“The Noise of Our Living”: Richard Wright and Chicago Blues

Historicizing the musical genre known as “Chicago blues,” I further complicate Richard Wright’s already complicated attitudes toward “the folk” and modernity. Utilizing close readings of <i>12 Million Black Voices</i>, I show how Wright’s apparent denigration of the blues as an outmoded,...

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Main Author: Jeff Wimble
Format: Article
Language:English
Published: MDPI AG 2024-01-01
Series:Humanities
Subjects:
Online Access:https://www.mdpi.com/2076-0787/13/1/28
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author Jeff Wimble
author_facet Jeff Wimble
author_sort Jeff Wimble
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description Historicizing the musical genre known as “Chicago blues,” I further complicate Richard Wright’s already complicated attitudes toward “the folk” and modernity. Utilizing close readings of <i>12 Million Black Voices</i>, I show how Wright’s apparent denigration of the blues as an outmoded, pre-modern artistic form is dependent on his historical situation writing before the advent of a new electrified form of blues that developed in Chicago shortly after the book’s publication. Utilizing biographical details of the life of Muddy Waters, I show how his work as a musician in Mississippi, then in Chicago, and his development of an electrified blues style, parallels and personifies the shift from an African American perspective rooted in an agrarian, pre-modern south to an industrial, modern north documented so effectively by Wright. Furthermore, the Chicago blues musicians’ transmogrification of the rural Delta blues into an electrified, urban expression manifests the vernacular-modernist artistic conception which Wright seems to be envisioning and pointing toward in <i>12 Million Black Voices</i>.
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spelling doaj.art-68fc9aad17104dd2a11eb953f5b7c8c02024-02-23T15:18:57ZengMDPI AGHumanities2076-07872024-01-011312810.3390/h13010028“The Noise of Our Living”: Richard Wright and Chicago BluesJeff Wimble0Music Library, East Carolina University, Greenville, NC 27858, USAHistoricizing the musical genre known as “Chicago blues,” I further complicate Richard Wright’s already complicated attitudes toward “the folk” and modernity. Utilizing close readings of <i>12 Million Black Voices</i>, I show how Wright’s apparent denigration of the blues as an outmoded, pre-modern artistic form is dependent on his historical situation writing before the advent of a new electrified form of blues that developed in Chicago shortly after the book’s publication. Utilizing biographical details of the life of Muddy Waters, I show how his work as a musician in Mississippi, then in Chicago, and his development of an electrified blues style, parallels and personifies the shift from an African American perspective rooted in an agrarian, pre-modern south to an industrial, modern north documented so effectively by Wright. Furthermore, the Chicago blues musicians’ transmogrification of the rural Delta blues into an electrified, urban expression manifests the vernacular-modernist artistic conception which Wright seems to be envisioning and pointing toward in <i>12 Million Black Voices</i>.https://www.mdpi.com/2076-0787/13/1/28African American literatureblues music
spellingShingle Jeff Wimble
“The Noise of Our Living”: Richard Wright and Chicago Blues
Humanities
African American literature
blues music
title “The Noise of Our Living”: Richard Wright and Chicago Blues
title_full “The Noise of Our Living”: Richard Wright and Chicago Blues
title_fullStr “The Noise of Our Living”: Richard Wright and Chicago Blues
title_full_unstemmed “The Noise of Our Living”: Richard Wright and Chicago Blues
title_short “The Noise of Our Living”: Richard Wright and Chicago Blues
title_sort the noise of our living richard wright and chicago blues
topic African American literature
blues music
url https://www.mdpi.com/2076-0787/13/1/28
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