Introduction

            Blue Chicago, the popular blues club located on the 500 block of Clark Street just north of the Chicago River, has been a popular attraction and staple of the community for over fifteen years.  The club, located in the prime tourist area north of the Loop, offers authentic blues music every night of the week.  Within eyesight of the club’s front door are popular nightlife locations such as the Hard Rock and Rainforest Cafés.  After being greeted by Lorenzo, the husky, yet friendly bouncer at the front door, fans are invited inside.  Thick smoke and blaring music are immediately noticeable as fans make their way deeper into small club.  Blues fans of all different nationalities, race, and class come to enjoy the live music and friendly atmosphere.

	Fig. 3. Lorenzo greets blues fans at Blue Chicago. Source: Blue Chicago.

            For nearly eighty years, Chicago has enjoyed a pure American art form.  In the past fifteen years, blues music has grown to be one of Chicago’s most identifiable nightlife attractions. To the delight of many national and international fans, the history, culture, and roots of southern delta blues are kept alive by a small community of devoted musicians, businessmen, and fans residing in the Chicagoland area.  The community has created a circuit of clubs, independent record labels, and musical acts that entertain local, national, and international audiences every night of the week.  The Chicago blues circuit has been alive and profitable for over half a century.  In the past thirty years, despite the popularity, many aspects of the culture, tradition, fan base, and business have threatened to alter the landscape of this circuit. 

            With a nation that continually looks to the future, preserving a pastime has become increasingly difficult.  Artists dedicated to preserving the traditional sound of blues music are slowly being influenced by pop culture.  Money, recognition, and respect are some of the points of interest of current blues musicians.  As more rock and roll and pop music enters blues music, the traditional roots become increasingly blurred.

Tradition vs. Evolution, the Growing Argument in the Blues Community

            The sound of traditional blues or 12-bar blues as it is sometimes called, is derived from a basic 12-bar chorus with three major chord changes. [1]   The 12-bar blues chorus has become so uniquely defined as an American art form, it has transcended into other forms of American music like rock and roll and country music.  What make the chorus sound bluesy that rock and roll and country music do not utilize is “the basic I – IV – I blues chord structure, and the information that ‘blue notes’ are defined as ‘flatted notes’, especially the third or seventh degree of the scale, recurring frequently in blues and jazz as a characteristic feature.” [2]   The original style and structure of the music that was created in the southern delta would not remain in the south.  The first generation of electric blues artists from the thirties, forties and fifties that migrated from the delta to the streets of Chicago pioneered a unique sound that still carries today.  Artists like Muddy Waters, Howlin’ Wolf, Hound Dog Taylor, and Willy Dixson helped create a style that was fitting for the rough life of the streets of Chicago. [3]   Throughout the forties and fifties, these pioneering artists inspired a new generation of local artists.  Second generation blues artists sought to continue the sound, feeling, and tradition of Chicago blues music.  Today, this generation of artists is growing older, and many are passing away.  Despite a rich history, the window of migration is now closed.  Since first generation artists are no longer migrating to Chicago, and second generation artists are no longer learning from the first generation of artists, the sound of traditional Chicago blues roots music is in danger.  “With a lot of these guys passing away, the talent pool is shrinking,” says Gino Battaglia, owner of the popular Blue Chicago clubs in the downtown area. [4]   The most logical solution to keeping traditional blues alive is to have younger artists take on a more active role of moral responsibility.  However, the problem runs a little deeper, and the younger artists have different values than their predecessors. Since the fifties, rock and roll has moved into the national spotlight and has spawned several blues crossover artists like Bo Diddley, Fats Domino, and Chuck Berry.  In the sixties, The Beatles, The Rolling Stones, and Eric Clapton gained fame by adding a rock influence to blues roots music.  With over fifty years of rock and roll, the influence is showing in the younger blues artist.  Many of today’s young Chicago blues talents are increasingly influenced by rock and roll.  “There’s been a change in the past fifteen years,” adds Battaglia,  “A lot of the older guys have passed away.  Some really, really good people died.  I see a trend here with some younger guys going with blues-rock, which is not really my thing.  I like to stay more closer to the classical-traditional.” [5]

