The really talented observers are not like travellers or journalists reporting colourfully on the unknown (‘Anyone here been raped and speaks English?’), nor even like the real insiders, who risk taking for granted what strikes us as strange, but somewhere in between. They have to mix perception, curiosity and information. Roy Kerridge demonstrates their ambiguous gift in this misleadingly modest booklet. Like the Alexandrian poet Kavafy (in E.M. Forster’s famous phrase), he ‘stands at a slight angle to the universe’, being both outside and part of the scene on which he comments.
Though the title From Blues to Rap suggests that this scene is transatlantic, and Kerridge has made the traditional European blues buff’s pilgrimage to the American South, essentially he is writing from a very British point of view, both as someone formed in the 1950s, the first era of a musically defined British youth culture, and as a member of a family combining white and black, in a milieu that combines hedonism and salvationist religion.
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