Ray Charles Contributions To Popular Music

Ray Charles Contributions To Popular Music Ray Charles has been described by many of his contemporaries, Such as Frank Sinatra, who said, Ray Charles is the only genius in the business. I am going to discuss to what extent Ray Charles contributed to popular music. Ray grew up alongside both gospel and country music and was heavily influenced by these two genres. I am going to discuss how through his integration of gospel and rhythm and blues in releases such as I Got a Woman helped Ray create his own musical identity but ultimately helped to create a whole new musical style Soul. Finally I will discuss how his fusion of white country music through Modern Sounds in Country and Western Music helped to break barriers and introduced country music to a mainstream audience. Nat King Cole and pianist-singer Charles Brown, much to similar style of Cole had a great effect on Ray Charles. Ray closely imitated these artists as a teenager and during his time with Swing Time Records, headed by Jack Lauderdale. However, for Ray too be more successful he would have develop his own musical identity. During the 1950s Ray Charles would begin to blend RB and secularise gospel styles, which would ultimately lead to birth of Soul. He would begin to incorporate the chord changes, song structures, call and response techniques, and vocal screams of gospel. The influence gospel had on Ray is present from an early age. Ray grew alongside church music and would listen to Wings Over Jordan and the Golden Gate Quartet. During his time at school he would regularly sing in a choir and also organise his own informal singing group, which would sing rhythmic gospel music. In 1953 Whilst recording for singer Tommy Ridgeley at the JM Studio, New Orleans, Ray would play a couple of tunes after the session. He performed Feeling Sad funeral march and Guitar Slims and Rays I Wonder Who. His performance is characteristically blues, as ray weeps his way through the lyrics as horns drone sombre chords. However as Micheal Lydon states that after re-listening, Ray opens his voice in baby steps, exploring how to shade his vocal textures. This recording shows that Ray would need to push himself further with his emotional range. Around his birthday after Ray begins to widen his emotional range his friends in New Orleans would notice a change he began to sound like a gospel singer. Trumpeter Wallace Davenport recalls The first time I heard him I thought he was Charles Brown, then he started getting into that church thing. As Ray began to incorporate gospel into his music he would listen to gospel radio and read the Braille bible he carried. Renald Richard explained how Ray loves the blues singers like Joe Turner, but most of all he loved gospel singersà ¢Ã¢â€š ¬Ã‚ ¦He used to talk about Archie Browne, the lead singer with the Five Blind Boys of Mississippi, how much he liked them. He would then begin to sound like them by turning and playing around with his notes, which would be much to the enjoyment of the audience. Later on in December 1953 whilst with Atlantic Records, Armet Ertegun and Jerry Wexler would listen to four arrangements Ray had made on radio station, WDSU. In this you can hear three distinct elements: Jazz, Deep Blues and fervid Gospel, coming together in an early stage, not a sound which is fully refined but one that sounds like Ray Charles. If there was a single turning point in the career of Ray Charles, it probably occurred on November the 18th 1954 at a radio station in Atlanta. It was here Ray and his recently formed band would record I Got a Woman. This was his first hit Ray had with a gospel influence. In October 1954, Ray was touring with his first band toward Indianna. Whilst searching the radio stations he would stop when he found a gospel station. Renald Richard remembered vividly a gospel tune that came on with a good groove and started singing. Ray sang something like I got a woman and I answered yeh she lives cross town then shes good to me. Renald then wrote the song for the next morning to the satisfaction of Ray. I Got a Woman is an archetypal 16 bar secularisation of My Jesus is all the World to me. Others have seen it as a straight rewrite of I Got a Saviour. The songs Ray had performed before like The Suns Gonna Shine had the hortatory tones of a preacher in the pulpit. I Got a Woman was a preacher a t a picnic. Light heartened gospel spiritual joy into sexual delight. It would lift the listener with each of its 4 bar chord change, confirming his optimistic lyrics. Just as the church would joyfully celebrate the glory of God. I got a woman was a record for every happy couple in America, black, white and in-between. The band first performed I Got a Woman for Ahmet and Jerry as they arrived at the Peacock club in Atlanta. Ahmet described how the power and precision had stunned Jerry. Jerry stated that something fantastic had happened, Ray had hatched, ready for fame. Through blending gospel with blues, Ray had the first time fused two strict idioms. In the African-American community the blues and gospel are both part of their culture. However a blues singer didnt sing gospel and a gospel singer didnt sing the blue. It was taboo. Many people believed that it was sacrilegious to mix blues with spirituals says Big Bill Broonzy and American blues singer. However, it quickly rose to the top of the charts in early 1955, the success of I got a woman being down to good attention from both