            The line between traditional blues and rock and roll blues is creating a small, yet significant debate within the blues community.  Some think that blues music should stay true to its roots, while others believe that the music should expand. “I’m more of a progressive twenty first century blues person,” says guitarist Pistol Pete,  “I think it’s good for people to venture off and play all types of other styles, just to see what would happen.  Because the world is evolving, you’ve got to evolve, and the blues is gonna have to evolve.” [6]

Globalization of Blues Popularity

            In terms of popularity, blues music has evolved.  In the past thirty years blues music has grown in popularity all over the world.  “We really do have uniquely American roots music, and people all over the world are interested in it,” says Jerry Del Giudice, the co-owner of the independent record label, Blind Pig Records. [7]    Del Giudice is ecstatic over the rise in record sales overseas.  “As the world shrinks, as communication gets better, transportation gets better, information is more readily available, we find people all over who buy our stuff” adds Del Giudice. [8]

            The international fame of blues music was created through interesting circumstances.  In the fifties and sixties, live music was very popular, and live blues performances were well received all over Chicago. [9]   “Back then, there were a lot of bars on the south side, every bar had live music,” recalls Battaglia. [10]   During this time period, local artists could make a good living playing rock and roll and blues music.  “I remember in the sixties you could drive through the south side and you could hear music everywhere,” added Battaglia, “And it was all blues.  Blues, R&B, Chicago soul was big.  It was huge, a really good music scene.” [11]  

            Despite the popularity, times started to change.  “Right around 1970 it changed” says Battaglia,  “because music got to be expensive.  The recorded music became more popular.  Disco killed live music.  Not only blues, musicians really were having a hard time getting gigs then.  It was really tough.” [12]   As popular music made a shift from live performances to dance clubs and disco balls, many musicians struggled to make a living.  Because national audiences were no longer interested in live music, many local artists began to look internationally for work.  Europe provided the opportunity.  As Battaglia recalls, “The scene in the seventies got stronger in Europe.  A lot of the blues guys, some of them moved to Europe, and there they got a much bigger audience, the got more money than they were making here in a neighborhood tavern.” [13]

	Fig 4. Pistol Pete and Joanna Connor performing at Harlem Avenue Lounge, Berwyn IL. On January 15 2002. Photo by Author.

            Despite a low of popularity in the United States during the seventies, blues music continued to grow in popularity overseas.  The early eighties showed a rebound as local and national audiences rediscovered blues and live music. [14]   Although American audiences have a new appreciation for the music, international fans have shown they appreciate it just as much or even more so.

            Today, some argue American roots music is more popular in other countries that it is in the United States.  Battaglia, a native of Italy says,

            Local artists have discovered markets internationally that enjoy the style and sound of Chicago blues.  Many local acts tour successfully at a national and international level. “The blues is a good vehicle because you can go anywhere, and play any style of blues and people like you, and you make a good living.” adds Sam Cockrell, whose latest release from his band, Sam Cockrell and the Groove has reached as far as Jerusalem. [16]   Pistol Pete, reminiscing about a recent tour of Poland says, “That was a whole total different experience. It was good.  I learned a little bit of Polish, and got to know them, and they appreciate it.  They appreciate American black music over there.” [17]  

	Fig 5. Sam Cockrell performing. Photo by Author.

Musicians’ Identities and the History of the Blues

            Part of the reason for blues music’s mass appeal lies within its deep historical roots.  With such a rich and deep history, local artists feel they responsible for carrying on the tradition.  The task itself seems like more of a moral responsibly of the musicians out of respect for the tradition of the music.  This tradition can create problems.  Paying too much homage to earlier works can create a sense of repetitiveness.  While blues fans from all over the world flock to the Windy City to hear the “Chicago Sound,” local musicians lose part of their individuality when burdened with the music’s history.  Tourists and other fans are fond of crossover hits like Wilson Picket’s “Mustang Sally,” B.B. King’s “The Thrill is Gone,”  Muddy Waters’, Got my Mojo Working,” “I’m you're Hoochie Coochie Man,” and Blues Brothers rendition of Elmore James “Sweet Home Chicago.” [18]   As David Grazian suggests, “Since the repertoires of these local Chicago bands typically revolve around celebrated and exceedingly well-known blues, swing, R&B, and pop standards, their performances always sound surprisingly familiar, even to uninitiated listeners.” [19]   As local artists play a lot of crowd pleasers, individuality and expression of the artist performing is often lost.

