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Her recordings would continue to be issued on Atlantic through mid, though much of her work was recorded in the studios at Satellite later Stax or in Nashville under the supervision of the Stax staff.

In June , Satellite signed a local instrumental band, the Royal Spades. This led to a complaint from another company named Satellite Records, which had been in operation in California for some years but was previously unaware of the Memphis-based Satellite label.

Accordingly, in September , Satellite permanently changed its name to "Stax Records," a portmanteau of the names of the two owners of the company: Jim St ewart and Estelle Ax ton.

While Stewart ran the recording studio where the auditorium had been, Axton ran the Satellite record shop, which she established in the cinema's old foyer, where the refreshment stand had been.

The store later expanded next door into a vacated barber shop. The Satellite store sold records from a wide variety of labels, which gave the Stax staff first-hand knowledge of what kind of music was selling—and was subsequently reflected in the music that Stax recorded.

It also provided regular employment for many of the young hopefuls who later became part of Stax's musical family and provided cash flow in the early years while the label was struggling to establish itself.

Often addressed as "Miz Axton" or "Lady A. Although she had no formal training or experience in marketing, she had an unerring instinct for music and made many valuable suggestions to the young writers and musicians.

Booker T. Jones described Estelle as "an inspirer":. She just loved music, loved people. She was always bringing us up there the record shop , having us listen to records.

She kept us in touch with the music industry. I doubt there would have been a Stax Records without Estelle Axton.

She encouraged the entire Stax roster from her little perch behind the counter. Cropper would quickly become a writer, producer and session guitarist on scores of Stax singles.

By , multi-instrumentalist Booker T. Jones was also a regular session musician at Stax he was primarily a pianist and organist, but he played sax on "Cause I Love You" , as was bassist Donald "Duck" Dunn.

Jones was frequently absent from Stax over several years in the mids, while he pursued his musical studies at Indiana University, so during this period Isaac Hayes usually replaced him as the house band's regular pianist, although the two occasionally performed on recordings together when Jones was back in Memphis.

Other members of the house band included horn players Andrew Love and Wayne Jackson. Hayes had auditioned for Stax in , unsuccessfully, but by he became a vital part of the Stax house band, along with his songwriting partner, David Porter.

Cropper, Dunn, Hayes, Jackson, Jones and Porter were collectively known as the "Big Six" within the walls of Stax and were either as a group or in various combinations responsible for producing almost all of the label's output from about through The Stax house band's working methods were unusual for popular music recording at the time, and it was this that attracted the interest of Atlantic Records ' Jerry Wexler.

Such unionised sessions were run strictly "by the clock" and there was a strict demarcation between the studio and the control room.

By contrast, the Stax sessions ran as long as was needed, the musicians moved freely between the control room and the studio floor, and all were free to make suggestions and contributions as they worked up what are known as head arrangements , in which none of the musicians' parts were written down and nothing was worked out in advance.

Stax's unusual working methods first came to Wexler's attention in the fall of He was expecting a new single from Carla Thomas, but when he contacted Stax he was told that they had been unable to record for two weeks because of faults in the recording equipment, so he immediately flew Atlantic's highly skilled house engineer Tom Dowd down to Memphis that Friday.

Dowd had the equipment fixed within two days, and on the Sunday he was able to act as engineer during the creation of a new Rufus Thomas track.

He was amazed by the loose, improvisational feel of the session and by the way Thomas and the musicians developed and recorded the song: Thomas simply sang through the new number for the band once or twice, humming suggestions for their parts and sounding the rhythm by clacking his teeth close to their ears.

Once the new head arrangement was established, Dowd started recording, and Thomas and the band nailed the song in just two takes.

When Dowd returned to New York the next day he had the tape of Thomas' breakthrough hit "Walking the Dog", which Jim Stewart lauded as the best-sounding record Stax had yet produced.

Wexler later commented:. Memphis was a real departure, because Memphis was a return to head arrangements, to the set rhythm section away from the arranger.

It was a return to the symbiosis between the producer and the rhythm section. It was really something new.

