The early 1950s were a remarkable period for the final revival and comeback of country blues . At this time, country blues was being heavily supplanted by the urban blues (and jazz) of the 1930s and 1940s. In 1950, country blues returned, channeling the spirit of the 1920s, when myriad African Americans left the South in a massive wave of migration, taking their musical heritage with them. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay It has been fifty years since the blues finally achieved the status of an “art” form of music. Long awaited, it is considered a major American contribution to the world's musical systems. The blues has remained the same since its conception, which then testifies to the level of its artistic value. The subject of this article, Chicago blues, developed through natural means and was a central element in the country blues revival. Chicago played a central role in the formation of a newly reformed country blues. This role rests on three key factors: first, the city was a crucial place of refuge for black migrants, particularly those from the Mississippi Delta, where the blues was deeply ingrained in rural culture; second, Chicago had an underground culture of mafia operations stabilized and facilitated by ethnic lines and red light districts that existed even before the Civil War; finally, only New York had surpassed the city in show business. Considering all of these factors, Chicago has been able to provide talented black artists and musicians with rather rare and rare studio/music employment and recording opportunities. These three factors – the African American community, underground life and the entertainment industry – polymerized with the political events of the time, gave birth to a whole new blues tradition that would spring up in the streets and the streets. Chicago nightclubs. Two main characteristics of African Americans living in the United States of America are victims of segregation and migration. After the end of slavery, African Americans freed themselves from bondage and oppression, but they did not enjoy the same rights as a white man. Segregation therefore provides the impetus and motivation necessary for migration. Segregation was not the only cause of migration but also unemployment and mass murder (lynching), however, African Americans viewed migration as their last resort. In a musical sense, segregation created the blues while migration spread the message of the blues. African American migrants to the South included people who were first-hand slaves, of which the well-known spirituals were made. Additionally, the blues actually came from spiritual music traditions. The first wave of migration to the North began around 1915, when Southern agriculture was in a terrible and difficult state. These were cotton crops ravaged by insects (locusts, boll weevil) and a series of heavy floods. Additionally, the decline and collapse of Reconstruction in the American South as well as the economic bondage that tormented black farmers were also large contributing factors to the migration fad. Chicago also has its own characteristics that motivated and pulled African Americans from the country. South. Chicago, at this time, was a major recruiting city for African Americans, meaning employment was a possibility. In addition, theSalaries were much higher than local jobs in the South. Additionally, Robert Abbott's Chicago Defender was another motivating factor for the migration. This newspaper was the city's primary newspaper for the black community and reported on the atrocities suffered by the black community in the South; thus, it served as a major beacon for the African-American migration to Chicago. Needless to say, since newspapers circulated hand in hand, its influence on the migration of African Americans to the North would be difficult to overestimate. The settlement of African Americans on the South Side of Chicago has a long tradition and history. The black zone on the south side was a narrow strip, a few blocks away, bounded by railroad tracks and factories. It stretched from 22nd Street to 39th Street in the 1900s. Additionally, segregation, overcrowding, and lack of adequate public facilities and services created conditions of poverty and slums. In addition, the proximity of red light districts has significantly aggravated the problem. African Americans were then forced to rely on their own resources: mutual aid institutions such as civic groups as well as social clubs. Black politicians also emerged and worked their way into positions of authority. Technically speaking, the second major wave of black migrants to Chicago took place during World War I. Due to this rapid population explosion in the city, housing units that usually housed one family now accommodate three to four families. Additionally, tensions arose between African Americans on the South Side and the Poles and Irish living on the North Side. In 1917, records of physical assaults and random bombings of homes and businesses were reported by black residents of Chicago. Shootings rooted in racial prejudice emerged in 1919. These discriminations