114 Sentences With "juke joints" | Random Sentence Generator

He moved on to harmonica and guitar, often sneaking into juke joints to listen to music.

Black people protect them in bars, give them rides, stash them in bedrooms, play music for them in juke joints.

Narrating the scene, Matsoukas discusses her influences for the production design, which include the work of Birney Imes, who photographed juke joints in the Deep South.

In clubs and juke joints, at weddings and dances, in sweatboxes, filthy bars and rancid watering holes, even at a Harvard class reunion two decades before.

Like a true fan, Boyce takes us into clubs and bootleg juke joints like Sam's Chicken Shack and Blue Room and lets the music speak for itself.

He hits the road, packing nightclubs and juke joints across the South, and releases a series of albums whose salacious covers hint at the exuberant obscenity inside.

Mr. Reed's journey to the Harlem townhouse where the group meets includes some familiar chapters of America's musical narrative: a start in the juke joints around Clarksdale, Miss.

It was there, in the town's popular juke joints — segregated stores or private houses that doubled, after hours, as recreational places — that his now legendary music career began.

Mr. Davis spent decades performing around the South at juke joints and house parties before a broader audience got a chance to hear his electrified rural blues in the 22015s.

Throughout Africa and the African diaspora, black bars tend to serve as more than hangouts, be they the shebeens of South Africa or the juke joints of the Mississippi Delta.

From playing brothels and juke joints in the Jim Crow South to decades-long collaborations with the Chicago blues pioneers Muddy Waters and Howlin' Wolf, the three weathered careers of astonishing flux.

With the death of Chuck Berry in March—and Little Richard and Fats Domino largely retired—Lewis is the last of the great rock 'n' rollers still conjuring the sounds of long nights in long gone Delta juke joints.

He had served his musical apprenticeship in juke joints and roadhouses in and around Baton Rouge and knew the real action was in Chicago, in smoke-choked bars so cramped that the stage was often not much bigger than a tabletop.

" As a teenager, Mr. Davis played street corners and juke joints around Helena, which at the time was a bustling Mississippi River port, "wide open" with gamblers, bootleggers and honky-tonks, Mr. Davis recalled in the 1984 documentary "Blues Back Home.

Like many bluesmen who lived in the shadow of Jim Crow, Johnson was a wanderer for most of his adult life and performed in juke joints — often traveling with his fellow blues artist Johnny Shines — as far as New York City.

The film takes its name from a Muddy Waters song, but he is mentioned only in passing, a onetime colleague of several musicians featured here, mainly regional heroes who eke out livings playing the juke joints that still make up the chitlin' circuit.

The unit's presence was heaviest in Ricky's neighborhood, Memphis Town, a moniker bestowed in the 22015s by the black service members from the nearby Air Force base who declared that the juke joints and restaurants on 213th Avenue reminded them of Beale Street in Memphis.

Juke joints may represent the first "private space" for blacks. Paul Oliver writes that juke joints were "the last retreat, the final bastion for black people who want to get away from whites, and the pressures of the day." Jooks occurred on plantations, and classic juke joints found, for example, at rural crossroads began to emerge after the Emancipation Proclamation. Dancing was done to so-called jigs and reels (terms routinely used for any dance that struck respectable people as wild or unrestrained, whether Irish or African), to music now thought of as "old-timey" or "hillbilly".

Constructed simply like a field hand's "shotgun"-style dwelling, these may have been the first juke joints. During the prohibition in the United States it became common to see squalid independent juke joints at highway crossings and railroad stops. These were almost never called "juke joint"; but rather were named such as "Lone Star" or "Colored Cafe". They were often open only on weekends.

The low-down allure of juke joints has inspired many large-scale commercial establishments, including the House of Blues chain, the 308 Blues Club and Cafe in Indianola, Mississippi and the Ground Zero in Clarksdale, Mississippi. Traditional juke joints, however, are under some pressure from other forms of entertainment, including casinos. Jukes have been celebrated in photos and film. Marion Post Wolcott's images of the dilapidated buildings and the pulsing life they contained are among the most famous documentary images of the era.

Bill Coday was born in Coldwater, Mississippi. As a young man he began singing in juke joints in and around Blytheville, Arkansas.Bogdanov, Vladimir; Woodstra, Chris; & Erlewine, Stephen Thomas (2003). All Music Guide to Soul, p. 150.

Juke joints are still a strong part of African American culture in Deep South locations such as the Mississippi Delta where blues is still the mainstay, although it is now more often featured by disc jockeys and on jukeboxes than by live bands.

He returned to Mississippi in the mid-1950s, where he continued to perform in clubs and juke joints in and around Jackson. Temple eventually gave up the blues to become a minister. He died of cancer on November 22, 1968, aged 62, in Jackson.

Their raw sound evokes wild nights at the traditional juke joints of America's south.Sweet Baby James & Rob Eyers, Australian Blues Festival They are no longer performing or recording. Their last live performance was at a benefit concert in Adelaide for Chris Wilson (Australian musician) in September 2018.

Love was born in Duncan, Mississippi. In 1942, he met Sonny Boy Williamson II in Greenville, Mississippi. They played regularly together at juke joints throughout the Mississippi Delta. Love was influenced by the piano playing of Leroy Carr and was adept at both standard blues and boogie-woogie styling.

He plays both harmonica and guitar, occasionally at the same time, and has performed at blues festivals, and in juke joints, to supplement his regular income gained from working in a furniture factory in Pontotoc. Playing solo, or with his own blues ensemble, Bean also made an appearance as himself in the 2008 documentary film, M For Mississippi, making mention of his daytime employment. Four years later Bean had a part in the film's follow-up, We Juke Up In Here, where he notes the decline in the number of performance outlets, such as juke joints. Bean has been a regular performer at the Briggs Farm Blues Festival in Pennsylvania, appearing in 2005, 2010 and 2011.

