“Education is something [students] must labor to give themselves. . . Education is up to them as it was up to Socrates, Milton, Locke, and Lincoln.” (Mark van Doren) “Emancipate yourselves from mental slavery; none but ourselves can free our minds.” (Bob Marley)
Some of the music JumpJim describes hearing on his trip to buy old blues records with Chester Bly — a trip that has many unintended consequences.
JumpJim describes:
Chester, knocking on doors, asking his monomaniacal question. Got any records? Under your porch, maybe? Pay a dime a piece.
Here are some of the records the two get hold of.
Texas Alexander’s “Levee Camp Moan Blues,” above, contains the lyric quoted on p. 151:
They accuse me of forgery: can’t even sign my name They accuse me of forgery: can’t even sign my name Accuse me of murder, I never know the man
As the two leave Mississippi after Chester’s encounter with Miss Alberta, JumpJim hears a little boy singing the words “Pharaoh army sure got drownded.” This is from the spiritual “Mary, Don’t You Weep.” Why do you think Kunzru includes this song?
And on Seth’s own southern journey, tracing the footsteps of Chester Bly, he refers to this song on p. 212.
Yemaya (Yoruba deity of the sea and fertility), by Jorge Sanfiel.
JumpJim, the old record collector in White Tears, describes his mentor Chester Bly’s passion for collecting old blues 78s on page 136 of the novel:
By any standards, I was a serious collector, but he seemed to have nothing else, no need [for anything else] . . . He was just a vehicle for his obsession, what the Haitians call a cheval, a mount for the spirits to ride.
The cheval, or, in Haitian Kreyol, chwal, is a person possessed, or “ridden,” by a spirit (lwa) summoned in a Vodou ceremony. Vodou, while derived from West African religion, is a distinctly Haitian practice:
Read more about Vodou ceremony — of which music is an integral part — and watch video here.
While in the Vodou religion, only Haitians can be “ridden” as chwals by the spirits (lwas), Kunzru seems to be suggesting that this kind of possession is more than metaphorical. What do you think?
Dr. Teresa Reed describes a similar practice in the black Pentecostal church of her childhood in Gary, Indiana, one of the northern industrial cities to which rural southern blacks moved en masse during the Great Migration:
There were many labels for this particular brand of the Lord’s work. The solitary dancer might be described as “getting the Holy Ghost,” “doing the holy dance,” “shouting,” “being filled,” “catching the Spirit,” “being purged,” or simply as someone “getting a blessing.” Whatever the descriptor, the phenomenon was familiar to all members of this religious culture. And it was understood that music –not just any music, but certain music — could facilitate such manifestations. . . [But]the parishioners at my urban, black-American church had no awareness of the many parallels between our Spirit-driven modes of worship and those common to our Afro-Caribbean counterparts.
Read Dr. Reed’s article, “Shared Possessions: Black Pentecostals, Afro-Caribbeans, and Sacred Music,” here.
Watch this, and notice the similarities, among other things, in dress between the church ladies and the Yoruban/Vodou/Santeria priestesses.
What, in Pentecostal church music, allows/inspires the Holy Spirit to take possession of the believer?
A medley of “praise breaks”:
In her article “Unenslaveable Rapture: Afrxfuturism and Diasporic Vertigo in Beyoncé’s Lemonade,” Valorie D. Thomas posits Beyoncé’s visual album in the context of Yoruba religion. In the video for “Denial,” for instance, Beyoncé jumps from a skyscraper and dives into the water, reemerging as a figure of Yemaya, the Yoruba orisha (deity) who rules the waters and fertility. Read Thomas’s article here.
In 1969, gospel singer Dorothy Combs taught it to white folk and rock singers Joni Mitchell, Joan Baez, and Crosby, Stills, Nash, and Young, and performed it with them at the Big Sur Music Festival. Is its effect on the mostly-white audience similar to its effect on black worshippers?
The Arkansas-born Sister Rosetta Tharpe (1915-1973) was one of the first Pentecostal gospel artists to cross over into pop music. Her churchgoing fans were scandalized by her forays into secular music, but her passionate, shouting singing style and her use of distortion on the electric guitar were hugely influential on both black and white artists, and came to be known as the Godmother of Rock and Roll.
