Music
Arthur Crudup wrote the song that became Elvis’ first hit. He barely got paid
FRANKTOWN, Va. (AP) — Arthur “Big Boy” Crudup helped invent rock ‘n’ roll.
His 1946 song “That’s All Right,” an off-the-cuff shrug to his beloved, became the first single Elvis Presley ever released. Rod Stewart sang it on a chart-topping album. Led Zeppelin played it live.
But nobody would know that in the event that they saw Crudup living out the remainder of his life on the eastern shore of Virginia, wearing overalls and leading a crew picking cucumbers, tomatoes, and sweet potatoes.
Despite being called the “father of rock ‘n’ roll,” Crudup received meager songwriting royalties during his lifetime due to a record deal that funneled money to his original manager. Crudup died 50 years ago, forsaking certainly one of the grimmest accounts of artist exploitation in the twentieth century.
“Of course, material things don’t mean everything,” says Prechelle Crudup Shannon, her granddaughter. “But they took a lot more than just money. They left him with all the burdens of a poor black man. And they left him with a broken heart.”
Crudup has received flashes of recognition in recent times, including being briefly portrayed by Gary Clark Jr. in the 2022 biopic “Elvis” and being mentioned last 12 months by a California reparations task force examining the long history of discrimination against African Americans.
Friday marks the seventieth anniversary of Presley’s recording of “That’s All Right” — many historians consider July 5 a cultural milestone — and coincides with plans by the state of Virginia to erect a plaque on the highway honoring Crudup.
“Among others who covered Crudup were the Beatles, B.B. King and Elton John,” the plaque will say. “Rarely receiving royalties, Crudup supported his family as a laborer and farm hand.”
“A completely new thing”
Crudup was born in Forest, Mississippi, in 1905 and started singing the blues when he was about 10, he told Blues Unlimited magazine. He was working in a foundry by 14. It wasn’t until he was in his 30s that he began playing guitar. Self-taught, he played at parties and nightclubs in the Mississippi Delta.
In Chicago, in search of higher work, he played on the street and slept in a crate under the L subway station. One night on a street corner, Crudup met Lester Melrose, a white field agent for Bluebird Records.
“He put a dollar in my hand and asked me to play,” Crudup told High Fidelity magazine.
There are many arguments about who wrote the first rock ‘n’ roll song. But “That’s All Right,” which mixes elements of blues and country, makes a robust claim.
“It doesn’t sound like country, it doesn’t sound like blues, even though I hear them there,” says Joe Burns, a professor of communication and media studies at Southeastern Louisiana University. “It’s really something completely new.”
Crudup recorded about 80 songs for Bluebird between 1941 and 1956, including “That’s All Right”, “My Baby Left Me”, and “So Glad You’re Mine”. He didn’t own the rights to any of them.
His first manager had them.
“I wouldn’t record anyone unless they signed all the rights to them over to me,” Melrose once said, in response to Alan Lomax’s book Mister Jelly Roll.
Crudup spent years in Chicago, recording songs there and taking the bus south to jobs in Mississippi, certainly one of which was taking out trash for $28.44 every week.
“I had to take care of my family, pay my car payment, my gas bill, my light bill,” Crudup said. He gave up music in his early 50s to work on farms.
“A kind of hillbilly record”
In 1954, Presley was taking a break from a rehearsal session at Sun Studios when “a song I had heard years ago popped into my head,” writes Peter Guralnick in his book Last Train to Memphis.
Sam Phillips, the studio’s legendary founder, immediately recognized Crudup’s song. Phillips was amazed that the 19-year-old knew it and felt his version “came out fresh and lush.”
A radio station in Memphis, Tennessee, soon played Presley’s recording. The response was “immediate,” with phone calls and telegrams asking for it to be played again, Guralnick wrote.
“It was by far Elvis’ biggest hit on The Sun and it launched him on a path to fame that soon became almost unimaginable to him,” Guralnick told The Associated Press.
Although Crudup is usually omitted from accounts of Presley’s profession, the singer publicly credited himself as a songwriter.
“In Tupelo, Mississippi, I heard old Arthur Crudup banging on the box the way I do now,” Presley told The Charlotte Observer in 1956, “and I said to myself that if I ever got to a place where I could feel everything old Arthur felt, I would be a musician such as no one had ever seen.”
Crudup himself liked Presley’s interpretation.
“He made it kind of a hillbilly record,” Crudup later told the Los Angeles Times. “But I liked it. I thought it would be a hit. Some people like the blues, some people don’t. But the way he did it, everybody liked it.”
