“Can’t Help Falling in Love” by Elvis Presley (1961)

MUSIC VIDEO

LYRICS

Wise men say only fools rush in
But I can't help falling in love with you
Shall I stay? Would it be a sin?
If I can't help falling in love with you
Like a river flows
Surely to the sea
Darling, so it goes
Some things are meant to be
Take my hand, take my whole life, too
For I can't help falling in love with you
Like a river flows
Surely to the sea
Darling, so it goes
Some things are meant to be
Take my hand, take my whole life, too
For I can't help falling in love with you
For I can't help falling in love with you

ANALYSIS
            Elvis Presley, or the King of Rock and Roll, did not write or sing very political songs. "Can't Help Falling in Love," as the title suggests, is a more romantic song about the nature of love. However he was often criticized by more conservative listeners, mainly for his provocative, sensual dancing and his untraditional performing. Many shows refused to let him on out of fear of losing viewers or ratings. Many of his songs, like “Can’t Help Falling in Love”, are still popular today. Elvis not only changed the genre of rock and roll, he also revolutionized dance by introducing a new style of dancing that is still evident today.

WORKS CITED
“Elvis Presley - The King.” The Vast World of Dance, Sites at Penn State, 27 Jan. 2017,
            sites.psu.edu/mnshermanpassion/2017/01/27/elvis-presley-the-king/.
“Elvis Presley – Can't Help Falling in Love.” Genius, 23 May 2015,
            genius.com/Elvis-presley-cant-help-falling-in-love-lyrics.

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“Where Did Our Love Go” by the Supremes (1964)

MUSIC VIDEO

LYRICS

Baby, baby
Baby don't leave me
Ooh, please don't leave me
All by myself

I've got this burning, burning
Yearning feelin' inside me
Ooh, deep inside me
And it hurts so bad

You came into my heart
So tenderly
With a burning love
That stings like a bee

Now that I surrender
So helplessly
You now wanna leave
Ooh, you wanna leave me

Ooh, baby, baby
Where did our love go?
Ooh, don't you want me
Don't you want me no more

Ooh, baby

Baby, baby
Where did our love go
And all your promises
Of a love forever more

I've got this burning, burning
Yearning feelin' inside me
Ooh, deep inside me
And it hurts so bad

Before you won my heart
You were a perfect guy
But now that you got me
You wanna leave me behind
(Baby, baby) ooh baby

Baby, baby don't leave me
Ooh, please don't leave me
All by myself

Ooh, baby, baby
Where did our love go?

ANALYSIS
            Motown gained popularity in the 60s, and it brought more attention to African American artists and groups. The rise in Motown was also paralleled by the rise of girl groups in the 60s. One such group was a girl group called The Supremes. They wrote many Motown songs like “Where Did Our Love Go?”. Motown usually didn't have political lyrics, instead singing about more traditionally pop topics like romance. "Where Did Our Love Go?" talks about the pain of a breakup and of love, a popular theme at the time. Despite not singing about the black experience in particular, Motown groups like The Supremes helped get African American performers into the mainstream.

WORKS CITED
“The Supremes – Where Did Our Love Go - 813607.” Genius, 2001,
            genius.com/The-supremes-where-did-our-love-go-813607-lyrics.

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“Give Peace A Chance” by Plastic Ono Band (John Lennon) (1969)

MUSIC VIDEO

LYRICS

Everybody's talking about
Bagism, Shagism, Dragism, Madism, Ragism, Tagism
This-ism, that-ism, ism ism ism
All we are saying is give peace a chance
All we are saying is give peace a chance

(Come on) Everybody's talking about
Minister, Sinister, Banisters and Canisters
Bishops, Fishops, Rabbis, and Pop Eyes, Bye bye, Bye byes
All we are saying is give peace a chance
All we are saying is give peace a chance

(Let me tell you now) Everybody's talking about
Revolution, Evolution, Masturbation, Flagellation, Regulation
Integrations, mediations, United Nations, congratulations
All we are saying is give peace a chance
All we are saying is give peace a chance

