Editing Jimmie Rodgers (section)

==Music career==
In 1924, Rodgers was diagnosed with [[tuberculosis]] at the age of 27. The disease affected his ability to perform his work; following the medical advice of the time, which suggested living in elevated and dry locations to ease the symptoms, he chose to move with his wife and children to [[Arizona]]. Then, Rodgers moved to [[Asheville, North Carolina]].{{sfn|Mazor, Barry|2009|p=22}} As he worked less on the railroads and his foreman complained of his extended absences, he returned to performing music. Rodgers formed a jazz-style band that performed pop standards with the inclusion of horns and the piano accompaniment of his new wife Carrie McWilliams' sister, [[Elsie McWilliams]].{{sfn|Mazor, Barry|2009|p=23}} The group played on the road in tents, on city streets and in various other small locations without any commercial success.{{sfn|Kingsbury, Paul|McCall, Michael|Rumble, John|Gill, Vince|2012|p=454}} In 1927, Rodgers left his work on the railroad. In Asheville he met the Grant Brothers, who led the mountain music string band the Tenneva Ramblers.{{sfn|Mazor, Barry|2009|p=22}} Rodgers convinced the group to join him as the Jimmie Rodgers Entertainers, with him as the lead singer, for a recurrent, unpaid spot he managed to obtain at [[WWNC]].{{sfn|Kingsbury, Paul|McCall, Michael|Rumble, John|Gill, Vince|2012|p=454}} The band was composed of Rodgers (vocals and guitar), Claude Grant (vocals and guitar), Jack Grant (mandolin), Jack Pierce (fiddle) and, at times, Claude Sagle (banjo).{{sfn|Lornell, Kip|2021|p=84}}

[[File:Jimmie Rodgers Entertainers.jpg|The Jimmie Rodgers Entertainers (Rodgers, second from the left, holding a banjo)|thumb|upright|alt=Black and white studio portrait of four men smiling while holding musical instruments: Three men play banjos and one of the back to the right plays a guitar. Jimmie Rodgers is seen second from the left wearing glasses and wearing a tan suit while holding up his banjo on his right knee as he raises his right leg on a chair. The two other men in the front sit in chairs facing each other sideways]]

After the group was fired from the radio show, they found a job performing at a resort in the [[Blue Ridge Mountains]]. There, Rodgers heard of [[Bristol sessions|the upcoming field recordings]] that engineer [[Ralph Peer]] of the [[Victor Talking Machine Company]] was to undertake in [[Bristol, Tennessee]], in search of local talent.{{sfn|Kingsbury, Paul|McCall, Michael|Rumble, John|Gill, Vince|2012|p=454}} Rodgers made an appointment for the band to record with Peer on August 4, 1927. Before the scheduled recording, the band had a dispute with the singer regarding the name to be used on the label of the recording. The Tenneva Ramblers then deserted Rodgers, who convinced Peer to record him alone with his guitar.{{sfn|Kingsbury, Paul|McCall, Michael|Rumble, John|Gill, Vince|2012|p=454}} Peer later commented that he considered Rodgers an individualist, who, due to his blues-leaning style, was incompatible with the sound of the Tenneva Ramblers band, which based its music around the use of fiddles.{{sfn|Mazor, Barry|2015|pp=114-115}} By the end of Rodgers' session, Peer felt that although he liked the singer, he could not sign him to the label as he was performing pop music that belonged to New York publishers, instead of the original tunes that Peer was scouting for.{{sfn|Mazor, Barry|2015|p=115}} The session produced "The Soldier's Sweetheart", an adaptation of an old vaudeville tune with new lyrics by Rodgers, and a version of the showtune, "Sleep, Baby, Sleep".{{sfn|Mazor, Barry|2015|p=116}}

After the session, Peer told Rodgers that he would contact him at a later date to hear new original material.{{sfn|Mazor, Barry|2015|p=115}} Rodgers then moved with his family to Washington, D.C., and the record sold some copies. After a month of not hearing back from Peer, Rodgers decided to travel to New York City, where he checked into the [[The Michelangelo|Manger Hotel]] and called the producer to let him know that he was ready to undertake his next recording session.{{sfn|Mazor, Barry|2015|p=117}} Impressed by Rodgers' boldness, Peer set an appointment for November 30, 1927, at Studio 1 of the Victor Talking Machine Company in [[Camden, New Jersey]]. The first few numbers that Rodgers tried did not appeal to Peer, as they were once again not original material. Rodgers then attempted a number he had been working on using yodeling, which Peer called "[[Blue Yodel No. 1 (T for Texas)|Blue Yodel]]".{{sfn|Barker, Hugh|Taylor, Yuval|2007|p=112}}