            Local musicians playing to tourist crowds often grow weary of playing the same material over and over. [20]   Grazian’s study led him to Daniel, a guitarist and bandleader that plays regularly at Eddie’s, a local blues club.  Daniel recalls his feelings for playing the same material,

            Despite some musician’s displeasure of playing the same material, they have a way of adding their own individuality to the music.  Most musicians have a way of adding their own influence into classic songs. 

            Other artists simply acknowledge former greats, but pay homage in their style of play, not by playing covers.   Performing a cover tune traditionally means that an artist performs a song written or performed by another artist.  In blues music, cover tunes are common because audiences recognize and enjoy local artists’ interpretation of popular blues songs.  Del Giudice believes that the cover tunes phenomenon has a deeper meaning, “people like Luther Allison or Magic Sam, they really liked Muddy Waters, but they didn’t do Muddy Water’s music, they took that music, they took that line and made their own.” [22]  

            “Making a song your own” is another common aspect in the music industry.  That is when an artist covers a song, adds their interpretation, and eventually creates a new “feel” for an older work.  The “making it your own” is more than merely covering a piece of music.   It is most effective when causal fans recognize the newer version of the song, and mistakenly believe that the new artist wrote it.  Some examples of artists “making music their own” include Aretha Franklin’s rendition of Otis Redding’s “Respect” or Elvis Presley’s cover of Willie Mae "Big Mama" Thornton’s  “Hound Dog.” [23]   Both Franklin and Presley are so wildly recognized for the renditions of these songs, fans have embraced them as the “true” performer.

            It is a little different for blues artists in terms of “making a song your own” in the sense that they are performing under a shadow of rich history.  Many blues fans are aware of the original artists, but they appreciate the local performer’s interpretation of the music.  Stevie Ray Vaughan’s rendition of “Texas Flood” provided a commercial boost to his popularity in the early 1980’s, even though he did not write the song. [24]   “I used to do “Texas Flood” regularly, so he (Vaughan) chose that song, he asked me if I would teach it to him” recalls singer Angela Strehli of the late guitarist. [25]   “Of course, that became so popular, I felt good.  But after that song was so much identified with him that I stopped doing it,” adds Strehli. [26]   Since his death in 1990, “Texas Flood” has become a staple within modern blues music. [27]   The song has been immortalized to the extent that it is identified among fans as Stevie Ray Vaughan’s own material.

            Local artists on the Chicago blues scene have to be educated in the history of blues music in order to draw influence and inspiration from earlier artists.  “These guys heard the earlier artists but they just took those influences, took their own influences and made another kind of music” added Del Giudice. [28]

            Blues music is a unique form of music because the standard 12 – bar chorus is universally accepted.  Therefore, artists can play the blues with out any real rehearsal time.  Everyone from local armatures to national acts can play together and it can sound professional.  Nearly every Chicago club has an “open jam” night where armature blues musicians can get together and perform.  In nearly all of the cases of open jams, the artists performing together do not know each other.  With open blues jams allowing non professional artists a chance to perform among live crowds, and the fact that many professionals in the blues circuit know each other, a strong bond between artists can occur.  Many blues artists love to play with one another and collaborate with each other on projects.  This willingness among artists to encourage each other aids to the friendly atmosphere of the circuit.

            Despite a strong rapport among fellow artists, musicians sometimes have to cater to the live audience and that sometimes alters their performance.  Blues artist often have to find a balance of musical authenticity and commercially accepted music.  Blues fans demand authentic music, but at the same time, tourist blues fans want to hear music they recognize. 

Authenticity, Legitimacy, and the Intrusion of Popular Music in The Image of Blues Music

            Music has had a long history of being tied to image.  Pop culture’s target of today’s youth market is the most readily available example of how important image is to music.  Blues is not considered “popular” according to industry.  Blind Pig Records as well as Alligator Records, the other popular independent blues record label operating in Chicago are not considered very highly to the pop industry.  Blues music is never considered “popular” by today’s standards, however, the demographic audience is too large to simply ignore.  Independent labels look to carry specialty music.  “Britney Spears is essential product,” says Del Giudice, “to them, (the popular record labels) specialty music isn’t lucrative enough.  Now they refer to us as “Non-essential product.” [29]  

            Although blues music may seem to be the complete opposite of “pop” music, there are similarities.  Popular music engages in image and style that routine change.  With the aid of shopping malls, movies, and MTV, popular culture is dependant on youth trends.  Although blues music may appear to be geared towards older audiences, it would be deeply short sighted to say that it does not engage in image or youth trends.  The image is very much a part of the blues, and pop culture is narrowing in on blues music.  