Other artists crossed over in the other direction, like the Reverend Al Green, who went from this:
To this:
What elements do soul and gospel share? What about rock and gospel?
Do you think that the audiences at rock festivals in the 1970s were experiencing a similar sensation of being ridden by the Spirit? How does music play a part in these experiences?
The figure of Captain Jack appears early on in White Tears, in a song lyric that Carter is shown singing to himself on p. 29. Carter later mixes the song with the one that Seth recorded by chance in Washington Square Park, gives it an artificially gritty, vintage sound, and releases the result online as “Graveyard Blues,” which he claims was recorded in 1928 on a record label he calls Key & Gate by Charlie Shaw (“Just a name I made up,” he explains).
Carter’s reference to Captain Jack is from Son House’s “County Farm Blues” (1941):
Down South, when you do anything, that’s wrong Down South, when you do anything, that’s wrong Down South, when you do anything, that’s wrong They’ll sure put you down on the country farm
Put you down under a man they call “Captain Jack” Put you under a man called “Captain Jack” Put you under a man they call “Captain Jack” He sure write his name up and down your back
Put you down in a ditch with a great long spade Put you down in a ditch with a great long spade Put you down in a ditch with a great long spade Wish to God that you hadn’t never been made
On a Sunday the boys be lookin’ sad On a Sunday the boys be lookin’ sad On a Sunday the boys be lookin’ sad Just wonderin’ about how much time they had
The County Farm is the Mississippi State Penitentiary, otherwise known as Parchman Farm, a notoriously brutal, segregated prison, where black inmates
Bluesman Bukka White (1906?-1977) also did time at Parchman for assault. Folklorist John Lomax met and recorded him there. In 1940, White released “Parchman Farm Blues.”
Judge gimme me life this morn’in Down on Parchman Farm Judge gimme me life this morn’in Down on Parchman Farm I wouldn’t hate it so bad But I left my wife in mournin’
Four years, goodbye wife Oh you have done gone Ooh, goodbye wife Oh you have done gone But I hope someday You will hear my lonesome song, yeah
Oh you, listen you men I don’t mean no harm Oh-oh listen you men I don’t mean no harm If you wanna do good You better stay off old Parchman Farm, yeah
We go to work in the mo’nin Just a-dawn of day We go to work in the mo’nin Just a-dawn of day Just at the settin’ of the sun That’s when da work is done, yeah
Ooh, I’m down on old Parchman Farm I sho’ wanna go back home, yeah I’m down on the old Parchman Farm But I sho’ wanna go back home, yeah But I hope someday I will overcome.
Son House (1902-1988) was born in Clarksdale, Mississippi. He moved to Rochester, New York during the Great Migration, where he gave up music, working as a porter on the New York Central Railroad. House was “rediscovered” in the 1960s by a group of young white record collectors (not unlike, perhaps, JumpJim and Chester Bly a decade earlier) who had searched for him fruitlessly for years in Mississippi.
Though he spent most of his life in upstate New York, House sang, in the song “Clarksdale Moan”: “Clarksdale, Mississippi always gon’ be my home.” The song also contains the lines, “Every day in the week, I go down to Midtown Drugs/Get me a bottle of snuff and a bottle of Alcorub.” Alcorub was rubbing, or isopropyl, alcohol, “alcohol of last resort for desperate alcoholics” during Prohibition (see also “Roll and Tumble”).
House had done a stint in Parchman for allegedly killing a man in a bar brawl in self-defense; he alludes to his sentence in “Mississipi County Farm Blues,” where Captain Jack is a symbol of the brutal prison wardens. After his release, he was advised to leave Clarksdale. He went to Lula, Mississippi, sixteen miles north, where he met Charley Patton. House would later perform with Patton, and traveled with him to Grafton, Wisconsin in 1930 to record at the Paramount music studios.
However, as the sociologist B. Brian Foster has noted local backs usually don’t attend them, because “that’s for the white folks.”
Charley Patton also referred to Parchman in his song “Hammer Blues”:
They got me in shackles wearing my ball and chain And they got me ready for that Parchman train
Kunzru has Chester Bly play this recording on p. 182 of White Tears.
Who was “Captain Jack”?