Everybody's talking about
John and Yoko, Timmy Leary, Rosemary
Tommy Smothers, Bobby Dylan, Tommy Cooper
Derek Taylor, Norman Mailer, Allen Ginsberg, Hare Krishna
Hare Hare Krishna
All we are saying is give peace a chance
All we are saying is give peace a chance

ANALYSIS
            This song was written by John Lennon, expressing his views against the Vietnam War in general, but especially against the escalation that happened around this time. The United States’ anti-war movement also began around this time, and despite not being American himself, Lennon was a central advocate of the movement: “Lennon performed the song with his wife, Yoko Ono, during their ‘bed-in for peace’ honeymoon in Montreal, and it quickly became an anthem for the anti-war movement” (“Vietnam Music…” 2015). Lennon was trying to encourage both the public and politicians that peace can happen as long as everyone just “give[s] peace a chance” (“John Lennon…” 2015). Like many other artists at the time, Lennon attempted to use music as a way to get people involved in a social movement.

WORKS CITED
“John Lennon – Give Peace a Chance.” Genius, 26 Sept. 2015,
            genius.com/John-lennon-give-peace-a-chance-lyrics.
“Vietnam Music Monday: ‘Give Peace a Chance.’” Newseum, 12 Oct. 2015, 

            www.newseum.org/2015/10/12/vietnam-music-monday-give-peace-a-chance/.

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“Love is Blue” by Paul Mariat (1968)

MUSIC VIDEO

*Note that the video provide is of the original instrumental version and thus doesn't include vocals.

LYRICS

Blue, blue, my world is blue

Blue is my world now I'm without you
Gray, gray, my life is gray
Cold is my heart since you went away
Red, red, my eyes are red
Crying for you alone in my bed
Green, green, my jealous heart
I doubted you and now we're apart
When we met how the bright sun shone
Then love died, now the rainbow is gone
Black, black, the nights I've known
Longing for you so lost and alone

ANALYSIS
            The narrator of this song is a person who is sad or “blue” because they are no longer in a relationship with the person they loved. Many songs that were considered “conservative” for their time were “songs that appealed to parents as much as they did to their children. Instrumentals--the kind parents liked--were also big” (Chrisman 2011). "Love is Blue" has a more traditionally folksy, romantic sound and was originally recorded as an instrumental. It's not surprising that many of these types of songs were in the No. 1 spot at one point in the 60’s, despite the rise of many more "radical" music groups and styles.

WORKS CITED
Chrisman, Ed. “The ’60s.” Billboard, vol. 123, no. 7, Feb. 2011, pp. 39–40. EBSCOhost,
            search.ebscohost.com/login.aspx?direct=true&db=asm&AN=59603402&site=ehost-

            live.
“Paul Mauriat – Love Is Blue.” Genius, 1 Feb. 2001,

            genius.com/Paul-mauriat-love-is-blue-lyrics.

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“Revolution (#1)” by the Beatles (1968)

MUSIC VIDEO

LYRICS

You say you want a revolution
Well, you know
We all wanna change the world
You tell me that it's evolution
Well, you know
We all wanna change the world
But when you talk about destruction
Don't you know that you can count me out
Don't you know it's gonna be all right
Don't you know it's gonna be all right

You say you got a real solution
Well, you know
We'd all love to see the plan
You ask me for a contribution
Well, you know
We're all doing what we can
But if you want money for people with minds that hate
Well, all I can tell you is, brother, you have to wait
Don't you know it's gonna be all right
Don't you know it's gonna be all right
Don't you know it's gonna be all right

You say you'll change the constitution
Well, you know
We'd all love to change your head
You tell me it's the institution
Well, you know
You better free your mind instead
But if you go carrying pictures of Chairman Mao
You ain't gonna make it with anyone anyhow
Don't you know it's gonna be all right
Don't you know it's gonna be all right
Don't you know it's gonna be all right
All, all, all, all, all, all, all, all, all, all, all right, all right
All right, all right, all right
All right, all right, all right
All right, all right, all right

LYRICS
             Despite not being American themselves, the Beatles had significant impact on American culture and music scene via the "British Invasion." John Lennon was a sympathetic to the need for change, but in "Revolution (#1)" The Beatles argued that resulting to more destructive or radical forms of protest was ineffective and unnecessary. In the line “But when you talk about destruction / Don't you know that you can count me out,” he is stating that he will not participate in violence, and he goes on to dissuade protesters from resulting to it either (“The Beatles…” 2018). As the social issues of the 1960s and the youth counterculture continued to grow, more and more artists like The Beatles began to voice their dissatisfaction with society, and more and more people rallied behind these songs.

