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 Contents vii

7 “C HOO CHOO CH’ BOOGIE”: THE POSTWAR ERA,

1946–1954 202
Popular Music and Technology in the Postwar Era 205
The Rise of the Star Singers 208
Urban Folk Music: The Weavers 215
The Mambo Craze (1949–1955) 217
Southern Music in the Postwar Era 221
Rhythm & Blues 222
Vocal Harmony Groups 229
R&B Women: Ruth Brown and Big Mama
Thornton 231
Country and Western Music 235

8 “R OCK AROUND THE CLOCK”: ROCK ’N’ ROLL,

1954–1959 247
The Birth of Rock ’n’ Roll 249
Cover Versions and Early Rock ’n’ Roll 252
The Rock ’n’ Roll Business 256
Early Rock ’n’ Roll Stars on the R&B Side 260
Early Rock ’n’ Roll Stars on the Country Side 268
Wild, Wild Young Women: Female Rock ’n’ Roll
Pioneers 277
The Latin Side of Rock ’n’ Roll 280
Songwriters and Producers of Early Rock ’n’ Roll 283
Other Currents: The Standard and Folk Music in the
Rock ’n’ Roll Era 285

9 “G OOD VIBRATIONS”: AMERICAN POP AND THE

BRITISH INVASION, 1960s 291
The Early 1960s: Dance Music
and “Teenage Symphonies” 292
Berry Gordy and Motown 300
Brian Wilson and the Beach Boys 305
The Beatles, the British Invasion, and the American Response 309
Meanwhile, Back in California . . . 319
Latin Sounds in 1960s Pop: A Tall Man, a Tanned Girl, and a Taste of
Honey 322
viii Contents

10 “B LOWIN’ IN THE WIND”: COUNTRY, SOUL, URBAN

FOLK, AND THE RISE OF ROCK, 1960s 329
Patsy Cline and the Nashville Sound 331
Ray Charles and Soul Music 332
Sam Cooke, the “King of Soul” 336
James Brown and Aretha Franklin 339
The Broadway Musical in the Age of Rock 346
Urban Folk Music in the 1960s: Bob Dylan 347
The Counterculture and Psychedelic Rock 356
Sgt. Pepper’s Lonely Hearts Club Band 360
Their Satanic Majesties: The Rolling Stones After
Sgt. Pepper 363
San Francisco Rock: Jefferson Airplane, Janis Joplin, and
the Grateful Dead 364
The Doors and “Light My Fire” 368
Guitar Heroes: Jimi Hendrix and Eric Clapton 370

11 THE 1970s: ROCK MUSIC, DISCO, AND THE POPULAR

MAINSTREAM 377
Singer-Songwriters: Carole King, Joni Mitchell,
James Taylor 381
Country Music and the Pop Mainstream 383
Rock Comes of Age 389
“Night Fever”: The Rise of Disco 410

12 OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY,

REGGAE, SALSA, PUNK, FUNK, AND
RAP, 1970s 419
The Outlaws: Progressive Country Music 419
“I Shot the Sheriff”: The Rise of Reggae 423
The Rise of Salsa Music 429
“Psycho Killer”: 1970s Punk and New Wave 434
“Tear the Roof off the Sucker”: Funk Music 445
“Rapper’s Delight”: The Origins of Hip-Hop 448

TIMELINE: 1980–TODAY 455

 Contents ix

13 THE 1980s: DIGITAL TECHNOLOGY, MTV,

AND THE POPULAR MAINSTREAM 460
Digital Technology and Popular Music 463
The Pop Mainstream of the 1980s: Some
Representative Hits 466
A Tale of Three Albums 476
“Baby I’m a Star”: Prince, Madonna, and the
Production of Celebrity 488

14 “S MELLS LIKE TEEN SPIRIT”: HIP-HOP,

ALTERNATIVE MUSIC, AND THE
ENTERTAINMENT BUSINESS 503
Hip-Hop Breaks Out (1980s–1990s) 506
Commercialization, Diversification, and the Rise
of Gangsta Rap (1990s) 513
Techno: Dance Music in the Digital Age 522
Alternate Currents 524
Women’s Voices: Alternative Folk, Hip-Hop, and
Country 533
Modern Sounds in Country and Western Music:
Approaches to Tradition 539
Latina Superstars of the 1990s: Gloria Estefan
and Selena 544
Globalization and the Rise of “World Music” 547
World Music Collaborations: Ali Farka Touré and
Nusrat Fateh Ali Khan 550

15 THE INTERNET AGE, 2000– 555

The Impact of Digital Recording 558

Music and the Internet: The Revolution Will Be
Streamed 560
“On the Road Again”: The New Popular Music
Economy 567
Rock Music in the 2000s 571
Hip-Hop in the New Millennium 579
Hip-Hop Stars of the 2010s 587
Twenty-First Century Divas: We Never Go Out of Style 591
Conclusion: American Popular Music in the Age of Globalization 595
x Contents

Appendix: Understanding Rhythm and Form 601

Glossary 604
Bibliography 611
Credits 614
Streaming Audio Playlist 616
Index 619
 LISTENING

Although we analyze many specific musical genres, performances, and pieces of music in
this book, the following is a list of works to which we have lent particularly close attention,
most often in the form of Listening Guides, but also as Boxes, or within the main text.

1 “Barbary [Barbara] Allen” (Child Ballad #84), performed by Jean Ritchie; recorded 1960 21
“Soldier’s Joy,” performed by Gid Tanner and the Skillet Lickers; released 1929 21
“Soldier’s Joy,” fiddle solo performed by Tommy Jarrell; recorded early 1980s 21
“Long John,” performed by Lightning Washington and fellow convicts; recorded 1934 28
“Coo Coo,” performed by Dink Roberts; recorded 1974 33
“Stagolee,” performed by Mississippi John Hurt (vocal and guitar); recorded 1928 35
“La Cumparsita,” performed by Carlos Gardel, with guitar accompaniment by José Ricardo;
recorded 1928 37
“La Cumparsita,” performed by Francisco Canaro y Quinteto Pirincho; recorded 1951 37
“Enigue Nigue,” performed by AfroCuba de Matanzas; released 1998 41
“La Negra,” performed by Mariachi Vargas de Tecalitlán; released 1959 43

2 “Jeanie with the Light Brown Hair,” music and lyrics by Stephen Foster; published 1854;
performed by Thomas Hampson; released 1992 54
“After the Ball,” music and lyrics by Charles K. Harris; published 1892; performed by Joan Morris
(vocal) and William Bolcom (piano); released 1990 60

3 “Castle House Rag,” music by James Reese Europe; performed by James Reese Europe’s Society
Orchestra; recorded 1914 84
“Tiger Rag,” written by Nick LaRocca performed by the Original Dixieland Jazz Band;
recorded 1918 87
“Dipper Mouth Blues,” written by King Joe Oliver; performed by the Creole Jazz Band; recorded
1923 87
“West End Blues,” written by Joe Oliver; performed by Louis Armstrong and His Hot Five;
recorded 1928 90
“Ain’t Misbehavin’,” written by Thomas Waller and Andy Razaf; performed by Louis Armstrong
and His Orchestra; recorded 1929 90
“East St. Louis Toodle-Oo,” written by Duke Ellington and Bubber Miley; performed by Duke
Ellington and His Washingtonians; recorded 1927 99

4 “’Deed I Do,” music by Fred Rose, lyrics by Walter Hirsch; performed by Ruth Etting;
recorded 1926 109
“My Blue Heaven,” music by Walter Donaldson, lyrics by George Whiting; published 1924;
performed by Gene Austin; recorded 1927 111
“April Showers,” music by Louis Silvers, lyrics by Buddy DeSylva; published 1921; performed by
Al Jolson; recorded 1921 114
xi
 xii Listening

“How Deep Is the Ocean?,” lyrics and music by Irving Berlin; performed by Bing Crosby; recorded
1932 117
“I Got Rhythm,” music by George Gershwin, lyrics by Ira Gershwin; published 1930; performed
by Ethel Merman; recorded 1947 118

