The Blues
I've been watching the PBS series, The Blues. Tonight was the best film so far, just easing ahead of Martin Scorsese's first evening.The Road to Memphis was directed by Richard Pearce as an homage to Memphis, the city that birthed the blues. It followed B. B. King, Roscoe Gordon, Bobby Rush and others, ending with a performance at the Handy Awards. Some moments that struck me:
::. The radio station, WDIA in Memphis that became the station that hired and programmed for the Black population. B. B.'s memory of showing up for a job was wonderful. The station gave voice to a community that was truly world-changing for many.
::. The segment with Sam Phillips, the founder of Sun Records, known for his recording of a 19-year old truck driver named Elvis. Before that he had been recording the blues artists of Beale Street. His conversation with Ike Turner reveals a great deal of the world of the 1950s and the racism that was prevelant. Phillips did as much as any white producer could in his day to bring the blues to the greater culture.
::. But I would have to agree with Marin Scorsese in his introduction about the most profound moment in the show. The segment of the film is titled "Saturday Night, Sunday Morning." Independent touring artist Bobby Rush (at age 66, no less) is shown first in a rollicking, racy performance in a club on a Saturday night. He gets back on the bus for the overnight drive back home. Coming home to be at church at 9:15.
When I get to church , tired, I don't have to sing or anything what I did last night. Now I'm enjoying it. The same people we see on Saturday night are the same ones we see on Sunday.
[He then gets to the heart of worship]
I want Jesus to lift me up. On Saturday night I want my baby to lift me up.
Saturday night you're lifted up by your baby; Sunday morning you're lifted up by Christ.
There's no difference. You dance for Satan or you dance for Christ.
Wednesday night will be Warming by the Devil's Fire. As it says on the PBS site for the show: Director Charles Burnett (Killer of Sheep, My Brother's Wedding, To Sleep with Anger) presents a tale about a young boy's encounter with his family in Mississippi in the 1950s, and intergenerational tensions between the heavenly strains of gospel and the devilish moans of the blues.
Sounds interesting!