Jukin' Scene from The Fugitive Kind Movie (1960) | MOVIECLIPS

Do you know what jukin' is?

Click on the link below to see the clip and find out.
Jukin' Scene from The Fugitive Kind Movie (1960) | MOVIECLIPS

Click on the label Juke Joints in the Labels box below to see my other posts about Mississippi Juke Joints.

Click on the link below for info on this movie.
http://www.imdb.com/title/tt0052832/

Po' Monkey's Juke Joint Merigold, Mississippi

Click on the photo to enlarge the above picture.
Po' Monkey's
From Wikipedia, the free encyclopedia


Po' Monkey's lounge is located outside of Merigold, Mississippi in the Mississippi Delta and is a juke joint located in the cotton fields in a one-room house. The juke joint was founded in 1961 and is considered to be one of the last original juke joints in the south.

These historic music houses have always been places where "farm workers could relax, drink beer, and listen to music." Po' Monkey's is operated by owner William Seeberry, and is only open one night a week, Thursday.

Juke Joint

Click on the above photograph to enlarge it.


Juke joint
From Wikipedia, the free encyclopedia

For the 1947 race film Juke Joint, see Juke Joint (1947 film).

Exterior of a juke joint in Belle Glade, Florida, photographed by Marion Post Wolcott in 1944Juke joint (or jook joint) is the vernacular term for an informal establishment featuring music, dancing, gambling, and drinking, primarily operated by African American people in the southeastern United States. The term "juke" is believed to derive from the Gullah word joog, meaning rowdy or disorderly.[1] A juke joint may also be called a "barrelhouse".

Classic juke joints found, for example, at rural crossroads, catered to the rural work force that began to emerge after the emancipation.[1] Plantations workers and sharecroppers needed a place to relax and socialize following a hard week, particularly since they were barred from most white establishments by Jim Crow laws. Set up on the outskirts of town, often in ramshackle buildings or private houses, juke joints offered food, drink, dancing and gambling for weary workers.[2] Owners made extra money selling groceries or moonshine to patrons, or providing cheap room and board.

The origins of juke joints may be the community rooms that were occasionally built on plantations to provide a place for blacks to socialize during slavery. This practice spread to the work camps such as sawmills, turpentine camps and lumber companies in the early twentieth century, which built barrel-houses and chock-houses to be used for drinking and gambling. Constructed simply like a field hand's "shotgun"-style dwelling, these may have been the first juke joints. During the prohibition in the United States it became common to see squalid independent juke joints at highway crossings and railroad stops. These were almost never called "juke joint"; but rather were named such as the "Lone Star" or "Colored Cafe". They were often open only on weekends.[3] Juke joints may represent the first "private space" for blacks.[4] Paul Oliver writes that juke joints were "the last retreat, the final bastion for black people who want to get away from whites, and the pressures of the day."[3]

Jooks occurred on plantations, and classic juke joints found, for example, at rural crossroads began to emerge after the Emancipation Proclamation.[5] Dancing was done to so-called jigs and reels (terms routinely used for any dance that struck respectable people as wild or unrestrained, whether Irish or African), to music we now think of as "old-time" or "hillbilly". Through the first years of the twentieth century, the fiddle was by far the most popular instrument among both white and black Southern musicians. The banjo, too, was popular before guitars became widely available in the 1890s.[6]

Juke joint music began with the black folk rags ("ragtime stuff" and "folk rags" are a catch-all term for older African American music[7]) and then the boogie woogie dance music of the late 1880s or 1890s and became the blues, barrel house, and the slow drag dance music of the rural south (moving to Chicago's black rent-party circuit in the Great Migration) often "raucous and raunchy"[8] good time secular music. Dance forms evolved from ring dances to solo and couples dancing. Some blacks, those seeking white approval, opposed the amorality of the raucous "jook crowd".[8]

Until the advent of the Victrola, and juke boxes, at least one musician was required to provide music for dancing, but as many as three musicians would play in jooks.[9] In larger cities like New Orleans, string trios or quartets were hired.[10]


