Anarchy 51/Blues walking like a man - Revision history

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	<font size="2">{{note\|aster\|*}}''{{w\|Down Beat\|DownBeat\|DownBeat}},'' October 8, 1964.</font>		<font size="2">{{note\|aster\|*}}''{{w\|Down Beat\|DownBeat\|DownBeat}},'' October 8, 1964.</font>
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		+	{{p\|s3\|n}}'''BIBLIOGRAPHY'''
		+
		+
		+	<font size="2">{{hang\|''The Meaning of the Blues (Blues fell this morning).'' Paul Oliver. (Collier Books—available through Leeds Music Ltd., Denmark Street, London). The best account of the origins and developments of blues and very good too on the Negro society of the USA. 8/6d.}}
		+
		+	{{hang\|''The Country Blues.'' Samuel B. Charters (Michael Joseph). Well-written short history, marred by many inaccuracies and the inexplicable omission of many of the finest singers. 21/- now widely {{w\|remaindered\|Remaindered_book\|Remaindered book}} at 7/6d.}}
		+
		+	{{hang\|''Blues Unlimited. The'' blues monthly with a friendly and expert staff, helpful to the collector and curious alike, at 38a Sackville Road, Bexhill-on-Sea, Sussex. Free sample on request.}}
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		+	{{hang\|''The Economic Situation of Negroes in the United States.'' (US Embassy). Excellent brief documentary details on employment, migration, population without whitewashing.}}</font>
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		+
		+	{{p\|s4\|n}}'''SHORT DISCOGRAPHY'''
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		+	<font size="2">{{hang\|''Robert Johnson—King of the Delta Blues''—Philips BBL 7539. (Now {{w\|deleted\|Deletion_(music_industry)\|Deletion (music industry)}} but available from specialists.)}}
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		+	{{hang\|''Origin Jazz Library''—Volumes 1 to 8—Origin Jazz Library. (Superlative re-issues of pre-war singers, ranging from the intensity of House, James and Patton to the rambling, melodic, folksiness of {{w\|Henry Thomas\|Henry_Thomas_(blues_musician)}}, via the jug bands.)}}
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		+	{{hang\|''Sleepy John Estes'' 1929-40—Folkways RBF 8.}}
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		+	{{hang\|''Blues from the Mississippi Delta''—J. D. (Jaydee) Short and Son House—Folkways FA 2467.}}
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		+	{{hang\|''The Blues''—Volumes 1 to 4—Post-War Chess Blues—PYE NPL 28030, NPL 28035, NPL 28045, NPL 28060.}}
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		+	{{hang\|''John Lee Hooker Sings the Blues''—Ember 3356.}}
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		+	{{hang\|''Dirty House Blues''—Lightning Hopkins—Realm RM 171.}}
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		+	{{hang\|''Tell Me''—Howling Wolf—PYE NEP 44032.}}
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		+	{{hang\|''Best of Muddy Waters''—PYE NPL 28040.}}</font>
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	{{tab}}Hopkins is probably the last great bluesman. When he, and the few other singers in this mould, have gone, the blues, the ''real,'' down-home, country blues, will finally be dead and with it will pass a dishonourable episode of American history.		{{tab}}Hopkins is probably the last great bluesman. When he, and the few other singers in this mould, have gone, the blues, the ''real,'' down-home, country blues, will finally be dead and with it will pass a dishonourable episode of American history.
		+
		+	{{tab}}It is impossible to regret the passing of the condition which made the old blues culturally relevant yet it is permissible to regret the passing of the old singers who have enriched the lives of so many people, both coloured and, albeit after the event, white. The blues will be left to the white folk-singers, a few good modern stylists like {{w\|Otis Rush\|Otis_Rush}}, the rabble-rousing Chicago blues-beat bands—the descendants of singers and musicians of some sensitivity like {{w\|Elmore James\|Elmore_James}}—and the blues-rock {{a}}n{{a}} rollers like Chuck Berry, {{w\|James Brown\|James_Brown}} and Bo Diddley. The blues in some form may live on for a generation or more. It is possible to see in the harsh, angular, neurotic-sounding blues of {{w\|Buddy Guy\|Buddy_Guy}} the logical extension (via singers like {{w\|B. B. King\|B.B._King\|B.B. King}}) of the early post-war blues—noisier, uglier, more involuted, more intense and expressing increasing confidence. But the course of the blues, whether it be classic, urban or country, is notoriously difficult to predict and it may be that the clearest expression of the urban negroe{{s\|r}}<!-- no apostrophe in original --> new preoccupation is in the {{qq\|rock {{a}}n{{a}} roll}} songs of Chuck Berry who sings about cars, machinery and the {{w\|teenage\|Youth_culture\|Youth culture}} American Way of Life—telephones, {{w\|juke boxes\|Jukebox\|Jukebox}}, {{w\|soda stalls\|Soda_jerk\|Soda jerk}}, {{w\|hot dog stands\|Hot_dog_stand\|Hot dog stand}}, {{w\|drive-ins\|Drive-in\|Drive-in}} and even the backwoods myth of {{qq\|{{w\|country-boy-makes-good\|Socioeconomic_mobility_in_the_United_States\|Socioeconomic mobility in the United States}}}} (''{{w\|Johnny B. Goode\|Johnny_B._Goode}}''). Despite prison sentences he sings constantly and without bitterness of his delight at being resident in the {{w\|Land of the Free\|The_Star-Spangled_Banner\|The Star-Spangled Banner}}. Bo Diddley{{s}} songs are equally instructive but, mercifully, more sceptical. On the whole the blues gives every indication of being a dying form, increasingly less relevant to the audience for which it is obviously intended.
		+
		+	{{tab}}The record companies which, since the war, have tended to have parallel catalogues of {{qq\|pop}} music and blues, have gradually utilised more and more {{qq\|pop}} production gimmicks in their blues issues. More and more releases are dependent on careful {{w\|arrangements\|Arrangement\|Arrangement}}, careful words, catchy tunes or phrases, set-pattern {{w\|instrumental breaks\|Break_(music)\|Break (music)}}, pre-determined playing time and gimmicks like {{w\|double-track\|Double_tracking\|Double tracking}} recording and {{qq\|girlie}} {{w\|choirs\|Backing_vocalist\|Backing vocalist}}. The sham techniques of mass production do not affect all issues but they have effectively stemmed the stream of good recordings which ran from the {{a}}twenties to the mid-{{a}}fifties.
