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I take on this new thread with much trepidation. A lot is going on during this period (1900- 1909), and what was once modestly acceptable has often fallen on disgrace --- socially. Of course what was once disgraceful is often totally acceptable today. I do find that much of the Rap "Music" is just a seemingly four letter word triradial throwback to the MINSTREL ERA, where both blacks and whites dressed in "black" regalia and applied "blackface" --- acting out a stereotype. Today, the blacks and whites remain "au naturale" while dressing in a decidedly "URBAN" style, and applying the "N" word as a seemingly grand token gesture to past indignities... This is not to say all RAP is bad. It does have its influences; however, I fear that most Rap will eventually find itself forgotten. This genre of expression seems highly contemporary and area specific. It is the "voice of now!" As a result, what may seem highly apropos to what is presently happening, will likely find itself without any lasting relevance as we move into the future. It is like the antiwar songs of the mid 1960's and mid 70's. When the Vietnam conflict dissolved, the songs ceased to be relevant and with very few exceptions have all disappeared into obscurity. Rap has two major strikes against it: One, is that each work is tied to the performer. The performance are the thoughts and expression of that performer and that point in time...
Anyway, I do apologize. I ran off on a bit of a tangent. So back to the subject at hand. The year is 1900. There are basically three record companies, and one is about to change hands. The companies are, EDISON NATIONAL PHONOGRAPH COMPANY, COLUMBIA GRAPHOPHONE COMPANY, and THE BERLINER GRAM-O-PHONE COMPANY (which will become THE VICTOR TALKING MACHINE COMPANY). The music recorded for the most part was influenced by BROADWAY, VAUDVILLE, MINSTREL SHOWS, SACRED CHURCH/REVIVAL MUSIC, TINPAN ALLEY, FOLK SONG, and RAGTIME. Actually, BLACK music was highly influential. And while some may find the stereotyping meanspirited, it could possibly be regarded as a little bit of a homage to Black style/charm. It must be understood that EVEN THE BLACK MINSTREL was expected to wear blackface, as did his white counterparts. They were playing a role that could be compared to the JAPANESE KABUKI, where the performers wore/wear very heavy makeup ---- very unnatural. So, here is were we are. Here is the number one song for 1900: This recording was originally a BERLINER reissued as a VICTOR. The sound isn't great and it wasn't much better when it was new as it was accomplished using an acid etching process that would change shortly.
Anyway, I do apologize. I ran off on a bit of a tangent. So back to the subject at hand. The year is 1900. There are basically three record companies, and one is about to change hands. The companies are, EDISON NATIONAL PHONOGRAPH COMPANY, COLUMBIA GRAPHOPHONE COMPANY, and THE BERLINER GRAM-O-PHONE COMPANY (which will become THE VICTOR TALKING MACHINE COMPANY). The music recorded for the most part was influenced by BROADWAY, VAUDVILLE, MINSTREL SHOWS, SACRED CHURCH/REVIVAL MUSIC, TINPAN ALLEY, FOLK SONG, and RAGTIME. Actually, BLACK music was highly influential. And while some may find the stereotyping meanspirited, it could possibly be regarded as a little bit of a homage to Black style/charm. It must be understood that EVEN THE BLACK MINSTREL was expected to wear blackface, as did his white counterparts. They were playing a role that could be compared to the JAPANESE KABUKI, where the performers wore/wear very heavy makeup ---- very unnatural. So, here is were we are. Here is the number one song for 1900: This recording was originally a BERLINER reissued as a VICTOR. The sound isn't great and it wasn't much better when it was new as it was accomplished using an acid etching process that would change shortly.
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