Another important factor in Stax's success was the studio itself. The recording studio, located at E McLemore Ave, in Memphis was a converted movie theater still had the sloped floor where the seats had once been.

Because the room was imbalanced, it created an acoustic anomaly that was audible on recordings, often giving them a big, deep yet raw sound.

Soul music historian Rob Bowman notes that because of the distinctive sound, soul music fans can tell often within the first few notes if a song was recorded at Stax.

When Tom Dowd first arrived at Stax in the studio was still using the veteran Ampex mono recorder it had purchased in the late Fifties. Dowd immediately suggested that a two-track recorder should be installed.

The Stax team were appalled at the idea, fearing that the distinctive "Stax sound" would be destroyed.

However, Dowd pointed out that stereo albums sold for a higher price, which would mean more income for Stax, so in the summer of he installed an additional two-track recorder, allowing Stax to record sessions simultaneously in mono and stereo, and in he upgraded the studio further with a four-track recorder.

The label's biggest early star, soul singer Otis Redding , also arrived in Redding, however, technically was not on Stax, but on its sister label Volt.

In that era, many radio stations, anxious to avoid even the hint of payola , often refused to play more than one or two new songs from any single record label at one time, so as to not appear to be offering favoritism to any particular label.

To circumvent this, Stax, like many other record companies, created a number of subsidiary labels.

Volt, founded in late , was the label home to Otis Redding, the Bar-Kays , and a handful of other artists. Volt releases were initially issued by Atlantic through its subsidiary Atco Records.

Other Stax subsidiaries over the years included Enterprise, Chalice a gospel label , Hip, and Safice. Though the label had enjoyed some early hits with the Mar-Keys and Booker T.

Carla Thomas also charted with some consistency, but her pre releases were on Atlantic, not Stax or Volt. In , Jim Stewart signed a formal national distribution deal with Atlantic Records, although fatefully he signed the contract without reading it—a decision that would later cost the label dearly.

Jones, who was studying music full-time at Indiana University during the mids. In addition to hits by stalwarts Redding, Booker T. A June session with Don Covay created bad feelings, which came to a head in early , when Wilson Pickett returned to record new material.

As a result, the furious house band bluntly told Jim Stewart not to bring "that asshole" to the studio again. Also tired of another label capitalizing on the Stax sound, Stewart phoned Wexler soon after the Pickett session and told him that he wanted to do no more Stax productions of non-Stax artists.

One Atlantic artist who was thus not able to record at Stax was the newly signed Aretha Franklin. Pickett's subsequent hits were also recorded elsewhere, including at Fame and American Group Productions , Chips Moman's Memphis studio.

Unlike Motown, which frequently packaged its artists on review tours, Stax only infrequently sponsored concerts to promote its acts. The first of such concerts was in the summer of , in Los Angeles rather than in Memphis.

While the show was a success, the Watts riots began the day afterward, and several Stax artists were trapped in Watts during the violence.

Stax also sponsored a Christmas concert in Memphis for several years, the most notorious of which was held in , when special guest Janis Joplin performed drunk and was booed off of the stage.

The most successful Stax package revue was a tour of England and France in , which played to sold-out crowds. Stax released several live albums from the tour recordings, including the best-selling Otis Live in Europe'.

In Stax was at the height of its fame. Also signed to the record label was the house band, Booker T. Two of the band members were black and two were white, which at the time was unheard of, because of racial turmoil in the United States.

In contrast to Stax's rapidly rising fortunes at this time, most of the house band were struggling to make a living: the musicians often worked long hours in the studio during the day, developing songs and arrangements, but they were paid for recordings only when the actual sessions took place, so most had to play at local venues in the evenings to earn enough to support themselves and their families.

This allowed them to quit their night jobs and become full-time professional studio musicians, and from this point on Booker T.

Bell also persuaded Jim Stewart to set up a "production pool", in which a small portion of the royalty payments Stax was receiving from Atlantic was split equally between the Big Six to pay them for their production duties with the artists they backed.

When the artists got into the studio, they were there for one reason only, and that was to make hit music, some of which had the social consciousness that became a soundtrack for the civil rights movement.