		+
		+	{{tab}}Even in this the blues are a reflection of social conditions, or increasing automation and decreasing artistry. Today, however, one feels that the environment is reflected more in the production of records than in their content. Recently, the supposedly rhythm {{a}}n{{a}} blues sound of the negro-operated {{w\|Tamla-Motown-Gordy\|Motown\|Motown}} set-up of {{w\|Detroit}}, consciously designed as a {{w\|gospel\|Gospel_music\|Gospel music}} and blues tinged {{qq\|soul-beat}} music, {{p\|154}}has shown a possible new direction for blues-influenced music. It is, perhaps inevitably, the direction of white {{w\|tin pan alley\|Tin_Pan_Alley\|Tin Pan Alley}} and the ''{{w\|Billboard\|Billboard_(magazine)\|Billboard (magazine)}}'' {{w\|Top Hundred\|Billboard_Hot_100\|Billboard Hot 100}}. (Equality and integration in all things!) As Muddy Waters told {{w\|Pete Welding\|Pete_Welding}}{{ref\|aster\|*}}: {{qq\|I think the blues—the old style blues—will die with us. I don{{t}} see any youngsters coming along in that style nowadays. The Negro kids, they don{{t}} like it at all; they{{re}} more interested in the popular music. And these young white kids that are playing in the old style. Now, maybe they feel the blues like I do, and maybe they can play like I do, but they can{{t}} sing like I do. So I don{{t}} think that{{s}} the answer. I guess maybe the old blues will die, but I don{{t}} like to think about that.}}
		+
		+	{{tab}}It only remains to be seen whether the attainment of some measure of social equality will be a fair exchange for the passing of the blues. It is to be hoped that the courage, endurance, hopes, fears and feelings of the thousands of negroes, named and unnamed, who have sung the blues for recordings, for friends and for personal solace, in hits, halls, bars, prisons and ghettoes all over the USA, will not be betrayed, for it is they who have, in a very real sense, kept alive the vision of something better, who have created from appalling conditions a vital and extremely beautiful folk music. If the spirit of the blues is to be honoured the negro must demand something better and more dignified than mere integration into the affluent squalor, neurosis and schizophrenia of modern America.
		+
		+	<font size="2">{{note\|aster\|*}}''{{w\|Down Beat\|DownBeat\|DownBeat}},'' October 8, 1964.</font>
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 {{tab}}A num&shy;ber of sing&shy;ers have earned the repu&shy;ta&shy;tion of being {{qq|{{w|Kennedy|John_F._Kennedy|John F. Kennedy}}-line}} sing&shy;ers. {{w|Bobo Jenkins|Bobo_Jenkins}} cas&shy;tig&shy;ated those who voted {{w|Repub&shy;lican|Republican_Party_(United_States)|Republican Party}} in {{w|1952|1952_United_States_presidential_election|1952 United States presidential election}} (''{{l|Demo&shy;crat Blues|https://www.discogs.com/master/2137609-Bobo-Jenkins-Democrat-Blues-Bad-Luck-Trouble|Discogs: Bobo Jenkins – Democrat Blues / Bad Luck &amp; Trouble}}''), {{w|Louisi&shy;ana Red|Louisiana_Red}} sang about tug&shy;ging {{w|Castro|Fidel_Castro|Fidel Castro}}{{s}} beard and re&shy;mov&shy;ing {{w|mis&shy;sile bases|Cuban_Missile_Crisis|Cuban Missile Crisis}} from {{w|Cuba}} in ''{{l|Red{{s}} Dream|https://www.discogs.com/master/676213-Louisiana-Red-Reds-Dream-Ride-On-Red-Ride-On|Discogs: Louisiana Red – Red's Dream / Ride On Red, Ride On}}'' (though he de&shy;manded for him&shy;self and his soul-broth&shy;ers, {{w|Ray Charles|Ray_Charles}}, {{w|Jimmy Reed|Jimmy_Reed}}, {{w|Big May&shy;belle|Big_Maybelle}} and Light&shy;ning Hop&shy;kins, a share in run&shy;ning the na&shy;tion) and about Civil Rights in ''{{l|Ride on Red, Ride on|https://www.discogs.com/master/676213-Louisiana-Red-Reds-Dream-Ride-On-Red-Ride-On|Discogs: Louisiana Red – Red's Dream / Ride On Red, Ride On}}.'' {{w|J.&nbsp;B. Lenoir|J._B._Lenoir|J. B. Lenoir}} sav&shy;aged {{w|Eisen&shy;hower|Dwight_D._Eisenhower|Dwight D. Eisenhower}} so merci&shy;lessly in one blues that the {{l|record|https://www.discogs.com/master/888269-J-B-Lenoir-Im-In-Korea-Eisenhower-Blues|Discogs: J. B. Lenoir – I'm in Korea / Eisenhower Blues}}, which had a more moder&shy;ate in&shy;dict&shy;ment of the {{w|Korean War|Korean_War}} on the other side, was banned.
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 [[Category:Music]]
 [[Category:Race]]
 [[Category:Wealth and poverty]]
 [[Category:Articles]]

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	{{tab}}Migration figures are not an entirely accurate index of population movement since they neither give reasons for migration nor take into account temporary migration. Quite obviously the well-to-do white moves for widely different reasons than those which compel a socially {{p\|150}}and economically harrassed negro. It is interesting, however, that the figures show negro population movement to be both more permanent and more frequent during the period 1940-1947 (14.1%). This period of increased migration roughly coincides with the beginning of the post-war {{w\|revival\|American_folk_music_revival\|American folk music revival}}. Further point is added by the fact that in 1900 90% of the negro population lived in the south, and 74% in rural areas, whereas by 1960 only 60% lived in the south and just under 25% in the rural south. Of the 40% elsewhere, under 2% lived in rural areas. The American negro has become increasingly a northern city dweller rather than a southern country dweller and in the years immediately post-war this process speeded up. This would seem to show one major reason for the blue{{s\|r}} new lease of life in the early {{a}}fifties and also why since the middle-{{a}}fifties there has been a marked decline in quality. The negro who left the south after the war was usually brought up in an environment where the blues was a part of daily life, fulfilling a function both as entertainment and as a psychological release, and there was a consequent demand from this migrant group for {{qq\|down-home}} blues. The migrants moved all over the USA and new recording companies sprang up to meet their demands, often in places where no authentic blues tradition existed. The record companies, previously deeply committed to the urban blues market, centred on Chicago since the late {{a}}thirties, now found themselves with a new audience for country-style blues which many enthusiasts had considered dead. The country-style blues were able to survive this transplantation as long as singers and audiences kept their southern roots, but they began to lose their ''{{popup\|raison d{{a}}être\|reason for being}}'' as the southern audience grew older and gave way to a younger white pop-influenced negro record buyer who, far from wanting blues, found the constant reminder of southern servility deeply embarrassing.		{{tab}}Migration figures are not an entirely accurate index of population movement since they neither give reasons for migration nor take into account temporary migration. Quite obviously the well-to-do white moves for widely different reasons than those which compel a socially {{p\|150}}and economically harrassed negro. It is interesting, however, that the figures show negro population movement to be both more permanent and more frequent during the period 1940-1947 (14.1%). This period of increased migration roughly coincides with the beginning of the post-war {{w\|revival\|American_folk_music_revival\|American folk music revival}}. Further point is added by the fact that in 1900 90% of the negro population lived in the south, and 74% in rural areas, whereas by 1960 only 60% lived in the south and just under 25% in the rural south. Of the 40% elsewhere, under 2% lived in rural areas. The American negro has become increasingly a northern city dweller rather than a southern country dweller and in the years immediately post-war this process speeded up. This would seem to show one major reason for the blue{{s\|r}} new lease of life in the early {{a}}fifties and also why since the middle-{{a}}fifties there has been a marked decline in quality. The negro who left the south after the war was usually brought up in an environment where the blues was a part of daily life, fulfilling a function both as entertainment and as a psychological release, and there was a consequent demand from this migrant group for {{qq\|down-home}} blues. The migrants moved all over the USA and new recording companies sprang up to meet their demands, often in places where no authentic blues tradition existed. The record companies, previously deeply committed to the urban blues market, centred on Chicago since the late {{a}}thirties, now found themselves with a new audience for country-style blues which many enthusiasts had considered dead. The country-style blues were able to survive this transplantation as long as singers and audiences kept their southern roots, but they began to lose their ''{{popup\|raison d{{a}}être\|reason for being}}'' as the southern audience grew older and gave way to a younger white pop-influenced negro record buyer who, far from wanting blues, found the constant reminder of southern servility deeply embarrassing.