white and black markets. Before, Ray had recorded songs like Mess Around by Ahmet Ertegà ¼n, which were big in the RB charts but not the white charts. A year after its first recording, Elvis Presley would confirm the impression it made by his own cover of I Got a Woman at RCA. In Jan 1955 Billboard quotes as I Got a Woman as one of the most infectious blues sides to come out since the summer. At the following recording session for Atlantic in Miami. Rays defining sound would be clearly and precisely heard. Ray recorded four charts, two straight blues and two gospel charts. The gospel songs This Little Girl of Mine and A Fool For You would reiterate Rays push of his gospel influence. This Little Girl of Mine is an up-tempo shouter with a rhythmic Latin feel based on the gospel song This Little Light of Mine. A Fool For You is a 6/8 double time waltz with Rays sanctified singing but without the heavenly lyrics, accompanied by piano gospel licks and preaching horns. Although, like I Got a Woman these two gospel and RB charts was seen as sacrilegious, the mix Ray had created appealed to so many audiences across the nation, and introduced a new music that would have a lasting effect, which would be later labelled as Soul music. As the 1950s progressed vocal groups following Ray Charles, began to add a sense of urgency and meaning- Soul, to their style of music resulting in the groups of Motown and others, including groups like the Chicago based family band called the Staple Singers who had hit songs which were centred around Gospel and RB. Their success followed on into the 1970s. In the late 1950s into the 1960s girl groups joined male Doo-Wop and RR groups, which resulted in groups like The Shirelles, Marveletess and The Supremes. Their material was largely written by the Brill Building writers and received hit records but never usually lasted. As Ray Charles added the gospel influence to his music, such as the call and response backing vocal groups like the Raylettes so too did Aretha Franklin. She reinfused her female backing groups with a gospel influence, which are present in her mid 1960s Atlantic recordings. Other artists like James Brown, who started his career as a singer with the Gospel Starlighters, following the style of Reverends Julius Cheeks and Claude Jeter added RB to their style. The vocal urgency and syncopated dance rhythms of gospel along with top notch RB house bands came together most clearly in the music of James Brown. Combining a Little Richard- style act with other theatrics from Joe Tex and a pleading version of Ray Charles gospel/soul. He then recorded his hit Please, Please, Please. In 1959 Ray released Whatd I Say, a song that became a top ten pop hit and would be one of his last singles with Atlantic before his move to ABC. There are clear gospel influences combined with the sexual innuendo in the song made it not only widely popular but very controversial to both white and black audiences. In the middle of the song. Charles indicated that The Raelettes should repeat what he was doing, and the song transformed into a call and response between Charles, The Raelettes, and the horn section in the orchestra as they called out to each other in ecstatic shouts and moans and blasts from the horns. This improvised interchange between himself and the Raylettes and between the band and audience is much like that of a Preacher and his congregation. Ray also uses gospel dialouge with unuh-uhnnh over charles moans and cries. He also uses phrases like shake that thing and I feel alright, and expression for the body instead of the lord. During Rays early life the influence of country and western music is ever present. When Ray Charles was growing up, the south was full of Country or Hillbilly music. Ray explains how there wasnt a single Saturday night that he wouldnt listen to the Grand Ole Opry on the radio. I loved Grandpa Jones and other characters. I could hear what they were doing and appreciate the feeling behind it. Ray would listen to Jimmie Rodgers, Roy Acuff, Hank Snow, Hank Williams and later Eddie Arnold. I listened to them all the time, I certainly dug it and paid it some mind. In 1948 Ray joined a Hillbilly band called the Florida Playboys. It took just one audition to convince the Playboys that Ray could play country music with genuine flavour, and they hired him, no questions asked about race. For seven months he gigged with the band, playing current country hits of the day like Kentucky Waltz and Anytime in white honky-tonks in and around Tampa, learning to yodel and singing, Waiting All for You. Even as black, blind man, Ray was accepted and applauded just like anyone else by the audience. I could play the music right and I could do country music with as much feeling as any other southernerà ¢Ã¢â€š ¬Ã‚ ¦. I had been hearing it since I was a baby. Long before the birth of his own country music, Charles looked back with pride on his stint with the Playboys.Lydon. In an outtake of a 1950s recording, Ray plays a limpid country lick. The producer chuckles over the studio intercom and says that he didnt know Ray could play Nashville. Ray then replies Man, Didnt you know I gigged with the Florida Playboys His time with the Florida Playboys, though brief would plant a seed in his mind that would rise during the 1960s. After leaving Atlantic Records in 1959, Ray joined ABC and at the end of 1961. He asked Sid Feller to get together 40 country hits from the last twenty years with the idea to