When "The Soldier's Sweetheart" / "Sleep, Baby, Sleep" record started to sell well, Victor decided to advance the release of "Blue Yodel".{{sfn|Porterfield, Nolan|2007|p=132}} In Washington, D.C., Rodgers worked a stint for the station WTTF with the backing of the "Jimmie Rodgers' Southerners", while he continued to make records for the label. He used the band for his recordings of "[[In the Jailhouse Now]]" and "The Brakeman's Blues", among others.{{sfn|Mazor, Barry|2009|p=101}}

{{Listen |filename=Blue Yodel No. 1 intro.ogg|title=Blue Yodel No. 1|description=Excerpt of Rodgers' most successful recording, "Blue Yodel No. 1"}}
As 1928 progressed, "Blue Yodel" became a major success.{{sfn|Mazor, Barry|2009|p=95}} The song marked the first of a series of [[blue yodel]]s.{{sfn|Greenway, John|p=231|1957}} The unknown origin of Rodgers' yodel has been attributed to several sources, including traditional alpine songs, its use by gandy dancers and its use in vaudeville and [[minstrel show]]s.{{sfn|Porterfield, Nolan|2007|p=125}} The yodels presented a main character who often exaggerated his qualities as a lover, threatening other men who try to take his woman or declaring that he can easily find another one, and vocalizing verses that deal with promiscuity and violence, often using [[double entendre]]s.{{sfn|Greenway, John|p=233|1957}} With the release of further songs of the series,"Blue Yodel" was later renamed on the catalogs to "Blue Yodel No. 1 (T for Texas)".{{sfn|Paramount Music Co.|1928|p=7}} "Blue Yodel No. 1" became the singer's most successful recording, with over a million copies sold during his lifetime.{{sfn|Bond, Johnny|1978|p=V}}{{sfn|Malone, Bill|Laird, Tracey|2018|p=98}} Soon, Rodgers' show billed him as "America's Blue Yodeler".{{sfn|Porterfield, Nolan|2007|p=124}}

Following the release of "If Brother Jack Were Here", Victor was threatened with a lawsuit by [[Joseph W. Stern & Co.]] for copyright infringement of their original composition "Mother Was a Lady".{{sfn|Paris, Mike|Comber, Chris|1981|p=202}} As a result, the label renamed the record and Peer began to carefully assess the material brought by Rodgers. The singer often arrived to the recording sessions short of material and he resorted to passing off old vaudeville and minstrel show songs as his own. After Peer rejected several songs, Rodgers contacted his sister-in-law, Elsie McWilliams, to help him with the composition of new material. Few of the songs credited to Rodgers were authored by himself; McWilliams wrote most of his Blue Yodels and Rodgers also hired amateur composers to write other songs.{{sfn|Porterfield, Nolan|2007|pp=118, 119}}{{sfn|Peterson, Richard|2013|p=45}} With McWilliams' help, he would also write compositions of his own, which she remarked Rodgers would not stop working on until they "sounded just right".{{sfn|Porterfield, Nolan|2007|p=146}} With the sales of his records still improving after the release of "In the Jailhouse Now", Rodgers embarked on a tour of the United States: he appeared on the Southern Time circuit of [[Loews Cineplex Entertainment|Loews Theaters]] and the East Coast circuit of [[Paramount Pictures#Publix, Balaban and Katz, Loew's competition and wonder theaters|Publix Theaters]].{{sfn|Porterfield, Nolan|2007|p=158}} The pairing of "Blue Yodel No. 4 (California Blues)" / "[[Waiting for a Train (Jimmie Rodgers song)|Waiting for a Train]]" became popular due to the success of the [[A-side and B-side|flipside]] record. The recording would eventually become Rodgers' second best seller of his career, with a total of 365,000 copies sold during his lifetime.{{sfn|Porterfield, Nolan|2007|p=162}}{{sfn|Malone, Bill|Laird, Tracey|2018|p=98}}