The pair played drums and piano on radio sessions. Turner gained experience performing by supporting Nighthawk at gigs around Clarksdale. He played juke joints alongside other local blues artists such as Elmore James, Muddy Waters, and Little Walter. Performances typically lasted for about twelve hours, from early evening to dawn the next day.

In the decades that followed, it spread throughout the American South and was most popular in semi-rural juke joints, where it was danced to the blues. Buster Pickens, who was born in 1916, described people doing the slow drag to "slow low-down dirty blues" in barrelhouse joints.Stearns, Jazz Dance (1994), p. 23.

Liner notes of Mississippi Hill Country Blues. Swingmaster CD 2201. scan 1, scan 2 he picked more local gigs, playing guitar in juke joints and bars (some under his management), at picnics and at his own open house parties, and at an occasional festival. His career boomed in the last twenty years of his life.

Po' Monkey's is a juke joint located approximately west of Merigold. The Mississippi Blues Commission placed a historic marker at the Po Monkey's Lounge in 2009 designating it as a site on the Mississippi Blues Trail for its contribution to the development of the blues (and one of the few authentic juke joints that is still operating today).

Hodgkinson observed that Ford could not explain his technique. He simply worked out a way of playing that sounded like the guitarists he admired — Muddy Waters and Howlin' Wolf. Ford toured juke joints and other venues, for a while opening for Buddy Guy. In 1995, he was discovered by Matthew Johnson of Fat Possum Records,McInerney, Jay.

In contemporary South Africa, they serve a function similar to juke joints for African Americans in the rural Deep South of the USA. They represent a sense of community, identity, and belonging. Today, they appeal to South Africa’s youth, and are mostly owned by men. Shebeens are bouncing back as South Africans try to preserve some of their cultural heritage.

Black Boy Shine (c. September 12, 1908 – March 28, 1952) was an American Texas blues pianist, singer and songwriter. Little is known of his life outside of his recording career. He was part of the 'Santa Fe Group', a loose ensemble of black blues pianists who played in the many juke joints abutting the Atchison, Topeka and Santa Fe Railway.

Many of the early and historic juke joints have closed over the past decades for a number of socio-economic reasons. Po' Monkey's is one of the last remaining rural jukes in the Mississippi Delta. It began as a renovated sharecropper's shack which was probably originally built in the 1920s or so. Po' Monkey's featured live blues music and "Family Night" on Thursdays.

Born in Bellville, Texas, Bonner was one of nine children; his parents died when he was very young. Raised by a neighbor's family, he moved in with his older sister in 1945. At the age of twelve he taught himself to play the guitar. He gained the nickname "Juke Boy" as a youth, because he frequently sang in local juke joints.

John T. Smith (1896 – June 30, 1940) was an American Texas blues musician, who had a short lived recording session with Vocalion Records. Little is known about his life, although he was a busking street musician in Texas, Louisiana, and Oklahoma. He was believed to have been born sometime between 1880 and 1890. Smith played at parties, juke joints, and fish fries.

Willie "61" Blackwell in 1971. Willie "61" Blackwell (born December 25, 1905 - 1972) was an American country blues guitarist and pianist. As an iterinant performer who played mainly on street corners and juke joints, Blackwell did not have a prolific career, but did record with musicologist Alan Lomax in 1942 and was rediscovered during the blues revival of the 1960s.

300px Po' Monkey's was a juke joint in unincorporated Bolivar County, Mississippi, United States, outside of Merigold. The juke joint was founded in the early 1960s and was one of the last rural juke joints in the Mississippi Delta.Luther Brown, "Inside Poor Monkey's", Southern Spaces, 22 June 2006. It ceased operating after the death of operator Willie "Po' Monkey" Seaberry in 2016.

In the 1940s and 1950s, Helena attracted blacks from rural Arkansas and the Mississippi Delta, who came for the jobs. Some also worked full-time as musicians. By then Helena was 70% black, and juke joints employed such blues pianist as Sunnyland Slim, Memphis Slim and Roosevelt Sykes. In November 1941, a white businessman put together the staff for the town's first radio station KFFA.

Set up on the outskirts of town, often in ramshackle, abandoned buildings or private houses — never in newly-constructed buildings —, juke joints offered food, drink, dancing and gambling for weary workers. Owners made extra money selling groceries or moonshine to patrons, or providing cheap room and board. The term "juke" is believed to derive from the Gullah word joog or jug, meaning rowdy or disorderly.

Dotson was born in Ethel, Louisiana, on October 19, 1933. He began his music career singing in local juke joints. As a teenager he relocated to New York, where he performed in comedy shows singing pop music standards, but his fledgling solo singing career failed to take off. By the mid-1950s he had returned to Louisiana, briefly playing in an ensemble with Lazy Lester.

At first Slim was not rated very highly by his peers. He returned to Mississippi to work and got his younger brother Nick interested in playing bass. By 1965 he was back in Chicago and in 1970 Nick joined him in his band, the Teardrops. They played in the dim, smoke-filled juke joints popular in Chicago in the 1970s on bandstands barely large enough to hold the musicians.

Ry Cooder said he spent a year working on the soundtrack. He later said: > That was an easy film to understand. We’ve all looked at that myth about a > white kid going South, and I knew the sign posts along the way. Old time > players, juke joints, the lonely roads you go down... These things are all > wordlessly spoken of in blues music, which is an encyclopedia of experience.

King, a cousin of Lightnin' Hopkins, was born in McComb, Mississippi, and learned to play the guitar from his father. In 1954, at the age of 14, he moved to New Orleans. He performed in juke joints with his friends Babe Stovall, Slim Harpo, and Champion Jack Dupree, playing both acoustic and electric guitar. He recorded the first electric blues album in New Orleans with Harmonica Williams in 1969.

