Colin Kaepernick kneeling with San Francisco 49ers team-mates during the national anthem

What is represented by kneeling?

Subservience?  Obedience?  Humility?  Religiosity?  Divisiveness?

It all depends on the witness, of course, and their angle of observation.

What is the meaning of a clenched fist salute?

Pride?  Solidarity?  Defiance?  Triumphalism?  Black anger?

In America, as ever, meaning is only inferred and attached to gestures and symbols after checking the ethnicity and skin colour of the person using them.

“Respect the flag” and “Respect the national anthem” are phrases used ad nauseum by a certain American sub-culture, a sub-culture which has loaded their own meaning onto a piece of cloth and a tortured melody.

“Respect the flag” and “Respect the national anthem” actually mean “See what I see, feel what I feel, believe what I believe”.

People who wrap themselves in the red, white, and blue do not want to allow others to ascribe their own meanings to the symbols around them, because such free-thinking might leave the back door ajar to the storm raging outside the cosy confines of the home kitchen.

This national anthem now so deeply-imbued with patriotic meaning only became the “national anthem” in the formal sense in 1931.

Most American schoolchildren know that the words to the song now called The Star-Spangled Banner were written by a certain Francis Scott Key, after he witnessed the American flag still flying over Fort McHenry near Baltimore, Maryland in 1814, following the British overnight bombardment of the fort during the War of 1812.

Francis Scott Key.  Patriot.  End of lesson.

But wait.  “Angles of observation”, and all that.

What do many “white” Christian nationalist flag-wavers claim to loathe the most?  Liberal East Coast elites?  High-falutin’ lawyer types?

When it comes to Francis Scott Key, they can start ticking those boxes.

The music to this “sacred” anthem was actually lifted from a drinking song once popular in fancy English gentlemen’s clubs.

And Francis Scott Key would have been plenty familiar with “fancy” things, as he was born with the proverbial silver spoon in his mouth into a well-to-do East Coast planter family.  Mr. Key enjoyed his excellent view of Fort McHenry not from inside the fort alongside the soldiers, but from the deck of a British warship where he had been enjoying the finest of wines while negotiating the exchange of some prisoners, including a physician friend.  In fairness, Key had already done a brief stint with a local militia, but common soldiering wasn’t really his thing.

Francis Scott Key was a lawyer.  And a slaveholder.  And much like Thomas Jefferson and George Washington, two elitist hypocrites from the generation preceding him, Mr. Key often expressed his dislike of the cruelties perpetrated within the institution of slavery.

But Key didn’t actually disapprove of slavery, he merely disapproved of slaveholders who were less benevolent than himself.  Mr. Key often represented (at no cost) abused slaves petitioning for their freedom.  But his benevolent “great white father” hand-wringing did not stop his law practice from helping so-called “good” slaveholders to reclaim their “property”.  Mr. Key used the niceties of American law to help bring runaway slaves to “justice” – that is to say, back into their legally sanctioned condition of lifelong servitude.

A law firm’s books must be balanced, of course.  Fine wine isn’t cheap.

While he was outwardly a devoutly religious man, Francis Scott Key fought strenuously against the abolitionist sentiment taking root within his religious circles.

Mr. Key would have been able to accept the end of slavery, BUT ONLY IF ALL FREED SLAVES WERE ABLE TO BE EXPEDITED OUT OF AMERICA AND “BACK” TO AFRICA.

By the end of his life, Francis Scott Key‘s vociferous opposition to abolition was so pronounced that he was actually perceived as a dangerous sympathiser with the southern cause.  And while we cannot pick our relatives, it is interesting to note that Mr. Key’s sister Anne married a certain Roger Brooke Taney in 1806 – the man who would go on to be the Chief Justice who penned the infamous “Dred Scott” decision of 1857 which helped to hasten the start of the Civil War.

Here are his words:

“It is difficult at this day to realize the state of public opinion in regard to that unfortunate race which prevailed in the civilized and enlightened portions of the world at the time of the Declaration of Independence, and when the Constitution of the United States was framed and adopted; but the public history of every European nation displays it in a manner too plain to be mistaken. They had for more than a century before been regarded as beings of an inferior order, and altogether unfit to associate with the white race, either in social or political relations, and so far unfit that they had no rights which the white man was bound to respect…”

In other words, supporters of slavery, while claiming to be Constitutional “originalists”, felt that the Constitution should be interpreted in light of contemporary attitudes and views.

This also shows that social conservatives can, in fact, be weirdly “progressive” in their interpretation of the Constitution – when it suits them.

Put even more clearly, the US Supreme Court ruled that since the majority of voting Americans had decided over time that African-Americans were “not quite human”, it was therefore constitutionally legal to withhold any “human rights”.

I have no idea whether the foregoing has informed the men and women “taking the knee” during the national anthem in recent years.  Probably not.