5 “St. Louis Blues,” music and lyrics by W. C. Handy; published 1914; performed by Bessie
Smith, accompanied by Louis Armstrong, cornet, and Fred Longshaw, reed organ;
recorded 1925 132
“Tom Rushen Blues,” written and performed by Charley Patton; recorded 1929 139
“That Black Snake Moan,” written and performed by Blind Lemon Jefferson; recorded
1926 141
“Cross Road Blues,” written and performed by Robert Johnson; recorded 1936 143
“Blue Yodel No. 2,” written and performed by Jimmie Rodgers; recorded 1929 149
“Waiting for a Train,” written and performed by Jimmie Rodgers; recorded 1928 149
“Dreaming with Tears in My Eyes,” written by Jimmie Rodgers and Waldo L. O’Neal; performed
by Jimmie Rodgers; recorded 1933 149
“Gospel Ship,” written by A. P. Carter; performed by the Carter Family; recorded 1935 151
“The Sun Didn’t Shine,” written by Roosevelt Fennoy; performed by the Golden Gate Quartet;
recorded 1941 151
“I Want to Be a Cowboy’s Sweetheart,” written and performed by Patsy Montana; recorded
1935 152
“Pretty Polly,” traditional ballad; performed by the Coon Creek Girls; recorded 1938 152
“Remember Me (When the Candle Lights Are Gleaming),” written by Scott Wiseman; performed
by Lulu Belle and Scotty; recorded 1940 153

6 “Wrappin’ It Up (The Lindy Glide),” composed and arranged by Fletcher Henderson; performed
by Fletcher Henderson and His Orchestra; recorded 1934 163
“Taking a Chance on Love,” composed by Vernon Duke, lyrics by John Latouche and Ted Fetter;
arranged by Fletcher Henderson; performed by Benny Goodman and His Orchestra; recorded
1940 168
“Caravan,” composed by Juan Tizol and Duke Ellington; arranged by Duke Ellington; performed
by Duke Ellington and His Orchestra; recorded 1937 170
“One o’Clock Jump,” composed by William Count Basie; arranged by Eddie Durham and Buster
Smith; performed by Count Basie and His Orchestra; recorded 1937 174
“In the Mood,” composed by Joe Garland and Andy Razaf; arranged by Glenn Miller; performed
by Glenn Miller and His Orchestra; recorded 1939 175
“Paper Doll,” music and lyrics by Johnny S. Black; published 1915; performed by the Mills
Brothers; recorded 1942 179
“Great Speckled Bird,” written by Reverend Guy Smith; performed by Roy Acuff and His Crazy
Tennesseans; recorded 1936 182
“Cool Water,” written by Bob Nolan; performed by Sons of the Pioneers; recorded 1941 184
 Listening xiii

“New San Antonio Rose,” written by Bob Wills; performed by Bob Wills and His Texas Playboys;
recorded 1940 186
“Brazil,” written by Ary Barroso, performed by Xavier Cugat and His Waldorf-Astoria Orchestra;
recorded 1943 189
“Nagüe,” written by Luciano (Chano) Pozo; arranged by Mario Bauza and John Bartee;
performed by Machito and His Afro-Cubans; recorded 1941 192

7 “Nancy (with the Laughing Face),” music and lyrics by Jimmy Van Heusen and Phil Silvers;
performed by Frank Sinatra with the Axel Stordahl Orchestra; recorded 1945 212
“Nature Boy,” written by Eden Ahbez; performed by Nat “King” Cole, accompanied by Frank
De Vol’s Orchestra; recorded 1948 213
“Mambo No. 5,” written by Perez Prado; performed by Perez Prado and His Orchestra; recorded
1949 218
“Mambo Italiano,” written by Bob Merrill; arranged by Mitch Miller; performed by Rosemary
Clooney; recorded 1954 220
“Choo Choo Ch’ Boogie,” music and lyrics by Milt Gabler, Denver Darling, and Vaughan Horton;
performed by Louis Jordan’s Tympany Five; recorded 1946 225
“Black Night,” written by Jessie Robinson; performed by Charles Brown and His Band; released
1951 227
“Hoochie Coochie Man” written by Willie Dixon; performed by Muddy Waters; released 1954 229
“Hound Dog,” written by Jerry Leiber and Mike Stoller; performed by Big Mama Thornton;
released 1953 231
“Mama, He Treats Your Daughter Mean,” written by Johnny Wallace, Herbert J. Lance, and
Charles Singleton; performed by Ruth Brown; released 1953 232
“It’s Mighty Dark to Travel,” written by Bill Monroe; performed by Bill Monroe and His Blue Grass
Boys; recorded 1947 235

8 “Shake, Rattle, and Roll,” original version performed by Big Joe Turner; released 1954; cover
version performed by Bill Haley and the Comets; released 1954 253
“Sh-Boom,” original version written and performed by the Chords; released 1954; cover version
performed by the Crew Cuts; released 1954 255
“A Guy Is a Guy,” written by Oscar Brand; performed by Doris Day with male chorus and
Paul Weston and his orchestra; recorded 1952 258
“Maybellene,” music and lyrics by Chuck Berry (also credited to disc jockeys Russel Fratto and
Alan Freed); performed by Chuck Berry and His Combo; recorded 1955 262
“Long Tall Sally,” music and lyrics credited to Enotris Johnson, Richard Penniman, and Robert
Blackwell; performed by Little Richard and unidentified band; recorded 1956 266
“Mystery Train,” original version written and performed by Junior Parker, released 1953; cover
version performed by Elvis Presley; released 1953 269
“Don’t Be Cruel,” music and lyrics by Otis Blackwell and Elvis Presley; performed by Elvis Presley,
vocal and guitar, with the Jordanaires and backing instrumentalists; recorded 1956 272
“La Bamba,” traditional Mexican folk song; adapted and performed by Ritchie Valens; recorded 1958 281
“Charlie Brown,” music and lyrics by Jerry Leiber and Mike Stoller; performed by the Coasters
with accompanying band (King Curtis, sax solo); recorded 1958 284
 xiv Listening

9 “Be My Baby,” composed by Phil Spector, Ellie Greenwich, and Jeff Barry; performed by the
Ronettes; released 1963 299
“Uptown,” composed by Barry Mann and Cynthia Weil; performed by the Crystals; released
1962 299
“My Girl,” composed and produced by Smokey Robinson and Ronald White; performed by the
Temptations; released 1965 304
“You Can’t Hurry Love,” composed by Holland–Dozier–Holland; produced by Brian Holland and
Lamont Dozier; performed by the Supremes; released 1966 304
“Please Please Me,” written by John Lennon and Paul McCartney; performed by the Beatles;
recorded 1962 313
“A Hard Day’s Night,” written by John Lennon and Paul McCartney; performed by the Beatles;
recorded 1964 313
“Yesterday,” written by John Lennon and Paul McCartney; performed by the Beatles (actually Paul
McCartney, vocal solo, accompanied by guitar and string ensemble); recorded 1965 313
“Eleanor Rigby,” written by John Lennon and Paul McCartney; performed by the Beatles, with
accompanying string ensemble; recorded 1966 313
“Good Vibrations,” music by Brian Wilson, lyrics by Mike Love; produced by Brian Wilson;
performed by the Beach Boys with instrumental accompaniment; recorded 1966 320
“El Watusi” by Ray Barretto and his Charanga Moderna; recorded in 1962 323
“A Taste of Honey” by Herb Alpert and the Tijuana Brass, recorded 1965 327

10 “You Send Me,” written and performed by Sam Cooke; recorded 1957 337
“A Change Is Gonna Come,” written and performed by Sam Cooke; recorded 1964 337
“Papa’s Got a Brand New Bag,” composed by James Brown; performed by James Brown and the
Famous Flames; released 1965 341
“Respect,” composed by Otis Redding; performed by Aretha Franklin; released 1967 344
“Like a Rolling Stone,” composed and performed by Bob Dylan (with unidentified instrumental
accompaniment); recorded 1965 353
“Crossroads,” written by Robert Johnson; performed by Cream; recorded 1968 373

11 “Stairway to Heaven,” music and lyrics by Jimmy Page and Robert Plant; performed by Led
Zeppelin; recorded 1971 399
“Oye Como Va,” music and lyrics by Tito Puente, performed by Santana; recorded 1971 404
“Love’s Theme,” written by Barry White; performed by the Love Unlimited Orchestra, conducted
by Barry White; released 1973 411
“Love to Love You Baby,” written by Pete Bellotte, Giorgio Moroder, and Donna Summer;
performed by Donna Summer; recorded 1975 415
“Bad Girls,” written by Joseph Esposito, Edward Hokenson, Bruce Sudano, and Donna Summer;
performed by Donna Summer; recorded 1979 415
“Good Times,” written by Bernard Edwards and Nile Rodgers; performed by Chic; recorded 1979 415
 Listening xv

12 Red Headed Stranger (concept album), Willie Nelson, recorded 1975 422
“Blue Eyes Crying in the Rain” (Fred Rose) recorded by Willie Nelson, 1975 422
“Pedro Navaja,” written by Rubén Blades; performed by Willie Colón and Rubén Blades;
recorded 1977 431
“Psycho Killer,” music and lyrics by David Byrne, Chris Frantz, Tina Weymouth; performed by
Talking Heads; recorded 1977 443
“The Message,” written by Sylvia Robinson, Ed Fletcher, and Melle Mel; performed by
Grandmaster Flash and the Furious Five; recorded 1982 453