record a country album. Sid Feller had not know at the time that Ray liked County and Samuel Clark and Larry Newton the executives at ABC Records were adamantly opposed to the idea that Charles brought to them. The ABC executives said, You cant do no country-western things.Youre gonna lose all your fans! However Feller believed that Ray understood Country music. He describes how Ray loved the simple plaintive lyrics, and he felt that giving the music a lush treatment would make it different Modern Sounds in Country and Western Music is a dozen tunes that runs the whole scope of Nashville from the traditional Careless Love to the rock and roll Bye Bye Love and from Hank Williams to the B-side fail of I Cant Stop Loving You. The tracks alternate from big band to string and voice. However regardless of all the jazz and symphonic effects present, the heart of every arrangement is a simple strummed guitar. Rays bluesy melismas wring every tear out of the country weepers, all the poetry out of their monosyllabic lyrics. I Cant Stop Loving You has a folk song strength, major scale melody, marching up and down over 3 chords and operatic grandeur created by his baritone voice and orchestra. He also uses his trademark letting the chorus lead the lyric with his voice following. Ray sings County in his own way, expanding the country sounds without distorting its colour. Rays own blend obscures the fact that Modern Sounds was his boldest album, which breaks many barriers. Invading white country music in the 1960s was something black pop-jazz singers didnt do. You had to be Country in 1962. After Modern Sounds it became a major player in Rays repertoire and on popular music. His unique blend of Country, Pop, Jazz and RB introduced country music to people of the city and showed to record companies and producers how to arrange their music to reach a much wider audience. Ray Charles played a pivotal role in shaping the course of a seemingly very different genre of popular music. In the words of his good friend and sometimes collaborator, Willie Nelson, speaking before Charles death in 2004, Ray Charles the RB legend did more for country music than any other living human being. The landmark album that earned Ray Charles that praise was Modern Sounds in Country and Western Music, which held at number 1 for 14 weeks and stayed in the charts for 2 years. His single release I Cant Stop Loving You ruled at number 1 on RB and Easy Listening charts for weeks in the summer of 1962 dipping to 3rd in July and beginning to fall in august. As Charles told Rolling Stone magazine a decad e later, But Charles recognized the quality of songs like I Cant Stop Loving You by Don Gibson and You Dont Know Me, by Eddy Arnold and Cindy Walker, and the fact that his version of both of those country songs landed in the Top 5 on both the pop and RB charts was vindication of Charless long-held belief that Theres only two kinds of music as far as Im concerned: good and bad. Following the massive commercial success and notice of Modern Sounds in Country and Western Music, country music experienced an immediate increase in popularity. According to music writer Daniel Cooper, the album raised the genres profile, specifically Nashville sound, of which Charles had covered. Benefiting from this were songwriters, music publishers and country singers who covered the subgenres material. As noted by Cooper, by the end of 1962, Nashville country publishers were being held as the hottest source of music material in the record business these days. Ray Charless success with the stylistic fusion of country and soul on Modern Sounds later lead to country soul efforts from performers, such as Candi Staton and Solomon Burke who were both greatly influenced by Charless Modern Sounds recordings. Many country music artists, such as Willie Nelson and Buck Owens, have cited Charless take on country music and Modern Sounds in Country and Western Music as their major influences. In an interview for Country Music Television, Nelson said of Modern Sounds influence that the album did more for country music than any one artist has ever done. Modern Sounds in Country and Western Music has also been perceived by many critics and writers as a landmark album in American music, as the record was the first to blend the two racially distinct genres of country and soul. Ray Charles all-embracing attitude toward music was one that he developed during his childhood and early career. Ray was immersed in the sounds of jazz, blues, gospel and country in his youth, playing in RB bands and a Country Hillbilly band. Ray Charles pioneered soul music, which had a great effect on popular music. In secularising certain aspects of gospel music with RB, Ray received his first gospel and RB hit I Got a Woman, which received attention from both black and white audiences. Subsequently, further releases like Whatd I Say and the Hallelujah I Lover Her So album attracted a large mainstream audience. His fusion of white country music earned Ray mainstream and crossover success, with his album Modern Sound in Country and Western Music which broke racial stereotypes and exposed country music to city dwellers. It also helped other country artists; particularly them orientated around the Nashville sound, reach a wider audience, raising the genres profile. To him, the bounda ries between those styles of music were made to be crossed, and he made a career out of doing just that having a great effect on popular music.

