazz reflects new orleans and its africanamerican roots the mountain music archive in National North carolina provides a window into those living in the Appalachian Mountains through musical and spoken word recordings. Is there like a particular time when you learned songs . Theyd sing them in the field and when you didnt have nothing to do. I like to say these folks were people who came of age before selfdoubt were invented. These were really wise, knowledgeable people, educated in the natural world, educated in the musical world in their own folklore. So it was just something deep and wise. So mountain music is sort of a catchall term for the traditional music of the southern appalachians. And it would involve old time music which could be dance music, banjo and fiddle music. It could be bal said and folk songs. Could also be bluegrass music, early country music. So people use that term generally to refer to the traditional music of the southern appalachians. So mountain music is this combination of english, scotch, irish and africanamerican all woven together. When all those things came to the mountains we had a hybrid that busted loose. This is around im going to say really the banjo kicked things into gear. That was in the mid1800s and that was the black influence. It came from africa. A lot of bluesy notes on the banjo. It really changed it way the pachgo was played. That compngz of english, scotch, irish and africanamerican made this incredible, incredibly powerful hybrid of music that affected music to this day. The mountain music archives is a part of our special collections housed in a library, and it consists of a number of items, recordings but also photographs and other ephemera related to music makers of this region, western North Carolina. A lot of the collection was collected in the 1970s and early 1980s. In 1969 i came back from the southern mountains. I was going to college at the university of california santa barbara, and id fallen in love with the banjo. I met raffle stanley, the great bluegrass and old time player and he was doing a concert out there, and asked him where i could go to learn the claw hammer style. He said you need to go back to asheville, lots of music so i left that summer 1969 with my buddy. Went from georgia to West Virginia going to fiddlers conventions every weekend. I fell in love with the music and people and place and the culture. To me it was like stepping into the lost world. Because at this time were talking 1969 through say 1973 or something, a lot of these old timers i mean all of them were born in the late 1800s, so these people that were closely connected to our pioneer ancestors more than modern people so i thought this was absolutely fascinate [the music was so great and the people were so wonderful. They wouldnt give you lessons but they would play for you, try to figure it out and come back and talk to them the next time and build a repertoire. It became important for individuals to start collecting mountain music in the 1960s and 1970s, and theres a variety of reasons. One is in the 1960s you had a folk music boom you could call it or a sort of ecplosion of interest in folk music. And this manifests itself in performing groups like the kingston trio or peter paul and mary or bob dylan. But along with that people who are interested in folk music began exploring the origins, you know, where these songs came from. And some individuals became very fascinated with those origin stories and to the point of tracking down individuals who had originally recorded a lot of this music back in the 20s and 30s, which became the source recordings for these folk musicians in the 1960s. Folks at Warren Wilson college decided it would be great to have a program where the students could actually learn the instruments, not just folk lorristic aspects of it, talk about it or academic view of it, but to actually learn to play the instruments. And i was new in town, really id moved here in 73 and were talking about 1975 when they wanted to start this program, and i was a guy from the outside and pretty much the only guy in town from the outside collecting music, and so i had contacted all these different aspects of the music, the ballad singers, the bluegrass players, the old time players and they were all sort of mad at each other i was kind of the perfect person to go in between and bring them together and go out to the college to teach. The collection is about 110 reel to reel cassette tapes. That was about the best equipment we could find in those days. And i collected a lot of it, the students collected a lot of it. At Warren Wilson college they had a work program, and i have students that work for me, and their job was to go out and collect music from these old timers. I came home the other night as drunk as i could be, and i saw a horse in the table where my horse ought to be. There became almost a critical need to document and record these people who were at this point entering the Twilight Years of their lives before they passed away. It was really in the 1960s and 70s when you saw an explosion of field recordings of people going to remote parts of the country and tracking down musicians and recording them as a way to preserve their music and document it for the Public Record before they may pass away and it would be unveilable. David holt started the Traditional Music Program back here in the spp 70s and i started teaching here in the 90s after he had left. And i was aware that he had recorded concerts back in the 70s. And these recordings were all here in the archives and they were all on reel to reel tapes, and i realized they were not accessible even if i had a student who wanted to listen to them you know who knew what was on those things, it wasnt a good setup. So i wanted to make them available to our students, and i had a student in 2002 who took inreel to reel tapes and we got a reel to reel