Podcast Summary
Exploring Music and Connection on Twitch: During the pandemic, Richards found joy in live streaming musical performances on Twitch, connecting with a global audience and revisiting the roots of pop music.
The BlindBuy podcast host, known as Richards, has found a new creative outlet during the pandemic by live streaming musical performances on Twitch. He's been enjoying the interaction with a global audience and the sense of connection it brings, reminiscent of his live gigs in the past. Additionally, he shared his perspective on pop music, defining it as music that goes out of its way to be catchy and interacts with capitalism, marking the beginning of its existence around 1850. He plans to explore the history of early American pop music in the upcoming podcast episodes. Richards also mentioned his interest in Irish history and the influence of Irish people in diasporas, which he frequently investigates and discusses on the podcast.
The shift from Irish to African American inflection in pop music: From 1850, African American culture significantly influenced pop music, changing its inflection from Irish to African American, and impacting all music genres throughout the 20th century.
The influence of African American culture on pop music became dominant starting around 1850, and this is evident in the way pop music is sung with an African American inflection, which was not the case from 1910 to 1920 when an Irish accent was more common. This shift can be attributed to the massive influence African American music had on all 20th century music genres. The speaker finds this fascinating and wants to explore the history behind this change and why it occurred. He also shares an example of a 1908 American song, "My Old Kentucky Home," which was sung with an Irish accent despite being written and performed by Jewish Americans. This theory challenges the notion of when music starts getting "good" and raises the question of when copyright-free songs from the past could potentially be profitable again.
Early American pop music and Irish accents: Irish accents in early American pop music were adopted to appeal to a wider audience and increase sales, reflecting the diverse melting pot of America during that era.
During the early days of American pop music, it was common for singers, regardless of their ethnic background, to sing in Irish accents. This was the case for the song "I'm a Yiddish Cowboy," which features an American Jewish man singing in an Irish accent about being a Jewish cowboy, despite having no Irish heritage. This phenomenon can be attributed to the influence of Irish immigrants on popular culture at the time and the lack of recording technology, making sheet music the primary means of music distribution. The birth of pop music as a capitalistic enterprise began in the 1800s, and singers adopted Irish accents to appeal to a wider audience and increase sales. This strange juxtaposition of cultures in early American pop music is a reflection of the diverse melting pot of America during that era.
The parlor: A space for socializing and entertainment in the 1800s: Thomas Moore, an Irishman, transformed Irish folk tunes into popular parlor music in the 1800s, selling over 1.5 million copies in America to middle-class families.
The parlor, a new concept in the 1800s, served as a space for the emerging middle class to enjoy leisure time with their families. This room lacked the functionality of a kitchen or bedroom, instead, it was a place for socializing and entertainment. Parlor music became popular during this time, and Irishman Thomas Moore played a significant role in its development. He transformed centuries-old Irish folk tunes into sheet music, adding his own lyrics. One of his most famous compositions, "The Last Rose of Summer," sold over 1.5 million copies in America, mostly to middle-class families who couldn't afford to buy records or attend live performances. Despite the widespread popularity of these Irish songs, the Irish community in America during this period was largely impoverished. Thomas Moore, a radical Irish nationalist, wrote many politically charged songs supporting the United Irishman Movement, which aimed to create a democratic Irish republic and transcend sectarian divisions. The term "minstrel boy" in Thomas More's songs referred to a musician or singer, and his composition "The Minstrel Boy" celebrated his friends in the United Irishman Movement.
Irish Influence on American Pop Music in the 1800s: Irish composer Thomas Moore dominated American sheet music market with 'The Minstrel Boy', an Irish Republican song. However, Irish immigrants faced discrimination and negative portrayals, leading to the creation of minstrel shows that mocked both Irish and African Americans, perpetuating harmful stereotypes.
The Irish influence on American pop music in the 1800s was significant, with Irish composer Thomas Moore dominating the sheet music market. His most famous work, "The Minstrel Boy," was an Irish Republican song with anti-British lyrics that became popular in America during this time. However, it's important to note that the Irish experience in America during this period was not all celebratory. Irish immigrants faced rampant discrimination and were often portrayed in a negative light, leading to the creation of minstrel shows that mocked not only African Americans but also Irish people. These shows perpetuated harmful stereotypes and added to the marginalization of both Irish and African American communities. Despite the challenges, Irish culture continued to thrive through its oral musical traditions, which were passed down from generation to generation.