WORKS CITED
“The Beatles – Revolution 1.” Genius, 9 July 2018, genius.com/The-beatles-revolution-1-

             lyrics.

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“Respect” by Aretha Franklin (1967)

MUSIC VIDEO

LYRICS

What you want
Baby, I got it
What you need
Do you know I got it?

All I'm askin'
Is for a little respect
When you come home (just a little bit)
Hey, baby (just a little bit)
When you get home (just a little bit)
Mister (just a little bit)
I ain't gonna do you wrong
While you're gone
Ain't gonna do you wrong
'Cause I don't wanna

All I'm askin'
Is for a little respect
When you come home (just a little bit)
Baby (just a little bit)
When you get home (just a little bit)
Yeah (just a little bit)
I'm about to give you all of my money
And all I'm askin' in return, honey
Is to give me my propers
When you get home

(just a, just a, just a, just a)

Yeah, baby (just a, just a, just a, just a)

When you get home (just a little bit)
Yeah (just a little bit)

Ooh, your kisses
Sweeter than honey
And guess what?
So is my money

All I want you to do for me
Is give it to me when you get home (re, re, re ,re)
Yeah, baby (re, re, re ,re)
Whip it to me (respect, just a little bit)
When you get home, now (just a little bit)

R-E-S-P-E-C-T
Find out what it means to me
R-E-S-P-E-C-T
Take care, TCB

Oh (sock it to me, sock it to me
Sock it to me, sock it to me)
A little respect
(sock it to me, sock it to me, sock it to me, sock it to me)
Whoa, babe (just a little bit)
A little respect (just a little bit)

I get tired (just a little bit)
Keep on tryin' (just a little bit)
You're runnin' out of foolin' (just a little bit)
And I ain't lyin' (just a little bit)

(re, re, re, re) 'spect
When you come home (re, re, re, re)
Or you might walk in (respect, just a little bit)
And find out I'm gone (just a little bit)
I got to have (just a little bit)

ANALYSIS
           The Queen of Soul Aretha Franklin was an award-winning singer who was the first female artist inducted in the Rock and Roll Hall of Fame. The song was originally written by Otis Redding in 1965, but it only became popular when Aretha Franklin sang her own version of it in 1967 (Friedman 2018). Even though the lyrics only talk generally about getting "a little respect" (not gender equality in particular), Franklin's version “[turned] it into a feminist anthem, empowering all those held down as second class citizens to stand up and demand a little R-E-S-P-E-C-T!” (CultureSonar 2018). Franklin brought new, radical meaning to an originally more sanitized call for respect.

WORKS CITED
“Aretha Franklin – Respect.” Genius, 1 Feb. 2001, genius.com/Aretha-franklin-respect-lyrics.
Friedman, Megan. “'Respect' Was Originally Written by a Man-But Aretha Franklin Made It

            Legendary.” Country Living, Country Living, 16 Aug. 2018,
            www.countryliving.com/life/entertainment/a22714100/aretha-franklin-respect-song-
            lyrics-history/.
“Top 10 Protest Songs from the 1960s.” CultureSonar, 27 Aug. 2018,
            www.culturesonar.com/protest-songs-1960s/.