		+
		+	{{tab}}The musical developments arose to some extent from the social developments. In 1954 a young white singer walked into the ''Sun'' studio in Memphis, Tennessee. ''Sun'' had issued good blues singers like {{w\|Joe Hill Louis\|Joe_Hill_Louis}}, {{w\|Walter Horton\|Big_Walter_Horton\|Big Walter Horton}} and {{w\|Doctor Ross\|Doctor_Ross}} but their biggest hit was an old Crudup blues, ''{{w\|That{{s}} All Right, Mama\|That's_All_Right\|That's All Right}},'' recorded after a number of attempts by the young {{w\|Elvis Presley\|Elvis_Presley}}. ''Victor'' bought up ''Sun{{s}}'' Presley contract in 1955 and {{w\|rock {{a}}n{{a}} roll\|Rock_and_roll\|Rock and roll}} music (a nice white name, invented by the {{w\|disc jockey\|Disc_jockey\|Disc jockey}} {{w\|Alan Freed\|Alan_Freed}}, for what was basically negro {{w\|rhythm {{a}}n{{a}} blues\|Rhythm_and_blues\|Rhythm and blues}}) flooded into a million white homes. For the first time the popular music of the two racial groups was broadly similar. Partly in sub-conscious self-defence and partly in emulation of white youth, the young urban negroes demanded a noisier, more aggressive blues, expressing their increasing confidence. There were singers like {{w\|Chuck Berry\|Chuck_Berry}}, {{w\|Bo Diddley\|Bo_Diddley}} and {{w\|Fats Domino\|Fats_Domino}} (who sold more records than anyone except Presley during the {{qq\|rock era}}), who were selling to both racial groups, but many of the older singers were forced to use screaming, over-amplified electric guitars and {{w\|saxes\|Saxophone\|Saxophone}} to keep up. Some, like Howling Wolf, managed the change without too much difficulty, but most were less lucky. Wolf had a rough, rasping voice which came across the amplification with exciting power—he had made fine {{p\|151}}records in the country style in the late {{a}}forties—but in Chicago he had a massive beat and his records for ''Chess'' have a raucous, jangling sense of guts and urgency which suited the new audiences. Muddy Waters, although he has retained to the present his reputation as {{qq\|King of Chicago}}, was hit badly.
		+
		+	{{tab}}From the mid-{{a}}fifties his records became worse and worse, with poor accompaniment, trivial and repetitive words, and a badly strained singer: the only relief was afforded by one or two splendid blues shouts, like his ''{{w\|Hoochie Coochie Man\|Hoochie_Coochie_Man}};''
		+
		+	:: <font size="2">''I got a black cat bone,''
		+	:: ''I got a mojo tooth,''
		+	:: ''I got a John the Conker root,''
		+	:: ''Gonna mess with you.''
		+	:: ''Gonna make all you girls''
		+	:: ''Lead me by the hand,''
		+	:: ''Then the world will know''
		+	:: ''I{{m}} a hoochie coochie man.''</font>
		+
		+	{{tab}}Waters is aware of his deterioration but he now fits the requirements of the new audience—an exciting stage act rather than interesting blues.
		+
		+	{{tab}}The other great post-war bluesman from the Mississippi, John Lee Hooker, began recording in the late {{a}}forties. At his best he has more than a little of the old Delta manner in his rich, sensual voice and dramatically rhythmic and flexible guitar style. He started his career recording imaginative, earthy blues in a most arresting style, accompanied only by his own guitar. His voice was strong and, occasionally, bitter and his guitar had a throbbing vigour and a magnificent drive rarely heard before. With its terse, intense and rhythmic phrasing it acted as a foil for the voice and gave his blues extraordinary tension, strengthened by his sharply stamping feet. The early tracks, particularly the slow, atmospherically sensual ones, take their place amongst the great blues. Hooker{{s}} versatility is a bit discomfiting but he can still be a magnificently haunting singer. Like his contemporary, Lightning Hopkins, Hooker entertains on the predominantly white folk circuit as well as the negro rhythm {{a}}n{{a}} blues circuit. He gives the white audiences folk-tinged blues and the negro audiences highly rhythmic {{w\|boogie\|Boogie\|Boogie}}-type numbers. He rarely sings in the old style now, but his recent visit to {{w\|Britain\|Great_Britain\|Great Britain}} emphasised his position as one of the dozen finest post-war singers, with roots stretching far back into the Delta of his youth.
		+
		+	{{tab}}A number of singers have earned the reputation of being {{qq\|{{w\|Kennedy\|John_F._Kennedy\|John F. Kennedy}}-line}} singers. {{w\|Bobo Jenkins\|Bobo_Jenkins}} castigated those who voted {{w\|Republican\|Republican_Party_(United_States)\|Republican Party}} in {{w\|1952\|1952_United_States_presidential_election\|1952 United States presidential election}} (''{{l\|Democrat Blues\|https://www.discogs.com/master/2137609-Bobo-Jenkins-Democrat-Blues-Bad-Luck-Trouble\|Discogs: Bobo Jenkins – Democrat Blues / Bad Luck & Trouble}}''), {{w\|Louisiana Red\|Louisiana_Red}} sang about tugging {{w\|Castro\|Fidel_Castro\|Fidel Castro}}{{s}} beard and removing {{w\|missile bases\|Cuban_Missile_Crisis\|Cuban Missile Crisis}} from {{w\|Cuba}} in ''{{l\|Red{{s}} Dream\|https://www.discogs.com/master/676213-Louisiana-Red-Reds-Dream-Ride-On-Red-Ride-On\|Discogs: Louisiana Red – Red's Dream / Ride On Red, Ride On}}'' (though he demanded for himself and his soul-brothers, {{w\|Ray Charles\|Ray_Charles}}, {{w\|Jimmy Reed\|Jimmy_Reed}}, {{w\|Big Maybelle\|Big_Maybelle}} and Lightning Hopkins, a share in running the nation) and about Civil Rights in ''{{l\|Ride on Red, Ride on\|https://www.discogs.com/master/676213-Louisiana-Red-Reds-Dream-Ride-On-Red-Ride-On\|Discogs: Louisiana Red – Red's Dream / Ride On Red, Ride On}}.'' {{w\|J. B. Lenoir\|J._B._Lenoir\|J. B. Lenoir}} savaged {{w\|Eisenhower\|Dwight_D._Eisenhower\|Dwight D. Eisenhower}} so mercilessly in one blues that the {{l\|record\|https://www.discogs.com/master/888269-J-B-Lenoir-Im-In-Korea-Eisenhower-Blues\|Discogs: J. B. Lenoir – I'm in Korea / Eisenhower Blues}}, which had a more moderate indictment of the {{w\|Korean War\|Korean_War}} on the other side, was banned.