13 “Lady,” written by Lionel Richie; performed by Kenny Rogers; released 1980 466
“What’s Love Got to Do with It,” written by Terry Britten and Graham Lyle; performed by Tina
Turner; released 1984 468
“Sweet Dreams (Are Made of This),” written by Annie Lennox and David A. Stewart; performed
by Eurhythmics; released 1983 470
“Jump,” written by Eddie Van Halen, Alex Van Halen, Michael Anthony, and David Lee Roth;
performed by Van Halen; released 1984 472
“Like a Virgin,” written by Billy Steinberg and Tom Kelly; performed by Madonna; recorded 1984 493
“When Doves Cry,” written, performed, and produced by Prince; recorded 1984 498

14 “Walk This Way,” written by Joe Perry and Steven Tyler; performed by Run DMC with Perry and
Tyler (from Aerosmith); recorded 1986 508
“Night of the Living Baseheads,” written by Hank Shocklee, Eric Sadler, and Chuck D; performed
by Public Enemy; recorded 1988 511
“What’s My Name?” written by George Clinton, Gary Shider, Snoop Dogg, and David Spradley;
produced by Dr. Dre; performed by Snoop Doggy Dogg; recorded 1993 516
“U.N.I.T.Y.,” written by Queen Latifah and Kier “Kay Gee” Gist; released 1994 521
“Holiday in Cambodia,” written and performed by the Dead Kennedys; recorded 1980 527
“Smells Like Teen Spirit,” music by Nirvana, lyrics by Kurt Cobain; performed by Nirvana;
recorded 1991 530
“Doo Wop (That Thing),” written and performed by Lauryn Hill; recorded 1998 536
“Nowhere to Stand,” written by k.d. lang; performed by k.d. lang and the Reclines; recorded 1989 538

15 “Bodysnatchers,” written by Colin Charles Greenwood, Jonathan Richard Guy Greenwood,

Edward John O’Brien, Philip James Selway, and Thomas Edward Yorke; performed by
Radiohead; released 2007 576
“Hey Ya,” written and produced by Andre 3000; performed by Outkast; released 2003 585
To Pimp a Butterfly, concept album written and performed by Kendrick Lamar; executive
producers Anthony “Top Dawg” Tiffith and Dr. Dre; recorded 2015 “i” (single and album
versions), written and performed by Kendrick Lamar; recorded 2015 589
“Rolling in the Deep,” written by Adele and Paul Epworth; performed by Adele; released 2011 593
“Shake It Off,” written by Taylor Swift, Max Martin, and Shellback; performed by Taylor Swift;
released 2014 591
 Preface

I
T SEEMS SCARCELY POSSIBLE THAT WE ARE NOW AT THE POINT OF PRESENTING
the fifth edition of American Popular Music: From Minstrelsy to MP3, some fifteen years
after the book’s initial publication. It is not possible to thank adequately the many
students, colleagues, and other interested readers whose enthusiasm for the previous
editions of the book has brought us to this point, and whose many helpful observations
and suggestions have informed the creation of this new edition at every stage.
What distinguishes our book from others in this rapidly growing field is that it com-
bines two perspectives not often found in the same place: the study of cultural and social
history on the one hand, and the analytical study of musical style on the other. In pre-
senting this introductory survey of the rich terrain of American popular music, we bring
years of experience in teaching courses for a general student population and in lecturing
on musical subjects to general audiences. This experience has taught us that it is neither
necessary nor desirable to talk down, write down, or think down to such groups. People
love music and can quickly grasp all kinds of intricacies and subtleties concerning music
so long as what they read is free of jargon, clear, and unpretentious. We love American
popular music ourselves—that is why we have written this book—and we have attempted
to foreground this love for the subject in our writing, realizing that it is the most valuable
common bond we share with all potential readers of our work.

Our Approach

W e fully expect that students, teachers, and readers of all kinds will enter into a
creative dialog with the material in this book. No general overview of a complex
subject can begin to satisfy everyone. And since passions run high in the field of popular

xvi
 Preface xvii

music, we anticipate that our particular perspectives, and particularly our choices of
artists to emphasize and specific examples to study, may well provoke some controversy
at times, whether in the classroom or simply in the mind of the reader. We have felt it
better to identify clearly our own viewpoints and enthusiasms rather than try to hide
behind a scrim of apparent objectivity. The opening chapter outlines particular themes
and streams that serve as recurring reference points throughout the book, ensuring that
our narrative focus and strategy are articulated at the outset.
Throughout the book, we have striven to take as broad a view as possible of “popular
music,” but it is inevitable that some readers will find certain genres and styles either ex-
cessively prominent or underestimated, depending on their own tastes and viewpoints. We
have tried in particular to avoid the trap of viewing the period from the 1960s to the present
as exclusively the “age of rock.” Those wishing a study of rock music per se are directed
to our companion text, Rock: Music, Culture, and Business (Oxford University Press, 2012),
written in collaboration with Joseph G. Schloss, which offers a different perspective on the
American musical landscape from the period following World War II to the present day.
While we feel that this text provides a sound and reliable starting point for the study
and appreciation of American popular music, we claim no more than that. We hope
and expect that teachers who use this book will share supplementary and contrasting
perspectives on the material with their students, and that individual readers will use the
bibliography as an enriching source of such perspectives as well. We inevitably bring
certain limitations of perspective, along with our passions, to our understanding of the
broad trajectory of American pop, and it is certainly desirable for all readers to seek out
other perspectives and modes of understanding as they pursue this subject further.

What’s New?

T he fifth edition of American Popular Music offers a significant quantity of new mate-
rial to enrich our text:
1. The text has undergone by far the most complete, sentence-by-sentence exami-
nation and revision that has taken place since the first edition was published
with countless changes in wording, the updating of references to contemporary
technology, culture, and popular music, and a critical consideration of the con-
temporary cultural and scholarly scene always in mind.
2. The coverage of gender and sexuality has been significantly enhanced (and pre-
vious text has been rewritten where necessary). This begins with a new heading
for Theme Two in Chapter 1; previously called “Music and Identity,” this is now
fleshed out to read “Music and Identity (Individuality, Gender, and Race).” New
material has been accordingly added to this section, and appropriate additions
and alterations have been made to succeeding text throughout the book.
3. There is an abundance of new material on female performers that significantly
rounds out the picture of women’s contributions to popular music throughout
history. The Tin Pan Alley star Ruth Etting (Chapter 4); early country stars Patsy
xviii Preface

Montana, the Coon Creek Girls, and Lulu Belle (Chapter 5); jazz singers the
Boswell Sisters, Billie Holiday, and Ella Fitzgerald (Chapter 6); mid-twentieth-
century pop and movie star Doris Day (Chapter 8); and contemporary divas
Adele, Beyoncé, and Taylor Swift (Chapter 15) all receive new and detailed
attention. A significant number of new tracks by female artists have accordingly
been added to the basic listening collection for this edition.
4. There is important new material on jazz singing. In addition to the “Jazz Sing-
ers” box in Chapter 6 cited previously, the treatment of Louis Armstrong in
Chapter 3 has been significantly expanded to include a discussion of his singing
on his recording of Fats Waller’s “Ain’t Misbehavin’.”
5. References to technology have been revised and updated throughout, which
involved a thorough rewriting of Chapter 15, the final chapter, now called “The
Internet Age, 2000–.”
6. The Listening Guides in Chapters 11 and 13 of the fourth edition (“A 1970s
Jukebox” and “A 1980s CD Changer,” respectively) have been replaced with
the discussions of the relevant songs now integrated directly into the study of
specific styles and genres that are defined at the beginnings of the respective
chapters. This creates a superior context for the discussions of the songs, and
enables readers to locate individual songs and the styles they represent much
more easily.
7. There is added material on specific songs, among them in particular, Woody
Guthrie’s “Do Re Mi” (Chapter 5); Willie Nelson’s “Blue Eyes Crying in the Rain”
(Chapter 12); “Hey Ya” by Outkast, Kendrick Lamar’s track “i,” and selections by
Adele and Beyoncé (Chapter 15).
8. All data has been thoroughly checked and updated: some birth dates corrected
in accordance with new scholarship (e.g., Blind Lemon Jefferson, Lead Belly);
dates of death added; all record chart and sales data meticulously scrutinized for
contemporary accuracy.