against African Americans were ignored by local authorities and life continued as usual in Chicago. The Volstead Act of 1920 (which banned the manufacture and consumption of alcohol) ushered in an era of opportunity for gangs and other groups to profit from illegal businesses. Illegal alcohol consumption has increased rapidly throughout the United States. However, Chicago proved to be the best in this area when tensions arose between the authorities and businesses, these illegal groups are busy providing the public with their demands. This ban had a dramatic effect on the blues and, at that time, on jazz. However, the Chicago jazz scene was too busy entertaining young, wealthy white audiences in the most stately and lofty cafes, social halls, and dance halls. On the other hand, the blues were prevalent at house parties. From this ban came rental parties in which entry fees covered the price of food and whiskey. The result of all this was the establishment of a lewd and vigorous club scene that made Chicago the "home of the blues." In Chicago, nightlife and underground establishments were initially characterized as "black and white" because they featured black performers entertaining white audiences. The gangsters, Italian and Jewish, were smart enough to ally themselves with the Thompson political party. However, in exchange for immunity from the laws, they had to share and cut profits as well as ensuring votes on Election Day. State Street was in the center of the South Side's vice district. Most of the clubs were located on the South Side and a few were scattered throughout the West Side neighborhood. The main system on the south side wasconsisting of State Street, Michigan and Indiana avenues. Even vaudeville blues composer Perry Bradford wrote in his autobiography: "I was short on money in Chicago and old 'Mojo' seemed to be whispering in my ear, 'sing and play your blues.' The first one, I sang it and I did it. I saw all the pimps and their daughters and I remembered that blues verse I started with: "My girl was walking down the street in the rain and wet/That's what she told everyone the men she met/ I don’t want you nickel, just give me a bad penny/ SO I can feed my hungry pimp.” Famous nightclubs also included the Three Deuces on North State Street which Lonnie Johnson first performed at in Chicago in 1930. Homesick James moved to Chicago permanently in 1934 and was later employed at a steel mill. He is found working alongside Horace Henderson at the Circle Inn, 63rd and Wentworth. Eventually he worked at the Square Deal Club, 230 W Division Street, with famous pianist Jimmy Walker. The two are said to play for five to six hours with a repertoire consisting mainly of Blind Boy Fuller and Memphis Minnie for three dollars each. This has always been a pattern for blues musicians in this era and it will seem very difficult for newcomers to break into the music scene. It was a rugged and tough way to make a living in Chicago nightclubs. However, it was more difficult with street singers. The nightclubs housed experienced and novice musicians and artists, encouraged and supervised by Big Billy and Sonny Boy, two of the big names on the blues scene. New artists arriving in Chicago had to make their way by performing at rental parties, house parties, and on the streets. The Maxwell Street Market area has the largest audience capacity a street musician can achieve. Race records entered the music market that targeted African Americans between the 1920s and 1950s. These records contained primarily racial music, consisting of various African American musical genres, including blues, jazz and gospel comedy. These records were the major commercial recordings by African American artists in the United States. Chicago was the only other major city that was home to a major recording industry, and in doing so it attracted many of the most capable blues artists from the American South. African-American blues artists made Chicago their new home base, and the material and songs recorded between 1924 and 1941 are considered the best of the blues. The Chicago Defender advertisements also helped greatly in attracting the attention of African Americans nationally. This vast audience has made the music a leader in the recording industry. This idea was reinforced by the idea that African Americans in the North or South would buy these records if they were made available. By the late 1920s, racing records worth $40 million had been purchased. In 1947, the Chess Brothers, a Polish-born immigrant couple, began operations with their new record label, Aristocrat Records. They started with a small office, but in 1948 they moved to 5429 S. Cottage Grove and slowly began to grow into a professional record label. In 1950, the brothers changed the name of their brand to Chess and the blue-white brand with the pattern of a chessboard was born. After their discovery of Muddy Waters, the said artist released his first Chess record, “Rollin' Stone/Walking Blues”. The record was a success and proved that Chess was off to a strong start in the business. Muddy Waters taught the brothers Chess.