Mr. Speaker, I would like to thank the distinguished Representative from California (Ms. Watson) for the time. H. Res. 476 celebrates the 30th anniversary of Black Music Month. It was first introduced by President Jimmy Carter, and…
Mr. Speaker, I would like to thank the distinguished Representative from California (Ms. Watson) for the time.
H. Res. 476 celebrates the 30th anniversary of Black Music Month. It was first introduced by President Jimmy Carter, and President Carter recognized the influence--I guess, the Waldons kind of helped President Carter get going in Georgia, in Macon, Georgia, and of course that was James Brown, and there were a whole lot of folks there that Jimmy Carter was impressed with and the Allman Brothers, too, but he certainly was a James Brown guy in Georgia.
I was at an event this weekend, Mr. Speaker, in Memphis at Anthony F. Elmore's home honoring African culture, and there was a gentleman who played the drums at the beginning of the presentation. And after he finished he made a comment. He said, Without Africa, there would not be a beat. There wouldn't be a beat.
And I thought about that and I thought about this resolution and realized that he was correct. The beat's what it's about, a lot of folks believe. It's what makes music what it is or rock and roll or blues or jazz. A lot of times, I mean it's lyrics and so many things, but the beat's what it is, and that's what's unique about this contribution to music is the beat.
It came from the Mississippi River. It came from the Delta. Memphis is the home of the blues and the birthplace of rock and roll. It's my hometown, and St. Louis had the blues, too. W.C. Handy was from Memphis and a great innovator, and he spent time in both Memphis and in St. Louis. And then if you spin off a little bit to Kansas City, Charlie Parker, who was really the father of bebop and jazz, and Kansas City, where they've got a jazz museum, and he got a special kind of music going and went to New York with Dizzy Gillespie and Max Roach and some other jazz greats and brought a jazz form that I guess had its roots not only in Kansas City, but also in New Orleans with Louis Armstrong and James Booker, who was such a great keyboard performer and gave birth to folks like Professor Longhair that tickled the
ivories in a special manner that's the New Orleans style. It's really a gumbo of music that comes out of New Orleans with the Neville Brothers, the Marsalis family and Louis Armstrong, who did such a special music out of New Orleans.
It all emanated from the Delta, and it came from--whether it be gospel, as Ms. Watson commented, or blues, it evolved and brought about a new art form.
In Memphis, we had Stax Records, where Otis Redding from Georgia came to record his music. Isaac Hayes, my good friend and who was a chief in Ghana and passed just about a year ago this month, produced Shaft, and he took a special experience to Los Angeles with the Watts Music Festival. And Isaac Hayes was performance art and just beyond music. He was a unique individual who took a certain style and a certain music. Isaac never knew how to read music but he knew how to write it and produce it, and he was a genuine American, unique musician and hero.
Isaac Hayes came out of Memphis, the Bar-Kays and so many people out of Stax Records. There was also Hi Records in Memphis where Willie Mitchell produced Al Green. And Memphis is very proud of its musical heritage, which is preserved in the Stax Soulful Music where the Stax Records were on McLemore, and at the same time there was Motown in Detroit with Stevie Wonder and Martha Reeves and the Vandellas and the Supremes and on and on and on.
Memphis and Detroit both are very proud of our musical traditions and histories, and we support those; Memphis in particular, where Elvis Presley was a transformative individual that took an African American musical heritage and combined it with some Tennessee country or rockabilly and produced rock and roll. And he, like Michael Jackson, were crossover figures that had a major influence on American society because they told youth that race wasn't an issue. The music got beyond race.
America has had a problem over its history with race, and one thing Elvis Presley did is it told a lot of young white people that it was cool to shake your leg and to like music and to show some emotion and expression. And Michael Jackson showed a lot of people that what he produced was fine in different cultures, and it wasn't necessarily one race that liked that particular music or another and was a transformative effect.
The reason we celebrate Black Music Month is because of the tremendous contributions that this country has received from musicians that are African American. And whether it's jazz, whether it's blues, whether it's gospel with Mahalia Jackson and Aretha Franklin and other people from the pulpit, or whether it's other forms where Nat King Cole or Sammy Davis or Lena Horne made such an impression or Marian Anderson, it's a particularly special place and it's allowed, I think, a transcendent voice for a civil rights movement.
Harry Belafonte did calypso, a different type of music, but Harry Belafonte was strong in the civil rights movement and helping move this country forward. And I think there was a lot of African American music that helped make the civil rights movement happen and make people understand, by identifying with performers in music in ways they otherwise could not identify with African Americans because of our segregated society, about how wrong it was that segregation existed and allow an opportunity for people to see that from a more personal, visceral level, and to make this country change and become the more perfect union that it needs to become and to live up to the ideals that our Founding Fathers had about a society where all men were created equal, which really wasn't true for so many years.
I think music has had a great influence, and black music has had an influence on our country that is special, and the reason we honor Black Music Month is we remember those ideals and remember these people that were creative in our society over the years. Some young people don't know about jazz. They don't know about a Lionel Hampton and what he could do with a xylophone or some of the other great performers, and we need to know that history and revere it.
I had a dear friend named Warren Zevon who died in 2003. He was a folk singer, a rock and roller, but he knew he was going to die. And when he was close to death, he talked with a man named Jorge Calderon who cowrote with him, and they were talking about dying. And he said to him, he said, Warren, it's not bad. He said, You will get to see Miles. And here was rock and roll folk singers, and what were they talking about was Miles Davis because he transcended music and race. Miles Davis, he was something special, and there were so many performers like that.
And that's the reason why it's important that we recognize that heritage and that history, what it's meant to America, not just in entertainment but in social change, and that's why I'm proud to join the 70 cosponsors and to speak in behalf of this resolution and ask that we pass H. Res. 476, that we encourage schools and teachers to teach the arts, to teach music and to teach this heritage so that people understand how music can really move a country and a society forward.