            The past decade has revealed evidence of the growing importance of image to blues music.  In 1995, a young guitarist out of Shreveport Louisiana named Kenny Wayne Shepherd created a lasting impression in the blues community with his début release, “Ledbetter Heights.” [30]   With the heavy influence of blues-rock legends Jimi Hendrix and Stevie Ray Vaughan, Shepherd looked to carry the blues style of rock guitar to new generations of fans.  With endorsements from blues and soul legends B.B. King and James Brown, Shepherd, at the tender age of seventeen, broke into the national stage. [31]   With Shepherd leading the way, a flood of young blues talent begin popping up in the national stage.  In the past five years, Jonny Lang, Susan Tedeschi, and Shannon Curfman have broken into the national and worldwide blues markets. 

            With new young artists playing blues music, it creates controversy because questions arise regarding their image as well as their legitimacy.  The question of who “gets” the blues toys with pre-conceived notions about who plays the music.  If there were ever a quintessential image of a blues artist, it would probably be of an elderly African American.  Since the dawn of the music, there has been a sense among the general public that you have to be black and old to play the blues.  The young white artists currently playing the music are not either of these.  The blues has such a strong connection to African American culture, the music has become stereotyped into exclusive black custom.  Author Francis Davis expresses explains the power and misconceptions between the blues music and African American culture,

            To countless white Americans, a blues song is any song delivered by a black singer.  The same is true, ironically, of countless black Americans, though what we’re dealing with in their case isn’t a reflexive stereotype, but an ideological belief in the blues as a sensibility that pervades all forms of black song – indeed, all aspects of black life. [32]   

            White musicians continue to enter the blues field dispite this mass perception of African American dominance.  Times are changing, and the image of the traditional African American blues artist is fading. 

            Of these “Next Generation” young white blues stars, all of them have presented and marketed themselves to the growing legions of younger fans.  The main portions of these younger fans are products of the white majority.  The past five years have presented a shift in the marketability and demographics of blues music.  In the past decade, the music market of MTV and VH1 has prompted major record labels to push young blues musicians with clean images onto a national stage.  Record companies are no longer focusing on the music alone.  “It’s becoming increasingly more important,” says Del Giudice,  “Because that younger group of people who will become blues fans in the future have grown up their entire life with MTV, VH1.” [33]   Today, the youth market has more spending power than ever, and record companies are always trying to find ways of capitalizing on this youth market. 

            The major labels taking a business like approach to the blues and the young blues artists on the major labels are appealing to younger audiences.  As Del Giudice adds, “If they sign a ‘blues label’ mostly it would be like somebody like Jonny Lang or Susan Tedeschi.  Because, that’s another rule in business, if you want to sell large numbers, young people buy records from young people.” [34] Some say that the popular music industry is simply feeding the market what it desires.  “That’s the nature of popular music,” says Barry Dolins, the special events coordinator for City of Chicago, “in a way, they are able to identify with the majority of the audience.” [35]

            Arguments and debate over the legitimacy of blues music can overshadow the fact that it is a business.  The biggest difference between the major record labels and local Chicago business involved in blues music is the fact that the major labels are primarily focused on making money.  The local entertainers and clubs and independent record labels are mainly focused on keeping a tradition alive.  “Who profits by it and for what reason, is a function of the marketplace not a function of the music.” adds Del Giudice. [36]

            Blues, as an American style of music, has become a major profit making industry.  While white young artists are playing the blues to a larger pop market, the debate continues to whether that is a good thing for blues and the tradition.  The question of legitimacy regarding who exactly plays and listens to blues music seems to be somewhat of a short sighted question, but it has been whispered quietly among fans and musicians.  Is blues music losing authenticity by selling out to pop culture?  Many fans and artists believe that blues music is doing exactly that.