Gene Fowler's article entitled "'Physic Opera' on the Road: Texas Musicians in Medicine Shows". Journal of Texas Music History, 8(1) (2008); p. 11 As these shows declined, and listening to recorded music and dancing in juke joints and honky tonks became more popular, so the older songster style became less fashionable. Songsters had a notable influence on blues music, which developed from around the turn of the 20th century.

King performed tirelessly throughout his musical career, appearing on average at more than 200 concerts per year into his 70s. In 1956 alone, he appeared at 342 shows. King was born on a cotton plantation in Itta Bena, Mississippi, and later worked at a cotton gin in Indianola, Mississippi. He was attracted to music and the guitar in church, and began his career in juke joints and local radio.

Memphis Slim historic home in Memphis Memphis Slim was born John Len Chatman, in Memphis, Tennessee. For his first recordings, for Okeh Records in 1940, he used the name of his father, Peter Chatman (who sang, played piano and guitar, and operated juke joints);Charters, Samuel Barclay. The Legacy of the Blues, Da Capo Press (1977), p. 165. . it is commonly believed that he did so to honor his father.

In the 1950s, Trice moved back to North Carolina and joined a gospel quartet. He performed at house parties, juke joints, and tobacco warehouses until the early 1960s. He was interviewed by music historians in the 1970s, but he never played blues guitar again. The film Shine On: Richard Trice and the Bull City Blues, released in 2000, chronicled Trice's life, the blues music particular to his region, and his spiritual rediscovery.

Armstead was born to Wilton and Rosie Armstead in Yazoo City, Mississippi on October 8, 1944. She started singing in the church in which her mother was a minister. After her grandfather introduced her to blues music, she also began singing in juke joints and at dances, and first sang in a club as part of Bobby "Blue" Bland's band. She joined a local band, Little Melvin & The Downbeats, as a teenager.

His public performances were limited to stints at parties and local juke joints. Although Caldwell had begun playing the blues as a teenager, his repertoire remained unrecorded until 2002, when he met Fat Possum Records boss Matthew Johnson. Impressed with Caldwell's playing and personal charisma, Thompson set up recording sessions at The Money Shot in Water Valley, Mississippi. Most songs featured just Caldwell's voice and electric guitar, though a few tracks included minimal drums.

In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954.

"Immigrant, Folk, and Regional Music in the Twentieth Century". The Cambridge History of American Music. David Nicholls, ed. Cambridge University Press. p. 285. . The first appearance of the blues is usually dated after the Emancipation Act of 1863, between 1860s and 1890s, a period that coincides with post-emancipation and later, the establishment of juke joints as places where blacks went to listen to music, dance, or gamble after a hard day's work.

He expressed regret that Tallahassee Negroes seeking to end segregation were not meeting in juke joints, because it would have been easy to ban FSU students from them. But they met in churches, leaving Campbell "in a quandary over how to ban student support of integration". Campbell retired from his position on June 30, 1957, but remained in Tallahassee as president emeritus of Florida State until his death on March 23, 1973.

The Victory Grill is one of the last remaining original Chitlin' Circuit juke joints. It is listed on the National Register of Historic Places, archived by the Texas Historical Commission, and dubbed a "Texas Treasure" by the statewide organization Preservation Texas. It stands as an artifact to the development of a distinct American music tradition. The restoration of the Victory Grill bridged the era of the Chitlin' Circuit to today's urban contemporary sounds.

Shines was born in the community of Frayser, in Memphis, Tennessee. He was taught to play the guitar by his mother and spent most of his childhood in Memphis, playing slide guitar at an early age in juke joints and on the street. He moved to Hughes, Arkansas, in 1932 and worked on farms for three years, putting aside his music career.Johnny Shines interviewed by John Hammond Jr. in The Search for Robert Johnson (UK, 1991).

He also has two tracks on Yazoo L-1010 (LP, 1968), "Hurry Blues" and "Rollin from Side to Side", both listed as recorded in 1929. Jones performed at parties, fish fries and juke joints, often in the company of Thomas Shaw, Texas Alexander, and J. T. Smith. Jones never recorded another song. He resided in Naples, Texas, where he would stay for the rest of his life with his second wife, while working in various jobs.

King's recording contract was followed by tours across the United States, with performances in major theatres in cities such as Washington, D.C., Chicago, Los Angeles, Detroit, and St. Louis, as well as numerous gigs in small clubs and juke joints of the southern United States. During one show in Twist, Arkansas, a brawl broke out between two men and caused a fire. He evacuated along with the rest of the crowd but went back to retrieve his guitar.

Jesse "Monkey Joe" Coleman was an American country blues pianist and singer, who recorded sporadically from the 1930s into the 1970s. Jesse Coleman was most likely born in Mississippi, and though the year of birth is not known, he was probably born around 1906. He worked locally in Jackson, Mississippi in juke joints in the 1930s, and recorded with Little Brother Montgomery in 1935 on Bluebird Records. He began using the moniker "Monkey Joe" during that decade.

Riverside Pavilion was the only venue where black city residents could see musical legends such as Duke Ellington, Count Basie, Louis Armstrong, B.B. King, and Ivory Joe Hunter. Music performances at the Pavilion spawned juke joints, or night clubs, in Scanlonville and eventually a hotel called White's Paradise. James Brown was known to have frequented this hotel. Exploring the marshes After the original park owner died in 1975, operations of the Riverside property were taken over by Charleston County.