Structuring a Successful Composition Course Essay -- English Writing T

Thinking about how I would structure my classroom for a composition course creates a dilemma for me. I had a great experience in my high school composition courses. I really responded to how it was taught and made a personal connection to the work I was doing. Originally, I wanted to model my classroom after the one I had loved so much. The readings I have done concerning postmodern techniques being used in a composition course have also seemed very appealing to me, but present a different classroom experience. James Berlin claims â€Å"in teaching writing we are tacitly teaching a version of reality and the student’s place and mode of operation in it† (235). Without dealing with the forces students are contending with I would be indoctrinating them with my own ideology and not teaching them the tools to understand and work with these systems for themselves. The problem is how can I reconcile these two teaching styles to fit into my version of a productive and successfu l classroom? The initial thing I would be concerned with when teaching a course such as this is how to get the students to want to do the work. I know that most kids do not want any part of schoolwork period, but how can I make the work interesting enough to get kids to at least have some kind of connection to their work? My first instinct would be to assign a short writing task with a few options for topics concerning the kids personal lives, family situations, or friends. James Sosnoski in his essay â€Å"Postmodern Teachers in Their Postmodern Classrooms: Socrates Begone!† attempts to create a series of writing assignments for his postmodern classroom. His first assignment would not be as concerned with the individuals issues, but he would have the students write about ... ...for my teaching is to teach my students to understand themselves and how they fit into the systems that affect their lives in so many ways. How I am going to go about doing that I have not figured out quite yet. Works Cited Althusser, Louis. â€Å"Ideology and Ideological State Apparatuses.† Althusser, Lenin 127-86. Berlin, James A. â€Å"Contemporary Composition: The Major Pedagogical Theories.† Illinois: National Council of Teachers of English, 1997. 233-48. Clifford, John. â€Å"The Subject in Discourse.† New York: The Modern Language Association of America, 1991. 38-51. Jarratt, Susan, A. â€Å"Feminism and Composition: The Case for Conflict.† New York: The Modern Language Association of America, 1991. 105-123. Sosnoski, James, J. â€Å"Postmodern Teachers in Their Postmodern Classrooms: SocratesBegone!† New York: The Modern Language Association of America, 1991. 198-219. Structuring a Successful Composition Course Essay -- English Writing T Thinking about how I would structure my classroom for a composition course creates a dilemma for me. I had a great experience in my high school composition courses. I really responded to how it was taught and made a personal connection to the work I was doing. Originally, I wanted to model my classroom after the one I had loved so much. The readings I have done concerning postmodern techniques being used in a composition course have also seemed very appealing to me, but present a different classroom experience. James Berlin claims â€Å"in teaching writing we are tacitly teaching a version of reality and the student’s place and mode of operation in it† (235). Without dealing with the forces students are contending with I would be indoctrinating them with my own ideology and not teaching them the tools to understand and work with these systems for themselves. The problem is how can I reconcile these two teaching styles to fit into my version of a productive and successfu l classroom? The initial thing I would be concerned with when teaching a course such as this is how to get the students to want to do the work. I know that most kids do not want any part of schoolwork period, but how can I make the work interesting enough to get kids to at least have some kind of connection to their work? My first instinct would be to assign a short writing task with a few options for topics concerning the kids personal lives, family situations, or friends. James Sosnoski in his essay â€Å"Postmodern Teachers in Their Postmodern Classrooms: Socrates Begone!† attempts to create a series of writing assignments for his postmodern classroom. His first assignment would not be as concerned with the individuals issues, but he would have the students write about ... ...for my teaching is to teach my students to understand themselves and how they fit into the systems that affect their lives in so many ways. How I am going to go about doing that I have not figured out quite yet. Works Cited Althusser, Louis. â€Å"Ideology and Ideological State Apparatuses.† Althusser, Lenin 127-86. Berlin, James A. â€Å"Contemporary Composition: The Major Pedagogical Theories.† Illinois: National Council of Teachers of English, 1997. 233-48. Clifford, John. â€Å"The Subject in Discourse.† New York: The Modern Language Association of America, 1991. 38-51. Jarratt, Susan, A. â€Å"Feminism and Composition: The Case for Conflict.† New York: The Modern Language Association of America, 1991. 105-123. Sosnoski, James, J. â€Å"Postmodern Teachers in Their Postmodern Classrooms: SocratesBegone!† New York: The Modern Language Association of America, 1991. 198-219.