In February 1929, Rodgers' health worsened. Against his doctor's consistent recommendations to rest, Rodgers proceeded with his tour. During a stop in Meridian, he suffered a fever. Rodgers intended to perform the show, but he collapsed on the dressing room floor shortly before its start.{{sfn|Porterfield, Nolan|2007|p=180}} His doctor ordered an [[x-ray]]{{Emdash}}an uncommon procedure at the time{{Emdash}}and determined that the singer was suffering from pulmonary tuberculosis, which affected his lungs. Cavities were found on the top of both lungs, while the bottom of his right lung showed [[pleurisy]].{{sfn|Porterfield, Nolan|2007|p=184}} As they traveled through Texas performing, Jimmie and Carrie Rodgers stopped in [[Kerrville, Texas|Kerrville]]. The town offered the dry air and mild weather that the medical authorities of the time considered necessary for the treatment of [[tuberculosis]]. Kerrville was home to multiple [[sanatorium]]s and a [[United States Department of Veterans Affairs|Veterans Hospital]]<nowiki>, which specialized in pulmonary disease. As Rodgers was badly affected by the weather in Washington, D.C., Meridian and Asheville, he decided to settle in Kerrville. The construction of his new home began in April 1929. With a total cost of approximately $20,000 (</nowiki>{{Inflation|US|20000|1929|r=-4|fmt=eq}}{{Inflation/fn|US}}), he named it "Blue Yodeler's Paradise".{{sfn|Porterfield, Nolan|2007|pp=200-201}} With his move to Texas, Rodgers' on-stage attire changed. He had previously worn brakeman's working clothes, which he replaced with regular clothes and a cowboy hat.{{sfn|Porterfield, Nolan|2007|p=203}} On June 14, 1929, he performed at the inaugural event of [[San Antonio]]'s [[Majestic Theatre (San Antonio)|Majestic Theatre]].{{sfn|Porterfield, Nolan|2007|p=205}}

[[File:JimmieRodgers in 1929.png|thumb|upright|Rodgers in 1929|alt=Black and white studio portrait of Jimmie Rodgers sitting on a chair looking at the camera. He wears a tan suit, a white shirt, a bow tie, and a boater hat. He holds a guitar to his right knee with his forearms with his right hand on top of the body and his left hand over the hole]]

At the height of this career, in 1929, Rodgers made approximately $75,000 ({{Inflation|US|75,000|1929|fmt=eq|r=-3}}{{Inflation/fn|US}}) in royalties. After the [[Wall Street Crash of 1929|Wall Street Crash that year]], while his records continued to sell, his royalties dropped to approximately $60,000 ({{Inflation|US|60,000|1929|fmt=eq|r=-4}}{{Inflation/fn|US}}).{{sfn|Peterson, Richard|2008|p=50}} "Waiting for a Train" continued to be popular, as the themes depicted in the song became commonplace in the lives of unemployed Americans during the [[Great Depression in the United States|Great Depression]].{{sfn|Perone, James|2016|p=81}} Through a number of field recording sessions{{Emdash}}made as his schedule and tour allowed it{{Emdash}}Rodgers increased his catalog. By November 1929, he had filmed ''[[The Singing Brakeman (film)|The Singing Brakeman]]'' at the RCA Victor studios in Camden.{{sfn|Mazor, Barry|2009|pp=92-94}} Continuing his tour, in late February 1930, Rodgers collapsed again during a stop in [[Carthage, Mississippi]]. After he suffered a hemorrhage, Rodgers followed his doctor's advice and canceled his third appearance at the local movie house. Despite his condition, Rodgers then joined a four-month tour with daily appearances on ''Swain's Hollywood Follies''. Rodgers and his musical troupe performed a total of 70 shows.{{sfn|Porterfield, Nolan|2007|pp=234-235}} With few of his recordings left to be released, Rodgers headed to Los Angeles to produce new material in June–July 1930.{{sfn|Porterfield, Nolan|2007|p=250}} The sessions produced, among other numbers, "[[Mule Skinner Blues|Blue Yodel no. 8, Mule Skinner Blues]]" and "Blue Yodel No. 9 (Standin' on the Corner)" featuring [[Louis Armstrong]].{{sfn|Porterfield, Nolan|2007|pp=258-259}} Rodgers commissioned Ray Hall, at the time a prisoner at the [[Huntsville Unit|Texas State Penitentiary]], to help him write the song "T.B. Blues" after McWilliams refused to help. Rodgers recorded and released the composition in 1931.{{sfn|Mazor, Barry|2009|p=117}}

