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Gussow Adam - Beyond the crossroads: the devil et the blues tradition

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Gussow Adam Beyond the crossroads: the devil et the blues tradition

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The devil is the most charismatic and important figure in the blues tradition. Hes not just the musics namesake (the devils music), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings.


In this groundbreaking study, Gussow takes the full measure of the devils presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnsons music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as the crossroads in 1999, claiming Johnson and the devil as their own.


**

Review

Gussow asks. . .of all the many kinds of African American popular music, why is/was it that blues alone has been singled out as the devils music. . .?-- American Music


Gussows scope is broad and deep, impeccably researched and far too complex and thorough for a brief review to do it justice. . . . His central thesis. . . [challenges] much of the mythologizing of blues culture that has arisen over the years--and, by implication, the patronizing (at best) or downright racist (at worst) assumptions that have often accompanied it. . . . Gussows analysis is prescient, and it adds significantly to our understanding of the texture and complexity of the bluesmens art, its legacy and its meaning.-- Living Blues


Gives blues fans plenty to ponder in this challenging book that doesnt back away from taking on some cherished parts of the blues tradition. Readers will be compelled to revisit some classic tunes to hear the songs with fresh ears, ready to garner new meanings based on the many forms of the devil illuminated in this work. Thanks to Mr. Gussow for attempting to get us out of our blues comfort zones, and for providing readers with well-researched concepts that invite us to do more than just listen to the music.-- Blues Blast


A model work of scholarship: years of meticulous and extensive archival work are the foundation for this multidisciplinary study that carefully and respectfully applies research in cultural history, anthropology, psychology, popular culture, film studies, and more to the use of the devil figure and related imagery within the blues tradition.-- Journal of Southern History


Masterfully researched, impeccably well-written, spell bindingly interesting food for thought for curious minds. . . . An important addition to any serious blues readers bookshelf.-- The Country Blues


By looking at over 125 blues songs, Gussow illustrates that the devil stands at the center of the black Southern blues tradition as a figure that sows trouble, wrecks love, but also gives power.-- No Depression


An excellent antidote to the mystification of the music.-- Choice


Review

Beyond the Crossroads is brilliant, a game-changer in blues history. A breathtaking and highly engaging book on a most American of sounds.--Patricia Schroeder, author of Robert Johnson, Mythmaking, and Contemporary American Culture


Adam Gussow is an excellent interpreter of the blues.He has earned the right to speak.We should listen to him and be informed about one of the most important musical expressions in American history. I strongly recommend Beyond the Crossroads: The Devil and the Blues Tradition.--James H. Cone, author of The Spirituals and the Blues


At once affable and frightening, the devil is forever partnered with the blues. Beyond the Crossroads is a beautifully written exploration of what Adam Gussow calls the blues most malleable, dynamic, and important personage. This is a work of exquisite detail.--William Ferris, author of Give My Poor Heart Ease: Voices of the Mississippi Blues

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Beyond the Crossroads NEW DIRECTIONS IN SOUTHERN STUDIES Editor Charles - photo 1
Beyond the Crossroads

NEW DIRECTIONS IN SOUTHERN STUDIES

Editor Charles Reagan Wilson

Editorial Advisory Board

Robert BrinkmeyerTed Ownby
Thomas HoltTom Rankin
Anne Goodwyn JonesJon Michael Spencer
Alfred J. LopezAllen Tullos
Charles MarshPatricia Yaeger

This series is devoted to opening new lines of analysis of the American South and to becoming a site for redefining southern studies, encouraging new interpretations of the regions past and present. The series publishes works on the twentieth century that address the cultural dimensions of subjects such as literature, language, music, art, folklife, documentary studies, race relations, ethnicity, gender, social class, religion, and the environment.

Beyond the Crossroads

THE DEVIL & THE BLUES TRADITION

Adam Gussow

The University of North Carolina Press

CHAPEL HILL

2017 Adam Gussow

All rights reserved

Manufactured in the United States of America

Designed and set in Minion by Rebecca Evans

The University of North Carolina Press has been a member of the Green Press Initiative since 2003.

Cover illustration inspired by a still from the film Crossroads, directed by Walter Hill (1986).

Library of Congress Cataloging-in-Publication Data

Names: Gussow, Adam, author.

Title: Beyond the crossroads : the devil and the blues tradition / Adam Gussow.

Other titles: New directions in southern studies.

Description: Chapel Hill : The University of North Carolina Press, [2017]

Series: New directions in southern studies | Includes bibliographical references and index.

Identifiers: LCCN 2017002264 | ISBN 9781469633657 (cloth : alk. paper) | ISBN 9781469633664 (pbk : alk. paper) | ISBN 9781469633671 (ebook)

Subjects: LCSH: Blues (Music)Southern StatesHistory and criticism. | Blues (Music)Religious aspects. | Devil in music. | Johnson, Robert, 19111938.