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In the early Nineteen Sixties, Crudup finally received a hefty royalty payment of $1,600. But Melrose refused handy over the copyright.
Many black musicians have signed copyright agreements or been forced to share them, says Southwestern Law School professor Kevin J. Greene.
“A huge part of what we’re talking about in terms of exploitation is still covered by copyright law,” says Greene, who testified before the California Copyright Commission.
In 1971, Downbeat magazine estimated that Crudup probably must have earned greater than $250,000 — almost $2 million today — for the songs “That’s All Right” and “My Baby Left Me,” recorded by Creedence Clearwater Revival.
The American Guild of Authors and Composers even tried to gather royalties on Crudup’s behalf. However, then-executive director John Carter told High Fidelity in 1972 that Crudup received “a maximum of $2,500” from the guild’s efforts.
Fun in the packaging hall
In his mid-50s, Crudup settled in Franktown, Virginia. His granddaughter says he was devastated by the experience. But he didn’t despair.
“My father stressed that Crudup was a man of extremely strong principles,” Shannon says of Crudup, who embodied the “old country values” of exertions and raising a family.
Etna Nottingham Walker, whose family owned the Virginia farm where Crudup worked, says that “if you didn’t know he was Arthur Crudup and that he was a musician, you wouldn’t pay any attention to him.”
Butch Nottingham, Walker’s cousin, also worked on the farm. During breaks, he says, Crudup would sometimes pull out his guitar and sing in the packing shed, where cucumbers were being washed and waxed.
Crudup eventually returned to music during the blues revival of the Nineteen Sixties. Record producers from two labels, Fire and Delmark, found him. He released latest albums, played festivals and shared stages with BB King, Taj Mahal and Bonnie Raitt.
But Crudup still lived on Virginia’s Eastern Shore, a narrow peninsula between the Chesapeake Bay and the Atlantic Ocean. Shannon remembers her silver-haired grandfather holding her as a toddler on their Franktown porch, a cigarette dangling from his lips.
“He had these really, really long limbs,” Shannon recalls. “He just looked like a giant to me.”
Tim Prettyman worked at a drugstore where Crudup often bought insulin, coffee, and Camel cigarettes. Once, Crudup arrived in a suit with a guitar case, heading to catch a bus to New York and a plane to England.
“He said, ‘I’m going to play music for the Queen,’ and he winked at me and smiled,” Prettyman recalls.
“It wasn’t supposed to be”
Towards the end of his life, Crudup was near receiving a $60,000 settlement, which can be price greater than $400,000 today.
Melrose was dead. A deal was made with Hill & Range, the company that had acquired Crudup’s publishing rights.
However, when Crudup and his 4 children arrived in New York, they learned the deal had been voided, in response to the book “Between Midnight and Day” by Crudup’s last manager, Dick Waterman.
They were told that settling would cost the company more cash than the potential lawsuit would herald. And a lawsuit meant “taking down an old white widow who lives in Florida,” Waterman wrote. “We wouldn’t stand a chance.”
“It just wasn’t meant to be,” Crudup told Waterman. “Naked I came into this world, and naked I shall leave it.”
Indeed, the settlement didn’t come until after Crudup’s death in 1974. Chappell Music refused to purchase Hill & Range until the Crudup case was resolved. The first check was for just over $248,000, Waterman wrote, and Crudup’s estate received about $3 million over the following many years.
Warner Chappell Music declined to comment because the events took place so way back.
Jeanette Crudup, the widow of Crudup’s son Jonas, says the amounts paid to the musician’s children are nothing in comparison with what he must have received during his lifetime.
“They were left with crumbs,” he says.
Crudup stays relatively unknown, even on the East Coast, says Billy Sturgis, an area resident who produced an album by Crudup’s sons. Sturgis hopes the plaque will help. But, he says, Crudup belongs in the Rock & Roll Hall of Fame, together with Presley and plenty of others who sang Crudup’s songs.
Crudup’s granddaughter agrees.
“It would be something if this story was unique,” Shannon says. “But it’s not. We know this has happened to black artists throughout history, but specifically at this time.”
NEW YORK (AP) — “Not Like Us” but people sure like him: Kendrick Lamar Smash topped Apple Music’s global song chart in 2024 as a large music streamer published year-end lists Tuesday and provided listeners with data on their most listened to songs.
“Not Like Us” is Lamar’s first-ever song to succeed in primary on the worldwide year-end charts.
In second place is “Beautiful Things” by Benson Boone. Sabrina Carpenter’s “Espresso” is third, Shaboozey’s “A Bar Song (Tipsy)” is fourth, and Taylor Swift’s “Cruel Summer” is fifth.