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−	{{tab}}The decline of blues in the {{a}}forties was an indication not so much of integration ''into,'' as of imitation ''of'' white society: this coupled with the record companie{{s\|r}} lack of discrimination and the ''comparative'' ease of ghetto life. But if the early {{a}}forties were lean years, the late {{a}}forties and early {{a}}fifties saw an increase in both the quantity and quality of {{p\|149}}blues recording.	+	{{tab}}The decline of blues in the {{a}}forties was an indication not so much of integration ''into,'' as of imitation ''of'' white society: this coupled with the record companie{{s\|r}} lack of discrimination and the ''comparative'' ease of ghetto life. But if the early {{a}}forties were lean years, the late {{a}}forties and early {{a}}fifties saw an increase in both the quantity and quality of {{p\|149}}blues recording. ''{{w\|Victor\|RCA_Records\|RCA Records}}, {{w\|Decca\|Decca_Records\|Decca Records}}'' and ''{{w\|Bluebird\|Bluebird_Records\|Bluebird Records}},'' before and during the war, had the money and organisation to ensure large scale distribution for their records but the post-war companies were much smaller, with fewer resources. It took a big hit to give them a reputation, and with it distribution, and in the search for success many hundreds of new singers were recorded, many of them performers in an older style. {{w\|John Lee Hooker\|John_Lee_Hooker}} recorded some archaic-sounding blues and singers like Muddy Waters, {{w\|Sonny Boy Williamson\|Sonny_Boy_Williamson_II\|Sonny Boy Williamson II}} (the second), Howling Wolf and {{w\|Lightning Hopkins\|Lightnin'_Hopkins\|Lightnin' Hopkins}}, all of them fresh from the country, were recording relatively simple rural-style blues. There were others, like {{w\|John Brim\|John_Brim}}, {{w\|Harmonica Frank\|Harmonica_Frank}}, {{w\|Big Boy Spires\|Arthur_%22Big_Boy%22_Spires\|Arthur "Big Boy" Spires}}, {{w\|Houston Boines\|Houston_Boines}}, less well known but almost as good. The list of labels then and since seems unbelievable. There were ''{{w\|Aristocrat\|Aristocrat_Records\|Aristocrat Records}}, {{w\|Checker\|Checker_Records\|Checker Records}}, {{w\|Chess\|Chess_Records\|Chess Records}}, {{w\|JOB\|J.O.B._Records\|J.O.B. Records}}'' (Chicago), ''{{w\|Gotham\|Gotham_Records\|Gotham Records}}, {{w\|Savoy\|Savoy_Records\|Savoy Records}}'' (East Coast), ''{{w\|Excello\|Excello_Records\|Excello Records}}, {{w\|Gold Star\|Gold_Star_Records\|Gold Star Records}}, {{w\|Sun\|Sun_Records\|Sun Records}}, {{w\|Trumpet\|Trumpet_Records\|Trumpet Records}}'' (Southern States), ''{{w\|Flair\|Flair_Records\|Flair Records}}, {{w\|Modern\|Modern_Records\|Modern Records}}'' and ''{{w\|RPM\|RPM_Records_(United_States)\|RPM Records}}'' (West Coast) and many, many more. They often disappeared after a few releases of exceptional quality, like the amazing ''{{l\|Bloodstains on the Wall\|https://www.discogs.com/master/1357429-Honeyboy-Bloodstains-On-The-Wall-My-Time-Aint-Long\|Discogs: Honeyboy – Bloodstains on the Wall / My Time Ain't Long}}'' by a singer improbably named {{w\|Honey Boy\|David_%22Honeyboy%22_Edwards\|David "Honeyboy" Edwards}} or Harmonica Frank{{s}} ''{{l\|Howling Tom Cat\|https://www.discogs.com/release/10057029-Various-The-Sun-Records-Story\|Discogs: Various – The Sun Records Story}},'' which might as easily have been recorded in the South during the {{a}}twenties, as in Chicago by Chess during the {{a}}fifties.
		+
		+	{{tab}}From this profusion of new bluesmen there were a handful who became very big names and who still play a rôle close to that of the race-hero; others have sunk to the second rank, often playing as well as their {{qq\|betters}}; still others—and they are the majority—have died or live on half-forgotten, their memories sustained only by a few worn {{w\|78s\|Phonograph_record#78_rpm_disc_developments\|Phonograph record: 78 rpm disc developments}} in junk shops or collections. Of the post-war Chicago singers Muddy Waters takes pride of place. He first recorded, for Alan Lomax in the {{w\|Delta\|Mississippi_Delta\|Mississippi Delta}}, in 1941, using his real name of McKinley Morganfield. By the late {{a}}forties he had moved to Chicago and was making an exciting series for ''Aristocrat.'' His guitar playing, in the old bottleneck tradition, retained much of the vigour of earlier Mississippi bluesmen and his voice was rich and thrilling. He was usually accompanied by the finest of all blues bassists, {{w\|Big Crawford\|Ernest_%22Big%22_Crawford\|Ernest "Big" Crawford}}, and the harmonica player {{w\|Little Walter Jacobs\|Little_Walter\|Little Walter}}. Jacobs was, and is, a magnificent musician and in his hands the harmonica became a {{w\|horn\|Brass_instrument\|Brass instrument}}-like instrument, with superb tone, range, flexibility and crispness; he blew long, flowing phrases of classical elegance and feeling, saying as much about the condition of the negro in his playing as most singers say in a lifetime of singing. He and Waters achieved a fine unity, exemplified by such tracks as ''{{l\|Louisiana Blues\|https://www.discogs.com/master/1277043-Muddy-Waters-Louisiana-Blues-Evans-Shuffle\|Discogs: Muddy Waters – Louisiana Blues / Evan's Shuffle}},'' where the guitar and harmonica fuse so that they sound almost like a single instrument. Waters continued his series for ''Chess'' when that company took over ''Aristocrat'' but there was a new mood about to hit Chicago and the {{qq\|rural}} bluesmen—a mood that had its cause in both social and musical developments.