Features
Listening Guides. Rather than being separated out or introduced independently,
• 
the main musical discussions are integrated into the text at the points where
they are relevant to the developing narrative; this approach seemed to us both
logical and functional. Given the enormous diversity of the music covered, these
Listening Guides follow various formats adapted to the nature of the material
under consideration. For example, Tin Pan Alley songs lend themselves read-
ily to discussions that separate out the song as a composition from any specific
recording of the song; this approach seems counterproductive, however, for
examples in which the recording itself is the song—that is, the primary docu-
ment. Accompanying charts are used to represent and summarize, in outline
form, the most important elements of many recordings that are discussed in
 Preface xix

some detail in the text. In some of the more general discussions in which the
emphasis is on the impact of the recording as a whole rather than on its various
parts, these charts are not as useful, so we have not provided them. The fact that
we are dealing here to an overwhelming extent with songs—texted music—has
enabled us to treat musical issues with some sophistication without having to
employ musical notation, since lyrics may be used as points of specific orienta-
tion in the musical discussions. This keeps the focus on listening and opens the
musical analyses to the widest possible audience without compromising depth
of treatment.
• Key Terms and Names. We have sought to limit the use of specialized terms,
to employ them only when clearly necessary, and to define them as they arise
naturally in the course of study. Important and frequently employed terms
appear in boldface and typically are defined in the text when first introduced, as
well as given extensive definitions in the glossary at the end of the book. These
terms will also be listed at the end of each chapter to aid in study. Important
names are introduced in boldface italics and will also be found in lists at the
ends of chapters, as well as in the index.
• Boxes. Boxes are used occasionally throughout this book to provide further
­insight and information on significant individuals, recordings, and topics in
cases in which such material—although it may be useful—would interrupt the
flow of narrative.
•  Timeline. An illustrated timeline provided at points throughout the text surveys
important landmarks in American popular music and places them in historical
context.
• An appendix that illustrates basic musical concepts, including beat, tempo,
rhythm, and form, is offered for students who do not have a background in
­musical analysis.

Dashboard with Interactive eBook

D ashboard for American Popular Music, 5e – delivers streaming audio, digital lis-
tening maps, auto-graded assessment material, an interactive eBook, and more in
a simple, informative, and mobile-friendly format. A built-in, color-coded “heat map”
gradebook allows instructors to track student progress in real time.
A Dashboard access card is included with all new copies of the softcover and loose
leaf text. To have your bookstore stock Dashboard access cards separately, order ISBN:
978-0-19-084843-9. Students can also purchase Dashboard access directly at www.oup.
com/us/dashboard.
Through the Interactive eBook, you will see icons that indicate links to material you
can access, including

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xx Preface

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Supplementary Materials
Instructor Resources. Oxford’s Auxillary Resource Center (ARC) offers an array
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Acknowledgments

W e would like to thank our families, who put up with a great deal as our work
underwent its extensive prenatal development: Leslie, Dan, Sonya, and Gregory
Starr; and Glennis and Maxfield Waterman. We extend our gratitude to Maribeth Payne,
our initial, ever-patient editor at Oxford University Press, who convinced us to take this
project on; to Jan Beatty, our second, ever-enthusiastic and helpful executive editor at
OUP; to our current editor Richard Carlin; and to his gifted associates Jacqueline Levine
and Theresa Stockton; and to copyeditor Elizabeth Bortka.
We owe a substantial debt of gratitude to the many readers who offered extensive
and helpful comments on our work in its various stages: Mark Bergman, George
Mason University; Richard Birkemeier, California State University–Long Beach;
Michael Boyd, Chatham University; Robert Webb Fry II, Vanderbilt University; Howard
Goldstein, Auburn University; Joseph Harchanko, Western Oregon University; Thomas
 Preface xxi