Label of 78-rpm gramophone record of "Livery Stable Blues - Fox Trot" (1917)"So far as what was called blues, that didn't come till 'round 1917...What we had in my coming up days was music for dancing, and it was of all different sorts" - Mance Lipscomb, Texas guitarist and singer. Musicians of that time had a degree of versatility that is now extremely rare, and styles were not yet codified and there was a good deal of shading and overlap.[6]

Paul Oliver, who tells of a visit to a juke joint outside of Clarksdale some forty years ago and was the only white man there, describes juke joints of the time as, "unappealing, decrepit, crumbling shacks" that were often so small that only a few couples could Hully Gully. The outside yard was filled with trash. Inside they are "dusty" and "squalid" with the walls "stained to shoulder height".[3] In 1934, anthropologist Zora Neale Hurston made the first formal attempt to describe the juke joint and its cultural role, writing that "the Negro jooks...are primitive rural counterparts of resort night clubs, where turpentine workers take their evening relaxation deep in the pine forests." Jukes figure prominently in her studies of African American folklore.[11]

Early figures of blues, including Robert Johnson, Son House, Charley Patton, and countless others, traveled the juke joint circuit, scraping out a living on tips and free meals. While musicians played, patrons enjoyed dances with long heritages in some parts of the African American community, such as the Slow Drag.

Many of the early and historic juke joints have closed over the past decades for a number of socio-economic reasons. Po' Monkey's is one of the last remaining rural jukes in the Mississippi Delta. It began as a renovated sharecropper's shack which was probably originally built in the 1920s or so.[12] Po' Monkey's features live blues music and "Family Night" on Thursday nights.[13] Still run by Po' Monkey, the popular juke joint has been featured in national and international articles about the Delta. The Blue Front Cafe is a historic old juke joint made of cinder blocks in Bentonia, Mississippi which played an important role in the development of the blues in Mississippi. It was still in operation as of 2006.[14] Smitty's Red Top Lounge in Clarksdale, Mississippi, is also still operating as of last notice.[15]

Urban juke joint
Peter Guralnick describes many Chicago juke joints as corner bars that go by an address and have no name. The musicians and singers perform unannounced and without microphones, ending with little if any applause. Guralnick tells of a visit to a specific juke joint, Florence's, in 1977. In stark contrast to the streets outside, Florence's is dim, and smoke-filled with the music more of an accompaniment to the "various business" being conducted than the focus of the patrons' attention. The "sheer funk of all those closely-packed-together bodies, the shouts and laughter" draws his attention. He describes the security measures and buzzer at the door, there having been a shooting there a few years ago. On this particular day Magic Slim was performing with his band, the Teardrops, on a bandstand barely big enough to hold the band.[16]

Katrina Hazzard-Gordon writes that "[t]he honky-tonk was the first urban manifestation of the jook, and the name itself later became synonymous with a style of music. Related to the classic blues in tonal structure, honky-tonk has a tempo that is slightly stepped up. It is rhythmically suited for many African-American dances…", but cites no reference.[17]

Legacy
The low-down allure of juke joints has inspired many large-scale commercial establishments, including the House of Blues chain, the 308 Blues Club and Cafe in Indianola, Mississippi[18] and the Ground Zero in Clarksdale, Mississippi. Traditional juke joints, however, are under pressure from other forms of entertainment, including casinos.[2] Many get more business from tourists in search of an authentic blues experience than local patrons. The annual Juke Joint Festival in Clarksdale was founded in 2004 to foster appreciation for local jukes and promote their preservation.

