Field hollering

April 12, 2009





The following appeared during the past week in the Vatican newspaper “L’Osservatore Romano.”


By Tania Mann

From cotton fields to city streets, blues music tells the story of a people struggling to survive. Its syncopated rhythms convey a meaning as deep as the raspy voices crooning its melodies. The blues has evolved along with the history of black people in the United States – a journey marked by persecution but also by progress.
Theirs is a story that today opens to a new chapter, being written by a man who calls the city that transformed the face of the blues:  “Sweet Home Chicago”. Thus a closer look at the origins of blues music provides insight not only into black history but also into the context from which President Barack Obama, who lived in the Windy City before his move to the White House, entered the international scene.
It was in Chicago that blues music was modernized, where it adapted into a form that could then be easily diffused into popular culture. It would permeate many other musical genres and create the foundation of rock ‘n’ roll, gospel and the British pop made famous by the Beatles. Today, the blues rhythm beats on as the heart of American mainstream music, which in turn plays an influential role in the music world across the globe.
The twelve-bar structure found in the blues today is the same as that which the slaves invented as they worked in the fields, using music to communicate. This system of “field hollering” allowed the slaves to exchange secret information and indicate potential escape routes.
Chicago blues grew from these roots in the Mississippi Delta, where thousands of blacks lived before moving north during the Great Migration, which occurred in two waves between 1913 and 1970. Its heavy backbeats recall the oppression of slavery, while the charged guitar riffs and gravelly voices in the foreground express an insatiable longing for freedom.
In the 1930s, the Great Depression propelled the blues forward by providing not only greater reason for people to lament but also more opportunity to come together to perform and listen to music. From that decade on in the ghettos of Chicago, residents organized “rent parties” to raise money for families with financial difficulties. Thus listening to the blues also became a concrete experience of solidarity.
By this time, blues musicians in Chicago had already begun to create a more urban sound, distinguishing their own style from more rural or classic forms. This new sound reflected, with its quicker tempos, the frenetic pace of working life in an industrial metropolis.


Barack Obama

Barack Obama

“It was in these neighbourhoods that I received the best education I ever had”, President Obama said in a speech announcing his presidential bid. With this statement he recalled his work in Chicago from 1985-1988, organizing job training and other programs for the working-class residents of Altgeld Gardens, a public housing project amid shuttered steel mills. 

The blues is a lyrical expression of both “the agony of life and the possibility of conquering it through sheer toughness of spirit”, writes Ralph Ellison in Invisible Man (Random House, 1952). This work, set in the newly industrialized Chicago of the 1930s, analyzes the problem of the black man’s identity in U.S. culture.
The people of Chicago are generally known as being “tough”, if only for having to endure the severe weather that results from its position on the edge of Lake Michigan. For this reason the blues, in the tenacity of its sound, personifies the Windy City (even if it was originally named as such in reference to its long-winded politicians, not its notorious weather).
The spirit of a city ever aware of life’s challenges – of a city where people are accustomed to adapting to change – is manifest in the blues. The city and the music have each shaped the other into what they are today.
But the influence of Chicago blues has extended much further than its own streets. This is seen clearly in the career and the heritage left by the man who is said to have defined its sound:  Muddy Waters.
His grandmother gave the musician this nickname, after the puddles of the Mississippi River in which he played as a child. Waters transferred to Chicago in 1943, where he received an electric guitar as a gift from his uncle. With this instrument – the volume of which he intensified by using a pick – Muddy Waters revolutionized the city’s musical scene.
In addition to the guitar, the harmonica and bass were also amplified in order to compete with the loud atmosphere of the locales where blues bands played. The first to win this battle against the noise with his harmonica was Little Walter. He did so simply by cupping his hands around the instrument.


Muddy Waters

Muddy Waters

From then on these methods of amplification and electrification characterized the Chicago blues sound. This new sound was part in thanks to the new possibilities that came with the end of the Great Depression and World War ii. Muddy Waters and the other blues artists in Chicago became a vehicle for the optimism emerging at this time. It was here that the now widespread image of a small stage in a smoky bar, crowded with musicians improvising on the electric guitar, harmonica, piano, bass and drums, was born.
Today, it is not difficult to find evidence of the impact these musicians have had on the music world. It was, for example, Water’s song “Rolling Stone” that both the magazine and the rock group took their names. The same song was very probably an inspiration to Bob Dylan when he wrote “Like a Rolling Stone”. And it was reported in Rolling Stone magazine that among the playlists on President Obama’s iPod are songs by the group of the same name, by Dylan, and also by Howlin’ Wolf, who was known as Waters’ rival.
The list of artists and musical genres influenced by Chicago blues is endless. Among the numerous names of note are Chuck Berry, Elvis, Janis Joplin, Jimi Hendrix and also Eric Clapton, who has carried the inheritance of the blues from the seventies through to the present.