		+
		+	{{tab}}Migration figures are not an entirely accurate index of population movement since they neither give reasons for migration nor take into account temporary migration. Quite obviously the well-to-do white moves for widely different reasons than those which compel a socially {{p\|150}}and economically harrassed negro. It is interesting, however, that the figures show negro population movement to be both more permanent and more frequent during the period 1940-1947 (14.1%). This period of increased migration roughly coincides with the beginning of the post-war {{w\|revival\|American_folk_music_revival\|American folk music revival}}. Further point is added by the fact that in 1900 90% of the negro population lived in the south, and 74% in rural areas, whereas by 1960 only 60% lived in the south and just under 25% in the rural south. Of the 40% elsewhere, under 2% lived in rural areas. The American negro has become increasingly a northern city dweller rather than a southern country dweller and in the years immediately post-war this process speeded up. This would seem to show one major reason for the blue{{s\|r}} new lease of life in the early {{a}}fifties and also why since the middle-{{a}}fifties there has been a marked decline in quality. The negro who left the south after the war was usually brought up in an environment where the blues was a part of daily life, fulfilling a function both as entertainment and as a psychological release, and there was a consequent demand from this migrant group for {{qq\|down-home}} blues. The migrants moved all over the USA and new recording companies sprang up to meet their demands, often in places where no authentic blues tradition existed. The record companies, previously deeply committed to the urban blues market, centred on Chicago since the late {{a}}thirties, now found themselves with a new audience for country-style blues which many enthusiasts had considered dead. The country-style blues were able to survive this transplantation as long as singers and audiences kept their southern roots, but they began to lose their ''{{popup\|raison d{{a}}être\|reason for being}}'' as the southern audience grew older and gave way to a younger white pop-influenced negro record buyer who, far from wanting blues, found the constant reminder of southern servility deeply embarrassing.
	</div></div>		</div></div>

@@ Line 138: / Line 138: @@
 :: (Spoken: ''Babe, don{{t}} care where you bury my body when I{{m}} dead and gone'')
 :: ''You can bury my old body down by the high&shy;way side''
-:: ''Lord, my ole evil spirit can catch a {{w|grey&shy;hound bus|Greyhound_Lines|Greyhound Lines}} and ride.''
+:: ''Lord, my ole evil spirit can catch a {{w|grey&shy;hound bus|Greyhound_Lines|Greyhound Lines}} and ride.''</font>
 {{tab}}John&shy;son{{s}} blues re&shy;main the most per&shy;sonal and fright&shy;en&shy;ing of negro folk music, with their sense of trans&shy;ient ec&shy;stasy and sor&shy;row, height&shy;ened by an abid&shy;ing tor&shy;ment and des&shy;pair. In his work the blues lays its most seri&shy;ous claim to be con&shy;sidered an art form, and of all the great sing&shy;ers he is the most likely to chill and elec&shy;trify the listener, to make the agony of his life real, and to com&shy;mu&shy;nic&shy;ate, from his in&shy;tense, tor&shy;tured private emo&shy;tions, the situ&shy;a&shy;tion and con&shy;di&shy;tion of his people. John&shy;son is fright&shy;en&shy;ing be&shy;cause he is a vic&shy;tim without real&shy;isa&shy;tion of the com&shy;plete mean&shy;ing of his vic&shy;tim&shy;isa&shy;tion. His songs are, in the so&shy;cial sense, in&shy;ar&shy;tic&shy;u&shy;late, and this gives them their pe&shy;cu&shy;liar elo&shy;quence. It was not only so&shy;cial con&shy;di&shy;tions which af&shy;fected John&shy;son: he was ob&shy;vi&shy;ously chained by his own shy&shy;ness and frus&shy;tra&shy;tion. He is thought to have been poisoned by his {{w|common law|Common-law_marriage_in_the_United_States|Common-law marriage in the United States}} wife or to have died from {{w|al&shy;co&shy;hol pois&shy;on&shy;ing|Alcohol_intoxication|Alcohol intoxication}}; which&shy;ever way, he died young in 1938. Howl&shy;ing Wolf, who knew him vaguely, says he was about 25 at the time; Muddy Waters thinks he was about 30; he is gen&shy;er&shy;ally thought to have been {{popup|about 19|He was 27.}}. John&shy;son must have had more money than most negroes of his age and he seems to have had some trouble with women:
@@ Line 152: / Line 152: @@
 {{tab}}In John&shy;son—the in&shy;heritor of a tra&shy;di&shy;tion which stretched from the itin&shy;er&shy;ant timber&shy;mill worker Charlie Patton, a beau&shy;ti&shy;ful, heavy voiced singer, re&shy;put&shy;edly half-{{w|Puerto Rican|Puerto_Ricans|Puerto Ricans}}, who first re&shy;corded ''{{w|I Shall Not Be Moved|I_Shall_Not_Be_Moved}},'' Son House, Bukka White and Skip James, whose oddly {{w|ori&shy;ental-sounding|Music_of_Asia|Music of Asia}} blues were amongst the strangest and most haunt&shy;ing noises to come from the Delta—the blues reached its peak. Des&shy;pite a hand&shy;ful of superb sing&shy;ers since, it has never again reached such an em&shy;phatic state of art&shy;istic unity.
 </div></div>

← Older revision		Revision as of 01:21, 1 October 2021
Line 98:		Line 98:

	{{tab}}Murder occurs frequently in blues, both as a threat and as an occurrence, an indication of the everyday violence of American negro life. Sonny Boy Williamson sang:		{{tab}}Murder occurs frequently in blues, both as a threat and as an occurrence, an indication of the everyday violence of American negro life. Sonny Boy Williamson sang:
		+
		+	:: <font size="2">''I got the meanest woman, the meanest woman you most ever seen,''
		+	:: ''She sleep with an {{w\|ice pick\|Ice_pick\|Ice pick}} in her hand, man, fights all in her dreams,''
		+	:: ''I{{d}} soomer be sleepin{{a}} with the devil, I{{d}} sooner be sleepin{{a}} with the devil {{e}}''</font>
		+
		+	{{tab}}Williamson died in 1948 on his way to hospital—his {{w\|cranium\|Skull\|Skull}} split by an ice-pick—the victim of the casual violence of his own people, killed either by a jealous husband or young thugs after his money.
		+
		+	{{tab}}The blues quoted above is also indicative of the disintegrative effect the negro{{s}} position in society had on the stability of family life. Many singers have recorded blues about leaving women, or women leaving them; many have sung about their mothers, few about their fathers. The reason is not hard to find—in thousands of cases the mother was left to bring up children on her own, the father having left in frustration or in search of work. Not surprisingly jealousy also looms large:
		+
		+	:: <font size="2">''Lord, my hair is a-risin{{a}}<!-- 'a-rising’' in original -->, my flesh begin to crawl'' (repeat)
		+	:: ''Had a dream last night, babe, {{a}}nother mule in my doggone stall''</font>
		+
		+	{{tab}}And so does seduction:
		+
		+	:: <font size="2">''I am a back door man'' (repeat)
		+	:: ''Well the men don{{t}} know but the little girls understand''
		+	:: ''When everybody tryin{{a}} to sleep, I{{m}} somewhere makin{{a}} my midnight creep.''
		+	:: ''I{{m}} the mornin{{a}} when the rooster crow, somethin{{a}} tell me I gotta go. {{e}}''</font>
		+
		+	{{tab}}As an aid to sexual ability and attraction, charms were used—{{w\|mojo\|Mojo_(African-American_culture)\|Mojo}} teeth, mojo hands, {{w\|black cat bones\|Black_cat_bone\|Black cat bone}}, {{w\|John the Conkeror\|John_the_Conqueror\|John the Conqueror}} {{w\|roots\|Ipomoea\|Ipomoea}}. {{w\|Muddy Waters\|Muddy_Waters}} sings:
		+
		+	:: <font size="2">''I{{m}} goin{{a}} down Louisiana, baby, behin{{a}} the sun'' (repeat)
		+	:: ''Well, you know, I just found out my troubles just begun''
		+	:: ''I{{m}} goin{{a}} down in {{w\|New Orleans\|New_Orleans}}—hmmm—get me a mojo hand'' (repeat)
		+	:: ''I wan{{a}} show all you good lookin{{a}} women just how to treat your man.''</font>
		+
		+	{{tab}}Even today magazines, like ''{{popup\|Rhythm {{a}}n{{a}} Blues\|Rhythm and Blues (1952–1965), first edited by Marvin Shnayer}}'', read by working class negroes, carry advertisements for these strange fertility symbols and charms—produced in {{w\|Louisiana voodoo\|Louisiana_Voodoo\|Louisiana Voodoo}} circles—along with patent devices for straightening hair, strange medicines and other necessities of {{p\|146}}ghetto life.