*****

But one thing is certain.  Symbols are powerful, and symbols are loaded with dreams, presumptions, and yes, hatreds.

Why should Colin Kaepernick and others like him be expected to “respect the flag”, or to “respect the anthem”?  Why?  When did this flag and this anthem really begin to represent ALL Americans?

1865?  1964?  Yesterday?  Ever?

The American flag and national anthem are symbols often most beloved by those who do not respect Mr. Kaepernick, his community, or his community’s right to social justice, free speech and legitimate protest.

The biggest flag-wavers of all believe THEY are entitled to storm and vandalise the nation’s capitol on the basis of fake grievances, knowing their “champion” is prepared to pardon their violence.

Meanwhile, a silent minute or two on bended knee to highlight real social injustice causes spittle-flecked rage.

But hey.

Betsy Ross sewed a flag.

And Francis Scott Key was a patriot.

End of lesson.

#TakingTheKnee  #FrancisScottKey  #BlackLivesMatter

Big Chief Henry’s Indian String Band, 1920s

The two earliest distinctly American music forms – country music and the blues – are usually presumed to be a clear evolution of “white” and “black” musical traditions.

In other words, country music is presumed to find its ultimate origins in European music, while the blues are presumed to be rooted in African culture.

Regarding country music in particular, some people go even further, and attempt to pin its origins in specifically in the Protestant communities of 1700s Northern Ireland.

I’ve already written elsewhere and at length as to why this is a belief without foundation, so we’ll skip that argument for now.

Today, let’s throw another cat among the pigeons.

What if the blues didn’t originate in Africa at all?

Before anyone spits out their coffee, thinking it might be my intention to rob the blues from the early African-American musicians and singers who played and sang it, catch a breath and read on…

*****

Let’s travel back in time to 1920s America, after the First World War, but before the Great Wall Street Crash of ’29.

The recording industry was still in its infancy, but showing signs of the boom to come.

Ethno-musicologists began to traipse into the mountains, swamps, and other rural places of America in order to document and collect old-time American folk music before it could be drowned under the oncoming tidal wave of record industry-produced “popular music”.

This was the golden age of field recording, and it was the first time that many of America’s city dwellers got to hear “Old Time” or “Blues” records, instead of marching bands and la-la-la songbirds and nasal crooners.

It is an old truism that people tend to see and notice the things they are looking for in the first place.  I have often said that Buddhists do not tend to see the face of Jesus on burnt toast.

The same could be said of music history.  People hear what they are expecting to hear.

Some of these early field recorders (like Alan Lomax), were magpies, eager to record and collect just about anything.

Other early field recorders of American folk music came looking to “collect” specific things.

Recorders like Cecil Sharp were specifically looking for connections between Southern Appalachian ballads and traditional English folk songs, hoping to draw a line of cultural continuity between musical traditions largely disappeared from an industrialised England, and a living tradition still clinging-on in rural Appalachia.

These folk historians, field recorders, and music enthusiasts did not say “Let’s just record everything we hear, and let others figure out where it came from”.

Even the most enlightened and sympathetic musicologists carried certain presumptions about the origins of the music they were documenting in the 1920s – whether it was the music being played and sung by “white” mountain folks, or by African-Americans.

Most of these early recorders and collectors of “black music” in particular just presumed that African-American musical traditions could – and should – be traceable back along a river with its ultimate source in Africa.

So these early recorders and collectors of “negro music” tended to focus on collecting music which THEY perceived as being distinctly “African-American music”, BECAUSE THEY HAD NO OTHER REFERENCE POINT FOR IT.

This act of unconscious “curation on the hoof” is why old-time ballads were more often recorded in Appalachian homes, and the blues were more often recorded in the Deep South.

This is also how “old-time” or “hillbilly” music (later called “country” music) came to be seen solely as “white” music, with the blues seen solely as “black” music.

If early field recorders of American folk music had chosen to simply record EVERYTHING being sung by “black”, “white”, and “brown” folks, a different picture might have emerged – one in which the lines between musical genres were far more fluid and blurred, with multiple styles being sung and played by all ethnic groups.

America being America – a nation built on capitalism and a racial caste system – music soon became a marketable and controllable commodity, and musical forms had to be slotted into “racial” categories in order to be marketed to their “target audience”.

Under the American binary race system, the music of the rural hinterlands and heartlands had to be clearly divisible into a European tradition, and an African tradition.

But that’s not how music works, and has never been how music works.

*****

Let’s set aside for the time being the old-time ballads and blues laments which were being sung into a can for field recorders, and ask ourselves a question.

What would any of us – black, white, or other – sing or play into a microphone for a stranger who came asking for an old song today?

Would we sing the oldest one we knew?  Our favorite?  The one best suited to our own voice?  The one we remembered all the verses to?  The one our old fingers could pick on a banjo or guitar without stumbling?