“Cruel Summer” is, in fact, a fraction of Swift’s seventh studio album “Lover”, released in 2019. revival in summer 2023
Of the 100 songs on the chart, 39 are songs by female-identifying artists, which is the primary record in the worldwide chart’s seven-year history.
And this may occasionally come as a surprise: Japanese hip-hop band Creepy Nuts’ breakthrough song “Bling-Bang-Bang-Born” topped Apple’s most read lyrics in 2024. Other Creepy Nuts songs include “Not Like Us”, “Espresso” and “Birds of a Feather” by Billie Eilish.
“Bling-Bang-Band-Born” also topped the Apple Music song chart, which allows users to see which songs fans sang along to probably the most. It is obvious that Japanese music is becoming more and more popular internationally: in 2023 one other Japanese group, YOASOBI, topped the Sing charts in its inaugural yr, with “Idol”. “Idol” continues to dominate this yr, peaking at #2.
New to the 2024 year-end charts set is the addition of the Shazam Global Radio Spins chart, which uses Shazam to see what songs are being played on radio stations world wide. “Houdini” by Dua Lipa Teddy Swims’ “Lose Control” and Tate McRae’s “Greedy” top the list.
Also available Tuesday might be Replay — Apple’s alternative to Spotify’s Wrapped playlist — which allows Apple Music subscribers to experience the most well-liked music on the streaming service this yr. Artists can now also share their year-end data using Apple Music for Artists.
In November, Apple Music named Eilish Female Artist of the Year, following her hugely successful 2024. This yr, Eilish became the youngest person to ever win the award two Academy Awards, and released her critically acclaimed third album, Hit Me Hard and Soft, which gained popularity seven 2025 Grammy Awards nominations. At this yr’s awards ceremony, she accepted two latest record player-shaped trophies – despite the fact that she hasn’t released a brand new album – each for “What Was I Made For?” With hit movie “Barbie”.
“It’s always special when a young artist can connect with so many people so quickly,” Rachel Newman, senior director of content and editorial at Apple Music, said in an announcement. “But what has been truly remarkable about watching her evolve over the past yr will not be only that her voice and artistry proceed to resonate so widely. The point is that she blossomed as bravely and truthfully as she did – on her own terms and in her own way.
Music
Kendrick Lamar and SZA embark on their ‘Grand National’ tour across North America, including Toronto. MUSTAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAATE!
We all knew this was coming. Kendrick Lamar dropped his latest album “GNX” on the Friday before Thanksgiving and people were screaming “MUSTAAAAAAAAAARD” over Kendrick’s hilarious shouting of DJ Mustard’s name on the song “tv off.” This appears to be the case for DJ Mustard, who recently wrote that he I shouted as I walked down the road forgetting that he was referring to himself. Good times.
Anyway, because Kendrick is the variety of artist who abandons a project and then continues an enormous tour to support heron Tuesday, December 3, 2024, his press team spammed all of our inboxes with a press release announcing that Kendrick and SZA were embarking on the “Grand National Tour,” a 19-city stadium tour crisscrossing North America. Makes sense. The show covers most major cities within the United States – the New York metropolitan area, Los Angeles, Atlanta, Houston, Washington, DC, Vegas, Philadelphia, etc. – and one fun little performance on June 12, 2025 in Toronto, Ontario, Canada.
This guy.
If you’ve got literally been living under a rock or spent 12 months recording “Naked & Afraid” or something, you realize that Kendrick Lamar and one in all Canada’s biggest exports, Drake, were embroiled in a tiff that included criminal charges, legal motion, bops, and an absolute song 2024’s ‘Not Like Us’ where Kendrick Lamar beat Draked Drake in every way possible. Drake is, in fact, from Toronto. Considering that Kendrick and Drake haven’t only repeatedly attacked one another lyrically over the past nine months, but their teams, supporters, and fans have also taken sides, performing together in their respective cities really didn’t seem to be a no brainer. that may occur. At least not now. Drake continues to be Drake, although his luster has been greatly enhanced (some due to Kendrick, others since the claims of the colonizers are beginning to look more accurate than we would love, no matter what “business” dictates), so in fact when he decides to set out tour to support whatever he’s doing, he’ll Los Angeles.
I feel the identical might be said about Kendrick. Should he NOT go to Toronto because he’s arguing with Jimmy within the wheelchair? I assume that is silly. Plus, Kendrick told us he really loves New Ho King, a restaurant in Toronto. Shouldn’t he go for fried rice and dipping sauce? Of course I did, especially after it went away claimed that Drake shut down TDE artist SiR’s performance at a location in Toronto.