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“The Times They Are A-Changin” by Bob Dylan (1964)

MUSIC VIDEO

LYRICS

Come gather 'round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'

Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'
For the loser now
Will be later to win
For the times they are a-changin'

Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'

Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'
Please get out of the new one

If you can't lend your hand
For the times they are a-changin'

The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'
And the first one now
Will later be last
For the times they are a-changin'

ANALYSIS
              Bob Dylan wrote “The Times They Are A-Changin’” in 1963 and released it in 1964. The message of the song is that everyone has to accept the fact that society has changed and will continue to change ("The Times..." 2015). The youth counterculture that arose in the 1960s was not just a passing thing. It was time for a change. The song is also calling on people to stand up because “[t]he chance won't come again”, and “[f]or he that gets hurt / Will be he who has stalled / There's a battle outside / And it is ragin'" (“Bob Dylan…” 2015). Like many protest songs in the 1960s, “The Times They Are A-Changin’” calls specifically for action. It doesn't just state that things are bad but also rallies people to make them better.

WORKS CITED
“Bob Dylan – The Times They Are A-Changin'.” Genius, 29 Sept. 2015,
              genius.com/Bob-dylan-the-times-they-are-a-changin-lyrics.
“The Times They Are a Changin'. The Meanings behind Bob Dylan's Song.” Untold Dylan, 13
              Sept. 2015, bob-dylan.org.uk/archives/1589.

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“Blue Skies” by Irving Berlin (1926)

MUSIC VIDEO

LYRICS

I was blue, just as blue as I could be
Ev'ry day was a cloudy day for me
Then good luck came a-knocking at my door
Skies were gray but they're not gray anymore

Blue skies
Smiling at me
Nothing but blue skies
Do I see

Bluebirds
Singing a song
Nothing but bluebirds
All day long

Never saw the sun shining so bright
Never saw things going so right
Noticing the days hurrying by
When you're in love, my how they fly

Blue days

All of them gone
Nothing but blue skies
From now on

I should care if the wind blows east or west

I should fret if the worst looks like the best
I should mind if they say it can't be true
I should smile, that's exactly what I do

ANALYSIS
            Irving Berlin was one of the most successful Tin Pan Alley performers. Tin Pan Alley songs were usually aimed at white, upper-class Americans and made little to no social or political commentary. Instead, lyrics tended to focus on the ideals of privacy and romance (“‘I Got Rhythm’” 2007). “Blue Skies” describes the joys of falling in love: “Never saw the sun shining so bright / Never saw things going so right / Noticing the days hurrying by / When you're in love, my how they fly” (“Blue Skies” 2001). The lyrics also follow a simple rhyming scheme--AABB--that’s characteristic of Tin Pan Alley songs of the time. Unlike jazz, Tin Pan Alley songs like “Blue Skies” were part of a style of music that focused more on the traditional, white American experience and identity.

WORKS CITED
“Blue Skies.” Lyrics.com, 1 Feb. 2001, 

            www.lyrics.com/lyric/33887546/Irving+Berlin/Blue+Skies.

"'I Got Rhythm': The Golden Age of Tin Pan Alley Songs" Oxford University Press, 6. Jan 

            2007, global.oup.com/us/companion.websites/fdscontent/uscompanion/us/static/

            companion websites/america_outline/ch4.pdf

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“Ol’ Man River” by Paul Robeson and Paul Whiteman (1928)

MUSIC VIDEO

*Note that the original performance referenced below was not recorded on video and so a later cover has been provided.

LYRICS

Ol' man river
That ol' man river
He don't say nothing
But he must know something
Cause he just keeps rolling
He keeps rolling along
Rollin' along
He don't plant tators
He don't plant cotton
Them that plants 'em is soon forgotten
But ol' man river
He keeps rolling along
You and me
We sweat and strain
Body all aching
And wracked with pain
Tote that barge
Lift that bale
Get a little drunk
And you land in jail
I gets weary
Sick of trying
I'm tired of living
Feared of dying
But ol' man river
He's rolling along