		+
		+	{{tab}}For the most part however there was little relief and little assistance. The great {{w\|Robert Johnson\|Robert_Johnson}}, another Delta singer, obviously haunted by the phantoms of a divided society and using imagery of considerable richness, sang:
		+
		+	:: <font size="2">''I gotta keep movin{{a}}, I gotta keep movin{{a}}''
		+	:: ''Blues fallin{{a}} down like hail, blues fallin{{a}} down like hail'' (repeat)
		+	:: ''I can{{t}} keep no money, {{w\|hellhound on my trail\|Hellhound_on_My_Trail\|Hellhound on My Trail}},''
		+	:: ''Hellhound on my trail, hellhound on my trail''</font>
		+
		+	and again:
		+
		+	:: <font size="2">''You may bury my body down by the highway side''
		+	:: (Spoken: ''Babe, don{{t}} care where you bury my body when I{{m}} dead and gone'')
		+	:: ''You can bury my old body down by the highway side''
		+	:: ''Lord, my ole evil spirit can catch a {{w\|greyhound bus\|Greyhound_Lines\|Greyhound Lines}} and ride.''
		+
		+	{{tab}}Johnson{{s}} blues remain the most personal and frightening of negro folk music, with their sense of transient ecstasy and sorrow, heightened by an abiding torment and despair. In his work the blues lays its most serious claim to be considered an art form, and of all the great singers he is the most likely to chill and electrify the listener, to make the agony of his life real, and to communicate, from his intense, tortured private emotions, the situation and condition of his people. Johnson is frightening because he is a victim without realisation of the complete meaning of his victimisation. His songs are, in the social sense, inarticulate, and this gives them their peculiar eloquence. It was not only social conditions which affected Johnson: he was obviously chained by his own shyness and frustration. He is thought to have been poisoned by his {{w\|common law\|Common-law_marriage_in_the_United_States\|Common-law marriage in the United States}} wife or to have died from {{w\|alcohol poisoning\|Alcohol_intoxication\|Alcohol intoxication}}; whichever way, he died young in 1938. Howling Wolf, who knew him vaguely, says he was about 25 at the time; Muddy Waters thinks he was about 30; he is generally thought to have been {{popup\|about 19\|He was 27.}}. Johnson must have had more money than most negroes of his age and he seems to have had some trouble with women:
		+
		+	:: <font size="2">''Got up this mornin{{a}} to fin{{a}} it was gone'' (repeat)
		+	:: ''Got up this mornin{{a}}, all I had was gone''
		+	:: ''Well, leavin{{a}} this mornin{{a}} if I have to, gon{{a}} ride the blinds''</font>
		+
		+	{{tab}}And in another of his blues he sang:
		+
		+	:: <font size="2">''Gonna stay roun{{a}} {{w\|Jonesboro\|Jonesboro}}, until my teeth {{w\|crowned with gold\|Gold_teeth\|Gold teeth}}'' (repeat)
		+	:: ''She got a {{w\|mortgage\|Mortgage\|Mortgage}} on my body, got a {{w\|lien\|Lien\|Lien}} on my soul.''</font>
		+
		+	{{tab}}In Johnson—the inheritor of a tradition which stretched from the itinerant timbermill worker Charlie Patton, a beautiful, heavy voiced singer, reputedly half-{{w\|Puerto Rican\|Puerto_Ricans\|Puerto Ricans}}, who first recorded ''{{w\|I Shall Not Be Moved\|I_Shall_Not_Be_Moved}},'' Son House, Bukka White and Skip James, whose oddly {{w\|oriental-sounding\|Music_of_Asia\|Music of Asia}} blues were amongst the strangest and most haunting noises to come from the Delta—the blues reached its peak. Despite a handful of superb singers since, it has never again reached such an emphatic state of artistic unity.
	</div></div>		</div></div>

@@ Line 16: / Line 16: @@
-<div style="text-align:justify;">{{sc|It is im&shy;pos&shy;sible to say with any certainty}} when the {{w|blues|Blues|Blues}} be&shy;came a com&shy;plete mus&shy;ical form, re&shy;cog&shy;nis&shy;ably dif&shy;fer&shy;ent from its ante&shy;ced&shy;ents—the songs of the farms and {{w|levee|Levee|Levee}} camps, the {{w|work songs|Work_song|Work song}}, axe songs, {{l|arwhoolies|https://www.loc.gov/collections/songs-of-america/articles-and-essays/musical-styles/traditional-and-ethnic/traditional-work-songs/|link: Library of Congress article}}, {{w|hol&shy;lers|Field_holler|Field holler}} and {{w|rags|Ragtime|Ragtime}}. It is equally dif&shy;ficult to as&shy;cer&shy;tain in which of the {{w|south&shy;ern states|Southern_United_States|Southern United States}} of the {{w|USA|United_States|United States}} it ori&shy;gin&shy;ated. Many of the early sing&shy;ers were mi&shy;grat&shy;ory la&shy;bour&shy;ers or {{w|blind men|Blind_musicians|Blind musicians}} who trav&shy;elled widely to beg and earn money by sing&shy;ing, so it seems prob&shy;able that it was a con&shy;cur&shy;rent de&shy;vel&shy;op&shy;ment over large areas of the {{w|Deep South|Deep_South}}. What is quite cer&shy;tain is that the blues was not a cre&shy;a&shy;tion of any one man ({{w|W. C. Handy|W._C._Handy}}{{s}} self-inflat&shy;ing claim to be Father of the Blues has al&shy;ways seemed more than a little lu&shy;di&shy;crous to blues en&shy;thus&shy;i&shy;asts). Neither was it a pro&shy;duct of city life. {{w|Bessie Smith|Bessie_Smith}}, for ex&shy;ample, is fre&shy;quently held to be the fin&shy;est blues singer ever to re&shy;cord but she re&shy;corded {{w|''Clas&shy;sic'' city jazz-blues|Classic_female_blues|Classic female blues}}, which were a des&shy;cend&shy;ant, rather than a close re&shy;la&shy;tion, of the {{w|rural blues|Country_blues|Country blues}}, al&shy;though they found their way onto record earlier. Her style is most often praised by {{w|jazz|Jazz|Jazz}} critics, which cor&shy;rectly in&shy;dic&shy;ates her posi&shy;tion as the cre&shy;ator of jazz-blues, rather than a blues singer ''per se.''