On their tour in Europe, some of the Stax artists were taken aback by the welcome that they received, enjoying a better reception in parts of Europe than in the United States.

Although the trip was a huge success for the artists and their label, it also marked another significant change in the political landscape at Stax.

Following the touring party's return to Memphis, Bell was also promoted to executive vice president, and horn players Wayne Jackson and Andrew Love joined the Stax rhythm section as salaried Stax employees.

In , Atlantic Records was sold to Warner Bros. The sale of Atlantic to Warner activated a "key man" clause which Jim Stewart had insisted upon in the distribution contract between Stax and Atlantic.

This called for the renegotiation or termination of the distribution deal in the event that Stewart's nominated "key man" at Atlantic—Jerry Wexler— either left the company or sold his stock in Atlantic.

Stax initially hoped to join Atlantic in the Warner buyout, so Jim Stewart, Estelle Axton and Al Bell flew to New York hoping to negotiate a deal, but according to Stewart the figure they were offered was "an insult".

Stewart then approached Warner-Seven Arts directly, but their offer was similarly unacceptable to Stax.

Unhappy with either offer, Stewart then asked for the return of the Stax masters, but the executives at Warner-Seven Arts refused. It was then that he was informed that Atlantic's lawyers had included a clause in the distribution contract that gave Atlantic all right, title and interest, including any rights of reproduction, in all Stax's Atlantic-distributed recordings between and Stewart regarded his original deal with Wexler as a gentleman's agreement, and when the distribution arrangement was formalised with a contract in , he had signed it without reading it, thus missing the fateful ownership clause.

In the riots that followed King's murder, many properties in the vicinity of the Stax studio were attacked by rioters, but Stax was left untouched.

Stewart remained at the company, and former Stax marketing executive Al Bell became the company's vice president and a co-owner, taking on a more active role as Stewart became less active in Stax's day-to-day operations.

Forced to choose between his sister and his vice president, Stewart asked Axton to step down from the company. Stax label recordings were reissued on the Atlantic label, and Volt label material on the Atco label.

Although Stax had also lost their most valuable artists, they recovered quickly. Johnnie Taylor gave Stax its first big post-Atlantic hit in with "Who's Making Love", which became the label's best-selling single to that point.

Originally seen just as a solo artistic project for Hayes to make up the numbers, it went on to sell over three million copies in However, Stax's record sales were down overall under Paramount, whose management were also trying to exert more control of the operation.

In , Stewart and Bell decided to purchase the label back, with financial help from Deutsche Grammaphon, the European record company owned at the time by the giant Philips corporation.

By the fall of , both Steve Cropper and Booker T. Jones were frustrated with Stax's treatment of the MGs, and left the company and stopped playing sessions for Stax.

Even though Jones was given the title of Vice President at Stax before leaving, as he put it, "There were titles given to us but we didn't actually make the decisions.

The two remaining MGs Duck Dunn and Al Jackson stayed on at Stax, working as session musicians on various Stax recordings, although they also worked elsewhere.

In particular, Al Jackson worked extensively with Al Green at crosstown rival Hi Records , co-writing a number of Green's hits between and Stax, meanwhile, subsisted on its own between and , using independent distributors.

By mid, the Stax logo was slightly altered in which the color of the finger-snapping hand was changed from blue to brown.

As co-owner, Bell undertook an ambitious program to make Stax not only a major recording company, but also a prominent force in the black community.

For the first time, many of the label's acts began frequently recording at outside studios such as Ardent Studios in Memphis and at recording studios in Muscle Shoals, Alabama and working with outside producers, signaling an end of the signature Stax sound.

Bell even created a comedy subsidiary label, Partee Records , which released albums from the likes of Richard Pryor [1] and Moms Mabley ; and he made a bid for the white pop market by signing Big Star and licensing albums by Terry Manning , the UK progressive rock band Skin Alley , and Lena Zavaroni.

On August 20, , the Stax label presented a major concert, Wattstax , featured performances by Stax recording artists and humor from rising young comedian Richard Pryor.