ANALYSIS
             “Ol’ Man River” was originally written for the musical Showboat, which centers on life along the Mississippi River. Paul Whiteman, who with his orchestra performed the instrumental of the piece, was controversial in the jazz world despite being one of its early bandleaders. Like many other prominent white jazz musicians, Whiteman was criticized for co-opting African American music for profit (“The Devil’s…” 2001). However, he did take lengths to work with African American performers when possible, such as recording this song with Paul Robeson. As for Robeson, he was already successful on the stage despite the racism prevalent at the time, and “Robeson's success was a mirror of the determined defiance in the face of oppressive circumstances expressed in the song.” (Simon 2003). Although the lyrics may sound depressing, what with lines like, “I gets weary / Sick of trying / I'm tired of living / Feared of dying,” the song is performed with joy both vocally and instrumentally at the end. The final lines, “But ol’ man river / He’s rolling along,” embody this mix of hope and despair that made the song so popular (“Paul Whiteman” 2016). Despite all that the narrator is up against, the world keeps moving on, perhaps bringing with it a new and better day.

WORKS CITED
“Paul Whiteman – Ol' Man River.” Genius, Dec. 2016,
             genius.com/Paul-whiteman-ol-man-river-lyrics.Simon, Scott.
“'Ol' Man River': An American Masterpiece.” NPR, NPR, 31 May 2003,
             www.npr.org/2003/05/31/1279965/ol-man-river-an-american-masterpiece.
“The Devil's Music: 1920's Jazz.” PBS, Public Broadcasting Service, Feb. 2001,
             www.pbs.org/wgbh/cultureshock/beyond/jazz.html.

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“Rhapsody in Blue” by George Gershwin (1924)

MUSIC VIDEO

*Note that the original performance referenced below is not recorded and so a cover has been provided.

LYRICS

[instrumental]

ANALYSIS
              Despite jazz’s rebellious nature and roots in African American culture, there were numerous attempts to make it more serious, more similar to European classical music. “Rhapsody in Blue” was first performed at the “Experiment in Modern Music” concert which was organized by Paul Whiteman to show to that jazz was a serious art form. Whiteman “worked diligently to defend jazz’s reputation, but also saw in jazz and its musical predecessors (including ragtime and syncopated dance music) a ‘primitive’ origin in African culture” (Getman 2013). The hope was that by introducing “symphonic jazz” pieces like “Rhapsody in Blue,” a conversation could be opened up between jazz and classical music. “Rhapsody in Blue” has elements of jazz but is ultimately a symphonic piece. Because it was so hastily composed (Gershwin only had 5 weeks to work on it before in premiered), the song “channeled jazz’s improvisational charm, encapsulating the chaotic harmonies and blues notes,” though not enough to please jazz’s admirers (Keller 2018). Jazz--through its incorporation into the concert hall--was beginning to seem more acceptable to conservatives, especially because it meant leaving behind the “dirty” cultural/historical roots of jazz as black entertainment in speakeasies.

WORKS CITED
Getman, Jessica. “When Blue Was New: Rhapsody in Blue‘s Premiere at ‘An Experiment in

              Modern Music.’” The Gershwin Initiative, University of Michigan School of Music,
              Theatre & Dance, 10 Sept. 2013, smtd.umich.edu/ami/gershwin/?p=628.
Keller, James M. “Gershwin: Rhapsody in Blue.” San Francisco Symphony, 5 Mar. 2018,

              www.sfsymphony.org/Watch-Listen-Learn/Read-Program-Notes/Program

              -Notes/Gershwin-Rhapsody-in-Blue.aspx.

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“April Showers” by Al Jolson (1921)

MUSIC VIDEO

LYRICS

Life is not a highway strewn with flowers

Still it holds a goodly share of bliss
When the sun gives way to April showers
Here is the point you should never miss

Though April showers may come your way
They bring the flowers that bloom in May
So if it's raining, have no regrets
Because it isn't raining rain, you know, (It's raining violets,)
And where you see clouds upon the hills
You soon will see crowds of daffodils
So keep on looking for a blue bird, And list'ning for his song
Whenever April showers come along

And where you see clouds upon the hills
You soon will see crowds of daffodils
So keep on looking for a blue bird, And list'ning for his song
Whenever April showers come along

ANALYSIS
            Al Jolson first rose to fame as a singer of coon songs in blackface; his most notable role was as the star of “The Jazz Singer” in 1927. He and the music style he belonged to (Tin Pan Alley) did little to help if not hurt African Americans or to address other current social issues of the time. Rather, Tin Pan Alley songs like Jolson’s “April Showers,” were escapist, romantic, and aimed at white America. The lyrics create a sentimental ballad complete with references to a “blue bird”--a common Tin Pan Alley symbol of happiness/cheer. The song is optimistic and sappy, preaching hope “whenever April showers come along” (“Al Jolson...” 2001). These more flowery sentiments are matched by an elaborate and ornate orchestral accompaniment.