Classification: LCC ML3521 .G94 2017 | DDC 781.6430976dc23 LC record available at https://lccn.loc.gov/2017002264

The blues is nothing but the devil.

JAMES SON THOMAS

Contents

1: HEAVEN AND HELL PARTIES
Southern Religion and the Devils Music

2: SOLD IT TO THE DEVIL
The Great Migration, Lost Generations, and the Perils of the Urban Dance Hall

3: IM GOING TO MARRY THE DEVILS DAUGHTER
Blues Tricksters Signifying on Jim Crow

4: THE DEVILS GONNA GET YOU
Blues Romance and the Paradoxes of Black Freedom

5: SELLING IT AT THE CROSSROADS
The Lives and Legacies of Robert Johnson

Illustrations
Beyond the Crossroads
INTRODUCTION

The blues is like the devil... it comes on you like a spell

The blues is like the devil... it comes on you like a spell

Blues will leave your heart full of trouble... and your poor mind full of hell

LONNIE JOHNSON, Devils Got the Blues (1938)

BROADENING THE CONVERSATION

This book offers a series of explorations into the role played by the devil figure within an evolving blues tradition. It is primarily a thematic study, one that pays particular attention to the lyrics of recorded blues songs; but it is also a cultural study, one that seeks to tell a story about blues-invested southern lives, black and white, by mining an extensive array of sources, including government documents, church archives, telephone directories, and personal interviews. Although aspiring to the comprehensiveness of a true survey, I have chosen to emphasize certain themes at the expense of others. The first four chapters of this study investigate, in sequence, the origins and import of the phrase the devils music within black southern communities; the devil as a toastmaster and pimp who both empowers and haunts migrant black blueswomen in the urban North of the Jazz Age; the devil as a symbol of Jim Crow and an icon for black southern bluesmen entrapped by that system; and the devil as a shape-shifting troublemaker within blues songs lamenting failed romantic relationships. The fifth and final chapter is an extended, three-part meditation on the myth-encrusted figure of Robert Johnson. It offers, in turn, a new interpretation of his life and musical artistry under the sign of his mentor, Ike Zimmerman; a reading of Walter Hills Crossroads (1986) that aligns the film with the racial anxieties of modern blues culture; and a narrative history detailing the way the townspeople of Clarksdale, Mississippi, transformed a pair of unimportant side streets into the crossroads over a sixty-year period, rebranding their town as the devils territory and Johnsons chosen haunt, a mecca for blues tourism in the contemporary Delta.

One of my chief desires, as this list suggests, is to broaden the conversation about the devil and the blues, rescuing it from the pronounced narrowing that has taken place in recent decades. As an Internet search of the words devil blues makes clear, crossroads legendryRobert Johnson selling his soul to the devil at midnight at an imagined Mississippi Delta intersectionhas come to dominate both popular understandings and more substantial studies, the latter of which generally critique the former. This impoverishment of our idea-set about the devil and the blues has occurred for several reasons, and not just because Johnsons legend-propagators and revisionists have run the table.

One reason is simply the loss of cultural memory incurred by the passage of time. With the arguable exception of Jon Michael Spencers pioneering study Blues and Evil (1993), the full extent of the blues lyric tradition devoted to songs that name, petition, identify with, celebrate, and denigrate the devil and his hellish home is unknown to even the most dedicated aficionados and academics. Although the devil was a figure of considerable interest to African American blues singers, songwriters, and audiences between the 1920s and the 1960s, that period has passed, as have many of the specific social concerns that made the devil such an adaptable and effective lyric instrument for saying what needed to be said. This study, which began with the authors attempt to compile a comprehensive list of blues recordings invoking the devil and hell, recuperates both the lyric archiveroughly 125 recordings between 1924 and 1999and the concerns that animated it.

A second reason for the narrowness of contemporary understandings of the devil-blues tradition is the progressive whitening of the blues audience since the folk revival of the early 1960s, so that baby boomers and their desire to establish a workable genealogy for blues-rock have come to predominate. The elevation of Johnson and his mythology, mediated through a handful of his recordings and the awed testimony of Eric Clapton and other aging stars, has been vital to this process. In 1986, shortly after Johnson was inducted into the Rock and Roll Hall of Fame as an early influence, the first known photo of him was published in Rolling Stone magazine; that same year, Johnsons fictive transaction with the devil, revisited by his surviving black partner, Willie Brown (Joe Seneca), and Browns youthful white apprentice, Eugene Martone (Ralph Macchio), was brought to the screen in Crossroads, the first and only Hollywood feature about the blues to be filmed on location in Mississippi. The combined effect of those investments, along with the unexpectedly popular release of Johnsons

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