>>LABELS by rickey kim
               Many times a consumer walks into record shop, peruses down the aisles all the while taking note of labels such as Classical, Dance, Pop, Rap, R & B (Rhythm and Blues), Rock, etc. It's funny and almost trivial that in today's day and age, one doesn't question such categories of musical genres not knowing that this is due solely as a fiscal procedure to direct and target that particular consumer-demographic. Labeling musical genres have long been practiced ever since the music industry's existence.

Take rhythm and blues - and it's later evolved form of Rock and Roll - for instance, its popularity growing post World War II. Rhythm and blues can find its roots in "the black gospel quartet singing [which] coincided with the region's industrialization and unionization" (Lipsitz 145). It was during enslavement and bondage of Africans in harsh labor, where singing on the job became an almost integral movement defining the African Slave culture. By being placed in the bottom of society "African slaves had to redefine themselves and later redefined popular culture" (lecture, 17 Feb).

Such religious and soulful melodies were what kept Africans united and it was this oral tradition as a medium of unity which attracted unions to utilize such singing such as the CIO Singers who sang at organized rallies and union meetings (Lipsitz 146). The music which spawned from industrialization and unionization later became music which the public grew a fast liking to.

It was in the winter of 1946-47 when the first outbreak of commercial music came to the fore with a song entitled "Ain't Nobody Here but Us Chickens," which was performed by a black singer and saxophonist Louis Jordan. The song although appearing simple in it's lyrics involving the foolish antics of a farmer being outwitted by his own chickens, it delivered a more subliminal yet powerful message as to the triumph of the powerless over the powerful. Thus instantly catching the appeal of those of the working class due to its open resistance to authority. Of course the song had its "origins in the culture of America's first and most oppressive system of labor exploitation - slavery (Lipsitz 146).

Once more attesting to the affinity of black culture and more specifically black music towards the populace. Black music utilized the call and response, the usage of polyrhythms, and vocal improvisation. All factors which are found to be characteristic in blues music. It should be noted however, that although Louis Jordan was a notable figure with the emergence of popular music, many of the songs which often traced their origins to slave narratives were tweaked in a mild form "covered" by white bands.

However even still, blacks continued in their uphill struggle in singing the blues. But "racism in the music industry made exploitation even worse for blacks" (Lipsitz 150). To make marketing easier, record company executives were quick to label artificial categories on their music. Thus a segregation of black and white musicians became apparent.

Yet the development rhythm and blues never seemed to cease. With new technology the sound of rhythm and blues became changed forever.
         
         "Switching to amplification enabled blues musicians to play louder, to explore 
          rhythms more compatible with the hectic pace and corresponding tensions of 
          mass-production work, and display skills on the guitar that would have been 
          inaudible before amplification" (Lipsitz 151).

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