Eric Clapton

Eric Clapton

In the hands of the same “Slowhand”, as Clapton is known, the Chicago blues sound has evolved with the changing music scene while still remaining faithful to its deepest roots. A powerful witness to this is one of his recent albums, “From the Cradle”, composed entirely of songs by traditional blues musicians. Among them is Willie Dixon, one of the greatest musicians to have played with Muddy Waters.
But the electrified blues that was founded in the post-war era is not only a thing of the past. The music continues because the stories it recounts are still being written. Worth noting is that this year’s list of Grammy nominees for blues music included several protagonists of Chicago’s musical revolution. Among those carrying this tradition into the modern day is Buddy Guy – known as Muddy Waters’ successor – who opened his own club in 1989 in the heart of downtown Chicago.
The culture which developed around the blues clubs that have sprouted up around the city over the years is indeed thriving, creating a music scene that draws tourists and natives alike. Today, many of the most popular blues clubs are found in neighbourhoods inhabited predominantly by young white people.


John Mayer

John Mayer

In fact, the evolution of blues music in the city also entailed a diffusion into white culture. For proof of this on a wider scale, one can look to artists such as Clapton, Dylan, and even younger musicians like John Mayer. The latter, an artist who had already gained wide acclaim on the pop scene, surprised everyone with a blues album in 2005, featuring Clapton, Guy and B.B. King as collaborators.
Surely one cannot fail to acknowledge the extent to which the famous Blues Brothers, with their “mission from God”, have served to propagate blues music and culture into the mainstream. Working on the Chicago-based film inspired the “brothers” John Belushi and Dan Aykroyd, never before musicians, to form their own group modelled after that featured in the movie.
While Chicago blues has survived in its purest form through the revolution’s biggest names and their successors, the deep influence it has had on the many genres of today’s chart-topping music is not to be ignored. Just one example is the widespread diffusion and popularity of rhythm and blues (R&B), a term that was originally used for Chicago blues but has extended to encompass much of black music heard today.
It becomes evident from the longevity of Chicago blues – in its original form as in its many variations – that at its heart this music expresses a depth of human emotion which stems from the very essence of human experience.
For Ellison, the blues does not offer a solution to the human condition. It offers instead a strong resolution to overcome suffering:  a “yes” to a life marked by grace and irony, and a defiant decision to preserve the human spirit. Its sound is marked by sadness but also by fierce determination, thus reflecting the history of blacks in the States. In a time of global crisis, the President who pens this story’s newest chapters meets a challenge that will undoubtedly demand the same tenacity. 


(©L’Osservatore Romano – 8 April 2009)


6 Responses to “Field hollering”

  1. Tania Says:

    Buona sera,
    Thanks for publishing my article! It was originally in Italian for the daily edition – if you’d be interested in reading that version, let me know.

    • charlespaolino Says:

      That is a very interesting article. I was surprised to find it in L’Osservatore Romano. It has gotten steady attention on my blog. Today, for example, it had 83 visits, which is pretty good considering how long it has been posted. A friend of mine who lives in Toronto and teaches classes in music saw that article in my blog on Facebook and told me she plans to use it in her classes. Yes, indeed, I would like to see the Italian text. Reading Italian is one of the ways I improve my vocabulary.

  2. jan Says:

    thanks for publishing this. i read it in a copy of osservatore romano of a friend and was looking all over for it. finally! great read!

  3. "IL_Tempeste" Says:

    Yes, CP, I am interested in the original Italian text. I study the Italian language and would like to read the versions side-by-side. Tania, Do you use the Roman Italian, or are you partial to a dialect?

  4. […] Field hollering, an African-American cousin to hollerin’, is a type of singing that can be considered a close relative of the “work song.” Believed to be a potential forerunner to the blues, field hollering doesn’t show up on any recordings until the mid-1930s but is known to have much older roots. It involves falsetto, portamento (sliding from one pitch to another), and sudden pitch changes. […]

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