[Dixielandjazz] Re:was/Cornet Education for Bill Biffle/ DenyingHistory of Jazz

[Jim Beebe]

----- Original Message ----- 
From: "Mike Durham" <mikedurham_jazz at hotmail.com>
To: <jbeebe at centurytel.net>; <TCASHWIGG at aol.com>;
<dixielandjazz at ml.islandnet.com>
Sent: Monday, November 17, 2003 2:48 PM
Subject: Re: [Dixielandjazz] Re:was/Cornet Education for Bill Biffle/
DenyingHistory of Jazz


> Tom's right, the promoters saw Elvis as a way of getting 'forbidden' balck
> music to the affluent white teenage market. In other words, they saw him
as
> a 'white negro'. His early stuff was VERY black - check out his version on
> Sun of 'It's All Right Mama', it's a pretty good imitation of black
bluesman
> Arthur Crudup (who wrote it). I prefer the Crudup, but it was Elvis'
version
> that made all the money. And most white kids would not have been aware of
> his existence. So rip-offs disd of course occur, but I'm not so sure about
> OKOM. Swing, yes - BG etc reaped all the rewards while Basie, Henderson,
> Webb were marginalised. But where were the white bands ripping off Oliver,
> Ellington or Morton in the 20's? Thoughts, anyone?
>
> Mike D.

   It will take more than 'thoughts' to make sense out of this nonsense. So,
the evil white promoters saw Elvis as a 'white negro' who could get
'forbidden black' music to the very 'affluent' white teenage market and make
big money.  Whew! what a nifty conspiracy. And his early stuff was VERY
black.  I'm curious...how do you measure the blackness of a song?

 You know, Mike, the music world cross pollinates all of the time.  Elvis
hears a tune, he likes it.  His enormous talent makes it a hit.  Ray Charles
hears a tune he likes it and records it.  It. is a country tune and Charles
has a big hit with it.  Now is this a conspiracy for Ray Charles promoters
( white or black?)  to ripoff country music.  Here is a clue for you, song
writers don't give a damn who records their tunes...the more the better
royalties for them.

Jim
Beebe