“Captain” is a loaded word in African-American history. The first “captains” with whom Africans had to contend were the actual captains of slave ships. In the early 19th-century poem “The Sorrows of Yamba,” John Riland wrote of the widespread practice of “dancing the slaves” during the Middle Passage in order to force them to exercise:
At the savage Captain’s beck Now like brutes they make us prance; Smack the cat [i.e., whip] about the deck, And in scorn they bid us dance.
Plantation overseers were later called “Captain.” After Emancipation, white work gang leaders took their place. As the best-known version of the John Henry ballad tells it:
John Henry said to the Captain [of his work gang] “A man ain’t nothing but a man, But before I let your steam drill beat me down, I’d die with a hammer in my hand, Lord, Lord, I’d die with a hammer in my hand.”
It is worth noting that there are “rebel” versions of the John Henry ballad as well — versions in which the text is not sanitized to suggest that John Henry is battling a machine rather than an entire system of oppression. James P. Hauser has documented many examples, including one that includes this verse:
Blues singer Sippie Wallace recorded “Section Hand Blues” in 1925, thought to be the first recording by an African American to make reference to John Henry, in which she sang:
If my captain ask for me Tell him Abe Lincoln done set us free. Ain’t no hammer on this road Gonna kill poor me. This ole hammer killed John Henry, But this hammer ain’t gonna kill me.
Leadbelly also recorded a song that might be considered a “rebel version” of the John Henry ballad, “Take This Hammer.”
By the time the Southern prison system was well-established in the 1920s, the “Captain” was the prison warden.
The white collector Lawrence Gellert transcribed and recorded black chain gang songs in the rural south in the 1920s and 1930s, publishing them in two anthologies, Negro Songs of Protest and Me and My Captain. His transcriptions of some of the lyrics appeared in the Communist weekly the New Masses in the 1903s. Read an example here:
Gellert’s recordings were later released on LP. An example:
We’ve talked about how sampling prison songs can change the meaning of the original text/song. How do you think covering these songs, as an earlier generation of black concert singers like Harry Belafonte did, might change their meaning?
Belafonte singing one of the songs collected and published by Lawrence Gellert in Me and My Captain, “Look Over Yonder”:
And the famous song “Old Man River,” from the 1927 Broadway musical Show Boat by Jerome Kern and Oscar Hammerstein II, is a kind of sanitized version of a prison/work song. Here is the scene from the 1936 film of the show, sung by the great Paul Robeson and an anonymous chorus of black riverboat stevedores.
Addendum: a feminist take on the John Henry legend: the hero in this version is his wife, Polly Ann.
The only known photograph of Delta bluesman Charley Patton.
Hari Kunzru based his portrait of mid-twentieth-century collectors of early blues recordings on a loosely-knit real-life group of blues enthusiasts — made up almost entirely white men — who called themselves the “Blues Mafia.” The character of Chester Bly in particular was inspired by the legendary record collector James McKune, described by John Jeremiah Sullivan as:
A séance is a gathering at which people attempt to make contact with the voices of the dead. Do you think that this is a fitting metaphor for listening to old records?
McKune supposedly never gave up more than 10 bucks for a 78 (and often offered less than $3), and was deeply offended—outraged, even—by collectors willing to pay out large sums of money, a practice he found garish, irresponsible, and in basic opposition to what he understood as the moral foundation of the trade. . . . For McKune, collecting was a sacred pursuit—a way of salvaging and anointing songs and artists that had been unjustly marginalized. It was about training yourself to act as a gatekeeper, a savior; in that sense, it was also very much about being better (knowing better, listening better) than everyone else. Even in the 1940s and 50s, 78 collectors were positioning themselves as opponents of mass culture.
. . . I’m not sure what McKune was looking for, exactly. Maybe the same thing we all look for in music: some flawlessly articulated truth. But I know for sure when he found it.