Irish Americans and African Americans: A Complex History of Violence and Mockery: Despite Frederick Douglass' call for unity, Irish Americans distanced themselves from African Americans, engaging in violence and perpetuating racist stereotypes through minstrelsy.
The history of Irish Americans in America involves a complex and tragic relationship with African Americans. Irish people, who were not considered white in America during the 1800s, gained their whiteness through acts of violence and mockery towards the black community. This is a terrible tragedy because Frederick Douglass, an African American abolitionist, had urged Irish immigrants to join forces with African Americans in their common struggle against oppression. However, once in America, Irish people distanced themselves from the black community, becoming involved in minstrelsy and perpetuating offensive stereotypes. Irish Americans like Thomas Rice and Edward Riley were among the biggest minstrel performers, inventing and popularizing racist caricatures like Jim Crow. This history is a reminder of the complex and often painful intersections of race and ethnicity in American history.
The complex relationship between Irish and African communities in minstrel shows: Irish people created racist caricatures of both Irish and African communities in minstrel shows, perpetuating harmful stereotypes. The roots of minstrel show dancing can be traced back to the Caribbean, where Irish and African dance forms were combined. Jim Crow laws, inspired by discriminatory Irish penal laws, were named after a racist minstrel act.
The history of minstrel shows in America is deeply interconnected with the complex relationship between Irish and African communities. Irish people, who faced discrimination and sought approval from the dominant white Anglo-Saxon Protestant population, participated in minstrel shows and created racist caricatures of both Irish and African people. These shows, which originated before the Civil War, featured offensive stereotypes of both communities, with Irish characters portrayed as thick-headed, potato-starved apes, and African Americans as exaggerated, caricatured versions of blackness. However, it's important to note that the roots of minstrel show dancing can be traced back to the 1600s in the Caribbean, where Irish jig dancing and African dance forms were combined. This amalgamation of dance styles eventually evolved into tap dancing, which was later showcased on minstrel show stages. The Jim Crow laws, which enforced racial segregation and limited civil liberties for African Americans, were inspired by the discriminatory Irish penal laws. The name "Jim Crow" itself comes from a racist minstrel act performed by an Irish American man named Thomas Rice. This history highlights the intricate web of racial dynamics in America and the ways in which different communities have interacted, influenced each other, and perpetuated harmful stereotypes.
Early American pop music's complex history of Irish and African influences: Acknowledge the harmful aspects of early American pop music's history, including racism and discrimination against African Americans, for a more comprehensive understanding of the past.
The early history of American pop music was influenced by a blend of Irish and African cultures, but it's important to acknowledge the harmful aspects of this period, such as the racism and discrimination against African Americans. For instance, Master Juba, an African American person, became a minstrel and performed stereotypes of black people to white audiences. The neighborhood of Five Points in New York, often depicted in films like "Gangs of New York," saw brutal violence against African Americans, which was largely left out of the film's portrayal. It's crucial to learn about and understand this complex history, as denying its darkness denies decent Irish and African Americans the opportunity to learn from it. This podcast, which focuses on early 20th century American pop music, acknowledges these issues and aims to provide a more comprehensive understanding of the past. The podcast is supported by listeners via Patreon, allowing for full editorial control and the freedom to discuss topics passionately and honestly.
The Joy of Independent Podcasting and Irish Music's Influence on American Pop: Listeners' support through reviews, subscriptions, and social media platforms keeps independent podcasts alive, while Irish singer John McCormack's global success in the early 1900s influenced American pop music with his unique Irish accent.