+<div style="text-align:justify;">{{sc|It is im&shy;pos&shy;sible to say with any certainty}} when the {{w|blues|Blues|Blues}} be&shy;came a com&shy;plete mus&shy;ical form, re&shy;cog&shy;nis&shy;ably dif&shy;fer&shy;ent from its ante&shy;ced&shy;ents—the songs of the farms and {{w|levee|Levee|Levee}} camps, the {{w|work songs|Work_song|Work song}}, axe songs, {{l|arwhoolies|https://www.loc.gov/collections/songs-of-america/articles-and-essays/musical-styles/traditional-and-ethnic/traditional-work-songs/|link: Library of Congress article}}, {{w|hol&shy;lers|Field_holler|Field holler}} and {{w|rags|Ragtime|Ragtime}}. It is equally dif&shy;ficult to as&shy;cer&shy;tain in which of the {{w|south&shy;ern states|Southern_United_States|Southern United States}} of the {{w|USA|United_States|United States}} it ori&shy;gin&shy;ated. Many of the early sing&shy;ers were mi&shy;grat&shy;ory la&shy;bour&shy;ers or {{w|blind men|Blind_musicians|Blind musicians}} who trav&shy;elled widely to beg and earn money by sing&shy;ing, so it seems prob&shy;able that it was a con&shy;cur&shy;rent de&shy;vel&shy;op&shy;ment over large areas of the {{w|Deep South|Deep_South}}. What is quite cer&shy;tain is that the blues was not a cre&shy;a&shy;tion of any one man ({{w|W.&nbsp;C. Handy|W._C._Handy}}{{s}} self-inflat&shy;ing claim to be Father of the Blues has al&shy;ways seemed more than a little lu&shy;di&shy;crous to blues en&shy;thus&shy;i&shy;asts). Neither was it a pro&shy;duct of city life. {{w|Bessie Smith|Bessie_Smith}}, for ex&shy;ample, is fre&shy;quently held to be the fin&shy;est blues singer ever to re&shy;cord but she re&shy;corded {{w|''Clas&shy;sic'' city jazz-blues|Classic_female_blues|Classic female blues}}, which were a des&shy;cend&shy;ant, rather than a close re&shy;la&shy;tion, of the {{w|rural blues|Country_blues|Country blues}}, al&shy;though they found their way onto record earlier. Her style is most often praised by {{w|jazz|Jazz|Jazz}} critics, which cor&shy;rectly in&shy;dic&shy;ates her posi&shy;tion as the cre&shy;ator of jazz-blues, rather than a blues singer ''per se.''<br />
 {{tab}}Al&shy;though the pre&shy;cise geo&shy;graph&shy;ical, his&shy;tor&shy;ical and mus&shy;ical ori&shy;gins of the blues are un&shy;cer&shy;tain, the so&shy;cial con&shy;di&shy;tions which pro&shy;duced it are well-re&shy;corded, not least of all in the blues itself. In the {{w|white su&shy;prema&shy;cist|White_Supremacy#United_States|White Supremacy: United States}} so&shy;ci&shy;ety of the south the {{w|negro|African_Americans|African Americans}} was in a situ&shy;a&shy;tion of ter&shy;ri&shy;fy&shy;ing para&shy;dox: {{p|141}}iso&shy;lated by race and colour, yet forced to con&shy;form to the ''mores'' of a so&shy;ci&shy;ety in which he was de&shy;nied a voice and from which he was rigor&shy;ously ex&shy;cluded. It is, in&shy;cid&shy;ent&shy;ally, one of the most bit&shy;ter iron&shy;ies of the his&shy;tory of Amer&shy;ica{{s}} negroes that they should have prac&shy;tised their own form of {{w|ra&shy;cial&shy;ism|Discrimination_based_on_skin_color|Discrimination based on skin color}}—that of dis&shy;tinc&shy;tion based on {{w|Creole|Creole_peoples|Creole peoples}} blood, {{qq|yellow-skins}}, {{qq|brown-skins}} and {{qq|black-skins}}. Despite these con&shy;di&shy;tions being a prim&shy;ary factor in the cre&shy;a&shy;tion and evo&shy;lu&shy;tion of the blues, it is not usu&shy;ally a music of di&shy;rect so&shy;cial pro&shy;test and the few mag&shy;nif&shy;i&shy;cent pro&shy;test blues are far out&shy;num&shy;bered by blues on women, men, cars, and rent, on the every&shy;day life of an op&shy;pressed min&shy;or&shy;ity.
@@ Line 96: / Line 96: @@
 {{tab}}Prison was a daily fea&shy;ture in the lives of many fam&shy;il&shy;ies. It is some in&shy;dic&shy;a&shy;tion of the vi&shy;cious&shy;ness of the pris&shy;ons and {{w|prison farms|Prison_farm|Prison farm}} that, as re&shy;cently as 1951, four&shy;teen pris&shy;on&shy;ers in the {{w|Louisi&shy;ana State Peni&shy;ten&shy;tiary at Angola|Louisiana_State_Penitentiary}} {{popup|ham&shy;strung them&shy;selves|A group of prisoners, known in the media as the Heel String Gang, cut their Achilles' tendons.}} rather than sub&shy;mit to beat&shy;ing with the {{qq|bat}}, a par&shy;tic&shy;u&shy;larly crude, {{popup|four&shy;teen pound|6.35 kg}} leather strap which, ac&shy;cord&shy;ing to Paul Oliver, {{qq|can break a brick at a single blow}}. Yet prison farms, like Angola, were pre&shy;fer&shy;able to the over&shy;crowded, un&shy;healthy, closed pris&shy;ons. The prison system is, even by con&shy;serv&shy;at&shy;ive judge&shy;ments, totally in&shy;ade&shy;quate and ar&shy;chaic and even where there have been Fed&shy;eral {{p|145}}{{w|Com&shy;mis&shy;sions|Independent_agencies_of_the_United_States_government|Independent agencies of the United States government}} the south has ig&shy;nored them and their re&shy;com&shy;mend&shy;a&shy;tions. Des&shy;pite the hor&shy;ror, many negroes have test&shy;i&shy;fied that life in prison was less fright&shy;en&shy;ing than life out&shy;side: at least in prison the next meal was as&shy;sured, the tyranny rarely var&shy;ied and there was ''less'' chance of the casual cruelty which typ&shy;ified the lives of so many ra&shy;cial under&shy;dogs. The great folk singer {{w|Lead&shy;belly|Lead_Belly|Lead Belly}} sang his way out of prison, but not all sing&shy;ers were so lucky—{{w|Big Joe Wil&shy;liams|Big_Joe_Williams}} did a term at {{w|Parch&shy;man Prison Farm|Mississippi_State_Penitentiary|Mississippi State Penitentiary}}, Mis&shy;sis&shy;sippi, and so did Bukka White, who sang a fine blues about it. {{l|Hog&shy;man Maxey|https://www.discogs.com/artist/401200-Hogman-Maxey|Discogs: Hogman Maxey}} and {{w|Robert Pete Wil&shy;liams|Robert_Pete_Williams}} did time at Angola. More re&shy;cently the great Chi&shy;cago gui&shy;tar&shy;ist, {{w|Auburn {{qq|Pat}} Hare|Pat_Hare|Pat Hare}} got a ninety-nine year sen&shy;tence for shoot&shy;ing his mis&shy;tress{{s}} hus&shy;band and a po&shy;lice&shy;man who tried to ar&shy;rest him.