. . . In January 1944 McKune took a routine trip to Big Joe’s [record shop on W. 47th Street] and began pawing through a crate labeled “Miscellany,” where he found a record with “a sleeve so tattered he almost flicked past it.” It was a battered, nearly unplayable copy of Paramount 13110, Charley Patton’s “Some These Days I’ll Be Gone.” Patton had recorded the track in Grafton, Wisconsin, 15 years earlier, and he’d been dead for less than 10 when McKune first picked it up. Patton was almost entirely unknown to modern listeners; certainly McKune had never heard him before. He tossed a buck at a snoozing Clauberg [the shop’s owner] and carted the record back to Brooklyn. As [blues scholar Marybeth] Hamilton wrote, “… even before he replaced the tonearm and turned up the volume and his neighbor began to pound on the walls, he realized that he had found it, the voice he’d been searching for all along.”
Charley Patton was a Mississippi-born guitarist of mixed ancestry, allegedly the son of a former slave. What do you think it was in his voice and guitar-playing that galvanized Jim McKune?
Jim McKune’s real-life blues epiphany is echoed in JumpJim’s story in White Tears about hearing Charley Patton’s “Pony Blues” for the first time:
That sound, my God. Like it had come out of the earth.
JumpJim begins to search for rare blues recordings:
But the sound I craved wasn’t easy to come by. Patton, Son House, Wille McTell, Robert Johnson, Willie Johnson, Skip James, John Hurt . . . the names were traded by collectors, but no one seemed to know a thing about [the musicians]. They were like ghosts at the edges of American consciousness. You have to understand, when I say no one knew, I mean no one. You couldn’t just look something up in a book. Things were hidden. Things got lost. Musicians got lost.
. . . I’ve not seen a second copy of this, Chester would say, pulling out yet another incredible record another forgotten performance by a lost genius.
“Laid down last night just trying to take my rest My mind got to rambling like wild geese in the west”
(This lyrical excerpt is from “I Know You Rider,” also called “Woman Blues.” John and Alan Lomax transcribed this traditional song on their southern journey and published it in their 1934 anthology American Ballads and Folk Songs, attributing it to “an eighteen-year-old black girl, in prison for murder,” they had heard singing it in the south. It has been covered by countless artists — mainly white folksingers — and was a staple of the Grateful Dead’s live shows.)
The lyrics of one of the six songs, “Skinny Leg Blues”:
I‘m a little bitty mama, baby and I ain’t built for speed I’m a little bitty mama, baby and I ain’t built for speed Aaaaaaah and I ain’t built for speed I’ve got everything that a little bitty mama needs
I’ve got little bitty legs, keep up these noble thighs I’ve got little bitty legs, keep up these noble thighs Aaaaaah, keep up these noble thighs I’ve got somethin’ underneath them that works like a boar hog’s eye
But when you see me comin’, pull down your window blind And when you see me comin’, pull down your window blind You see me comin’, pull down your window blind So your next door neighbor sure can hear you whine
I’m gonna cut your throat, baby, Gonna look down in your face. I’m gonna let some lonesome graveyard Be your resting place.
Are the blueswomen Geeshee Wiley and Elvie (L.V.) Thomas suggesting the murderous outcome of a love gone wrong? Or are they describing sadistic, gratuitous violence? Are they talking about the logical results of “not knowing right from wrong”? Or maybe the logical results of a social system that erodes morality itself?
I rolled and I tumbled Cried the whole night long Woke up this morning I didn’t know right from wrong
The earliest recorded version of these lyrics are from Hambone Willie Newbern’s “Roll and Tumble Blues,” on a 1929 Okeh Records 78.
Alan Lomax recorded Delta blueswoman Rosa Lee Hill singing a country blues version in 1959, but her musical style suggests a time decades earlier.
Muddy Waters, the Father of the Chicago Blues, recorded the song for Chess Records in 1950.
Waters later rewrote the song as “Louisiana Blues.”
In 1966, the British rock band Cream, with a young Eric Clapton on guitar, recorded the song as “Rollin’ and Tumblin.'”
The 1960s rock band Canned Heat performed it at the 1967 Monterey Pop Festival. It’s worth noting that the band’s name comes from the Prohibition-era practice among the poor of straining Sterno, a fuel used in chafing dishes, through a sock, and drinking it to get drunk. The resulting drink was not only addictive but also toxic.
A 1915 ad for Sterno.
This deadly addiction was the subject of Delta bluesman Tommy Johnson’s 1928 song “Canned Heat Blues,” which Seth plays for Leonie on page 86-87 of White Tears.