I hope everyone has their popcorn ready because that is just diabolical. Like, honey, after you go to the Super Bowl and perform “Not Like Us” (that is gonna be wiiiiiiiild) for hundreds of thousands of individuals, are you going to do the identical thing at Drake Stadium? I do not even know what to say here. If Kendrick ever desired to make an announcement, performing “Not Like Us” in Toronto to a sold-out arena that screamed “A-minoooooooor” in unison and then screamed “MUSSSSTAAAAAAAAAARD” could be the stuff of legend.
I ponder who comes up with these schedules and locations. I assume LiveNation gave Kendrick a listing of places and he replied, “Yes, Toronto.” Now that I give it some thought, I’m really surprised he won’t stop in Toronto on June 16, which is Tupac’s birthday, considering what a distinguished (and weird) role Tupac played in all this. It almost looks as if an oversight on Kendrick’s part – either that or the room was booked that day.
Who knows what’s going to occur? It’s doubtful, but perhaps between now and the beginning of Kendrick’s tour, Kendrick and Drake will sit down with Farrakhan (or anyone this generation holds in high regard) and squash the meat and we’ll never hear “Not Like Us.” have performed again, with Kendrick safely traversing Canadian soil while Drake has been digging within the bag and actually releasing an album that shows some growth – or a minimum of real ambition. Once again, I doubt this can occur, so I’ll just patiently wait until June 12, 2025 is circled on my calendar.
BLACKAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH!
NEW YORK (AP) – It’s almost that time of yr: Spotify is preparing to release an annual, personalized summary of users’ listening habits and the yr in the audio industry.
Spotify has been providing its listeners with data sheets since 2016. Year by yr it becomes an increasingly larger production and Internet sensation. Spotify said his yr 2023 is closed was “the largest ever created” by way of audience reach and sort of data provided.
So what is going to 2024 bring? Here’s what you have to know ahead of this yr’s edition of Spotify Wrapped.
What exactly is Spotify Wraped?
It’s an annual have a look at individual listening trends, in addition to trends around the world on the streaming service. Users discover their top artists, songs, genres, albums and podcasts, multi functional interactive presentation.
The campaign has turn into a social media sensation as people share and compare their Wrapped data with their friends and followers online.
Previous versions gave users all types of charts and facts, including whether or not they were amongst an artist’s hottest listeners, in addition to a personalised playlist of the yr’s 100 hottest songs that they may save, share, and take heed to each time they wanted. nostalgic.
Spotify also creates a series of playlists that reflect national and global listening trends, featuring the hottest artists and songs streamed. In 2023 Taylor Swift was the most streamed artist on Spotifyunseating Bad Bunny, who had held the title for three years in a row.
Every yr holds something latest. In 2019, Wrapped featured a decade-long summary of user trends in streaming. Last yr, Spotify matched listeners to City of Sound based on their artistic interests and the way this overlaps with those of artists from other parts of the world.
When is the expected release date?
So far, the streaming platform has kept the long-awaited release date of Wrapped under… hmm, under wraps.
In previous years, it was published after Thanksgiving, between November 30 and December 6.
Every yr, rumors spread on social media about when Spotify will stop collecting data to organize its summary results. This yr was no exception. Spotify He quickly debunked these assumptionsasserting on social media that “Spotify Wrapped doesn’t stop counting on October 31st.”
A Spotify representative didn’t reply to a request for comment on when the company will stop data tracking for Wrapped.
Where can I find my Spotify Wrapped?
Once Wrapped is released, each user’s Spotify account will prompt them to view an interactive data summary. It can be accessed through the Spotify smartphone app or via by logging in to Spotify. Wrapped is out there to users with and and not using a Premium subscription.
What else can I learn from my Spotify data?
There are several third-party sites you can connect your Spotify account to that can analyze your Wrapped data.
How bad is your Spotify is an AI bot that assesses your music taste. Reception shares the best songs in a shared graphic that appears like a receipt. Instafest gives you your individual personal music festival-style lineup, powered by your best artists. What sort of NPRCore are you rates how similar your music taste is to NPR Music.
What if I haven’t got Spotify?
Other major streaming platforms like Apple Music and YouTube Music have developed their very own versions of Wrapped in recent times.
Apple Music Replay not only gives its subscribers an end-of-year summary of their listening habits, but additionally monthly summaries – a feature that helps differentiate itself from Spotify’s one-time summary. This is issued at the end of the calendar yr.
Meanwhile, YouTube Music offers its listeners similar year-end releases, in addition to periodic seasonal releases throughout the yr. Earlier this month, it published its annual summary for users.
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