Folks AmericaPeoples of America
Talking to Professor Timothy Lensmire of U of Minnesota about his book "White Folks:
ll Folk Americano non essiste. Il Folk Americano! People to people
Tonight begins - finally - "from people to people", but I must give you some bad news. <La magica peppolare Americana non essiste! >. I suppose you will be wondering what is being discussed in this series of meetings dedicated to American pop music. Musician and musicologist Mariano De Simone, author of some very important books on the history of American music, begins therefore in his book on State Music the chapter on the origins of popular music in the United States: "Perhaps it is a simplification, but it is historically recognized that what we now call American popular music is the result - for the most part - of cultural impurities that have their roots mainly in Europe (in terms of the more popular and typical music) and Africa (in terms of the blues).
This is perhaps the real reason why there are widespread elements in traditional American music that are typical of European folk music (especially English, Scottish and Irish) and African tribal rhythms. Tonight we will begin to talk about the Blues and how we - starting from the slave songs and the following rural style Blues - came to the electric Chicago Blues.
We will touch objects, listen to old records, play songs and try to arouse curiosity and passion for this musical genre that has produced much of modern music. Today's musical triplet is therefore dedicated to some of the artists who, in my opinion, represent a fundamental piece in the vast mosaic we call comfort, fun, music, and blue.
Robert Johnson, father of blue and modern rock, was the first to leave at the age of 27. Got My Myojo Working I feel the tribal rhythms even here when the blue becomes "electric", right? If you want to know what Muddy Waters means when she says, "Hey, women, my mouthie works, you know?"... well, you have to come to From Folk to Folks class tonight.