By this time, the Stax recording studio was accepting outside work again. Despite the success of Wattstax, the future of Stax was unstable.

In , Bell bought out Stewart's remaining interest in the company, and established a distribution deal with CBS Records. Though the area had no overarching political structure, trade over long distances helped diffuse culture.

Weapons made of obsidian, jewelry crafted from jade, feathers woven into clothing and ornaments, and cacao beans that were whipped into a chocolate drink formed the basis of commerce.

The mother of Mesoamerican cultures was the Olmec civilization. Flourishing along the hot Gulf Coast of Mexico from about to about BCE, the Olmec produced a number of major works of art, architecture, pottery, and sculpture.

Most recognizable are their giant head sculptures Figure 1. The Olmec built aqueducts to transport water into their cities and irrigate their fields.

They grew maize, squash, beans, and tomatoes. They also bred small domesticated dogs which, along with fish, provided their protein.

Although no one knows what happened to the Olmec after about BCE, in part because the jungle reclaimed many of their cities, their culture was the base upon which the Maya and the Aztec built.

It was the Olmec who worshipped a rain god, a maize god, and the feathered serpent so important in the future pantheons of the Aztecs who called him Quetzalcoatl and the Maya to whom he was Kukulkan.

The Olmec also developed a system of trade throughout Mesoamerica, giving rise to an elite class. After the decline of the Olmec, a city rose in the fertile central highlands of Mesoamerica.

One of the largest population centers in pre-Columbian America and home to more than , people at its height in about CE, Teotihuacan was located about thirty miles northeast of modern Mexico City.

Large-scale agriculture and the resultant abundance of food allowed time for people to develop special trades and skills other than farming. Builders constructed over twenty-two hundred apartment compounds for multiple families, as well as more than a hundred temples.

Among these were the Pyramid of the Sun which is two hundred feet high and the Pyramid of the Moon one hundred and fifty feet high.

Near the Temple of the Feathered Serpent, graves have been uncovered that suggest humans were sacrificed for religious purposes. The Maya were one Mesoamerican culture that had strong ties to Teotihuacan.

They devised a written mathematical system to record crop yields and the size of the population, and to assist in trade. Surrounded by farms relying on primitive agriculture, they built the city-states of Copan, Tikal, and Chichen Itza along their major trade routes, as well as temples, statues of gods, pyramids, and astronomical observatories Figure 1.

However, because of poor soil and a drought that lasted nearly two centuries, their civilization declined by about CE and they abandoned their large population centers.

The Spanish found little organized resistance among the weakened Maya upon their arrival in the s. However, they did find Mayan history, in the form of glyphs, or pictures representing words, recorded in folding books called codices the singular is codex.

In , Bishop Diego de Landa, who feared the converted natives had reverted to their traditional religious practices, collected and burned every codex he could find.

Today only a few survive. Visit the University of Arizona Library Special Collections to view facsimiles and descriptions of two of the four surviving Mayan codices.

This city was tremendously wealthy—filled with gold—and took in tribute from surrounding tribes. And some of our soldiers even asked whether the things that we saw were not a dream?

I do not know how to describe it, seeing things as we did that had never been heard of or seen before, not even dreamed about.

The city had neighborhoods for specific occupations, a trash collection system, markets, two aqueducts bringing in fresh water, and public buildings and temples.

Unlike the Spanish, Aztecs bathed daily, and wealthy homes might even contain a steam bath. A labor force of slaves from subjugated neighboring tribes had built the fabulous city and the three causeways that connected it to the mainland.

To farm, the Aztec constructed barges made of reeds and filled them with fertile soil. Each god in the Aztec pantheon represented and ruled an aspect of the natural world, such as the heavens, farming, rain, fertility, sacrifice, and combat.

A ruling class of warrior nobles and priests performed ritual human sacrifice daily to sustain the sun on its long journey across the sky, to appease or feed the gods, and to stimulate agricultural production.

The sacrificial ceremony included cutting open the chest of a criminal or captured warrior with an obsidian knife and removing the still-beating heart Figure 1.