In 1983, Arthur Wilson, a 57-year- old African-American man, was beaten and killed about 2 am outside a juke joint in Winston-Salem, North Carolina. Juke joints or apartments were common in poor, black and white neighborhoods, serving as a ready place for people to drink at most times of day or night. The police pursued some leads but did not arrest any suspects. They reopened the Wilson case in 1986 after receiving new information.

Retrieved 5 August 2019 Living with Zimmerman's family for about a year, "The Truth about Robert Johnson", Riverside Blues Society, April 14, 2010. Retrieved 6 April 2019 Johnson became known by his initials, "R.L.". After practising together while sitting on tombstones in Beauregard Cemetery - though to be a contributory factor to the legend of Johnson "selling his soul to the Devil" in order to play well - the pair toured local lumber camps and juke joints before Johnson began performing on his own.

Peter Guralnick describes many Chicago juke joints as corner bars that go by an address and have no name. The musicians and singers perform unannounced and without microphones, ending with little if any applause. Guralnick tells of a visit to a specific juke joint, Florence's, in 1977. In stark contrast to the streets outside, Florence's is dim, and smoke-filled with the music more of an accompaniment to the "various business" being conducted than the focus of the patrons' attention.

Howell and Devine met when Howell was booked to open for Devine's band at a show in San Francisco. Two years later, Chris Strachwitz, who founded Arhoolie Records in 1960, discovered HowellDevine playing in that city's Mission District, saying the band reminded him of the music he experienced in Mississippi Delta juke joints. He then signed them to Arhoolie for the two albums that followed, Jumps, Boogies & Wobbles and Modern Sounds of Ancient Juju. Howell took up the blues harmonica at age 14.

Blackwell was born in LaGrange, Tennessee. He was introduced to the basics of the guitar by his father and neighbors, but, until the late 1930s, Blackwell performed on the piano in juke joints in Memphis. According to Blackwell's account however, after winning a competition against a rival musician, his adversary's friends beat Blackwell, crippling his hands. Undeterred and still hoping to pursue his music career, Blackwell requainted himself with the guitar, and allegedly received lessons from renown blues musician Robert Johnson.

Bracey was born in the small town of Byram, Mississippi. Most sources give his birth year as 1901, but researchers Bob Eagle and Eric LeBlanc give 1899, based on 1900 census information. Ishmon's parents were Richard and Etta Bracey. Bracey learned how to play the particular guitar style of bottlenecking from local blues musicians Rubin Lacey and Louis Cooper. He began his music career by performing at dances, juke joints, fish fries, and other rural events before relocating to Jackson in the late 1910s.

After serving in the U.S. Army during the second world war in the Pacific theater, Terry returned to the U.S. and became active in the St. Louis blues scene in the late 1940s. During the 1950s he played in juke joints all around the St. Louis area. When Boo Boo Davis moved to St. Louis in the 1960s, he joined Terry's band for a time. In the 1970s, Terry formed his own record label called D.T.P. Records, named after his band, Doc Terry and the Pirates.

McMullan was born in either New Hope or Murphreesboro, Tallahatchie County, Mississippi. His musical talents were unearthed following a chance encounter in 1967 between McMullan and the American roots scholar, music collector and documentarian Gayle Dean Wardlow. Wardlow, striking up a conversation with him, discovered that McMullan had known Wardlow's idol, Charley Patton, and had played alongside him in the 1920s. This was at a time when McMullan had drifted from his Mississippi Delta homeland to perform the blues in juke joints across the Deep South.

Hogg was born near Westconnie, Texas, and grew up on a farm. He was taught to play the guitar by his father, Frank Hogg. While still in his teens he teamed up with the slide guitarist and vocalist B. K. Turner, also known as Black Ace, and the pair travelled together, playing a circuit of turpentine and logging camps, country dance halls and juke joints around Kilgore, Tyler, Greenville and Palestine, in East Texas. In 1937, Decca Records brought Hogg and Black Ace to Chicago to record.

Birney Imes III was born in 1951 in Columbus, Mississippi.Grover Lewis, Juke Joints, Roadhouses and Southern Parables : The Documentary Lyricism of Photographer Birney Imes, Los Angeles Times, August 07, 1994Judith H. Bonner (ed.), New Encyclopedia of Southern Culture, Chapel Hill, North Carolina: University of North Carolina Press, Volume 21, 2013 His father, Vinton Birney Imes, Jr., owned the town newspaper, The Commercial Dispatch. His mother is Nancy McClanahan Imes. He attended desegregated public schools in Columbus and graduated from the University of Tennessee at Knoxville with a Bachelor of Arts degree in History in 1973.

Charles was born in Boothville, Louisiana and learned to play guitar from his father, Earlington, a travelling bluesman who played juke joints in the segregated Plaquemines Parish, Louisiana. Charles moved to New Orleans aged 13, where he shared the stage with fellow teenagers Ernie K-Doe and Aaron Neville at talent contests which were frequently held at Lincoln Beach, the African-American amusement park near Lake Ponchartrain during segregation. His early influences were Earl King and Chuck Berry. Charles dropped out of high school in the 10th grade and moved to Venice, Louisiana.

The 'Santa Fe Group', otherwise known as the Texas Santa Fe style of piano playing, referenced an association with the Santa Fe Railroad tracks. In the 1920s and 1930s, there were numerous juke joints alongside the Atchison, Topeka and Santa Fe Railway, in which various black pianists performed in a similar manner. The style was a blend of dance music, boogie-woogie, ragtime and blues. Performers included Black Boy Shine, Robert Shaw, Pinetop Burks, Rob Cooper and Andy Boy, who were all recorded, although many others were not.

It had a substantial role in the development of blues in Mississippi, including taverns and juke joints now included on the Mississippi Blues Trail. With the decline in agriculture and lack of other jobs, the city and rural county have suffered from reduced population and poverty. The peak of population in the city was in 1950. A report in the New York Times in 2002 characterized Port Gibson as 80 percent black and poor, with 20 percent of families living on incomes of less than $10,000 a year, according to the 2000 Census.

