Blues People: Negro Music in White America

To be sure, rock n' roll is usually a flagrant commercialization of rhythm & blues, but the music in many cases depends on materials that are so alien to the general middle-class, middle-brow American culture as to remain interesting. Many of the same kinds of cheap American dilutions that had disfigured popular swing have tended to disfigure the new music, but the source, the exciting and "vulgar" urban blues of the forties, is still sufficiently removed from the mainstream to be vital. For this reason, rock n' roll has not become as emotionally meaningless as commercial swing. It is sill raw enough to stand the dilution and in some cases, to even be made attractive by the very fact of its commercialization. Even its "alienation" remains conspicuous; it is often used to characterize white adolescents as "youthful offenders." (Rock n' roll also is popular with another "underprivileged" minority, e.g., Puerto Rican youths. There are now even quite popular rock n' roll songs, at least around New York, that have some of the lyrics in Spanish.) Rock n' roll is the blues form of the classes of Americans who lack the "sophistication" to be middle brows, or are too naïve to get in on the mainstream American taste; those who think that somehow Melachrino, Kostelanetz, etc., are too lifeless

[O]ne of the most persistent traits of of the Western white man has always been his fanatical and almost instinctive assumption that his systems and ideas about the world are the most desirable, and further that people who do not aspire to to them, or at least think them admirable, are savages or enemies. The idea that Western thought might be exotic if viewed from another landscape never presents itself to most Westerners.

[O]ne can see, perhaps, how "perfect" Christianity was in that sense. It took the slave's mind off Africa, or material freedom, and proposed that if the black man wished to escape the filthy paternalism and cruelty of slavery, he wait, at least, until he died, when he could be transported peacefully and majestically to the Promised Land.

In the early days of slavery, Christianity's sole purpose was to propose a metaphysical resolution for the slave's natural yearnings for freedom, and as such, it literally made life easier for him. The secret African chants and songs were about Africa, and expressed the African slave's desire to return to the land of his birth. The Christian Negro's music became an an expression of his desire to "cross Jordan" and "see his Lord.

Christianity, as it was first given to the slaves [...] was to be used strictly as a code of conduct which would enable its devotees to participate in an afterlife; it was from its very inception among the black slaves, a slave ethic. [...] One of the very reasons Christianity proved so popular was that it was the religion, according to older Biblical tradition, of an oppressed people. The struggles of the Jews and their long-sought "Promised Land" proved a strong analogy for the black slaves.

The shabbiness, even embarrassment, of Hazel Scott playing 'concert boogie woogie' before thousands of white middle-class music lovers, who all assumed that this music was Miss Scott's invention, is finally no more hideous than the spectacle of an urban, college-trained Negro musician pretending, perhaps in all sincerity, that he has the same field of emotional reference as his great-grandfather. the Mississippi slave