Jukes have been celebrated in photos and film. Marion Post Wolcott's images of the dilapidated buildings and the pulsing life they contained are among the most famous documentary images of the era.
Footnotes
1.^ Jookin'. Katrina Hazzard-Gordon. Temple University Press. 1990. page 80 ISBN 0-97722-613-X
2.^ Gorman, Juliet Gorman. "Cultural Migrancy, Jooks, and Photographs". www.oberlin.edu. http://www.oberlin.edu/library/papers/honorshistory/2001-Gorman/jookjoints/allaboutjooks/laborandphotos1.html. Retrieved 2008-06-08.
3.^ a b c Oliver, Paul (1984). Blues Off the Record:Thirty Years of Blues Commentary. New York: Da Capo Press. pp. 45–47. ISBN 0-306-80321-6.
4.^ Gorman, Juliet. "Backwoods Identities". www.oberlin.edu. http://www.oberlin.edu/library/papers/honorshistory/2001-Gorman/jookjoints/belleglade/backwoodsidentities.html. Retrieved 2008-06-08.
5.^ Jookin'. Katrina Hazzard-Gordon. Temple University Press. 1990. page 80, 105 ISBN 0-97722-613-X
6.^ a b Wald, Elijah (2004). Escaping the Delta: Robert Johnson and the Invention of the Blues. HarperCollins. pp. 45, 46. ISBN 0060524235.
7.^ Escaping the Delta: Robert Johnson and the Invention of the Blues By Elijah Wald 2004 HarperCollins pages 43, 44 ISBN 0060524235
8.^ a b Floyd, Jr., Samuel (1995). The Power of Black Music. New York: Oxford University Press. pp. 66–67, 122. ISBN 0-19-508235-4.
9.^ Jookin'. Katrina Hazzard-Gordon. Temple University Press. 1990. pages 82, 83. ISBN 0-97722-613-X
10.^ Jookin'. Katrina Hazzard-Gordon. Temple University Press. 1990. page. 87 ISBN 0-97722-613-X
11.^ Gorman, Juliet. "What is a Jook Joint?". www.oberlin.edu. http://www.oberlin.edu/library/papers/honorshistory/2001-Gorman/jookjoints/allaboutjooks/whatisjook.html. Retrieved 2008-06-08.
12.^ "Luther Brown, Inside Poor Monkey's - Abstract". www.southernspaces.org. http://www.southernspaces.org/contents/2006/brown/1a.htm. Retrieved 2008-06-07.
13.^ "Luther Brown, Inside Poor Monkey's - Lounge". www.southernspaces.org. http://www.southernspaces.org/contents/2006/brown/1c.htm. Retrieved 2008-06-07.
14.^ "Blue Front Cafe a sure stop along Mississippi Blues Trail - USATODAY.com". www.usatoday.com. http://www.usatoday.com/travel/destinations/2006-07-03-mississippi-blues-trail_x.htm. Retrieved 2008-05-27.
15.^ "Juke-joints". www.steberphoto.com. http://www.steberphoto.com/articles-1.htm. Retrieved 2008-06-07.
16.^ Guralnick, Peter (1989). Lost Highway: Journeys and Arrivals of American Musicians. New York: Harper & Row. pp. 304–305. ISBN 0-06-077174-6.
17.^ Hazzard-Gordon, Katrina (May 1990). "Shoddy Confines: The Jook Continuum". Jookin': The Rise of Social Dance Formations in African-American Culture. Philadelphia: Temple University Press. p. 84. ISBN 0-97722-613-X. OCLC 19515231.
18.^ "308 Blues Club and Cafe". www.308bluesclubandcafe.com. http://www.308bluesclubandcafe.com/. Retrieved 2008-06-07.
[edit] External links
Random House Word of the Day . Accessed 2006-02-02.
Gorman, Juliet. "Cultural Migrancy, Jooks, and Photographs". www.oberlin.edu. http://www.oberlin.edu/library/papers/honorshistory/2001-Gorman/jookjoints/allaboutjooks/laborandphotos1.html. Retrieved 2008-06-08.
Gorman, Juliet. "What is a Jook Joint?". www.oberlin.edu. http://www.oberlin.edu/library/papers/honorshistory/2001-Gorman/jookjoints/allaboutjooks/whatisjook.html. Retrieved 2008-06-08.
Junior's Juke Joint. Accessed 2006-02-01.
Juke Joint Festival. Accessed 2006-02-02.
"Backroads of American Music". www.backroadsofamericanmusic.com. http://www.backroadsofamericanmusic.com/. Retrieved 2008-06-08.
Junior's Juke Joint
Jukin' It Out: Contested Visions of Florida in New Deal Narratives
Juke Joint Festival
Juke Joint video
[http://www.adelaidebluesfestival.com Juke Joint at Queens
Retrieved from "http://en.wikipedia.org/wiki/Juke_joint"
Categories: Drinking establishments | Types of restaurants | Blues

Mississippi Juke Joints and Roadhouses

Juke Joint

Photographs by Birney Imes, introduction by Richard Ford

Reprint edition; first published in 1990

University Press of Mississippi (Hardcover, $55.00, ISBN: 0878054375; Paperback, $35.00, ISBN: 087805846X)

Publication date: December 2002

Description from the publisher:

A collection of photographs capturing the mysterious interiors of juke joints in the Mississippi Delta.

