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An Appreciation of Chuck Berry (Letter) 23 April 2017 To Workers Vanguard, Chuck Berry (1926-2017) was very nearly the last of the black pioneers of rock’n roll from the 1940s and 50s including Little Richard, Ike Turner, Howlin Wolf and more, who lived, performed and innovated from the time of Jim Crow segregation and lynch law until well into the 21st Century. Chuck’s parents and grandparents on both sides knew their slave-born ancestors and passed on to him their names, relationships and stories. Like others before him, Chuck bucked his Baptist parents’ opposition to play “the devil’s music”. Consigned to the category of “race music”, he and his fellow rockers were exploited by promoters and recording companies, cheated of the rights to their songs, and later saw their songs covered with far greater commercial success by admiring white American performers and British invaders (Roll Over Beethoven, Sweet Little Sixteen). John Lennon was quoted as saying, “If you tried to give rock and roll another name, you might call it ‘Chuck Berry.’” Unable to make a living from their recordings, these musicians toured at an exhausting pace, staying in segregated accommodations and playing to segregated audiences. Where there were no hotels for blacks, they slept in their cars and ducked the police. They were virulently hated by politicians and law enforcement when white kids, especially white girls, began to literally dance across the color line, touching the explosive intersection of sex and race under capitalism. From Billie Holiday to Ray Charles, black musicians were targeted for beatings, confiscation of earnings, arrest and imprisonment, typically for sex, drugs and taxes. Chuck was hounded under the Mann Act, once for travelling with a married 17-year old and once with a teen prostitute. He was imprisoned for tax evasion (i.e., failure to set aside money to pay outrageously regressive self-employment taxes). Chuck built on previous musical advances, including those of Johnny Johnson, T-Bone Walker and Bob Wills, melding blues and country swing with his own style. He was a vivid story teller of the poor man’s experience (Nadine, No Money Down, Memphis Tennessee). He combined his slyly provocative lyrics, signature duck walk and a hard-driving rhythm, “the backbeat, you can’t lose it”. He made the crossover to biracial and teenage audiences, shedding his exploitive managers, signing with Chess Records, and getting a grip on the rights to his songs. Chuck was prominent among the musicians who boldly broke the color line in performance venues. He was unapologetic, and an icon for the 1960s generation who rebelled against the strictures of family and religion, imperialist war and racial oppression. The Freedom Riders, those who sat in at lunch counters, those who marched against the Vietnam War grew up on his music, knew his songs and his story. The life and hard times of Chuck Berry exemplified the fact that there is no original American music or culture without black music and culture. Beating all odds, Chuck Berry died in bed at his home at the age of 90. Ruth Ryan
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