Harrison, Jacksonville University; John Irish, Angelo State University; Stephen Marcone,
William Paterson University; Bradford D. Martin, Bryant University; Gregory Reish, Middle
Tennessee State University and Robert W. Templeman, Xavier University.
At the University of Washington, our valued colleague Tom Collier has been a con-
sistent and selfless source of assistance and encouragement. The course on American
popular music out of which this book grew was shaped not only by faculty members but
by several generations of graduate students as well—among whom we especially wish
to cite Jon Kertzer, Peter Davenport, Stuart Goosman, Jun Akutsu, Cathy Ragland, Steve
Nickerson, Miles White, Edgar Pope, James Cunningham, Sue Letsinger, and Andrew
Killick. We want to acknowledge the generosity and contributions of Joseph Schloss,
our co-author for the “cousin” Rock text, who has permitted us to borrow some of the
important material he generated for that book. We would like to thank Richard Caceres,
who designed the charts in the appendix on meter and form and created the associated
audio tracks.
The many students who road-tested this book, both in its preliminary stages and in its
first two editions, also merit our sustained thanks. Graduate assistants E ­ lizabeth Knigh-
ton, Timothy Kinsella, Shelley Lawson, and Nathan Link at the University of ­Washington,
and Sabrina Motley, Mark Eby, and Ann Mazzocca at UCLA gave invaluable and gener-
ous editorial assistance. A special shout-out is owed to University of W
­ ashington doctoral
candidate Sarah Kolat, who dutifully read through the entire text of the fourth edition,
offered invaluable suggestions regarding updating it for a contemporary readership, and
provided essential material on twenty-first-century divas. Scott Wardinsky helped us with
the interpretation of Afro-Cuban song texts. Thanks also to Elisse La Barre of UC Santa
Cruz for setting us straight on the origins of the band name the “Grateful Dead.” We owe
an additional debt of gratitude to the folks at Joel Whitburn’s Record Research for their
series of books containing Billboard chart data. There are plenty more folks to thank, but
there’s also a story waiting to be told, and we’d best get on with it.
Larry Starr, University of Washington
Christopher Waterman, UCLA
American Popular Music
Exploring the Variety of Random
Documents with Different Content
we’ll have fair weather from now on.”
They signed off a few minutes later after agreeing to talk again
that night at eight o’clock.
The remainder of that day and the rest of the week was devoted
to the installation of the special landing apparatus which would
snare a plane out of mid-air and haul it safely into the inner hold of
the Goliath.
Andy and Bert talked with Harry every day and learned that the
Neptune, aided by favorable weather, was making good progress.
The sea had steadied down and Harry had found his sea legs and his
appetite had returned.
“Which means,” laughed Bert, “that the cook aboard that sub is
going to have a man-sized job keeping Harry filled with food.”
Air corps officers from various posts flew in to inspect the Goliath
while the members of the official board which had accompanied the
airship on its flight to New York remained at hand for further tests. It
was Tuesday of the following week before the installation of the
special gear had been completed and the Goliath pronounced ready
for further tests.
The pursuit ship of Lieutenant Crummit was also fitted with
special rigging and when this was completed they were ready for
another trial.
Tuesday was an ideal spring day with plenty of sunshine and only
a slight breeze from the south. The Goliath was walked out of its
hangar and, with Captain Harkins at the controls and Andy at his
side, made its third trip aloft.
When they were well under way, Andy went back midships to
supervise the contact with the pursuit plane.
Lieutenant Crummit buzzed nervously about the Goliath in his
fast single-seater. The airship gradually stepped up its speed until it
was doing a hundred miles an hour, going fast enough for the
contact to be made.
Back in the cavernous hold of the Goliath a tense crew was
waiting to leap to its task. Andy’s father came back to watch the
operation.
 A great arm hung beneath the dirigible and from this arm
extended a V-shaped coupler into which the coupler on the plane
would fit. Synchronization of speed was the main thing upon which
success depended and it was up to Lieutenant Crummit to creep up
under the Goliath at just a trifle more than a hundred miles an hour.
From the observation windows in the keel Andy watched the
approach of the pursuit plane. Lieutenant Crummit was coming in as
slowly as he dared, maneuvering carefully in an attempt to make the
coupling on the first contact.
The triangular coupling mounted on the upper wing of the army
plane slipped into the “V” of the arm below the Goliath. There was a
slight jolt at the shock of contact and Lieutenant Crummit, assured
that the coupling was fast, cut the switches on his motor and looked
up expectantly.
Andy threw over the switch on the main control. The large trap
door at the bottom of the Goliath rolled back. Simultaneously the
arm which held the army plane fast in its grip moved upward rapidly,
bringing the pursuit ship with it. In another thirty seconds the army
fighter was deposited safely in the hold, the trap door was back in
place and the powerful crane, or arm, which had caught and lifted
the plane, was back in position.
Lieutenant Crummit leaped from the cockpit and ran toward
Andy.
“That’s the greatest aerial stunt I’ve ever seen,” he said. “Why,
it’s as simple as falling off a log. I couldn’t miss that big ‘V’ and the
next thing I knew the plane was being whirled upward.”
Army officers who had watched the operation from the control
room came back to interview the lieutenant and get his report. It
was decided to repeat the maneuver, only this time the plane would
be set into flight from the Goliath.
The large crane was lifted back into the hold and made fast to
the plane. When Lieutenant Crummit signalled he was ready, Andy
opened the trap door and dropped the plane through. The army flyer
switched on his inertia starter, the warm motor caught the first time
over and the propeller went into its dazzling whirl.
 Lieutenant Crummit threw up his left arm as a signal for the
release and the big crane relinquished its grip on the pursuit ship.
The army plane dropped down and away from the Goliath, then
climbed and raced wildly around the mother ship. The Goliath had
passed another one of its exacting tests successfully and Andy
returned to the main control room and relieved Serge, who had
taken his place during his absence in the hold.
Instead of heading back for Bellevue, the Goliath swung north
and Andy looked inquiringly at his father, who had just returned from
a conference with the army men.
“We’re going to give Cincinnati a treat,” said the vice president of
the National Airways. “We can make the trip up there and be back
home before dark.”
With Lieutenant Crummit’s plane and another army craft as
escorts, the Goliath roared northward at a hundred miles an hour,
knifing its silver hull through the lazy, fleecy clouds.
The Ohio river, heavy-burdened with a spring flood, rolled ahead
of them and just beyond was the haze which hung over Cincinnati. It
was a surprise visit but the townspeople were not long in hurrying
into the streets to glimpse the king of the air. They wheeled and
turned over Cincinnati for a half hour before heading back for
Bellevue.
Bert, who had left his radio room, leaned out a window and
looked down at the swollen Ohio.
“There’s plenty of water rolling down to the Gulf,” he told Andy,
“and from all reports the Ohio isn’t the only river on a rampage.
Almost every large tributary of the Mississippi is at flood stage,
which means plenty of trouble for people living down in the lower
river country. It will take several days for the flood waters to get
there, but when they do the country is going to forget about the
Goliath and think about the flood.”
“You’re a cheerful sort of a soul,” smiled Andy.
“Just mark my words,” insisted Bert. “I predict a big flood on the
lower portions of the Mississippi.”
 They returned to Bellevue as twilight was draping its mantle of
soft purple over the valley and it was dark, by the time the Goliath
was in its berth.
There were minor adjustments and changes to be made on the
Goliath and the next three days were busy ones for the officers and
members of the crew.
Bert’s prediction was coming true, if the stories appearing in the
papers were not exaggerating the situation. From Memphis down
the Mississippi was on a rampage, crashing through the man-made