“I saw that photograph of the men standing around the pool table, and read that phrase, ‘2-kool 2-be 4-gotten,’ and the inspiration was obvious. Every time I sing that song I credit Birney Imes. Birney’s work is, in photography, what a good blues song is to me—gritty, edgy in all its parallels.” —Lucinda Williams

“Sweet lingering drifts through these pictures like heat.” —Richard Ford

“Imes immortalizes the juke joints of the Delta.” —Newsweek

“Birney Imes photographs what most people overlook.… Linger awhile.” —Douglas Balz, Chicago Tribune

These photographs by Birney Imes have the jagged edge of genuine blues music. They were taken in the Mississippi Delta during the 1980s, featured in exhibitions, and collected in Juke Joint, first published in 1990. After being unavailable for five years, this riveting book is in print again. As Lucinda Williams sang, it's “too cool to be forgotten.”

Imes focused his camera on nearly empty rooms, yet these bluesy, almost peopleless photographs capture black cafes, roadhouses, and taverns as a fascinating folk art that resounds with energy and pulses with the joys and griefs of the clientele.

The names of these juke joints are almost as evocative as Imes’s photographs—the Pink Pony in Darling, Mississippi, the People’s Choice Café in Leland, Monkey’s Place in Merigold, the Evening Star Lounge in Shaw, the Playboy Club in Louise, Juicy’s Place in Marcella, the Social Inn in Gunnison, and A. D.’s Place in Glendora.

To the volume Richard Ford, the acclaimed author of The Sportswriter, Rock Springs, and the Pulitzer Prize-winning Independence Day, has contributed a long, perceptive essay that probes Imes’s photographs for their aesthetic values and for what they reveal beyond their surface.

Birney Imes is the photographer and author of Whispering Pines (University Press of Mississippi). His photographs have been exhibited in solo shows in the United States and in Europe. His work is in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Art Institute of Chicago, and the Bibliotheque Nationale in Paris. Richard Ford, the author of many books of fiction, has been the recipient of both the Pulitzer Prize and the PEN/Faulkner Award.
********************************************

In the movie THE FUGITIVE KIND Joanne Woodward explains to Marlon Brando what "jukin'" is. "You drive a little bit you drink a little bit and you dance a little bit. Then you drive a little bit more and drink a little bit more and dance a little bit more and drive on to the next jukejoint".
Jukejoints had jukeboxes but often they had live music. Bands playing either country or rock and roll or R&B for dancing. Fights were common. Bands often playing behind something to protect themselves from flying beer bottles.
Before the days of the interstate highways the back roads were often pitch black at night. Then you would see a glow off in the distance. Getting closer you would see a lit up neon beer sign on a long pole. It would say either Miller High Life or Schlitz or some other local beer. The parking lots were almost always gravel not paved. The cars would make a crunching sound on the gravel as they pulled into the parking lot. Then the heavy doors of the old cars of the 1940s and 1950s and 60s would open and close with a heavy kerthunk sound.
In the days of segregation there were juke joints and roadhouses for blacks and whites. They did not and could not go to the other people's places. But in very rural areas often you would find two separate clubs in one building. One club for whites in the front and another club for blacks in the rear but both in the same building. This was the case with The Whispering Pines in Crawford, Mississippi. See my post below about The Whispering Pines another fine photography book by Birney Imes and also the name of a good song by Big Joe Williams (often mistitled The Whistlin' Pines) about this old time Mississippi Roadhouse Cafe.

Click on the label Juke Joint in the labels box below to find my other post about The Fugitive Kind and a clip from the movie where Joanne Woodward explains in full what jukin' is.