Hand with the Reflecting Sphere

Reflection of Life Near the end of every journey of life, people will look back and reflect on past doings to judge the weight of what they feel their life was worth. For some, that reflection may be filled with feelings of accomplishment and contentment. That feeling can be for things such as settling down with a family or just simply making the most of what life has thrown at them. For others, however, the reflections may be filled with various memories of regrets stemming from things such as lost loves or an isolated lifestyle. Hand with Reflecting Globe, a picture drawn by M. C.Escher, a famous artist, depicts an example of a life reflection, in this case, the artist himself. The concept Escher tries to express is that each spontaneous action or decision has a major influence on what can seen in the reflection. The message being shown through this picture is that every man, woman or child who does not take full advantage of the life given to them will live only to look back on wh at can be described as an empty room, nothing to express emotionally and certainly nothing important enough to form any kind of attachment, however, a major element in Escher’s image is power.Power to control and change the reflection in the globe depending on the individual’s choices and actions in life. The focal point of any piece of artwork is the one object that instantly grabs the audience’s attention, in this case, the man, a representation of a life full of regret and delusion. The neutral expression seen on his face suggests that he holds no particular attachment to his surroundings and constantly keeping a professional front, not usually a feeling associated with one’s home. Another feature that hides what the man is currently thinking is his beard.Covering half of his face, the beard serves as a barrier between the reflection and the man’s emotions, in a sense, protection from reality. The simple curve of the globe causes the man’ s facial features to appear as if he has a small smile on his face, perhaps because the man wants to delude himself into thinking that the life he currently leads is not as horrible as it looks. The suit being worn leads the viewer to believe that while he may have a successful career, the man puts more attention on his work than his personal life that he seems to be uncomfortable even in such an intimate setting.His rigid posture also adds to the formality that he holds. The man sees his own home to be unfamiliar territory, stemming from the idea that he has no one to come home to, and holds no emotional attachment. Because of the lack of attachment, the man seems to be lifeless in the sense that there is a lack of movement or emotion within his body. The entire room is entirely bare of any personal belongings, such as intimate pictures, that can be usually seen littered in people’s homes symbolizing loneliness.The air in the room, like the man, seems to be completely lifele ss because things seem to be firmly planted on the ground and completely still. The furniture in the room seems to be completely untouched suggesting the lack of visitors. Their positioning, however, is set up in an intimate manner, a delusion made by the man into thinking that he does not lead an entirely lonely life. Besides the lack of anyone else in the room, the windows also radiate an isolated feeling. The bars on the windows closely resemble prison bars along with no visible door suggest that there is no escape.Prisons keep prisoners isolated from the general public as a form of punishment; the man sees that his current lifestyle is a type of punishment because prison bars keep people in but they also keep people out, isolating him further. On the other hand, the only light source visible in the room is coming from the windows hinting towards the brighter world outside and what the man could have had instead of sitting in a darkened corner. Because of the isolation his  "prison cell† provides, it only allows the man to see outside the windows and not interact with them physically causing a feeling of loneliness.When thinking of a globe, most come to the conclusion to the model of Earth, the public’s world. In this picture, however, the globe is a symbol for a world, more specifically the man’s world. Because of the characteristics of crystal, it causes one’s reflection to be flipped upside down and no matter how much the man may try to delude himself, it is too late to completely turn his life around. Therefore, the world the man is looking into is not his future, but into his past. The clarity of the reflection suggests that the globe is made of a chrome material.Chrome balls are hollow on the inside representing the emptiness within the man’s world. Because of the weightless quality, seen from the lack of strain in holding up the ball, the man’s world can be seen as extremely fragile and unstable. The frai lty can be connected back to the man’s lack of attachments because he finds nothing