The host of this podcast values his independence and editorial control, which brings him great pleasure. He also emphasizes the importance of financial support from listeners to keep his podcast running. Interaction through reviews, subscriptions, and following him on social media platforms like Patreon and Twitch are crucial for his small independent podcast in the face of increasing competition from big media companies. Another intriguing topic the host explores is the influence of Irish singer John McCormack on early 20th century American pop music. McCormack, born in Athlone, Ireland, became a global sensation around 1902, and his Irish accent influenced the singing style of many American pop musicians, regardless of their ethnicity. The host discusses how McCormack's impact can be seen in the works of James Joyce, who wrote a song specifically for McCormack to sing. These two themes – the importance of listener support and the historical significance of Irish influences on American music – intertwine throughout the podcast, offering valuable insights into the world of independent podcasting and music history.
Irish and Jewish songwriters shaped early American pop music through Tin Pan Alley: Irish and Jewish musicians played crucial roles in early American pop music, contributing distinctive sounds and styles through Tin Pan Alley, the birthplace of music publishing and sheet music production for mass consumption.
Irish and Jewish songwriters played a significant role in shaping early American pop music, particularly through the emergence of Tin Pan Alley. John McCormack, an early recording star, set the tone for pop singing with his distinctive Irish inflection. Meanwhile, Tin Pan Alley, an area in Manhattan where copyright and music publishing began, was home to many Irish and Jewish songwriters who wrote sheet music and early pop songs for mass consumption. These musicians contributed to the growing popularity of pop music and the intersection of music with capitalism. Their influence can still be heard in the distinctive sounds and styles of early American pop music.
Novelty songs: Music that focuses on the theme or topic, not the melody: Novelty songs are defined by their unique themes or topics, not the music itself. Examples include songs about emerging technology or current events.
The term "novelty music" is often used incorrectly to label songs that contain comedy or humorous lyrics. According to the discussion, a novelty song is defined as a song where the music itself doesn't matter because the theme or topic is the main attraction. An example given was a song about a house alarm, where the music is insignificant, and the only thing that matters is the novelty of the subject matter. However, a well-constructed pop song with funny lyrics is not considered novelty music. Novelty songs have a long history, especially in the Tin Pan Alley era, where they often revolved around emerging technology or current events. An interesting example given was the song "Take Me Out to the Ball Game," which was intended to be a novelty song about baseball but ended up being a classic catchy pop song. It's essential to note that the ethnic background of the songwriters and performers did not dictate the delivery or style of the song. In the case of "Take Me Out to the Ball Game," it was written by Jewish songwriters but delivered with an Irish inflection to appeal to the dominant Irish audience in New York at the time.
The Tin Pan Alley era saw pop music dominated by Irish-themed songs, blurring Irish and Jewish identities: During the Tin Pan Alley era, Irish and Jewish identities were interchangeable in pop music, with Irish-themed songs popular among both Irish and Jewish audiences, leading to blurred lines and cultural appropriation
During the Tin Pan Alley era before 1920, pop music was dominated by songs about longing for Ireland, even if the songwriters were not Irish themselves. Irish and Jewish identities were often blurred, with some Irish songwriters pretending to be Jewish and vice versa. This was due to the large Irish and Jewish diasporas in New York and the desire to appeal to these audiences. Nora Bays, a Jewish American woman, is an example of this trend, as she sang Irish-themed songs despite never having been to Ireland. The disappearance of the Irish inflection in pop music around 1913 can be attributed to the success of singers like Eddie Cantor, who sang in a New York accent rather than an Irish one. This historical trend of appropriating Irish identities in pop music is a fascinating insight into the complexities of cultural representation and identity during this time.
The South Korean music industry's success story: Cultural norms against piracy and Western producers: Asian cultural norms against piracy and the influx of Western producers led to South Korea's music industry dominance, with K-pop bands like Red Velvet and BTS leading the global scene.
The South Korean music industry, specifically K-pop bands like Red Velvet and BTS, has seen unprecedented success due to various factors including cultural attitudes towards piracy and the migration of Western producers. This shift began around 2010 when the impact of illegal downloading on the music industry was at its peak in the West. Asian cultures' stronger cultural norms against stealing led to less piracy, making Korea an attractive market for music production and sales. This trend has continued, with South Korean bands now dominating the global music scene. The speaker also speculates that Western artists may adopt Korean lyrics or inflections in the future, reflecting the growing influence of Asian pop culture. The speaker expresses his belief that Asia will continue to rise as a global power, and the music industry may be an early indicator of this shift.