Bob Dylan recorded a version of “Rollin’ and Tumblin'” in 2006.
Jeff Beck and Imogen Heap recorded a live version in 2007.
Why did Hari Kunzru use these lyrics as an epigraph to introduce his novel?
What are the implications for the individual bluesman and for society of “not knowing right from wrong”?
DJ Shadow’s 1996 Endtroducing was the first album produced entirely from samples, and, as such, is considered not only a landmark of instrumental hip-hop, but also one of the greatest albums of all time.
What do you think makes it great? How does an album made up entirely of samples advance musical creativity and innovation?
The philosophy behind Endtroducing is not a new one, and it wasn’t new in 1996. The idea of a production made up of a collection of found music (such as “library music”) — with the result being a sound compilation that’s somehow greater than the sum of its parts — has its roots in deconstructionalism, a branch of twentieth-century philosophy made famous by French historian Jacques Derrida (1930-2004, below). In a nutshell, deconstructionalism, a twentieth-century derivation of Marxist philosophy, holds that all texts, all received history, and all experience are essentially unstable, and that truth itself is a construct.
What does this mean for music?
In our culture — Remix Culture — it can be said to mean, among other things, that there is no such thing as innate creativity, or as personal ownership of creative property. Deconstructionalism is the philosophy that makes an album of samples possible.
In his 1993 book Spectres of Marx, Derrida introduced the concept of “hauntology,” which he explained thus:
How can we understand this notion when we interrogate the processes of music production and sound engineering? As a producer/engineer, do you have a sense of the materials of your craft being specters/ghosts? Are you remixing or creating original work? When you remix, are you adding, taking away, or transforming the meaning of the samples you use?
And, to take it a step further: what is the meaning of the samples that you use? What is their value as historical and cultural artifacts? Are you disrupting their meaning as cultural artifacts? Are you creating new cultural artifacts?
Hauntology has also had a direct influence on music genres including dubstep, trip-hop, ambient, and hypnagogic pop. Check out these playlists:
And the irony is that decades before DJ Shadow dropped Endtroducing, the French composer Pierre Schaeffer (below, center), known as the “Godfather of Sampling,” was experimenting with looping and remixing concrete sounds in what would become known as mystique concrete.
As Jonathan Patrick notes:
Schaeffer, who was an outspoken anti-nuclear activist, once asked, “Why should a civilization which so misuses its power have, or deserve, a normal music?” By rethinking the foundations of music-making, he produced an art form that was anything but normal — a music that aimed to merge art with science, composition with engineering. His ideas turned conventional music theory on its head. Traditionally, composition moved from the abstract to the concrete — from concept and written notes to actual sounds. Schaeffer’s approach reversed the process, beginning instead with fragments of sound—field recordings of both natural and mechanical origin—which were then manipulated using studio techniques.
One of the more profound consequences of Schaeffer’s inversion of the compositional process was that composers would no longer be bound to written scores and notation. Their music could exist solely as recordings, without need for players or instruments to actualize them.
Pierre Schaefer’s pioneering work in sampling took place in the context of a post-World War II resistance to “art music,” which had traditionally been dominated by German and Austrian musical forms. It was anti-elitist, and sought to distribute the means of creation democratically to anyone who perceived sound as music and had the rudimentary tools to mix and remix it. In short, everyone was now a musician/composer/genius.
How has culture changed since the era of the Lomaxes, the “Blues Mafia,” and the early days of turntabling? How has listening changed? Have the changes been good or bad for the idea of Great Black Music (GBM)?
And then, there’s mallwave, a subgenre of vaporwave for people too young to have experienced suburban mall culture. How much of nostalgia is a longing for a time and place we’ve never been? How much of nostalgia is a longing for “authenticity”?
As you know by now, White Tears is the story (among other things!) of Seth, a young, white, college-educated sound engineer, who accidentally records a line from an old blues song while picking up ambient sounds in Washington Square Park. His business partner Carter, the scion of a wealthy family whose riches come from running private prisons and black ops sites, engineers the recording to make it sound vintage and posts it online, claiming it’s actually a historical recording by Charlie Shaw, a blues musician from the 1920s whose name Carter claims to have randomly made up. Soon, however, a record collector contacts them to tell them that Charlie Shaw was, and perhaps still is, a real person. So the novel is a kind of a ghost story, as well as a commentary on black music and the ways it has historically intersected with the overlapping systems of race, class, privilege, and criminal justice in America.