Explore Aztec-History. The following is an excerpt from the sixteenth-century Florentine Codex of the writings of Fray Bernardino de Sahagun, a priest and early chronicler of Aztec history.

When an old man from Xochimilco first saw the Spanish in Veracruz, he recounted an earlier dream to Moctezuma, the ruler of the Aztecs.

On the surface of this house they would cook their food, walk and play as if they were on firm land. They were to be white, bearded men, dressed in different colors and on their heads they would wear round coverings.

Ten years before the arrival of the Spanish, Moctezuma received several omens which at the time he could not interpret. They do, however, give us insight into the importance placed upon signs and omens in the pre-Columbian world.

At its height in the fifteenth and sixteenth centuries, the Inca Empire, located on the Pacific coast and straddling the Andes Mountains, extended some twenty-five hundred miles.

It stretched from modern-day Colombia in the north to Chile in the south and included cities built at an altitude of 14, feet above sea level.

Its road system, kept free of debris and repaired by workers stationed at varying intervals, rivaled that of the Romans and efficiently connected the sprawling empire.

The Inca, like all other pre-Columbian societies, did not use axle-mounted wheels for transportation. They built stepped roads to ascend and descend the steep slopes of the Andes; these would have been impractical for wheeled vehicles but worked well for pedestrians.

These roads enabled the rapid movement of the highly trained Incan army. Also like the Romans, the Inca were effective administrators. Runners called chasquis traversed the roads in a continuous relay system, ensuring quick communication over long distances.

The Inca had no system of writing, however. They communicated and kept records using a system of colored strings and knots called the quipu Figure 1.

The Inca people worshipped their lord who, as a member of an elite ruling class, had absolute authority over every aspect of life. Much like feudal lords in Europe at the time, the ruling class lived off the labor of the peasants, collecting vast wealth that accompanied them as they went, mummified, into the next life.

The Inca farmed corn, beans, squash, quinoa a grain cultivated for its seeds , and the indigenous potato on terraced land they hacked from the steep mountains.

Peasants received only one-third of their crops for themselves. The Inca ruler required a third, and a third was set aside in a kind of welfare system for those unable to work.

Huge storehouses were filled with food for times of need. Each peasant also worked for the Inca ruler a number of days per month on public works projects, a requirement known as the mita.

For example, peasants constructed rope bridges made of grass to span the mountains above fast-flowing icy rivers. In return, the lord provided laws, protection, and relief in times of famine.

Unlike the Maya and the Aztecs, they rarely practiced human sacrifice and usually offered the gods food, clothing, and coca leaves. In times of dire emergency, however, such as in the aftermath of earthquakes, volcanoes, or crop failure, they resorted to sacrificing prisoners.

The ultimate sacrifice was children, who were specially selected and well fed. The Inca believed these children would immediately go to a much better afterlife.

Located about fifty miles northwest of Cusco, Peru, at an altitude of about 8, feet, the city had been built in and inexplicably abandoned roughly a hundred years later.

Scholars believe the city was used for religious ceremonial purposes and housed the priesthood. The architectural beauty of this city is unrivaled.

Using only the strength of human labor and no machines, the Inca constructed walls and buildings of polished stones, some weighing over fifty tons, that were fitted together perfectly without the use of mortar.

With few exceptions, the North American native cultures were much more widely dispersed than the Mayan, Aztec, and Incan societies, and did not have their population size or organized social structures.

Although the cultivation of corn had made its way north, many Indians still practiced hunting and gathering.

Horses, first introduced by the Spanish, allowed the Plains Indians to more easily follow and hunt the huge herds of bison.

Like present-day apartment houses, these buildings had multiple stories, each with multiple rooms. The three main groups of the Pueblo people were the Mogollon, Hohokam, and Anasazi.

They developed a distinctive artistic style for painting bowls with finely drawn geometric figures and wildlife, especially birds, in black on a white background.

Beginning about CE, the Hohokam built an extensive irrigation system of canals to irrigate the desert and grow fields of corn, beans, and squash.

By , their crop yields were supporting the most highly populated settlements in the southwest.

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