WORKS CITED

“Al Jolson – April Showers.” Genius, 1 Feb. 2001, genius.com/Al-jolson-april-showers-

            lyrics#note-15548766.

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“(What Did I Do to Be So) Black and Blue” by Fats Waller (1929)

MUSIC VIDEO

LYRICS

Cold empty bed, springs hard as lead
Pains in my head, feel like old Ned
What did I do to be so black and blue?
No joys for me, no company
Even the mouse ran from my house
All my life through I've been so black and blue

I'm white inside, but that don't help my case
Cause I can't hide what is on my face
I'm so forlorn. Life's just a thorn
My heart is torn. Why was I born?
What did I do to be so black and blue?

I'm hurt inside, but that don't help my case
Cause I can't hide what is on my face
How will it end? Ain't got a friend
My only sin is in my skin
What did I do to be so black and blue?
Tell me, what did I do?
What did I do? What did I do?
What did I do? What did I do?
What did I do? What did I do?
What did I do? Tell me, what did I do to be so black and blue?
What did I do to be so black and blue?

ANALYSIS
            “Black and Blue” is a jazz standard composed by Fats Waller and was performed multiple times by a number of artists, including Louis Armstrong. The song describes the injustice and oppression faced by an impoverished black man. The narrator is so poor that “[e]ven the mouse ran from [his] house,” and he blames his situation on account of his race: “My only sin is in my skin / What did I do to be so black and blue?” (“Black and Blue” 2001). The “Roarin’ 20s” wasn’t equally kind to everyone, despite overall increases in wages and living standards. Many African Americans grew up in and were unable to break the cycle of poverty, resulting in living conditions like that which the song describes. Like many jazz songs, “Black and Blue” helped bring the black experience to the forefront of popular music.

WORKS CITED

“Black and Blue.” Lyrics.com, 1 Feb. 2001,
            www.lyrics.com/lyric/785439/Giants+of+Jazz%3A+Louis+Armstrong/Black+and+

            Blue.

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"West End Blues" by Louis Armstrong (1928)

MUSIC VIDEO

LYRICS
[instrumental]

ANALYSIS
            “West End Blues” was Louis Armstrong’s break out recording, and it captured the revolutionary style and virtuosic technique that launched Armstrong to fame. Respected jazz educator and composer Gunther Schuller wrote, "It was ‘West End Blues’ that made it clear jazz could never again revert to being entertainment or folk music. The clarion call of 'West End Blues' served notice that jazz could compete with the highest order of musical expression” (Burnett 2000). For most of the decade, jazz was considered to be a lesser genre of music than classical, but “West End Blues” was a mile marker for jazz as not just entertainment but an art form. Armstrong’s skill in “West End Blues”--notably his incredibly complex 15-second opening solo--helped prove to traditionalists that new styles of playing could be just as sophisticated as their beloved classical music.

WORKS CITED
Burnett, John. “'West End Blues'.” NPR, NPR, 6 Aug. 2000,

            www.npr.org/2000/08/06/1080400/west-end-blues.