Hari Kunzru, an Englishman of Pakistani descent, says of his novel, “This is a book about absence,” raising the questions: Why were some black artists from the past recorded, and not others? Why are some black musicians remembered, and others forgotten?
In the video linked above, Kunzru speaks of moving to the United States around the time of Barack Obama’s first election:
The moment of false hope . . . for a post-racial America, the idea that we could just forget all this stuff and consign it to history, and then the realization that actually this history still poisons public life in the U.S. to an unbelievable degree . . . I was quite shocked by that . . . I wanted to bring my own experience, because I am an outsider, but I have a particular history with those questions here [in England]. My history is all about empire and dealing with that . . . There was a moment when . . . this romanticized idea of American history was very big in the hipster culture . . . [White Tears is also] a story about wealth and inheritance, and inherited money, and what . . . rich young people, whose parents have done whatever to make [their] money, come to New York in order to convert [financial] capital into cultural capital.
And read this essay by Rishi Nath in Africa Is A Country, which suggests that the real ghost whose presence hovers over White Tears is . . . that of Biggie Smalls.
The line of the song that Seth inadvertently picks up in the first chapter of White Tears is “Believe I buy me a graveyard of my own.” Kunzru may be referring to this song, “Furry’s Blues,” by Walter “Furry” Lewis:
And possibly also to this country blues song:
Incidentally, in 1976, Joni Mitchell wrote a song about cultural appropriation in which Furry Lewis features, “Furry Sings the Blues.” Mitchell does not excuse herself from the sin of appropriation:
Old Furry sings the blues
Propped up in his bed
With his dentures and his leg removed . . .
Old Furry sings the blues
You bring him smoke and drink and he’ll play for you
lt’s mostly muttering now and sideshow spiel
But there was one song he played
I could really feel . . .
Old Furry sings the blues
He points a bony finger at you and says
“I don’t like you”
Everybody laughs as if it’s the old man’s standard joke
Why should I expect that old guy to give it to me true
Fallen to hard luck
And time and other thieves
While our limo is shining on his shanty street
Old Furry sings the blues
In White Tears, the B-side of Charlie Shaw’s “Graveyard Blues” is given as “The Laughing Song” (see p. 230). This is a reference to “The Negro Laughing Song,” a popular song from the days of minstrelsy. As Kunzru describes it,
The lyrics of the song, consisting only of “Ha ha ha,” take up almost four entire pages near the end of the novel. The narrator, Seth, describes the sound as “hollow, forced, mechanical . . . the sound of a body undergoing discipline . . . the most terrifying sound I had ever heard.” As Kunzru explains in the interview excerpted above:
As you know, I love this book. On the other hand, my brother, the music critic George Grella (above), who wrote this book about Miles Davis, said about White Tearson GoodReads:
This is a terrible book.
. . . Nothing against the ambition, which boils down to the question of authenticity, what it is and the dangers of pursuing it to the utmost level of purity. The vehicle is old-time American music, from poor Southern musicians, mostly black and mostly blues players, recorded in the 1920s on labels like Paramount. The characters who carry this are Seth (the protagonist) and Carter, buddies from college who use Carter’s family money to start a recording studio. They in turn are paralleled by the story of an older record collector and the obsession of one of his colleagues. Both pairs are connected through what is essentially an imaginary song from a pseudonymous musician, Charlie Shaw.
Kunzru is woefully unprepared to execute this task. The self-conscious quality of his research is painfully embarrassing throughout: the author picked up details of audio engineering, musicians’ names, song titles, and serial numbers, without ever picking up any understanding of the subject. He seems to have never heard the music in question, or it seems to have never penetrated his understanding—he comes off as the collectors themselves, obsessed with the completeness and quality of the physical object and not much interested in the art it contains. Seth and Carter somehow find themselves caring only about old acoustic recordings without ever seeming to find anything in the music that matters to them as human beings (that Kunzru name checks some well-known music writers who are features of the upper middle-class white bourgeoisie and can’t hear African-American music past Beyoncé is a tell).
