The Blues: black, white... and red? (and III)

With today's text we reach the end of the excerpt first published on line by UTNE Reader from The Guitar and the New World, the new book by Joe Gioia. Once again, our thanks go to the author and the publisher, SUNY Press. If the earlier parts (the first and the second) sound interesting enough, the rest of the chapter “Hey-Hey” digs wider and deeper into some of the points made so far.

As it has happened with some of the books mentioned by Gioia in the second part (especially Hamilton's), his may be difficult to accept for its ground-breaking view of the origins of the blues, a unique genre about which people have been capable of keeping a straight face while talking of deals with the devil. On the other hand, Gioia's book may well go through the same heavy revisions as Charters's and Oliver's books in the future. Even in that case, the oversight Native Americans have suffered in this whole story of the music of North America is so enormous, that what's really important in Gioia's discourse is not so much whether his answers are correct, but the questions he asks; not what he's found, but the fact that he's pointing his torch in a different and hardly explored direction.

At "worst", the book can also be used as the author's guide to North-American music from the first half of the 20th century. Although some tracks may seem out of place without the book at hand, almost all the songs he mentions are included, in order of appearance, in this Spotify playlist (the links in the text lead to YouTube).

Back to the text: Having argued that there is sufficient reason to consider seriously the role of Native Americans in the origins of the blues and other musics from the US, the author keeps following that trail, and he begins to find some clues...

The Blues: black, white... and red? (II)

Second part of the excerpt from the chapter entitled "Hey, Hey", taken from Joe Gioia's The Guitar and the New World. In the previous part the author pointed out the two early 20th century seminal accounts from which all blues historiography emanates, Charles Peabody's and W. C. Handy's, and how from there its origins have been linked to slavery or even to Africa without any solid evidence to prove it.

Thanks to Joe Gioia and his publisher for granting permission for me to translate this text and publish it here. The complete excerpt is readily available on line at the UTNE Reader website.

The Blues: black, white... and red? (I)

One of the most fascinating aspects in the history of American popular music is the origin of blues music. Having been put at the centre of most of 20th century popular music, the seed of a mass phenomenon such as rock, the contrast with its humble origins in the Mississippi Delta give an epic air to a genre which is already elating and gut-wrenching in itself. If it's also considered as the musical undercurrent of the kidnapping, the trans-Atlantic trip, and slavery of Africans and their descendants in America, myth-making is hard to avoid.

Moreover, on top of this myth a sediment has formed which hardly lets any room for legitimate discussion regarding the origins of this musical genre, a sort of thick dogma compressed by considerations on authenticity. These are always useless, because if we consider history to be a film, authenticity is, at best, just a frame, a random image chosen according to a number of prejudices, selected to be an absolute and non-negotiable model against which the rest of the film is humbly compared. I say at best because normally authenticity isn't even a frame in the film, it's just an idealized utopian past.

Charley Patton - "I Shall Not Be Moved"

In some unproven way, blues is supposed to have been the musical baggage of slaves brought from Africa to America and their descendants. In the beginning, it was just purely a black thing, then it went losing its purity because of white influence of European origin. If we extrapolate that imagined trajectory, the origins of blues would lay in Africa. For a number of reasons, among them the choking and very real presence of racism in the US, the study and debate on what we know as the blues are constrained by some solid barriers. For instance: when it is insisted so much on the black/white racial dichotomy in American music, aren't we forgetting someone?