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"Ain't We Got Fun" by Richard A. Whiting, lyrics by Raymond B. Egan and Gus Kahn (1921)

MUSIC VIDEO

LYRICS
Bill collectors gather
'Round and rather
Haunt the cottage next door
Men the grocer and butcher sent
Men who call for the rent

But with in a happy chappy

And his bride of only a year

Seem to be so cheerful

Here's an earful

Of the chatter you hear

Every morning

Every evening

Ain't we got fun

Not much money

Oh but honey

Ain't we got fun

The rent's unpaid dear

We haven't a bus

But smiles were made dear

For people like us

In the winter in the Summer

Don't we have fun

Times are bum and getting bummer

Still we have fun

There's nothing surer

The rich get rich and the poor get children

In the meantime

In the between time

Ain't we got fun

Just to make their trouble nearly double

Something happen'd last night

To their chimney a gray bird came

Mister Stork is his name

And I'll bet two pins

A pair of twins

Just happen'd in with the bird

Still they're very gay and merry

Just at dawning I heard

Every morning

Every evening

Don't we have fun

Twins and cares dear come in pairs dear

Don't we have fun

We've only started

As mommer and pop

Are we downhearted

I'll say that we're not

Landlords mad and getting madder

Ain't we got fun

Times are so bad and getting badder

Still we have fun

There's nothing surer

The rich get rich and the poor get poorer

In the meantime

In between time

Ain't we got fun

ANALYSIS

            The Roaring 20s didn’t roar for everyone. “Even during the most prosperous years of the Roaring Twenties, most families lived below what contemporaries defined as the poverty line” (“The Great…” 2002). “Ain’t We Got Fun” is a reflection of the cynical outlook many impoverished Americans had at the time. The song was a “satirical and jaunty rejoinder to the dismal times, ‘ain’t we got fun,’ chimed with the prevalent thinking” (Tawa 2005). The song rebels mainly through its lyrics; it possess a simple melody with no syncopation. “Ain’t We Got Fun” interweaves harsh reality checks with sarcastic claims of fun: “Landlords mad and getting madder / Ain't we got fun / Times are so bad and getting badder” (“Raymond B…” 2014). It addresses the economic inequality and anger towards it that was hidden by the overall increases in wage and living standards that the Roaring 20s brought.

WORKS CITED

“Raymond B. Egan & Gus Kahn – Ain't We Got Fun.” Genius, Genius Media Group, 26 Nov.

2014, genius.com/Raymond-b-egan-and-gus-kahn-aint-we-got-fun-lyrics.

“The Great Depression: Why It Happened.” Digital History, 1 Feb. 2002,

www.digitalhistory.uh.edu/disp_textbook.cfm?smtID=2&psid=3432.

Tawa, Nicholas E. "Supremely American: Popular Song in the 20th Century: Styles and
            Singers and What They Said About America." Scarecrow Press, 2005, p. 33.

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“Young Woman’s Blues” by Bessie Smith (1926)

MUSIC VIDEO

LYRICS
Woke up this mornin' when chickens was crowin' for day
Felt on the right side of my pilla', my man gad gone away
By this pilla' he left a note readin', "I'm sorry, Jane, you got my goat
No time to marry, no time to settle down"
I'm a young woman and ain't done runnin' 'round
I'm a young woman and ain't done runnin' 'round
Some people call me a Hobo
Some call me a bum

Nobody knows my name, nobody knows what I've done
I'm as good as any woman in your town

I ain't no high yeller
I'm a deep killer of brown
I ain't gonna marry, ain't gonna settle down
I'm gonna drink good Moonshine
And rub these browns down

See that long lonesome road

Lawd, you know it's gotta and I'm a good woman and I can get plenty men

ANALYSIS
            Bessie Smith was one of the most prominent blues singers of the 1920s. Her work was unique in that it encouraged working-class women to embrace their right to drink, party, and satisfy their sexual needs as a way to cope with the stress and dissatisfaction in their daily lives. These ideas were seen as distasteful and inappropriate for black women and thus her lyrics often met criticism from the African American community as being unrealistic portrayals of the black woman’s experience. Yet, rather than conform to the traditional notions of how a woman should act, Smith seeks solace in “good moonshine” rather than in marriage. Through lines like “I’m a young woman and I ain’t done runnin’ around,” Smith makes clear her desire and willingness to claim sexual and social freedom (“Bessie Smith…” 2001).

WORKS CITED
“Bessie Smith – Young Woman's Blues.” Genius, Genius Media Group, 1 Feb. 2001,
            genius.com/Bessie-smith-young-womans-blues-lyrics.

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