barriers that had been erected to keep it in its channel and
spreading death and destruction over large areas of fertile land.
The Friday morning paper, which reached Bellevue by bus shortly
after noon, emphasized the need for relief measures, stressing that
refugees were without proper clothes or food. The national Red
Cross had stepped in and was making every effort to relieve the
situation but it was impossible to reach some of the more isolated
regions and women and children were believed to be in want.
“What they need is a dirigible,” said Andy. “Why, we could load
the Goliath with tons of food and clothing, cruise over that area at a
low altitude, and drop supplies for hundreds of refugees.”
“Why don’t you suggest it to your father?” said Bert.
“I’ll do it right now,” said Andy, and he started toward the hotel.
Charles High heard his son’s story without comment and when
Andy was through, spoke with his characteristic decision.
“I’ll put through a call to the national Red Cross office in
Washington,” he said, “and if the need is as serious as you feel, we’ll
start before dawn.”
The national headquarters of the Red Cross confirmed the
emergency and welcomed the offer of the National Airways to send
the Goliath into the flood region. Arrangements were made to bring
in supplies on a special train from Cincinnati and the loading of the
Goliath was set for shortly after midnight.
The special train arrived an hour late and the crew of the airship
worked with feverish haste to transfer the clothes and food from the
express cars to the Goliath. The task was completed at four o’clock
and with the first tints of dawn in the sky, the Goliath was taken out
of its hangar and started on its errand of mercy.
Captain Harkins held the big ship at a steady eighty miles an
hour and by mid-forenoon they were well below Memphis and
swinging over the flood area. The Mississippi had turned its valley
into an immense brown lake. The waters had swilled through towns,
inundating streets and sweeping houses from their foundations.
Many of the towns had been deserted while others, on higher
ground, were completely cut off by the flood. It was to the latter
that the Goliath was directed.
Bert kept in touch with the latest radio reports on the conditions
and the Goliath swung from one village to another. Andy, back in the
hold, superintended the dropping of food and clothes. The food was
put into bundles of clothes and then dropped overboard, the Goliath
descending until it was a bare fifty feet above the towns to which it
brought relief. With motors shut off, it was possible for Andy to carry
on a conversation with the marooned people and ascertain their
needs. Serge was with Andy and they directed the crew in the relief
work.
Through the morning and afternoon they worked and their
supply of food and clothing dwindled at a surprising rate. Two more
towns to serve and they would be through. They dropped food and
clothing to the first one and hurried on to supply the second. After
that they would start for home.
Lieutenant Crummit and another army flyer had stuck with them
all day long, leaving only when it was necessary to fly to some city
and replenish their fuel supply, but one of the army pursuit ships had
always been on duty.
A scene of complete desolation greeted them as they neared the
last town to which they were bringing assistance. Flood waters were
pouring through every street and the inhabitants who had not
escaped were huddled on house tops. More than fifty men, women
and children were congregated on the flat roof of a garage, the
largest building in the town. Out of the northwest a chill wind was
presaging a raw, bitter night and Andy shivered as he thought of the
suffering which the little band on the rooftop would undergo before
rescuers could reach them by boat.
“Why don’t we drop down and take them aboard?” suggested
Bert. “With much more exposure some of those people will have
pneumonia.”
“It might be possible,” agreed Andy. “We’ll see Captain Harkins.”
They presented their suggestion to the commander of the
Goliath, and, after a careful survey, Captain Harkins agreed. Orders
were given for the descent of the Goliath and Andy went back
midships to supervise the dropping of a flexible steel ladder. The
Goliath could not land directly on the roof, but would hover just
above it. The refugees would have to climb the ladder to safety.
With a megaphone in his hands, Andy directed the rescue work.
The Goliath, its motors turning over just enough to hold it above the
roof, hung almost motionless. The excited townspeople grasped the
ladder, which four men held fast to the rooftop. The ladder was none
too steady but the refugees, preferring the climb to the airship to
another night on the rooftop, bravely made their way aloft. Women
came up alone with the boys and girls following them. Babes in arms
were carried up by the men. In fifteen minutes the transfer had
been completed, the ladder was drawn up, the command given to
proceed and the refugees hurried forward into the main cabin where
it was warm and where the stewards had prepared a hot meal.
It was a grateful group that came into the control room later to
express their thanks to Captain Harkins, but the commander referred
them to Andy, saying:
“You can thank Andy High, assistant pilot, for he was the one
who directed the rescue.”
They made the run back to Memphis without difficulty but it was
well after dark when they soared over the city. Bert had radioed the
story of the rescue and the news that they would stop at Memphis
and leave the refugees. The airport was aglow with lights and when
the Goliath nosed down for an easy landing, police were taxed to the
utmost to keep back the cheering throng.
 Flashlights boomed as newspaper photographers snapped the
refugees as they disembarked. The Red Cross was on hand to care
for the unfortunate townspeople and after ascertaining that the
weather was fair, the Goliath continued its homeward journey.
The next month was a succession of busy days with further tests
for the giant airship. Reports from Harry indicated the daily progress
of the Neptune toward its goal in the Arctic, first to Plymouth,
England, on to Bergen, Norway, then toward the Arctic with the last
stop at King’s Bay, Spitzbergen.
Preparations at Bellevue were now centering on the flight to the
Arctic. Special oils for the motors were arriving as well as equipment
and clothing for the officers and crew. Insulation of the engine
rooms and the gondola was increased to stand the colder
temperatures of the northland. The tentative date for the start of the
flight was set for July 10th and the month of June rolled away as
though on magic wheels.
Harry radioed from King’s Bay that the Neptune was about ready
to start the final dash to the pole. On the 20th of June he reported
that they were nosing out of the bay, running on the surface. A few
hours later came the news that the Coast of Spitzbergen was
disappearing over the horizon and that the Neptune was headed
north into the land of eternal ice and snow.
The exchange of mail by the Goliath and Neptune had attracted
the attention of stamp collectors in all parts of the world and extra
mail clerks were brought to Bellevue to handle the hundreds of
letters which had been sent there for mailing aboard the Goliath,
which would transfer the pouches when it met the Neptune at the
North Pole. The amount of mail had been limited to five tons, a total
which was reached long before the date for closing the pouches was
reached. A special cancellation stamp had been devised to show that
the letters had been sent by the Goliath.
With the Neptune definitely slipping through the broken ice of
the Arctic, the importance of Bert’s task of keeping in touch with the
Neptune increased and he almost lived in the radio room of the
Goliath.
 The days marched by in a steady procession. Daily reports from
Harry indicated that ice conditions were most favorable and that the
Neptune was finding much clear water. Occasionally it was necessary
to dive under some particularly stubborn ice field but this had not
happened often.
Then things changed; high winds prevailed in the northland;
progress was retarded; ice jammed in front of the Neptune; static
set up a wall of interference that was almost impossible to break
through; messages from Harry were few and far between, and lines
of worry deepened as Bert and Andy waited anxiously in the radio
room.
On the 28th of June a wave of static turned back every query
sent into the Arctic. On the 29th the same conditions prevailed.
When the static cleared on the 30th of June, Bert called in vain for
the Neptune but there was no answer.
 CHAPTER XV
The Northern Seas

