Although it was socially acceptable for the Blues musicians to write, compose and produce their music, it was frowned upon, until the late 1950’s, that the teenage generation be exposed to black Blues musicians. However, white Blues musicians were another story. The distribution of Blues music was eased into the public by using white covers of black artists (Covers and Dances). Ironically enough, the white covers of these black artists music never climbed as high on the top-seller list as the ones originally put out by the black musicians themselves. In 1956, white musician Pat Boone did a cover of the black Blues artist Little Richard’s Tutti Frutti” that reached number 18 on the bestseller chart. However, when Little Richard put out his own release of “Long Tall Sally” later in that same year, before Boone put out his cover of it, Little Richard already had it at number six. This simply proves that, however attempting to slow the eventual rise of black artists, they were in fact hastening the inevitable. “Nothing did more than the cover phenomenon to facilitate a mass market for r&b and extend the opportunities for black artists(Ward 44). These covers simply expedited the process of the mass exposure of the public, and this quickly developed a curious fondness for Blues and its African culture. Eventually, it did not matter who was singing, as long as it was performed well. This Blues phenomenon created a neutral ground for both blacks and whites to share and, henceforth, improve their relationship. Although the black slaves had long been freed, notably there remained in the southern United States an excessive number of restrictions on the black population. These were the infamous Jim Crow laws. However, when the blacks and whites got together at dances, these seemed to begin to falter and then disappear. The dances would begin with the officials stringing a rope dividing the dance floor in half to keep the rac…

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