important enough to weigh down and stabilize his world. Each new attachment or accomplishment made in one’s life slowly adds weight and size to the globe also making it sturdier giving it a sense of balance, something humans seek in everything they see and do.In the man’s world, however, his lack of attachments is affecting the stability and size of his world since his world only consists of that one room. The room is big enough for a family but only houses one, thus, bringing, a sense of loneliness and regret. Within in the globe being depicted, it shows all the flaws of a life full of isolation despite the flawless nature of the surface of the globe. The hand, as simple as it is, plays a role just as important as any of the other symbols. â€Å"Take control into your own hands,† is a saying that is drawn quite literally in this picture because the hand is a symbol for co ntrol.Escher is emphasizing the fact that the holder is always in control of their world based on the decisions made. The weight of someone’s world is dependent on the confidence to make words become actions and being able to prioritize the events in one’s life. Thinking of the size difference between a hand and the world is astronomical. In the picture, however, both the globe and the hand are drawn roughly the same size showing the importance of both and how much of an influence one decision can make on their reflection. Besides the globe, the hand, in reality, is the only object that is physically in the picture.The man and the room are simply visual reflections. That small detail shows that the hand is the only controlling factor when it comes to what is being reflected and the only connection to reality. A hand to individuals is unique, just like his or her thought process. Therefore, each reflection varies person-to-person good or bad depending on their own choic es. A life filled with no attachments or achievements can cause a reflection filled with emptiness and regret when they do not live their life to the fullest and take control of their life.The regrets may come from being too absorbed in one aspect they completely ignore or forget about the other and it causes damage as time ticks on and it starts becoming too late. Escher has drawn a piece that truly resonates in any kind of person to convey the message that the power to live life to the fullest all rests in the palms of their hands and it is up to each and every person to make the decisions that influence the accomplishments and achievements made throughout lives.However, another message that comes through with the picture is also that the superficial world is what defines what is important today. People are more focused on making the money to live comfortably and to show off the material possessions that are owned. That drive to own material possessions has caused the neglect of t he social life that leads to the lonely and depressed feeling that is personified in the picture drawn by Escher. The picture is clear, materials hold no meaning and no pull without anyone to share in the success and provide support along the way.

Leadership Effective And Effective Leadership - 848 Words

Followership Effective followership is an essential component of effective leadership in that, without good followers, the leader’s work is difficult and cumbersome. The role of the follower is many times understated. As illustrated by Kelley (1998), â€Å"effective followers are thinkers; energetic and assertive, self-starters, independent problem solvers, and carry out their tasks with these characteristics (p. 143). Effective followers also are characterized by their ability to perform tasks with little supervision, their intelligence, and ability to think for themselves. We are all followers, even those who consider themselves leaders; so to encourage this effectiveness in others; we must be role models for those under us, so that they may also be effective at following. Chaleff (2009) observed that â€Å"all important social accomplishments require complex group effort and, therefore, leadership and followership† (p. 13). We must know how to follow before we can be effective leaders. Reflective Analysis Leadership lesson 1 One of the biggest lessons learned from this course is that to be an effective leader, you must have a diverse skillset. I’m not sure if there is any one magical component or characteristic in being a great leader. One influence during my review of the literature was that; although easier for some, I see leadership as something we must continually improve upon. This is in contrast to my belief during my first day of class, when I thought leaders justShow MoreRelatedEffective Leadership And The Leadership Essay1316 Words   |  6 Pagesreport will investigate on the effective leadership and the need for the leaders to lead from behind and put others in front in the occurrence of nice things and to take the front line when there is a danger. 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