This all turns into an overwrought potboiler of sex and murder, with a heaping condescension of the young white man finding, through violence and tragedy, the authentic feeling of being a young black man deep in the Jim Crow South. This is a terrible kind of slumming, Kunzru arguing that Seth has achieved this experience through writing that is nothing more than gazing at (and never putting the needle down on) the shellac grooves on a 78 side. The prose itself has the earnest, focussed, affectlessness that is everywhere now, spawned from countless MFA programs, and that is professionally smooth, bland, and that allows the author to disavow any specific meaning. That is dishonest, and the foundation of this deeply dishonest book.
The article quoted above suggests that the project is good for musicians, as it “gives [them] the chance to record using 1930s technology.”
And the project’s directors assert:
What we have found is that the film, music and feelings that result defy space and time, [creating] living music inspired by ghosts.
What do you think they mean by “living music”?
Do you think that singing into an old mic in a sub-optimal recording space, with the result a single acetate 78 record, is an endeavor that would be positive for an artist?
How do you think working on either side of the mic in this project would affect you as a musician? As a sound engineer?
The project directors see themselves as the heirs of John Lomax and his son Alan, who drove through the United States beginning in the 1920s, recording the music of rural people on farms, in churches, work camps, and prisons. The Lomaxes’ aim was to preserve the songs in a rapidly-industrializing and -urbanizing nation, to store them up for future generations and prevent their irrevocable loss.
This is not the 78 Project’s aim; that ship sailed long ago. Most of the “old songs” have been recorded, transcribed, and catalogued at the Library of Congress. I see The 78 Project as an effort motivated by the present era’s anxiety over the loss of culture and memory. We have already mostly lost the notion of music as a tangible thing, preserved on a heavy shellac record that you can hold in your hand, for which you had to dig actual paper money or coins out of your pocket and hand to someone in order to purchase. This music had to be played on a Victrola big enough to double as a piece of furniture, and as such required dedicated, concentrated listening. You will recall that, in White Tears, the 78 records themselves take on almost talismanic properties, and the collectors gather in Chester Bly’s apartment to listen to them as if at a religious ritual.
The anxiety that I believe underlies the 78 Project is the result of having nothing substantial to hold onto. Music streamed, music in the cloud, has no touchable, physical, graspable form; you can’t hold it or possess it the way earlier generations could a 78, an LP, or a CD. It has been cleaned up, stripped down, sterilized, digitized, worked on, messed with, dirtied up, sampled, chopped and screwed, augmented. It is no longer performed by living musicians from a certain place at a certain time. It may not even be performed at all, but rather created by producers out of the bits and pieces of performed music from the past.
It would be hard to argue that the musicians recorded by the Lomaxes long ago would not have preferred today’s technology over what they had to work with. The Lomaxes sought to preserve the old music in its purest possible form before it disappeared for good. But what makes music “pure”? Is it accurate recording technology? Is it a pristine soundproof studio? Or is it the atmospheric presence of crickets chirping in the background, screen doors swinging, and the incidental voices of children as the musician plays on his or her front porch? Can the music be separated from its origins, from its place, and still retain its meaning?
So, while The 78 Project bills itself as a “documentary and recording journey inspired by Alan Lomax and his quest to capture music where it lived throughout the early 20th century,” it seems to me that they’re coming at it backwards. Rather than going to the mountains, hollers, farms, and prisons to record the music in its “home places,” the project directors engage emerging and already-established artists to sing the “old songs” in a spot of their choosing, into a single direct-to-acetate recorder. This is a project of imitation, not one of authenticity.
The conditions of the Lomax recordings can’t be duplicated, because the old songs no longer live in their home places. The music of the mountains, farms, and prisons today is mass-produced, commercial, homogeneous, globally distributed, and essentially the same everywhere. The Lomaxes got there right on time. Their moment has passed, and no amount of Roseanne Cash singing a Tennessee ballad in her Upper West Side apartment can bring it back.
I understand the nostalgia for the past. In a certain sense, all recording is a project of nostalgia. The word “record” comes from the Latin recordare, which means “to remember.”