            Although Kenny Wayne Shepherd can be credited for the recent “popularization” in blues music, many musicians were quick to criticize his achievements.  Many artists, including a large portion of the local Chicago market were very critical of Shepherd’s success.  White young stars are getting much of the attention in blues music, while many equally talented musicians in Chicago are forced to continue to work the local circuit without much recognition.  “One thing I can say about them is they ain’t never paid no dues!”  local blues guitarist Pistol Pete comments, “They made it because somebody knew somebody.  If that person never knew somebody, they be just like us.” [37]   “Just like us,” as Pistol Pete says, would be referring to many musicians that have worked hard in local circuits with dreams of getting a big break.  However, the young white artists seemed to have skipped the hard part of “paying dues.”  They are making more money, and are considered more recognizable in the national stage.  “(It’s) very fabricated” adds Pistol Pete,  “It’s all produced.  It’s not raw.  There’s nothing raw about it no more.  Who ever is running the industry now, is fucking it up.  Through my eyes they fucking it up.” [38]  

             “The young people are talented,” says Battaglia, “The other musicians are a little more resentful, that these guys are not as good as they are.” [39]   Paying dues and having talent are only part of what makes an artist successful.  “You have to have the look, you have to have the performance, and you have to have and the material.”  says Del Giudice, “It’s a package, man.  You’ve gotta have all three.  And then you have to have a lot of luck.” [40]  

            In reality there are two ways to become successful with blues music.  If there was ever a perfect way to become an ideal blues musician, it would come through working hard, paying dues, and gaining respect within the blues circuit.  Going this route gives an artist a certain level of legitimacy, at least within the eyes of fellow blues musicians. 

            The question of legitimacy and authenticity creates a lot of problems in itself.  As David Grazian reports, “Authenticity isn’t a characteristic of something as much as it is an argument about it, existing only the recesses of subjective evaluation and interpretation.  Objectively speaking, everything is ‘authentic’ – What else would it be?” [41]   Although the younger artists on the national stage seemed to have skipped the “ideal” way to becoming blues artists, they nonetheless are creating music that younger people are listening to.  However, many musicians feel that the younger artists have simply not experienced enough in their lifetime to really feel the emotion that comes with playing the blues.  “If you haven’t got your first piece of good lovin', how can you sing with the grit?” asks bandleader and guitarist Toronzo Cannon. [42]

            While many local musicians question the legitimacy of these younger artists, many established artists are quick to endorse the young stars. [43]   Shepherd, unexpectedly caught in the middle of this legitimacy argument, has some powerful figures in the music industry that have come to his defense.

             “I just witnessed one of the wonders of the world.  I am not talking about B.B King or Howlin’ Wolf, and it is not T Bone Walker” says James Brown, “It is Kenny Wayne Shepherd, who is the new phenomenon in the music business.  The only thing I can say is that he has soul, soul and plenty of soul.” [44] Despite the back of big names, many local musicians are still uncomfortable with the fact that younger artists are achieving greater success.

	Fig 6. Toronzo Cannon Performing. Photo by Author.

Race Relations: Who Has the Right to Play the Blues?

            Younger artists having to pay dues is only scratching the surface of a larger problem that has faced the music business over the past half century.  The blues market in Chicago is a micro image of the larger problem of race relations in the nation.  The injustice of African American blues artists not receiving the recognition might come down to the image issue.  “Lets face it, sometimes its marketing, it’s a subtle racial thing.”  says Battaglia, “Maybe a record label feels they are a little more marketable.” [45]  

            Many believe that being more marketable simply means to have a different color of skin.  Many black musicians have become resentful over the achievements of these younger blues musicians.  “It’s a great white hope thing” says lead singer K Holliday, “Everybody lookin’ for the great white boxer to knock out a black guy, or the great white basketball player to dunk on a black guy.  You have to be three times as good when you are black, then if you are white.” [46]   Holliday’s remarks can be echoed by the majority of the black artists through out the Chicago circuit. 

            Race and image have a long history of being intertwined.  The past has shown that many African American artists have not been given due credit for their musical innovation.   Blues music is very similar to rock and roll in the fact that both were heavily influenced, if not created by African Americans.  In the early to late forties and early fifties, rock and roll was created out of African American influenced blues music.  Sam Phillips, owner of the Sun Records, and Elvis Presley’s first producer, took considerable flak for supposedly abandoning his black artists once he discovered Elvis Presley. [47]   Presley gained considerable fame by playing African American inspired music to the nation’s white majority.  Presley’s image of good looks and sexually suggestive shaking hips proved to be a hit with middle class white teenagers.  Presley was considered more marketable that his African American rock and roll counterparts.  “We had rhythm and blues for many a year,” said Dave Bartholomew, producer of Fats Domino in the early fifties, “and here come in a couple of white people and they call it rock and roll, and it was rhythm and blues all the time!” [48]

            The term “rock and roll” itself was derived from black slang for having sex. [49]   Disc jockey Alan Freed started using the term “rock and roll,” “indicating music that was black (‘R&B’) in style but not necessarily made by black artists or aimed primarily at black audiences.” [50]   Since the late forties, the term rock and roll was transformed from an African American slang term to a cultural art form directed at the white majority of the nation.  The original term has lost all meaning. 