White progressed to the stage that he joined Piano Red's band as guitarist in the late 1950s, becoming bandleader of Dr. Feelgood & the Interns in early 1962. One of the other band members was Beverly Watkins, who became a lifelong friend. When the band folded, White joined the Tams from the late 1960s to the early 1970s, and later in the decade played with Hank Ballard and the Midnighters. White also had his own ensemble named the Rockers, who played in juke joints, nightclubs, and at various functions throughout the Southeastern United States.

He took a more serious interest in playing piano in his mid-teens, although he never learned how to read music. In 1915 he performed on Dallas radio station WWR, and continued to play for tips at various social gathering places, including chockhouses (homes or stores where home-brewed alcohol was served) and juke joints in Dallas. After his father's death, he dropped out of school to support his mother and two siblings. He had become proficient on the piano before entering the United States Army in 1916.

Given that this occurred during Prohibition, and the fact that these "basements" were relatively obscured from the city above, some of the basements became sites for speakeasys and juke joints, with music and illegal drinking a common occurrence. One of the first mentions of the area is in the opening lines of Bessie Smith's 1927 song "Preachin' The Blues" which documents its importance as an entertainment district. For the next forty years, as Atlanta continued to grow at street level, the underground area was effectively abandoned and forgotten, though frequented by the homeless.

" In Wender's interview with Lawson, the photographer discussed her inspirations, including "vintage nudes, Sun Ra, Nostrand Ave., sexy mothers, juke joints, cousins, leather bound family albums, gnarled wigs, Dana Lawson [her sister], the color purple, The Grizzly Man, M.J., oval portraits, Arthur Jafa, thrift shops, Breakfast at Tiffany’s, acrylic nails, weaves on pavement, Aaron Gilbert [her former husband], the A train, Tell My Horse, typewriters, Notorious B.I.G., fried fish, and lace curtains". Formally, Lawson said, "Formally the images are unified by a clear directorial voice. The subject’s pose, lighting, and environment are all carefully considered.

Early blues frequently took the form of a loose narrative, often relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, later, the development of juke joints.

The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club and juke joints such as the bars along Beale Street in Memphis. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African-American music. As the recording industry grew, country blues performers like Bo Carter, Jimmie Rodgers (country singer), Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community.

Around the early 1940s several schools and neighborhoods were built for African Americans, including Peter S. Lawton School and Oakdale. Oakdale once stood south of Algiers Point and stretched from Whitney Avenue to the Mississippi River. It was one of the larger African-American communities in Algiers and was partly destroyed in the late 1950s to make room for the Greater New Orleans Bridge. Newton Street in McDonoghville, became the heart of Algiers's black community as it was once occupied with bars, Juke joints, grocery stores and small restaurants.

Smith was probably born in Texas. Details of his early life are not known. His first professional role involved him working at the Lincoln Theater in New York City. He married in the 1920s and spent most of the decade as an itinerant musician, travelling around Texas and Oklahoma, performing at parties, fish fries and juke joints, often in the company of Thomas Shaw, Alger "Texas" Alexander, and Little Hat Jones. He also was seen in the Dallas, Texas, area in the 1920s and 1930s, but he never recorded there.

Johnson has had enormous impact on music and musicians, but outside his own time and place and even the genre for which he was famous. His influence on contemporaries was much smaller, in part because he was an itinerant performer—playing mostly on street corners, in juke joints, and at Saturday night dances—who worked in a then undervalued style of music. He also died young after recording only a handful of songs. Johnson, though well-traveled and admired in his performances, was little noted in his lifetime, and his records were even less appreciated.

In his itinerant early years, he formed a small band with James McMillan, who taught Dallas to play the guitar, and they performed in juke joints around the Mississippi Delta. Around 1940, he and Edwards performed on the radio program Major Bowes Amateur Hour. Dallas settled in Brooklyn, New York, in 1943, where he worked as a food server, stevedore, truck driver, and porter. By 1946, Brownie McGhee had become a sought-after session guitarist in New York, backing Dallas, Big Chief Ellis, Stick McGhee, Champion Jack Dupree, and Bob Gaddy.

Stokes and Batts were a team, as evidenced by these records, which are both traditional and wildly original, but their style had fallen out of favor with the record-buying public. Stokes was still a popular live performer, however, appearing in medicine shows, the Ringling Brothers Circus, and other tent shows and similar venues during the 1930s and 1940s. In the 1940s, he moved to Clarksdale, Mississippi, and occasionally worked with Bukka White in local juke joints. Stokes died of a stroke in Memphis on September 12, 1955.

Henry was born in Beaufort, Carteret County, North Carolina. He grew up in New Bern, near the North Carolina coast, in the 1920s and 1930s There he befriended the country blues musician Fred Miller, and first as Miller's apprentice and later as his vocalist, Henry earned a modest living performing at local juke joints and fish suppers. Miller later relocated to New York, and Henry made occasional trips there for joint performances. In New York, Henry met Sonny Terry and Brownie McGhee, and in 1951 he accompanied the duo on some recordings for the producer Bob Shad.

He was born around Natchitoches, Louisiana, United States, with the birth year variously listed as somewhere between 1892 and 1903. He relocated to Shreveport, Louisiana around 1925, where he started to work as a street musician and played for tips at juke joints. Various sources claim that he learned the rudiments of playing a bottleneck slide guitar after watching a Hawaiian music ensemble that toured in Louisiana in the early part of the 1920s. Woods teamed up with another guitar player, Ed Schaffer, and they performed as the Shreveport Home Wreckers at the Blue Goose Grocery and Market, a speakeasy in Shreveport.