 </div></div>

@@ Line 60: / Line 60: @@
 {{tab}}In the search for bet&shy;ter work and liv&shy;ing con&shy;di&shy;tions, thou&shy;sands of negroes {{w|trekked north|Great_Migration_(African_American)|Great Migration}}, from the {{a}}twen&shy;ties up to the pres&shy;ent, in the sort of exo&shy;dus which is a fea&shy;ture of the his&shy;tory of ra&shy;cially tor&shy;mented min&shy;or&shy;it&shy;ies. They ar&shy;rived in the north by road and rail. They had no right on either, but the rail usu&shy;ally gave them a bet&shy;ter chance. They could either walk the long straight lines—always risk&shy;ing a fall be&shy;tween them, and with it death, in&shy;duced by the tir&shy;ing and hyp&shy;notic ef&shy;fect of doing so—or they could {{qq|{{w|jump|Freighthopping|Freighthopping}}}} a train. This was risk&shy;ier, but quicker. The trav&shy;el&shy;ler stands on one of the few slow curves in the track and then, in {{w|Paul Oliver|Paul_Oliver}}{{s}} words:
-{{tab}}{{qq|&hellip; breaks from cover and dashes to&shy;wards the track tak&shy;ing ad&shy;vant&shy;age of the slow&shy;ing of the train to make board&shy;ing pos&shy;sible, and of the bend to hide his move&shy;ments. Crooked fin&shy;gers clutch the {{w|coup&shy;lings|Railway_coupling|Railway coupling}} and he swings peril&shy;ously on the sway&shy;ing truck be&shy;fore get&shy;ting a firmer grip. He may make for the blinds if he can. These are the bag&shy;gage cars next to the {{w|tender|Tender_(rail)|Tender (rail)}}, which are {{q|blind}} or, in other words, have no side door. Sit&shy;ting on the step he is safe and out of reach of the {{w|brakeman{{s}} club|Brakeman's_cabin|Brakeman's cabin}}. &hellip; More dan&shy;ger&shy;ous, but out of sight and un&shy;ap&shy;proach&shy;able, are the {{w|brake|Railway_brake|Railway brake}} rods that run be&shy;neath the freight cars. Risk&shy;ing his life he may try to worm his way across these, or if he is un&shy;usu&shy;ally adept he may carry a small board to throw across the rods and then pre&shy;cip&shy;it&shy;ate him&shy;self upon it in the nar&shy;row gap be&shy;tween them and the under&shy;neath of the truck &hellip; in icy winds, in chok&shy;ing poison&shy;ous fumes of the rail&shy;road tun&shy;nels, he may freeze to numb&shy;ness or suc&shy;cumb to ex&shy;pos&shy;ure and drop to cer&shy;tain death &hellip;}}
+{{tab}}{{qq|{{e|l}}breaks from cover and dashes to&shy;wards the track tak&shy;ing ad&shy;vant&shy;age of the slow&shy;ing of the train to make board&shy;ing pos&shy;sible, and of the bend to hide his move&shy;ments. Crooked fin&shy;gers clutch the {{w|coup&shy;lings|Railway_coupling|Railway coupling}} and he swings peril&shy;ously on the sway&shy;ing truck be&shy;fore get&shy;ting a firmer grip. He may make for the blinds if he can. These are the bag&shy;gage cars next to the {{w|tender|Tender_(rail)|Tender (rail)}}, which are {{q|blind}} or, in other words, have no side door. Sit&shy;ting on the step he is safe and out of reach of the {{w|brakeman{{s}} club|Brakeman's_cabin|Brakeman's cabin}}. {{e}} More dan&shy;ger&shy;ous, but out of sight and un&shy;ap&shy;proach&shy;able, are the {{w|brake|Railway_brake|Railway brake}} rods that run be&shy;neath the freight cars. Risk&shy;ing his life he may try to worm his way across these, or if he is un&shy;usu&shy;ally adept he may carry a small board to throw across the rods and then pre&shy;cip&shy;it&shy;ate him&shy;self upon it in the nar&shy;row gap be&shy;tween them and the under&shy;neath of the truck {{e}} in icy winds, in chok&shy;ing poison&shy;ous fumes of the rail&shy;road tun&shy;nels, he may freeze to numb&shy;ness or suc&shy;cumb to ex&shy;pos&shy;ure and drop to cer&shy;tain death{{e|r}}}}
 {{tab}}There can be few worse con&shy;dem&shy;na&shy;tions of a so&shy;ci&shy;ety than that it should make this method of travel ac&shy;cept&shy;able. Des&shy;pite the risks the exo&shy;dus con&shy;tin&shy;ued, and women and chil&shy;dren, as well as men, risked road and rail to go north:
@@ Line 66: / Line 66: @@
 :: <font size="2">''Oh, stop your train, let a poor boy ride.''
 :: ''Don{{t}} you hear me cryin{{a}}?''
-:: ''Woo oo woo oo wooo &hellip;''
+:: ''Woo oo woo oo wooo {{e}}''
 :: ''Oh, fare you well, never see you no more.''
 :: ''Don{{t}} you hear me cryin{{a}}?''
-:: ''Woo oo woo oo wooo &hellip;''
+:: ''Woo oo woo oo wooo {{e}}''
 :: ''Oh, train I ride, smoke&shy;stack shine like gold.''
 :: ''Don{{t}} you hear me cryin{{a}}?''
-:: ''Woo oo woo oo wooo &hellip;''</font>
+:: ''Woo oo woo oo wooo {{e}}''</font>
 {{tab}}With them they took their blues, into rail&shy;side {{w|hobo|Hobo|Hobo}} jungles where in hope&shy;less pov&shy;erty they could scratch a liv&shy;ing, com&shy;par&shy;at&shy;ively free from white inter&shy;fer&shy;ence, into the fast-de&shy;vel&shy;op&shy;ing north&shy;ern ghet&shy;toes, into {{qq|New World}}. The blues proved re&shy;mark&shy;ably re&shy;si&shy;li&shy;ent to city life at first. There were re&shy;fine&shy;ments which have con&shy;tin&shy;ued up to the pres&shy;ent: drums, basses and pianos were added to the more port&shy;able, and more {{p|144}}mu&shy;sic&shy;ally flex&shy;ible in&shy;stru&shy;ments fa&shy;voured by rural mu&shy;si&shy;cians, such as har&shy;mon&shy;icas (known as {{qq|harps}}, viol&shy;ins, gui&shy;tars and {{w|jugs|Jug_(instrument)|Jug (instrument)}} which, when blown into, acted as bass re&shy;son&shy;at&shy;ors. How&shy;ever it was not until just before the {{w|last war|World_War_II|World War II}} that the blues al&shy;tered dra&shy;mat&shy;ic&shy;ally and ir&shy;re&shy;voc&shy;ably, and even today there are traces of Mis&shy;sis&shy;sippi in the blues of some {{w|Chi&shy;cago|Chicago_blues|Chicago blues}} sing&shy;ers.