Blues People and the Classic Blues
In general, my reaction to this chapter was mixed between intrigue and sympathy for the blatantly obvious and shameless degree of racial inequality. Though, I found it very interesting how the term “race music” originally held negative and demeaning connotations, but also yielded positivity amidst African Americans during the time of the Harlem Renaissance. The idea of being active and promoting the idea of equal rights became a respectable attribute. Known as the “father of gospel music”, for example, Thomas Dorsey used his talents to provide material for many female African American artists such as Ma Rainey, Mahalia Jackson, and Willie Mae Ford Smith. I found it amazing how the dawn of gospel and many other derivatives of this music was provoked and cultivated by one man who fought to make it popular. The efforts of Thomas Dorsey, as well as the other advocates of “race music”, helped to spawn music like piano boogie boogie, gospel, small jazz bands, blues, funk/ swing, and eventually rock and roll.
The society’s gradual but inevitable transition from “parody” entertainment at the expense of African Americans to the acceptance of true talent was something else I found very interesting. Since the time of the humiliating and maliciously intended means of entertainment know as minstrel shows, talented African Americans had to relentlessly prove themselves to be taken seriously as artists. Fortunately, Classic Blues provided a segway to acceptance for African Americans and allowed them to secure positions in the professional entertainment industry. Though it was not until 30 years after the end of minstrel shows that African American could plainly entertain on their own merit (and without face paint), it was incredible how it happened and the revolution that resulted from it.