Aiming to emulate mid-century soul music and to use the recording techniques of that era, the band spent a three-day session recording complete takes, turning out 12 new songs for the album "The Bomb Shelter Sessions". Such singles as '"Gracefully", "Nancy Lee", "Still & Always Will" and "Blues Hand Me Down" aimed to produce a sound reminiscent of the days of vinyl records and juke joints, and the essence of the original soul movement. The album was produced by Peter McCabe and co-produced by Vintage Trouble themselves. The album was mixed by Rogers Masson.

By the time he was 17, he had left home and was hitch hiking around the south, playing guitar on the streets for passing change, playing in juke joints, forming short-lived bands or backing up blues and soul singers. A trip to Jamaica in 1977 exposed him to reggae music, and a few years later he teamed up with Michael E. Johnson and formed The Killer Bees in 1980. They continued to play for many years, eventually becoming one of the first American bands to perform at Reggae Sunsplash in Montego Bay, Jamaica in 1988.

As 1952 drew to a close, the world of broadcasting was a maelstrom of probes, experiments, deals, and adjustments. Everything was in flux due to losing audience and programs to television. In Chicago, Jack Cooper, a black DJ with a big band audience refused to play R & B as it was considered 'low life' and had 'suggestive lyrics' that were somewhat sexual due to the double entendre's, the cultural connotations were that it was music your mother didn't let you listen to. The music of black appeal stations gained a popular and mostly black audience in 'juke' joints, jukeboxes, and record stores.

In 1948 Los Angeles, Easy Rawlins is laid off from his job at Champion Aircraft, and needs money to pay his mortgage. Easy's friend Joppy introduces him to DeWitt Albright, a white man looking for a missing white woman, Daphne Monet. Explaining that Monet's disappearance led her wealthy fiancé, Todd Carter, to drop out of the Los Angeles mayoral race, Albright pays Easy $100 ($ today) to find Daphne, who is known to frequent the juke joints along Central Avenue. Easy begins his search at an illegal club, where he sees the bouncer, Junior Fornay, eject a white man.

The next few years found Bass at a number of labels, but saw no notable successes. After her second album, Free, flopped in 1972, Bass retired from music and concentrated on raising a family; she had four children with Bowie. She returned occasionally, being featured as a background vocalist on several recordings, including those by Bowie. In 1990, she recorded a gospel album with her mother and brother David Peaston, called Promises: A Family Portrait of Faith and undertook a fall tour of the US West Coast, called "Juke Joints and Jubilee", which featured both traditional gospel and blues performers.

Following his brother's murder, Harney claimed he attempted to learn to play both parts, which when coupled with his experience in the jazz world, gave his guitar work an intricacy that drew admirers. Unusually for a Delta based musician, Harney played in a Piedmont fingerstyle blues manner, which he blended with ragtime influences, in a similar way to Blind Blake. He predominately played on street corners and in juke joints, but also had a spell on the King Biscuit Time radio show, which was based in Helena, Arkansas. Primarily though his income came from his daytime work as a piano tuner and repairman, based in and around Memphis, Tennessee.

Isaiah "Ike" Zimmerman (April 27, 1907 - August 3, 1967) was an American blues guitarist, who is now known to have been musician Robert Johnson's main guitar teacher. ZimmermanThe spelling reportedly given in census records for the family going back to the early 1800s, on his Social Security card and Social Security death notice, on his funeral program, and by his daughters (sometimes spelled Zinnerman) was born in Grady, Alabama . He married Ruth Sellers in the late 1920s, and lived with her and their children near Beauregard, Mississippi. He played guitar and harmonica in local juke joints, often practising at night in local cemeteries where he would not disturb others.

Canton is officially on the Mississippi Blues Trail. Elmore James, a blues singer and a familiar figure in Canton, learned electronics by working in a radio repair shop on Hickory Street. Canton is rich in blues history centered on the juke joints of Hickory Street, known to locals as "The Hollow", as well as other places in Canton. A Mississippi Blues Trail historic marker was placed in Canton on Hickory Street to honor the contribution of James to the development of the blues in Mississippi. Other noted blues performers associated with Canton include Grady Champion, Little Brother Montgomery, William “Do-Boy” Diamond, Boyd Rivers and Johnny Temple.

They stopped in various juke joints, exchanging stories and playing music with the locals. At the end of their journey, they holed up in a houseboat in rural Louisiana where the Mississippi spills into the Atchafalaya swamp, and periodically invited friends and musicians onboard to help them hone the material.” Including lifelong friend and writing partner, Bryan McCann Riverman's Daughter was recorded in RCA studios, (then owned by Ben Folds) with Malcom Burn at the helm. The album was complemented with imagery by photographer David Johnson Riverman's Daughter was released digitally worldwide, on CD, and on Vinyl in the US and Canada on September 3, 2013.

Exterior of a juke joint in Belle Glade, Florida, photographed by Marion Post Wolcott in 1944 Juke joint (also jukejoint, jook joint, or juke) is the vernacular term for an informal establishment featuring music, dancing, gambling, and drinking, primarily operated by African Americans in the southeastern United States. A juke joint may also be called a "barrelhouse". Classic juke joints found, for example, at rural crossroads, catered to the rural work force that began to emerge after the emancipation. Plantation workers and sharecroppers needed a place to relax and socialize following a hard week, particularly since they were barred from most white establishments by Jim Crow laws.