            When rock and roll shifted its focus on a larger national audience, it gave blues music every opportunity to retain the roots, sound, and culture from the rural south.  “There is no denying that blues is in fact essentially a black American art form” says Del Giudice. [51]   Although blues music was invented by African Americans, it never seemed to be intended for just African Americans.  “Blues has always had a large following of non-black Americans” says club owner Ken Zimmerman, “It’s kind of like a sub-culture, the blues.  A lot of people are attached to it.” [52]  

            Although many artists in the Chicago circuit are devoted to retaining the roots and traditional sound and blues music, there is no denying the fact that money and business help shape the industry.  Pop culture and major record labels out to make money are moving in and effecting the authenticity of the blues.  “It’s not about the music no more” says Cannon, “It’s about how many units they can sell.” [53]  

            Local blues artists are not the only ones to ponder the image of black musicians.  Buddy Guy, arguably the most popular and most recognized artists to come from the Chicago blues circuit, recently commented on the current state of the music.  “When you’re black, it doesn’t matter how good a blues record you make,” Guy said in a recent interview, “you’re not going to get it played on these big radio stations unless some super guy like Eric Clapton or Stevie Ray Vaughan plays the same thing you played.” [54]

            Not all of Chicago’s local musicians are angry at this shift in blues music. While the race issue still remains a force, it is rarely between black and white musicians.  Black musicians generally embrace white musicians with open arms. [55]   A large section of local talents in Chicago have seemed to accept the industry’s usage of young white artists.  “Image and packaging is way more (important) than talent now” says slide guitarist Joanna Conner, “Kenny Wayne Shepard and Jonny Lang are good.  Kenny Wayne, there’s a guy on every block.  He’s just really pretty, and he’s nice to look at.” [56]  

            Local musicians are not the only ones affected by the shift in blues popular culture.  Many established blues artists on the national stage have expressed a positive attitude toward younger white musicians who grew up listening to their music. “I’m very proud of them.  Every time I go to New York, I play with Jonny Lang, Kenny Wayne Shepherd and Susan Tedeschi” adds Guy. [57]

            Many local artists have come to terms with the marketability of the young white blues musicians.  “A person is what they are.  They have no choice in the matter of being black white, red, yellow” says Cockrell. [58]   Many of Chicago’s blues musicians downplay the race issue.  “If you can play the blues, it doesn’t matter who you are – anyone can play the blues,” says Shawn, a black bass player involved in the Chicago circuit.  “It doesn’t take a certain kind of person to play the blues.  Everybody gets the blues right?” [59]   Many of the young African American musicians on the Chicago scene are not caught up so much in race issue because they too grew up with the MTV and VH1 and the marketability of white musicians do not shock them as much.  “It gets me a little bit,” says Cannon on the success of young white musicians, “but those cats, they know somebody or somebody backin' em, and hey, you can’t down them for making money!” [60]   Some musicians believe that it still comes down to artist’s talent level.  “I think either you can play or you can’t” says guitarists Mike Wheeler, “Or you lucky, being in the right place at the right time.  As far as white guys getting out here, not paying any dues, I just chalk that up to them being in the right place at the right time.” [61]

            Many local blues musicians simply do not want the recognition.  Respect and acknowledgment are only minor injustices when compared something more monetary. “(I would like a) little bit of fame, but I’d rather have the money as opposed to the fame.” adds Wheeler in a joking way, “If I could make the money and not have the fame, that would be cool.” [62]   Financial security seems to be a major concern for today’s artists.  “I’m not a racist” says Holliday, “I don’t see no color but green!  I want to make money.” [63]  

            Despite local African American artists having a hard time reaching the national spotlight, image and race issues still remain in the Chicago scene.  Since the local Chicago circuit has become such a popular attraction in the past thirty years, a constant flood of tourists flood the local clubs in search for authentic blues music.  In many tourists’ eyes, the roles are reversed.  Many tourists walk into blues clubs expecting to see black people playing the blues.  When they encounter white musicians, they regard them with less legitimacy. [64]

            While some international blues fans feel that white musicians do not have the right to play the blues, others with local roots feel that international artists have no right to play it either.  Cannon, who leads a local group that features two Japanese artists says,

            Since modern blues has become so popular in the worldwide markets, many artists from other countries have come to Chicago to study blues music.  What once was a music defined by one culture, blues music has made an important transition into a culture in itself.