After a rough crossing of the Atlantic from New York to Plymouth,

England, where the Neptune had put in to replenish its supply of
fuel, the cruise of the polar submarine had been much smoother and
Harry had really enjoyed his trip. The daily talks by radiophone with
Bert, Serge and Andy were the high spots of the day for he missed
the pleasure of their companionship.
His first days aboard the Neptune had been miserable with the
weather rough and his stomach turning flip-flops every time he tried
to eat. But after leaving Plymouth and heading north for Bergen he
had found the sub and its tricks to his liking. Bob Smith, first officer
of the Neptune, was not much older than Harry. Bob was a navy
man, loaned to Gilbert Mathews especially for the Polar cruise, and
he was thoroughly at home in the underwater craft.
From Bergen to King’s Bay, Spitzbergen, was a lonely voyage for
there are few ships in the Arctic. An occasional gull wheeling
overhead, stray bergs drifting by, and the eternal blue of the cold
North Atlantic was all they saw day after day. Harry kept the radio
humming with the press messages which the explorer sent back to
his syndicate in New York. One method Mathews had used in
spreading out the cost of the trip was the sale of exclusive stories of
what went on aboard the Neptune to a newspaper syndicate.
Morning and afternoon stories were required and Harry, who was
adept at writing a readable story, was often pressed into service to
write the daily dispatch.
Weather favored them all the way to King’s Bay, where they were
to make their final stop for supplies, which had been sent on ahead
by steamers.
 Harry deserted his post and went up on deck when Bob called
down to inform him that they were slipping into King’s Bay, scene of
the start of many a famous Arctic flight. It was from here that Byrd
and Floyd Bennett had made their dash to the North pole, to be
followed a few days later by Nobile and Ellsworth in the Italian
dirigible Norge. It was here that Wilkins and Eielson had landed after
their long flight from Alaska across the barrens of the Arctic and it
was from here that the ill-fated Norge had made a second expedition
into the Arctic.
By the time the sleek, black submarine had nosed its way up to
the large coal dock, the entire population of King’s Bay was down to
greet it. The crew and officers welcomed the opportunity to leave
the Neptune and stretch their legs on land, but preparations for the
trip into the Arctic were pushed with all possible haste. The weather
was too favorable for any unnecessary delay and the crew worked
steadily at the task of refilling fuel tanks and taking on fresh stores
of food.
On the morning of the 20th of June they cast their lines off the
coal dock, the big Diesels turned over smoothly, and the Neptune
backed away and turned its nose toward the open bay.
As many of the crew of 31 as could crowd onto the deck watched
the changing scene, and listened to the wishes for good fortune
shouted by the townspeople on the dock. There was a fresh breeze
in the outer bay and they were forced below by the crisp wind which
sent waves slapping over the deck in steady succession.
They were in the land of the midnight sun where in summer
there is no night, only a dusk as the sun dips to the horizon. At dusk
the mainland of Spitzbergen was to the rear and they were slipping
past Amsterdam island, which lay to their right. Ahead of them was
the uncharted mystery of the Arctic ocean.
Harry was surprised at the comparative mildness of the Arctic
summer but the temperature of the Arctic sea was not such that a
fall overboard was inviting and as a result the outer hull of the craft
was ice-cold. Special electrical heating devices had been installed in
the living quarters and the control room so it was fairly comfortable
inside the sub.
As they pushed northward, Gilbert Mathews and the two
scientists with him kept busy in the forward torpedo room where
they made soundings of the ocean depth and drew off samples from
the bottom to determine the nature of the floor of the Arctic.
Because of the scientific investigations, the Neptune made slow
progress and it was the fourth day out before they encountered
much pack ice.
Conditions were favorable for the progress of the Neptune, for
the ice fields were open with wide leads between them. Occasionally
a small berg scraped the side of the submarine and on the fifth day,
when they encountered a solid mass of ice, the diving order was
given and the Neptune, its special electrical feelers projecting ahead,
slipped under the wall of ice and into the open water on the other
side. Such an operation was under the direct charge of Bob Smith,
who demonstrated his ability in that one brief maneuver.
The weather remained fair and on the 26th and 27th, the
Neptune increased its speed for the ice was fairly open. They were
following almost the same route taken by Byrd and Bennett in their
successful dash by air to the North Pole. On the twenty-eighth the
sky closed in on them. A cold Arctic fog obscured the sun and a wall
of static shut them off from communication with the outside world.
They were now well into the unknown regions of the Arctic, further
north than any vessel had previously penetrated, in the region which
had been seen by man only from the air.
On the night of the twenty-eighth a bitter wind whipped down
out of the northwest and the leads commenced to close under the
pressure of the drifting ice. The Neptune scuttled from one open
area to another seeking safety but the gravity of the situation
increased every minute. With the ice pack closing in, it was possible
that the submarine might be caught between the ice and crushed
like an egg shell for despite its sturdy construction it could not
withstand the enormous pressure which the ice would exert.
 Bob was glued to the controls while Gilbert Mathews searched
madly for an opening through which the Neptune might slip to
safety. There was none and reluctantly the order was given to
submerge.
They would be safe down below for the time being but they
would be unable to tell in what direction safety lay. They would have
to feel their way almost blindly under the ice, hoping that they would
eventually find an opening where they could rise to the surface.
Bob sent the Neptune down five fathoms and they slipped under
the ice pack.
Hour after hour passed as the Neptune crept under the great
mass of ice. At times it was necessary to go down to 10 and 12
fathoms but for the most part they were only five or six fathoms
under the ice. The Neptune was a good underwater boat, steady
and smooth-riding and the crew experienced little discomfort. There
was plenty of air for 40 hours under the ice and they felt no alarm,
when, at the end of twenty hours, they had failed to find an
opening.
They stopped and made a test with the ice drill which had been
especially designed and installed for just such an emergency but the
device jammed tight before they could get it working and that
avenue of escape was cut off.
When another ten hours had elapsed and they were still groping
blindly under the ice. Bob expressed his private opinion that they
were in a tight situation. Harry agreed as he stood beside the first
officer in the control room. Another three hours slipped away and
the air was heavy. Harry’s head felt light and the blood raced
through his veins. Unless they found an opening soon it would be
curtains for the Neptune and its crew. Gilbert Mathews relieved Bob
at the main controls and the first officer walked back to the radio
cubby with Harry.
“If we don’t get out of this,” he said, “no one will ever know what
happened to us. They’ll have plenty of guesses and some of them
will be right, but they’ll never really know. I wish you could get a
message through.”
 “So do I,” said Harry, “but that won’t be possible until we
emerge.”
“I’m all in,” confessed Bob, “and I don’t suppose worrying will
help us any. Wake me up in half an hour,” he added as he slumped
down in the one comfortable canvas chair in the room.
Harry returned to the control room where a white-faced, worried
crew stuck grimly to their stations.
The air was bad; lights dim. They were barely creeping forward.
Several of the men dropped at their posts and were carried away by
more fortunate companions. Others took their places. The chief
engineer, a quiet Yankee, came in to tell the explorer that the power
was going. The batteries wouldn’t last more than another hour.
There was nothing Harry could do in the control room and he
returned to his own quarters. Bob was sound asleep in the chair.
One dim light glowed over the now useless radio set. Harry sat down
and picked up a message blank. He’d write a note to Andy and Bert.
Someone might find the hulk of the submarine some day; a freak of
the Arctic might cast it where it would again be viewed by man.
Harry had just started the note when he was startled by a
sudden bumping and scraping. The Neptune tilted sharply. Were
they headed for the bottom; crushed under the ice pack? The
thought shot through Harry’s mind as he roused Bob.
There were cries from the control room. They were going up.
They had found an opening in the ice pack.
Three minutes later the main hatch was thrown open and a wave
of cool, fresh air swept down into the dank, stinking interior of the
submarine.
They were in a small lead between the sheer walls of the ice
pack. The Neptune had nosed into it blindly at a time when officers
and crews had despaired of their own lives.
As soon as the batteries had been charged sufficiently, Harry
tried to send out a call but the wall of static still engulfed the Arctic
and his efforts were futile.
“I don’t think I got out more than a hundred miles,” he told Bob,
“and there isn’t one chance in a thousand that anyone heard us.”
 The Neptune remained securely in the sheltered lead all day on
the 30th, crew and officers resting after the strenuous ordeal they
had been through. Above them and over the ice pack a high wind
raged and toward the close of day there were ominous crackings
and rumblings in the ice.
With the exception of one man left in the conning tower, the
crew of the Neptune was sound asleep at midnight. Two hours later
they were awakened by the alarmed cries of the watch. An eerie
rumbling and groaning filled the night. When they tumbled out on
deck a terrifying sight greeted them. The walls of the ice pack were
closing in. They were trapped in the lead!
The rapid movement of the ice was astounding. Orders cracked
from the lips of Gilbert Mathews and Bob Smith. The crew tumbled
back into the submarine. The main hatch was slammed and
battened down. A crash dive was in order. They were going under
the ice again.
Harry dreaded the thought. The last time their margin of safety
had been slim; too slim. This time they might not come up.
The tension inside the Neptune was terrific as Bob gave the
orders for the dive. Valves were opened wide; water roared into the
diving tanks. The Neptune settled swiftly. The conning tower was
almost under when there was a terrific bump. Their downward
motion stopped. The water continued to rush into the diving tanks
but the depth indicated remained motionless.
“We’re caught on an ice shelf,” cried the explorer.
“Blow the tanks and we’ll get back to the surface,” commanded
Bob. “We won’t have a chance if we’re caught by the ice under
water.”
Compressed air whistled into the diving tanks and the needle of
the depth gauge quivered and moved upward. With a rush they
were back on the surface.
The walls of the ice had moved closer. There was the steady
thunder of the pack as the pressure increased and miles of ice,
driven by the biting gale, moved forward, crushing all before it.
 Under Gilbert Mathews’ direction, members of the crew made
hasty soundings. To their dismay it was found that the tremendous
pressure of the advancing ice had driven a shelf of it under them.
There wasn’t a single hole large enough to allow them to dive
through to the comparative safety of the depths.
In the next seconds a tremendous decision must be made:
Should they stay with the Neptune or abandon the submarine and
attempt to escape over the ice?
The walls of ice were moving forward relentlessly, closing the gap
foot by foot.
Gilbert Mathews, white-faced, grim, spoke.
“Get out the emergency equipment,” he said. “We’ll abandon the
Neptune.”
For the next ten minutes the crew worked desperately. Food,
tents, snowshoes, medical supplies, and the portable radio and
stoves were rushed up from below. The Neptune was nosed over
against the nearest wall of ice and the supplies tossed on the pack.
Others of the crew, hurrying over the treacherous ice, carried the
supplies back to a place of safety for the tremendous pressure which
would be exerted when the walls of ice met might cause an
explosion.
Harry took a final look at his beloved set before abandoning the
Neptune. He tried one more desperate call but the static strangled
his cry for help. They were alone in the desolate Arctic.
The Neptune abandoned to its fate, the crew retired from the
edge of the ice pack. From a distance of half a mile they watched
the walls of ice come together. Gilbert Mathews turned away when
the first of the rumbling explosions shattered the air. Ice rose in
great pyramids, shattering and flying in every direction. The pack on
which they were standing quivered and moved dangerously. In
several places wide gaps appeared but they were fortunate enough
not to fall in.
When the pressure eased, they returned to the place where they
had left the Neptune. Instead of a haven of open water they found
great masses of ice, twisted and piled in grotesque fashion as
though some giant of the north had been playing a game all his
own.
“We’ve seen the last of the Neptune,” said Bob Smith sadly. “It
was a good tub but not good enough to beat the Arctic.”
But Bob was wrong for on the far side of the twisted mass of ice
they came upon the bow of the Neptune. From all appearances the
shell of the submarine had withstood the terrific pressure and the
undersea craft had been hurled out of the water and caught fast in
the ice.
It would be impossible to use the Neptune as a means of travel
but if the ice held its grip, they could live in the submarine until a
rescue expedition could reach them.
Axes were brought from the supplies they had taken off the
Neptune and the crew turned to the task of chopping a hole through
the ice until they reached the main hatch. Working in shifts, it took
them two hours to accomplish the task.
When the hatch was finally opened, Gilbert Mathews insisted that
he be the first to enter for the danger of chlorine gas lurked inside
the Neptune. If the batteries had upset, the deadly gas might have
formed. Anxiously the crew awaited the return of their leader. They
cheered wildly when he called that there was no sign of gas and
they tumbled back inside for a thorough inspection. Seams had been
wrenched so severely that the Neptune would sink like a rock if it
ever slid into the ocean but it was dry and comfortable inside and
there was plenty of fuel oil in the tanks to keep them warm for
months to come.
The first thing was to send word of their plight to the outside
world.
The portable radio with its aerial was set up on the ice outside
and Harry sat down to send out the first message and ask for relief.
The static had cleared since his last attempt and he finally picked up
an amateur station at Hopedale, Labrador, to which he
communicated the events which had befallen the Neptune. As nearly
as possible, Harry gave their position and asked that the officers of
the Goliath at Bellevue, Ky., be notified at once.
 The operator at Hopedale, after recovering from the
astonishment of Harry’s message, promised to relay it at once.
The hours dragged by and there was no reply from the operator
at Hopedale, except that he had relayed the message to Montreal for
further transmission.
The tent which had been erected around Harry’s portable set was
little protection from the bitter wind and he was numb from cold and
miserable when the Hopedale operator finally came back at him. The
message had reached Bellevue. The reply was on the way. It cracked
through the ether.
“Goliath leaves at midnight. Estimate distance to you is 5,500
miles. Should make it in 60 hours after departure. Signed, Andy
High, Assistant Pilot.”
Harry ran to the Neptune with the message and the news it
contained cheered them greatly. With the wind rapidly whipping into
a storm, they took refuge in the warmth of the Neptune and awaited
the coming of the Goliath.
 CHAPTER XVI
Rescue in the Arctic