It was here that Rush would become friends with Elmore James, the slide player Boyd Gilmore (James's cousin), and the piano player Johnny "Big Moose" Walker; eventually forming a band to support his singing and harmonica and guitar playing. His band, Bobby Rush and the Four Jivers, consisted of Gilmore, Walker, Pinetop Perkins, and Robert Plunkett. Through Gilmore, Rush became friends with Clarksdale musician Ike Turner. Still a teen, Rush donned a fake moustache to play in local juke joints with the band, fascinated by enthusiasm of the crowds. His family relocated to Chicago in 1953, where he became part of the local blues scene in the following decade.

She also recorded the original version of "Black Angel Blues", which (as "Sweet Little Angel") was covered by B. B. King and many others. With her experience in some of the rowdier juke joints of the 1920s, many of Bogan's songs, most of which she wrote herself, have thinly veiled humorous sexual references. The theme of prostitution, in particular, featured prominently in several of her recordings. One of these was "Groceries on the Shelf (Piggly Wiggly)", which was originally written and recorded by Charlie "Specks" McFadden. Piggly Wiggly is the name of a successful American supermarket chain, operating in the South and the Midwest, which first opened in 1916.

The town advertised in newspapers all across the South to encourage black families to relocate there. The town's population got as high as 336 in 1920, but falling cotton prices caused residents to move away, even before the Great Depression. It rebounded after World War II, and at one point had seven churches, a couple of general stores, eight juke joints, and a gas station. Urbanization in later years lost the town population again, and the post office closed; however, the town is experiencing something of a rebirth as families buy homes in the area to enjoy a low crime rate and a quieter pace of life.

The Arkansas Delta is known for its rich musical heritage. While defined primarily by its deep blues/gospel roots, it is distinguished somewhat from its Mississippi Delta counterpart by more intricately interwoven country music and R&B; elements. Arkansas blues musicians have defined every genre of blues from its inception, including ragtime, hokum, country blues, Delta blues, boogie-woogie, jump blues, Chicago blues, and blues-rock. Eastern Arkansas' predominantly African-American population in cities such as Helena, West Memphis, Pine Bluff, Brinkley, Cotton Plant, Forrest City and others has provided a fertile backdrop of juke joints, clubs and dance halls which have so completely nurtured this music.

By the 1990s, Po' Monkey's was attracting a conglomeration of college students, migrating from Delta State University, located in Cleveland, MS, to juke joint pundits. In the 2000s, it housed in a raunchier crowd filled with dirty dancing, strippers, and $2 cans of beer. In 2009, the Mississippi Blues Commission placed a historic marker at the Po Monkey's Lounge in 2009 designating it as a site on the Mississippi Blues Trail for its contribution to the development of the blues (and being one of the few authentic juke joints then operating). Seaberry was best known for his strangely coordinated outfits of wildly exotic pantsuits.

This started his professional career with his fans in the South's circuit of bars, blues festivals, and juke joints. While promoting his self produced and publicized debut album, he entered a recording contract with Polygram. With this contract, he was able to launch his music nationally with the re-release of his self-titled LP on Mercury Records in 1987. This updated release of his previous material also included the new ten-minute track "Candy Licker", which became an instant success for Sease through the South.Chitlin' Circuit , Memphis Magazine (July 1, 2006) Success had finally come to Sease without the help of airplay, which deemed his sound too explicit for the audience.

The juke joints and stuff.... Robert Johnson asked my daddy to teach > him how to play guitar…and my daddy taught him. He lived there with my > daddy. .. he stayed a long time (because) he was staying to learn how to > play the guitar… It seemed like to me he just took him for his family > ‘cause… for a long time I thought he was related... And they was going at > that guitar like some… I told my son "I can remember hearing that music". > 'Cause it sounded just so good just like they was competing, he was teaching > him then.Bruce Conforth, “Ike Zimmerman: The X in Robert Johnson’s > Crossroads”, Living Blues, 2008.

His first job was as a shoe shiner in a small Kentucky town, where he first became more attuned to nuances of language as he absorbed the world and activity around him. In addition to his work, Knight spent much of his time at juke joints, pool halls, and underground poker games, which furthered his interest in language. It was during this time that Knight became exposed to "toasts," which are narrative-style oral poetry which relates a story. In 1947, Knight enlisted in the army and served as a medical technician in the Korean War until November 1950, during which time he sustained serious wound as well as psychological trauma, which led him to begin using morphine.

Nelson Street, the home of many nightclubs, cafes, and juke joints over the years, was once the primary center of African-American business, entertainment, and social life in the Delta. For many decades this historic strip drew crowds to the flourishing club scene to hear Delta blues; big band; jump blues; rhythm & blues; and jazz. The third marker ceremony was at the original location of WGRM radio station in Greenwood, where B.B. King first broadcast as a gospel singer. By the end of 2016, the Mississippi Blues Trail had placed nearly 200 markers, not only in honor of individual artists, clubs, record companies, radio stations, and historic events, but also in celebration of plantations, streets, cities, and counties that were centers of blues activity.

At the same session, Gilmore recorded several other songs, including "All in My Dreams" and "Take a Little Walk with Me", which were released by Modern as a single. James Scott Jr. accompanied him on guitar, but his part fell victim to early recording technology, as an introduction and guitar break from Elmore James's "Please Find My Baby" was later spliced into "All in My Dreams". Gilmore recorded "Believe I'll Settle Down" for Sun Records in Memphis, Tennessee in July 1953, accompanied by Pinetop Perkins on piano, Earl Hooker on guitar and Willie Nix on drums, but like some of his earlier recordings, it was not released at the time. After his brief recording career, Gilmore performed in juke joints in the Delta for a while.

The band was signed by Orange Recordings in Los Angeles and toured all over the country, sharing bills with the Demolition Doll Rods, the Porch Ghouls, Bob Log III, and the Immortal Lee County Killers. His songwriting however started to out-grow the sleazy blues rock of the Studdogs, and Gebhardt left the band to pursue a solo career. This growing interest in songwriting brought Gebhardt back to Florence, and later Biloxi, Mississippi, where his delta blues-influenced solo acoustic performances (and blazing red beard) earned him the bluesman nickname "Red Mouth." He spent some time duking it out in the juke joints of the area, but his desire to always move on has sent him out on the road searching for new places to play.