In the summer of 1931, Rodgers recorded two sides with the [[Carter Family]].{{sfn|Porterfield, Nolan|2007|p=294}} That year, his health quickly deteriorated and his sales fell to an average of 30,000 copies per record as the Great Depression progressed.{{sfn|Porterfield, Nolan|2007|p=303}} Meanwhile, his excessive expenditures forced him to sell his Kerrville home.{{sfn|Porterfield, Nolan|2007|p=306}} "Rodgers' Puzzle Record", a compilation containing three recordings of the singer on one side, was released in England, India, and Australia in 1931.{{sfn|Porterfield, Nolan|2007|p=306}} The same year, the singer accepted an offer to make appearances, when available, on San Antonio radio station [[KSLR|KMAC]]'s Tuesday show. When he was on tour, ''The Jimmie Rodgers Show'' played his Victor recordings.{{sfn|Porterfield, Nolan|2007|p=312}}{{sfn|Mazor, Barry|2009|p=95}} In April 1932, he renegotiated his contract with the label: Rodgers was to receive $25,000 ({{Inflation|US|25,000|1931|fmt=eq|r=-3}}{{Inflation/fn|US}}) for 24 sides to be released monthly, with the singer receiving $250 ({{Inflation|US|250|1932|r=-1|fmt=eq}}{{Inflation/fn|US}}) in advance payment per side.{{sfn|Porterfield, Nolan|2007|p=322}}

===Declining health and death===
As his health condition worsened, Rodgers reduced his appearances on tour schedules from five days to one per venue; he also camped in a tent, which allowed for better air circulation. A number of concerts were cut short because of his condition, while others were cancelled.{{sfn|Porterfield, Nolan|2007|p=323}} Until 1932, Peer took trips for field sessions to record Rodgers in Atlanta, New Orleans and Dallas. After RCA Victor ended his field sessions, Rodgers traveled to Camden, to record at the company's studios.{{sfn|Porterfield, Nolan|2007|p=329}} Rodgers managed to produce ten sides, with regular rest between takes. Realizing the state of health of the singer, Peer arranged a follow-up session to create a backlog for the Rodgers catalog.{{sfn|Porterfield, Nolan|2007|pp=330-335}} Rodgers then returned to San Antonio, where he spent most of his time in bed until, in October of that year, he resumed his appearances on the local radio station.{{sfn|Porterfield, Nolan|2007|p=343}} In the early winter of 1932, he made appearances throughout East Texas until he collapsed during a show in [[Lufkin, Texas|Lufkin]] and was placed in an [[oxygen tent]].{{sfn|Porterfield, Nolan|2007|p=344}} He then stopped performing at KMAC and stayed at home while he arranged a new recording session with Peer for May.{{sfn|Porterfield, Nolan|2007|p=347}}

Rodgers and his personal nurse, Cora Bedell, traveled to New York City on the [[SS Mohawk (1925)|SS ''Mohawk'']] and arrived on May 14, 1933. Peer left the singer to rest at his usual lodging, the Taft Hotel (earlier The Manger), for a few days before the session. Meanwhile, he assigned Rodgers a driver, known as Castro.{{sfn|Porterfield, Nolan|2007|p=349}} The recording session, with Fred Maisch engineering, began on May 17 at [[RCA Studios New York#24th St|RCA Victor's New York Studios at 153 E 24th Street]]. During the first two days, Rodgers recorded six numbers. The singer sat on an easy chair and was propped up by pillows to reach the microphone; the sessions were often paused as a result of his health. A new session was scheduled for May 24, 1933. Rodgers produced four songs and lay on a cot between takes. At the end of the day, he was helped into a cab and returned to his hotel.{{sfn|Porterfield, Nolan|2007|pp=350-351}} The next day, he recovered and then visited [[Coney Island]] with his driver. When returning, Rodgers decided to walk the last few blocks to the hotel, but he needed help to return to his room. He then suffered an intense cough, which eventually stopped. At midnight, he resumed coughing and began to hemorrhage. The hotel's doctor could not be found and Castro, who was out on an errand, returned too late to take him to a hospital. Rodgers fell in a coma and he died soon after.{{sfn|Porterfield, Nolan|2007|pp=350-351}}{{sfn|Mazor, Barry|2009|p=120}}

Rodgers' pearl-gray casket was placed on a raised platform covered in lilies in a baggage car and taken back to Meridian by the [[Southern Railway (U.S.)|Southern Railway]] on a trip operated by former workmates of Rodgers.{{sfn|Porterfield, Nolan|2007|p=355}} On May 29, 1933, his body lay in state at the local [[Scottish Rite Cathedral (Meridian, Mississippi)|Scottish Rite Cathedral]]. That afternoon, escorted by members of the [[Scottish Rite]], the [[Temple Theater (Meridian, Mississippi)|Hamasa Shrine Temple]] and the [[Knights of Pythias]], his body was buried at Oak Grove Cemetery.{{sfn|Porterfield, Nolan|2007|p=357}} During his lifetime, Rodgers reinvigorated the deflated sales record market for RCA Victor, and, despite the drop of sales during the depression, his records continued to sell well.{{sfn|Barnett, Kyle|2021|p=202}} At the time of his death, his sales represented 10% of the total for the label.{{sfn|Petrusich, Amanda|2017}}