player and digitized them, and then he and went through and looked at what was on these and picked out appropriate cuts to add to this online resource. So now we have these resources we can let students listen to them in the case of a fiddler, learn their fiddler repertoire, learn the nuance of their playing. In the case of say a shake note Singing Group we can hear what types of songs were popular at that point in time but also hear the nuance in their singing styles. And so it gives us a way to keep an oral tradition going where the actual culture barriers may not be with us any longer. Shape note singing is a tradition of sacred music making unique to america. And it originated in the early 19th century. And really what shape note refers to is the literal shape of the notes that appear on the page. What individuals were experimenting with around 1800 were developing a sls of notation that could make it easier for people to learn how to read music. In the 19th century it became so popular as a way for individuals to learn how to sing that Singing School masters would travel around the region and teach Singing Schools where they would actually have a class of 20, 30, 40 individuals in a community, and everyone would get together and for two weeks learn how to read shape note notation. After the Singing School was over the Singing Schoolmaster would move onto another rural community. And the community that person left would have a book, and they would get together regularly and sing out of this boom of shape note tunes. So you really had a blossoming of shape note singing in this region. As a result there were a number of books that were published. Here in western North Carolina the book that really took hold and stayed was called the christian harmony, and it was compiled by a gentleman named William Walker who was from spartanbering, South Carolina. Theres a continuous christian harmony singing thats been going on here in northwest carolina for a hundred years. So the ballad singing tradition here goes way back to the earliest settlers, and some of these ballads sung here in the mountains you can date them back to the 15, 1600s in scotland, england and ireland. You know, in it days before recorded music this is how you pass music along, so Madison County which is just north of asheville is still has ballad singers, people who have been singing the ballads for six or seven generations in their families and the ballads have been passed along. Youll find people still singing about lords and ladies and castles and things even though theyre in the mountains of northwest carolina. But if its the last thing i ever do to lord thomas wedding ill go, to lord thomas wedding ill go ballads are basically telling a story in song. Usually something happens and theres some kind of moral to the story at the end. Theyre important for passing along the customs and beliefs and fears of a culture. And the brown girl at my feet and the brown girl at my feet we use the mountain music archive to help us show current students the way that certain types of mountain music were performed and presented by individuals who were really doing it, you know, a hundred years ago. And so it creates a really critical resource and a sort of window back in time. Recordings offer an Excellent Way to hear the nuance of somebodys playing or the ornaments in someones singing that you really couldnt get otherwise. This music is important. Its American Folk Music. And when ive traveled to other parts of the world and i tell people that i play American Folk Music and sing american folk songs they say, what, we didnt know there was anything other than the commercialized music we get to hear from america. But every country has a folk music tradition. And this is even though were talking western North Carolina here, this is American Folk Music. So its important to preserve it, document it, make it available because its part of our nations history. These fiddle tunes and the old ballads, these are little bits of wisdom that are being passed down from other generations that its not an essay. Its not a book. Its something incapsulated in a tune, and it cant be put any other way. But theres power in that tune and theres wisdom in that tune when you run it through your body or a whole group of people like here at the college, it informs them in a little different way. And i think its a lot of its very up lifting. And i think it just makes people healthier. Its good medicine. Cspans cities tour travels the country expanding the american story. With the support of american cable providers we bring you the history and literally life of a different city on book tv and American History tv. To watch videos of the any of the places weve been go to cspan. Org cities tour and follow us on twitter at cspan cities. Weeknights this month were featuring American History tv programs as a preview whats available every weekend on cspan 3. Tonight cspan citys tour highlights Americas National parks. Well feature a mixture of Natural Beauty and history at eight different parks around the country. Selma to Montgomery National historic trail and Gateway Arch National park. Watch tonight beginning at 8 00 eastern. Enjoy American History tv this week and every weekend on cspan 3. Author and former Classical Musician Jonathan Rosenberg discusses his new book, dashlgs melodies, from the great war to the cold war which explores the intersection of politics and music in the first half of the 20th century. He describes how it served as a tool of outreach depending on the Political Climate of the area. Hello, everyone. On behalf of smith sewngen associates it is my pleasure to welcome you here today for Classical Music and American Foreign relations, a complicated duet. Thank you to our members, its your support that keeps us going all year round. Were going deep into the december before the holidays so it is a pleasure to ha