Robert Leroy Johnson (May 8, 1911August 16, 1938) was an American blues guitarist, singer, and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. He is now recognized as a master of the blues, particularly the Delta blues style. As a traveling performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. He participated in only two recording sessions, one in San Antonio in 1936, and one in Dallas in 1937, that produced 29 distinct songs (with 13 surviving alternate takes) recorded by famed Country Music Hall of Fame producer Don Law.

By the end of the 1920s, Crutchfield had begun traveling a rough-and-tumble circuit of Louisiana lumber camps, Mississippi levee camps and East Texas juke joints,Silvester, Peter J. The Story of Boogie-Woogie: A Left Hand Like God; Scarecrow Press 2009 pp. 143–44. . performing as the M & O KidCrutchfield, James, and Bruin, Leo. St. Louis Blues Piano; Liner Notes 1983/2001 in deference to his mentor, the Mississippi barrelhouse bluesman M & O, whom Crutchfield in later years said was the best he ever heard. The establishments that served the lumber and levee camps typically stayed open all day and night and provided food, drink and lodging for two piano players, who each played a 12-hour shift for tips.

The jukebox (a coin-operated record-player) was invented in 1889 by Louis Glass and his partner William S. Arnold, who were both managers of the Pacific Phonograph Co. The first jukebox was installed in the Palais Royale Saloon, San Francisco on 23 November 1889, becoming an overnight sensation. The advent of the jukebox fueled the Prohibition-era boom in underground illegal speakeasy bars, which needed music but could not afford a live band and needed precious space for paying customers. Webster Hall stayed open, with rumors circulating of Al Capone's involvement and police bribery. From about 1900 to 1920, working class Americans would gather at honky tonks or juke joints to dance to music played on a piano or a jukebox.

With his band, the Soul Blues Boys (then consisting of bassist George Scales and drummer Calvin Jackson), he recorded again in the 1980s for High Water, releasing a single in 1982 ("Keep Your Hands off Her" backed with "I Feel Good, Little Girl"). The label recorded a 1988 session with Kimbrough and the Soul Blues Boys (this time consisting of bassist Little Joe Ayers and drummer "Allabu Juju"), releasing it in 1997 with his 1982 single as Do the Rump! In 1987 Kimbrough made his New York debut at Lincoln Center. He received notice after live footage of him playing "All Night Long" in one of his juke joints appeared in the film documentary Deep Blues: A Musical Pilgrimage to the Crossroads, directed by Robert Mugge and narrated by Robert Palmer.

Dancing at a juke joint outside Clarksdale, Mississippi, in 1939 The origins of juke joints may be the community rooms that were occasionally built on plantations to provide a place for Black people to socialize during slavery. This practice spread to the work camps such as sawmills, turpentine camps and lumber companies in the early twentieth century, which built barrel-houses and chock- houses to be used for drinking and gambling. Although uncommon in populated areas, such places were often seen as necessary to attract workers to sparsely populated areas lacking bars and other social outlets. As well, much like "on- base" Officer's Clubs, such "Company"-owned joints allowed managers to keep an eye on their underlings; it also ensured that the employees' pay was coming back to the Company.

Can You Stand the Heat is Ana Popović's sixth studio album, released on March 27, 2013 on ArtisteXclusive records. The album has eleven original songs and three cover songs, and features guest appearances with Grammy Award winner Tommy Sims and Grammy nominee Lucky Peterson, and was produced by B.B. King's drummer of twenty-five years, Tony Coleman. She met Coleman when she was opening for B.B. King, and they wondered if groovy blues was fading from the scene, so they came up with the idea of making a blues album in the style of Albert Collins and Albert King, using funk and "old-school" soul. Popović relocated her family from Amsterdam to Memphis so that she could record at Ardent Studios and to embrace the music aura that circulates in the city's perennial juke joints.

" Critic Kirk Honeycutt was uncomfortable with the stereotypes in the film but praised it due to Sayles' film background. He wrote, "...the film makes you at times uncomfortable with black and Southern stereotypes that may hinder some from fully enjoying an otherwise benign and cheerful tall tale of the Saturday night when rock came to rural Alabama. Sayles has paid far too many dues as a man who can write smoothly and in depth about many regions of America for a critical response to attack him over this. But the images and caricatures of a blind guitar picker, redneck sheriff, revival meetings, cotton-picking, fights in juke joints and the like have all been evoked in so many movies of much less integrity that this is a thing one must get past before surrendering to his amusing backwater fable.... The film does feature a host of interesting characters and, as always with Sayles, the dialogue has more than a few zingers.

In late May or early June the group recorded new tracks at Olympic Studios, including Rogers' "Surrey" and Wilson's "Papa's in the Vice Squad" and "I Wanna Be Loved", but they were never released. They reportedly also featured another of Wilson's new compositions, "Make Your Stash", in their set-list, but never recorded it. According to Wilson, his song – which was based on a melody from Gustav Holst's The Planets – in turn became the basis for the abortive 1973 Manfred Mann's Earth Band album, Masque (which was abandoned when the group was unable to secure the rights to use Holst's music from the trustees of his estate). Although the band was now nearing its end, Wilson's brief stint with Procession provided an unexpected side-benefit – it was during this period that he read a British newspaper article about the history of "juke joints" in the American south, and the accompanying photo, which showed dancers performing "The Eagle Rock and the Pigeon Wing" provided an inspiration for Wilson's breakthrough hit with his next band.