“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)
The early twentieth-century white folklorist Dorothy Scarborough once interviewed the famous bandleader W.C. Handy (1873- 1958), known as the Father of the Blues, about the origin of the blues. When Scarborough asked him about the relationship of the blues to folk music, Handy replied that that the blues were folk music, pure and simple. What did he mean by this?
Handy’s first hit, “Memphis Blues,” published in 1908:
“St. Louis Blues,” from 1914:
While Handy was the first composer to publish blues songs (and one of the first African-Americans to make a living from music publishing), he openly acknowledged that his own music was influenced by the rural African-American folk music he had heard and transcribed while touring Mississippi in 1902-1905. In his memoir, Father of the Blues, Handy described sharing the stage at a dance he played with a trio of musicians who
struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps. Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps “haunting” is the better word.
Some of the songs that influenced Handy:
Alan Lomax wrote in 1948:
Child of [the] fertile [Mississippi] Delta land, voice of the voiceless black masses, the blues crept into the back windows of America maybe forty years ago and since then has colored the whole of American popular music. Hill-billy singers, hot jazz blowers, crooners like [Bing] Crosby, cowboy yodelers — all these have learned from the native folk blues. . . . the whole world can feel, uncoiling in its ear, this somber music of the Mississippi. And yet no one had ever thought to ask the makers of these songs — these ragged mister-singers — why they sang.
Why did they sing?
In their book Our Singing Country, published in 1941, Alan Lomax and his father, John Lomax, describe the blues as a folk genre
sung by . . . unspoiled [singers] in the South, sung without the binding restrictions of conventional piano accompaniment or orchestral arrangement, [that] grow up like a wild flowering vine in the woods.
The Lomaxes, father and son, were in political conflict for their entire partnership as folksong collectors. As historian Ronald Cohen explained, “The father’s politics were considerably to the right of the son’s, yet both believed in the uniting and rejuvenating powers of folk music.” Steven Garabedian concludes that:
They were opposed politically, but they found common ground in a shared romantic idealization of an unspoiled homespun American republic. Vernacular music, they held, carried the spirit of this redemptive grassroots national culture.
The Lomaxes, working for the Library of Congress, traveled all over the southern United States from the 1930s through the 1950s, recording and transcribing folk music. They discovered Leadbelly on their first trip in 1933, and, in 1941, first recorded Muddy Waters, who was working as a tractor driver in Mississippi.
In 1946, Alan Lomax recorded three great Delta bluesmen, Bill Broonzy, Memphis Slim, and Sonny Boy Williamson, in a live conversation punctuated with music at Decca Studios in New York City. Listen to the complete interview here:
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:
. . . 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.