When you listen to an old record, there can be no illusion that you are present at a performance. You are listening through a gray drizzle of static, a sound like rain. You can never forget how far away you are. You always hear it, the sound of distance in time. But what is the connection between the listener and the musician? Does it matter that one of you is alive and one is dead? And which is which?
It may be that the attempt to dirty up a sound recording in these days of digital perfection is not only the quest for lost authenticity, but also a way to listen to ghosts. As Brian Seibert suggested in his review of White Tears, “A drowned or buried voice can sound more compelling [than a live, present one].”
The protagonist of Hari Kunzru’s 2017 novel White Tears, a young white recording engineer named Seth, describes days spent listening to music with his college friend, Carter Wallace:
We worshipped music like [Lee “Scratch”] Perry’s but we knew we didn’t own it, a fact we tried to ignore as far as possible, masking our disabling caucasity with a sort of professorial knowledge: who played congas on the B-side, the precise definition of collie. . . . The actual black kids at our school, of whom there were very few, seemed to us unsatisfactorily preppy or Christian or were basketball jocks doing business degrees . . . It seemed unfair. We were the ones who wanted to be at a soundclash in Kingston. We knew what John Coltrane was searching for when he overflew his tenor in the middle section of A Love Supreme. . . .We really did feel that our love of the music bought us something, some right to blackness.
(Lee Perry’s legendary Kingston studio, Black Ark.)
Carter, a white trust-fund baby, has schooled Seth in black music:
He began with Jamaican dub. From there, he introduced ska and soca, soul and RnB, seventies Afrobeat and eighties electro. He spun early hip hop and Free Jazz and countless regional flavors of Bass and Juke music. Chicago, London, Lagos, Miami. I had not known there was such music . . . He listened exclusively to black music because, he said, it was more intense and authentic than anything made by white people.
What do you think Seth and Carter mean by authentic?
(John Lomax recording Huddie Ledbetter, aka Leadbelly, at Angola State Prison in Louisiana in the early 1930s.)
In the early 1900s, the pioneering musicologist John Lomax began collecting old American songs and ballads. To “collect,” in this context, means to go “into the field” to transcribe or record people singing and playing traditional music. The “subjects” who performed in these circumstances were usually not professional musicians, but rather ordinary people in rural America who had learned the music from their parents and grandparents. Lomax and his son, Alan, had a special interest in preserving the legacy of African-American music born of slavery. In the face of rapid industrialization and urbanization during the Great Migration, as people moved en masse from the country to the cities, old customs, traditions, and music were inevitably being lost (in addition to collecting songs, John Lomax directed the U.S. government’s Depression-era project to interview and transcribe the narratives of former slaves, many of whom were still alive). Among the Lomaxes’ most important work were their recordings of the music of the black inmates of Southern prisons, which they believed, due to their isolation, helped incubate an environment that allowed the prisoners to retain the old songs in their purest possible forms, without any corrupting influences from the world outside.
John Lomax’s concern with preservation of black folk music in its purest forms was also in conflict with efforts towards racial uplift in the Southern black community. Lomax railed against the
This makes the philosophy of preservation, as you will see as you continue to read White Tears, an especially fraught notion.
The Lomaxes’ recordings fueled a new interest in traditional American music, especially among politically-progressive educated whites. In the 1940s and 1950s, listeners who were tired of the commercial values of the burgeoning music industry began turning to the Anthology of American Folk Music, a set of multiple LPs of the blues, gospel, and folk songs the Lomaxes had recorded. The Anthology was so influential that it “became something like the Bible of the folk revival . . . Bob Dylan wouldn’t have been possible without it.” As Louis Proyect notes, in his first year of college in 1961,
Leadbelly was “discovered” by the Lomaxes when they recorded singers at Angola State Prison in Louisiana in 1933 (see image above). John Lomax petitioned the governor of Louisiana to have him released early, and took him on tour around the U.S. In 1937, Life magazine published an article about him entitled: “Lead Belly: Bad N*gger Makes Good Minstrel.”
This scene from the 2014 film Inside Llewyn Davis, about the misadventures of a New York folksinger in the early 1960s, is emblematic. The titular character sings “Dink’s Song,” collected and published by John Lomax, at a Columbia professor’s dinner party.
