<laasquith@brookes.ac.uk> Wed, 17 Jun 1998
Paul Oliver is among the world's most influential blues historians and writers. His classic book, Blues fell this morning : the meaning of the blues, published in 1960 was an important influence in my understanding of blues. You can read about one of his visits to Maxwell Street in his book, Blues Off The Record: Thirty Years of Blues Commentary (Da Capo Press, 1984, pp. 170 -173). He is also an architecture scholar and is the author of the recently released Encyclopedia of Vernacular Architecture of the World. - S.B.
The book jacket of the recent new edition of my book "Conversation with the Blues" (Cambridge University Press, 1997) has my photograph of Arvella Gray, blind street singer/guitarist seen on the corner of Halsted and Maxwell in 1960. I used this because his narrative is one of the most moving in the book and the situation typical of that in which virtually all migrant singers from the South found themselves when arriving in Chicago. Similarly, the cover of the new edition of my "Story of the Blues" (Northeastern Press, 1998) has my photograph of Johnny Watson, also known as Daddy Stovepipe, then the oldest surviving blues singer (he was 91 in 1960) who, once a recording artist, was still playing for nickels on Maxwell Street. Maxwell Street is of importance both to the Jewish and the African American communities in Chicago, but I have the latter in mind when I state that this is the sole remaining representative of the fertile ground in Chicago which gave rise to the urban blues which was to revolutionize the popular music of the world.
George Cantor's "Historic Landmarks of Black America" (Gale Research Inc. 1991) depicts on its cover the Apollo Theatre, Harlem, New York. In spite of the many landmark theatres, dance halls and clubs that were home to Jazz in Chicago such an illustration would not be possible from the South Side. Only a publishing house, a hospital, a monument, a park and a museum could be found to represent Chicago in this work; of African American music and culture there is nothing. Writing as one who is professionally involved in building conservation, especially of the vernacular and popular traditions, I wish to appeal in the most serious terms, for the protection and conservation of the Maxwell Street Complex. No one will be thanked for its wanton destruction when African Americans, indeed all who internationally respect and care for their music, regard the little of their heritage in buildings that remains for the pleasure and pride of future generations.
Paul Oliver, NDD, ATD, FRAI, Dr.Arts
Director: Centre for Vernacular Architecture Studies
Oxford Brookes University
Click here for a synopsis of general Blues lecture by Dr. Oliver, including a recent picture of him.
Click here to read a Tribute to Paul Oliver on his 70th birthday in 1997. This includes an complete bibliography of his works and a picture of him in 1957.
web page provided by OPENAIR-MARKET NET
return to Preserve Maxwell Street