The Diminishing Role of African Americans in Blues Music

            Although blues music has a strong history of African American roots, the music is growing more popular with the white middle class and international markets. As blues become more popular, fewer and fewer African Americans are involved in the circuit.  There are still plenty of African American artists, however the African American fan base is shrinking  “African American culture, what is so amazing about it,” says Joanna Connor, “is that it’s always been cutting edge and they’ve always set the standards so they keep moving.  They’re gone.  They left the blues, they’re doing something else now.” [66]   One theory suggests that young black kids are choosing hip-hop and rap music over rhythm and blues because the can identify with that style of music.  “Young black audience, they look at blues as their father’s, parents music, or grandparent’s music.”  Adds Battaglia, “It’s not for them.” [67]   As guitarist Mike Wheeler says,

	Fig 7. Mike Wheeler Performing. Photo by Author.

            The history of the culture and message of blues music is in danger, at least with the relation to younger African Americans.  Since pop culture is always evolving, it stays new.  Some believe that the market is swaying listeners away from roots music.  As Pistol Pete explains, 

            It’s a crying shame because of the market.  Again, it’s all what you hear on the radio.  The radio programs everybody.  If they kept R&B and funk and still played Hip Hop, kids would still be into it.  You got radio stations changing their format everyday.  So you gotta call up the radio stations.  The radio stations, the record companies, the distribution, they changing the format of music.  They the one programming our kids.  They get that on the radio, of course the kids are like, ‘I like that!  Whoo!  Oh Yeah!’  They gonna forget about some damn blues.  But then, maybe they’ll come back around. [69]

            Although, African Americans are expressing less interest in blues music, there are plenty of young white and international musicians that would be glad to take the passing torch.  However, blues music is part of the entertainment industry, and the first rule in entertainment is to make money.  Middle class white people and international blues have slowly replaced the African Americans as the main fan base for blue music.  However, there is no evidence that this change in fan base actually has any effect of the music itself.

Conclusion

            Many musicians on the local Chicago circuit take the stage with a goal to someday break through to the national market.  Although many of musicians are unhappy with how blues music has been “popularized” on a national level, most of them would be happy to have an opportunity to be a part of the national circuit.  The pinnacle for many of Chicago’s musicians would be to break on to the national stage, stay there for long period of time, but at the same time carry on the tradition and still keep the respect of fellow blues musicians.

            The pinnacle for me would to make a couple of huge records that would go just global.  To be comfortable, not filthy rich but not have to worry about ever wondering where to next dollar is coming from.  And to pick and choose as I’m doing now, when I’m gonna work.  And that would be it, because there are only a few people who are going to reach that kind of success with the way the economy has gotten.  It’s getting worse every year.  So there are very few people that can still come here and guarantee a sell out.  So, if you can get close to that, and enjoy what you are doing, that’s blessing from God. [70]

            Blues music is very much a part of the tradition and culture of the city of Chicago, however, as society moves forward, traditional aspects become increasingly difficult to preserve.  With the growing popularity of youth trends and popular culture, there is always a concern that authentic music will become satirized with commercialism.  The fear of traditional blues fading in favor of     up-tempo rock blues has not been met.  The strings that attach modern blues music to the roots founded by artist that migrated up from the south are not broken.  The traditional style of blues is very much alive in Chicago

            Despite constant changes of society, blues music has shown a surprising amount of staying power.  Although distractions from popular culture, race issues, and an expanding audience fan base, blues music continues to be a popular nightlife attraction in the city of Chicago.  “One of the reasons it has such great appeal is has a universal message” says Del Giudice, “It’s a musically simple yet emotionally complex music.” [71]   Still, despite growing concerns, many people of different cultures continue to pack the local blues circuit.  Lorenzo, the local bouncer of Blue Chicago will continue to welcome blues fans for years to come.