As a child of the 60s and 70s, most of the songs I might be able to belt out today at a drunken karaoke night were written or performed by people like Sam Cooke, Waylon Jennings, or Simon and Garfunkel.

Does this say anything concrete about my ethnic background?

Of course, I have had access to far more musical variety than rural dwellers of the 1920s, but still.  Did the choice of music played and sung by people – even then – really say anything concrete about their ancestry?

So let’s leave aside “party pieces”, and ask what was actually happening on the ground during the 1920s – at county fairs, at medicine shows, in dancehalls and roadhouses…

What was being played and recorded in the 1920s by less self-conscious rural people when they felt unconstrained by ethnographers or researchers?

The answer would be mostly folk songs, ballads, gospel music, blues, rag and ragtime, swing, and early jazz.

And if we look back now – again with no agenda – and ask which ethnic groups were playing and recording all this music during the 1920s, what would the answer be?

The answer would be EVERYBODY.  Black, white, brown, or red.

Now, I can hear some people already saying “Okay, sure.  But you’re still talking about a mix of “black” and “white” musical traditions.  Blues music is still a “black” tradition, and country music is still a “white” tradition.”

Not so fast.

Ask yourself this.

Does the western swing music of Bob Wills or the yodelling of Jimmie Rodgers REALLY have any parallel in the ballad and folk traditions of the British Isles?

Can anyone, anywhere, actually demonstrate a clear similarity between southern blues and any traditional musical forms of West Africa?

Maybe, just maybe, the thing which nudged both African and European musical traditions into a distinctly “American” space was the 400-year-long influence of indigenous American music.

Chants.  Call and response.  Was the “chicka-ching” of indigenous dance the inspiration for swing?  And if it was, the very essence of jazz is “swing”…

*****

This is not the place to recount the decades in which Euro-Americans shared a common physical and cultural space with the Cherokee, Choctaw, and other tribes in North Carolina, East Tennessee, Mississippi and North Georgia.

The decades before “The Trail of Tears” and wider Indian removal to reservations.

This is also not the place to explain how the Creek, Cherokee, and Choctaw (often as slaveholders), left an indelible cultural and genetic imprint on African-American peoples for centuries.

But this IS the place for asking why almost no one remembers that early blues artists like Howlin’ Wolf (born Chester Arthur Burnett) were part-descended from Choctaw people.

It is also a good place to mention that musicians like Howlin’ Wolf thoroughly idolised singers like Jimmie Rodgers.

#BeforeWeWereWhite  #history  #ethnomusicology  #swing  #jazz  #folk  #CountryMusic  #IndigenousMusic

Lisa Marie Presley in 1990, and members of her father’s Smith and Mansell family

Thinking about the untimely demise of Lisa Marie Presley has brought to mind all of the speculation found online over many years regarding the ethnic origins of her famous father.

Elvis has at various times been said to have had Cherokee, English, Choctaw, Jewish, German, Romani, Scottish, French, Dutch, or Danish roots.

This broad range of purported ethnicities reflects the difficulty in trying to untangle the genealogy of anyone with deep ancestry among the American underclasses.

A few people have pulled me up in the past regarding the use of the term “underclasses”, perhaps believing that the term carries some sort of value judgment.

This is not the case.

“Underclasses” refers to those people who, often through no fault of their own, struggled to gain a foothold in society – whether in terms of education, economic success, social acceptance, or access to the various levers of power.

One thing in American history was always a stone cold fact.

Being seen as anything outside “respectable white Christian” society was a ticket to nowhere.

The climb from “white trash”, “colored”, or “mulatto” into respectability was often a generations-long project.

The very first step in this project always began with religion.

Many evangelical Americans like to believe that America has always been a devout Christian nation, yet large swathes of its “white” underclasses share early roots among communities who practiced a myriad of religious faiths.   We are speaking primarily, but not exclusively, of indigenous and “black” communities here.

Think about it.

For people of color, a profession of Christian faith was the absolute bare minimum required in order to even be considered human.

For dirt-poor “white folks”, a profession of Christian faith cost no money, and instantly elevated a person into a position among “a more decent class of folks”.

The long – and not always successful – journey towards self-respect, education, and economic security could now begin…

The raw charisma and talent of Elvis Presley allowed him to leapfrog the generations it usually took most people of his background to reach “respectability”.

Maybe the jump from poor Mississippi underclass to international stardom was simply too much for a simple man to process.  Maybe trans-generational troubles caught-up with his daughter, too.

This is all just musing, because no one can be inside another person’s head.

But one thing is certain.

Having indigenous American, Romani Gypsy, African-American, Jewish, or any other “non-white” ancestry in early American history was not a good starting point for “life, liberty, and the pursuit of happiness”.

#BeforeWeWereWhite #LisaMariePresley #ElvisPresley #RagsToRiches