For two days after the static cleared, there was no word from the
silent northland. Bert, Serge, and Andy remained in the radio room
continuously, calling vainly for the Neptune but each time their call
went unheeded.
“Something mighty serious has happened to the Neptune,”
declared Bert, “or Harry would have answered just as soon as the
static cleared.”
“I’m afraid you’re right,” said Andy. “They were getting into
dangerous water when we last heard from them. Personally, I’ve
doubted all along that the Neptune would ever get to the North Pole.
The ice pack there is too solid. They’d have to do too much
underwater cruising.”
“Do you think they’ve been trapped under the ice?” asked Bert
anxiously.
“No,” replied Andy, “for they have the ice drill to cut a path to
safety. But a submarine has so many things that can go wrong.”
Late the second day Andy’s father returned from Washington and
they informed him of the gravity of the situation.
“How long would it take to get the Goliath ready for a polar trip?”
he asked Andy.
“Not much more than six hours,” Andy replied.
“Better warn the crew to stand by. If we don’t hear from the
Neptune in another 48 hours we’ll start north in an attempt to locate
them.”
Two hours later the Canadian station at Montreal broke in with an
urgent message.
 “Amateur operator at Hopedale, Labrador, has just messaged that
submarine Neptune is disabled and caught in ice. Crew safe.
Approximate position: latitude 82° 21′ longitude, east 9° 31′. Ask
relief expedition.”
Bert copied the message with a hand that shook so much the
words were little more than a scrawl.
“Tell Montreal to stand by,” said Andy, “while I rush this over to
Dad and Captain Harkins.” Andy found his father and the
commander of the Goliath at the hotel where he burst in on their
conference, the message in his hand.
“I was afraid of something like this,” said Andy’s father. “The navy
people in Washington were inclined to be pretty pessimistic when I
talked with them, yesterday. Well, what do you say Captain?”
The commander of the Goliath asked Andy for the latest weather
report. It was favorable.
“We’ll start north at midnight,” he said.
“Will you be able to make the trip, Dad?” asked Andy.
“Sorry, son, but I’m due back in Washington tomorrow for a
conference that may mean the construction of more ships like the
Goliath. The army people have been tremendously pleased with the
performance and are anxious for more, semi-commercial, semi-
military dirigibles.”
Andy hurried back to the radio room where he communicated the
news to Bert and Serge. The message that the Goliath would start
north at midnight flashed to Montreal but static delayed its
transmission to Hopedale, to which it was finally relayed and from
there sent on to the waiting crew of the Neptune.
Reporters assigned to Bellevue to cover various trial flights of the
Goliath sent out the news of the Neptune’s fate and the word that
the Goliath was starting north at midnight. Through the early hours
of the night the hangar was ablaze with light as final preparations
were made.
Every motor was thoroughly checked, extra helium put in the gas
cells and every precaution taken to insure the success of the long
flight.
 Andy and Captain Harkins studied charts of the northland,
plotting their proposed course.
It was finally agreed that they would fly north and east to
Montreal and then almost due north nearly 3,000 miles along the
76th meridian until they reached Etah, Greenland, on the
northwestern tip of that ice-covered land. At Etah they would swing
east, skirting the north coast of Greenland, then out over the
desolate waste of ice on the last leg of their trip to find the crew of
the Neptune.
By eleven-thirty every member of the crew selected for the
rescue trip was aboard, including two mail clerks. There would be no
transfer of the mail to the Neptune but the postoffice department
had rushed a special cancellation from Washington and letters
already aboard would be carried into the Arctic. At the scene of the
rescue of the Neptune’s crew the postal clerks would cancel the
letters with the special stamp.
When the Goliath started out of its hangar at midnight on the
second of July, there were 62 men aboard, including the two
postoffice clerks. The crew had been reduced to a minimum for they
would pick up the 31 men from the Neptune.
A typical July heat wave had gripped the nation for three days
and they were glad to soar into the cooler heights. A thin moon
peeped down at them as the great silver airship climbed into the sky
and started north on its mission of rescue.
Lights of Bellevue vanished in the night. They went up to eight
thousand feet and headed for Montreal. Bert, in the radio room,
advised the Canadian station of their start and asked that the news
be sent on to the Neptune, via the station at Hopedale.
Andy made a thorough trip over the Goliath while Serge
remained in the control room as first assistant to Captain Harkins. In
the last month Serge had proved invaluable. He was thoroughly
capable of handling the Goliath and had the ability to size up an
emergency in an instant and make the right decision.
A little more than an hour after leaving Bellevue, the lights of
Pittsburgh appeared to their right. Tongues of flame from the steel
furnaces along the Monongahela shot into the night as though in
greeting to the king of the skyways.
The sky was brightening with the rose of a summer dawn when
they passed over Buffalo and headed down Lake Ontario.
Captain Harkins, who had been at the controls, complained of a
severe abdominal pain and retired into the main lounge, leaving
Andy in charge. As they neared Montreal, the commander’s suffering
became more intense.
“I’m going to radio ahead and have a doctor meet us at
Montreal,” said Bert. “Captain Harkins is a mighty sick man and
unless I miss my guess, the trouble is acute appendicitis.”
Andy agreed and told Serge to make preparations to land the
Goliath when they reached the airport outside Montreal. Fortunately
there was a mooring mast that had been used by British dirigibles in
their trans-Atlantic flights.
It was eight o’clock when the Goliath nosed over Montreal and
prepared to descend after its 750 mile flight from its home field. A
company from a Canadian regiment stationed in the city had bean
turned out and was ready to assist in bringing down the big airship.
News that the Goliath would stop had spread over the city and roads
leading to the airport were jammed with cars.
With Andy at the main elevator and rudder controls and Serge
beside him with a megaphone to direct the actions of the ground
crew, they brought the Goliath to an easy landing. As soon as the
big ship was fastened securely to the mooring mast Andy hastened
back into the main salon where a doctor, who had boarded it the
moment they landed, was examining Captain Harkins.
“Acute appendicitis,” was the verdict and the doctor added: “To
continue on this flight will undoubtedly cost Captain Harkins his life.”
“We’ve got to go on,” protested the commander of the Goliath.
“The lives of 31 men in the Neptune, trapped in the Arctic, depend
on us.”
“You’ve got to think of yourself once in a while,” replied the
surgeon tartly.
 “We can take the Goliath on, Captain Harkins,” said Andy. “Serge
has demonstrated that he is an expert pilot and navigator. Between
the two of us we can handle the ship.”
Captain Harkins smiled through pain-tightened lips.
“I’m sure you can,” he said, “but you’d better get an official O. K.
from your father. He planned to fly back to Washington but you may
be able to get him at Bellevue before he starts.”
Bert got through to Bellevue at once and in five minutes Andy
was talking with his father by radiophone.
“We’ve got to go on,” said the assistant pilot of the Goliath, “and
Captain Harkins is desperately ill. Serge and I can take the Goliath
through if you’ll give your permission.”
“Then don’t waste any time,” replied the executive vice president
of the National Airways. “Tell Captain Harkins I’ll fly up to see him as
soon as possible. Good luck, son, and the best of weather.”
Breakfast was served to the crew while the Goliath was moored
at the Montreal airport and at nine o’clock Andy gave orders to
resume the flight.
Captain Harkins refused to leave the airport until the Goliath was
under way and he watched the big ship move away from the
mooring mast and soar into the sky from his cot beside an
ambulance. Andy dipped the nose of the Goliath in salute to its
commander and then headed the dirigible due north, following just
east of the 76th meridian.
The day was clear and warm with a slight breeze from the south
to speed them on their way and they roared into the northland at a
steady hundred miles an hour. The fertile lands around Montreal
were replaced by the heavier forests of middle Quebec and as the
sun sped on its western path they looked down on a desolate land of
brush, swamp and giant mosquitoes which infested the region in
summer. There was little habitation in the country below them for it
was a quagmire in summer and a frozen waste in winter.
There were innumerable lakes and rivers sighted during the day
but by sundown these had thinned out into a few streams which
sent their waters westward into Hudson Bay.
 Bert kept in almost constant communication with Montreal for the
rescue flight of the Goliath was the news of the hour for every paper
in the United States and Canada.
Serge had taken a long afternoon shift at the controls while Andy
slept and at sundown they changed, Serge going back into the main
cabin for a warm supper and a few hours sleep. At midnight he
would relieve Andy.
The wind had died down to a whisper. The sky was brilliant with
stars and the Goliath made steady progress northward. There was a
chill in the air by midnight and Serge had on his sheepskin when he
came forward to relieve Andy.
“They’re having trouble with No. 5 engine again,” said Andy, “and
I’m going back and see what’s up. I’ll have them cut it off until they
find out just what’s the matter.”
Serge nodded, squinted at the chart and compass, and swung
the nose of the Goliath one point east.
Back in No. 5 engine room Andy found the motor crew battling a
stubborn piece of machinery. The motor would turn over all right but
they couldn’t get the necessary speed. Andy slipped into a pair of
coveralls and worked with the crew. The trouble was in the timing
and it took them two hours to do the job.
When Andy returned to the main gondola, the sky was light in
the east for they were getting into a latitude where the summer
nights were short and the days extremely long. Andy stepped into
the control room and Serge pointed ahead of them to a blue
expanse of water.
“Hudson Strait,” he cried and Andy, hardly believing the words,
looked at the chart. An hour later they were cutting across a corner
of Fox Land. Then the Goliath was over Baffin Land with the waters
of Baffin Bay ahead and to their right.
At five a.m. Andy, who had slept for two hours, relieved Serge. A
sharp wind had come out of the north and the Goliath’s speed was
down to seventy miles an hour.
The broad expanse of Baffin Bay was dotted with ice. They nosed
out over Home Bay with the open area of the South water beneath
them. Ahead was the great area of everlasting ice known as the
Middle ice. For three hours the Goliath fought its way over the ice
sheet. Then came the 25 mile stretch of open water known as
Middle water and then another sheet of desolate ice. It was noon
when the Goliath finally left the Middle ice and looked down on the
berg-dotted stretch of North water. To their right was that majestic
land of eternal ice—Greenland, while to their left was the desolate
reaches of Ellesmere island.
Serge took over the controls but Andy, instead of going back to
rest, remained at the window, looking down at the ever-changing
panorama.
Bert had managed to pick up the wireless station at Etah and had
asked for a weather report.
“Clear but a thirty mile wind from the north,” Etah had replied,
when the operator had recovered from his astonishment at learning
of the proximity of the Goliath.
With their speed greatly curtailed by the strong wind and a desire
to economize as much as possible on fuel, it was late in the day
when the Goliath stuck its nose into Smith Sound and looked down
at Etah, the farthest north year-round settlement of Greenland.
The Goliath dropped low over Etah in salute to its residents. Then
the motors of the Goliath echoed their power through the stillness of
the Arctic, Andy brought the nose up, and they proceeded up
Smith’s Sound and into Kane Basin.
Ahead of them loomed a gray blanket of fog and Andy sent the
Goliath climbing for altitude. Four, five, six, even seven thousand
feet they fought their way against the bitter wind but the drifting
mist of gray enveloped them. They came down to eight hundred feet
but there was no escape. The fog clung to the earth and it was
impossible to see more than two hundred feet ahead of the control
room. Double lookouts were posted and extra men ordered into the
observation cockpits atop the Goliath with telephone sets strapped
to them so they could communicate any possible danger or send
news of a break in the fog bank.
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