"The Birthplace of America's Music" & Its Effect on Music Globalization

Here’s a statistic that will knock you on your ass. There is one state (a rather unlikely one) that’s racked up more Grammy Awards than any other; but if you combined the amount of Grammys won and the amount of Grammy nominees, it's suggested they tally up more than the next 25 states combined. Who is it? California? No. New York? No. Ummmm Tennessee? No. M-I-S-S-I-S-S-I-P-P-I……..correct.

The branding campaign adopted by the State of Mississippi declares “Mississippi-The Birthplace of America’s Music,” and I would say it’s dead on. The campaign is the culmination of the perfect storm of business relationships, political leaders, and innovative thinking from the State’s tourism board. What makes the branding tagline staggering is the authenticity. No gimmick, no spinning of facts, and no marketing ploy. So I’m sure readers are wondering what this has to do with “Music Globalization” so let me take you there, but before walking down that path it’s important to briefly look at the Mississippi music heritage.

Without putting on the hat of music historian (which I’m not authorized to do), the migration of music throughout the United States indeed started in the sweltering Mississippi Delta, churches in Tupelo, beaches on the Gulfcoast, and impromptu music venues scattered throughout the Magnolia state. You can start anywhere and essentially trace musical roots back to Mississippi- a 6° of Mississippi music if you will. The tall tails of Robert Johnson selling his soul to the devil in order to play the guitar paved the road for legends such as Howlin Wolf and Muddy Waters. Muddy Waters and the Mississippi Delta, according to The Rolling Stones & Eric Clapton, inspired them to play music. The soul shaking gospel music that was born in the hospitality state churches spawned inspiration for Elvis Presley who groomed an immeasurable amount of musicians. Can’t stop yet: Jimmy Buffest taking beach music mainstream, Faith Hill helping commercialize country while LeAnn Rimes helped carry the torch, B.B. King making the blues cool again, Leotyne Price mantling more opera Grammy’s in history, Jim Henson turning the Muppets and their songs into household tunes,. I’m literally trying to find the end here: R&B sensation Brandy, “The Killer” Jerry Lee Lewis, Mavis Staples, Ike Turner, Britney Spears, Lance Bass, 3 Doors Down, Sam Cook, or Jimmie Rogers. I’m just naming commercially known names here folks. If I go down the nominee path or famous producers such as Glenn Ballard who produced Alanis Morissette or Willie Dixon’s contribution to Chess Records we would be here all day. The amount of legendary record labels or topnotch music businesses such as Peavey Electronics aren’t even factored into this amazing list. It is safe to say the roots run deep; but the strength of those roots are fertilized with timeless musicians who’ve revolutionized and influenced the industry around the globe.

It is fitting this legacy is now being revealed. As the music industry changes and major labels are now seen as irrelevant monsters to expanding a musical career, the “corporate” industry is played out. The glitz of California, which still has more major labels than any other state, or the hardnosed business arrogance of New York doesn’t necessarily attract the common musician or fans today. Indies rule the industry, and as artist flock away from the mainstream muscle industry, smaller markets are emerging. Indie labels are scattered throughout rural markets, not booming metropolises. The fact indie’s impact the marketplace more so than majors is reassurance that the major markets are no longer necessary. I’m not suggesting California and New York are being overrun by the Mississippi music scene, not going to happen, but rather revealing why the methods of the past are running its course. Believe it not, Mississippi has a sex appeal around the world that in specific areas far outweigh L.A. and NYC. It’s got authenticity other places don’t have. The world recognizes Mississippi’s musical roots. The United States doesn’t. As the industry scrambles to more global markets, sometimes a Mississippi connection opens more doors than the perceived muscle on the left coast and right coast. People’s hang up on the Southern state originated from stereotypes formed within the United States and typically from individuals that have never even stepped foot in the state to experience the positives of the culture and debunk a myth. Travel outside of the American border and the world sees glamour in the Magnolia state. They see authenticity and musical legends emerging that can’t be duplicated. In today’s industry where upcoming artists need to find a different hook, marketability, and global appeal, the methodical war on the east and west may not be worth fighting today. It’s not different. It’s not authentic, and more specifically doesn’t have the global appeal people in the U.S. think it does.

Readers who know my background may accuse me of being overly biased on this issue. Being Mississippi born and raised and a place I call home, damn right I’m biased, however my adoptive town of Chicago has allowed be to be objective. I can hear the argument: LA, NYC, Chicago, and Nashville made these artists successful. They made these artists commercial sensations. True. Unfortunately Mississippi has been loaning out its talent for decades, but finally Mississippi is recalling all its loans. The music market in Mississippi couldn’t (and can’t) provide the vehicle to make these musicians mainstream. The Mississippi blues had to migrate to Chicago to get popular, jazz moved to New Orleans, rock headed out west, and pop, opera, classical, and theatrics packed up to head north. Absolutely, Mississippi couldn’t/can’t explode musicians into international sensations but the state sure can breed them. Unfortunately the state does not have the amount of music venues, diversity, or economic means to self contain and manage its artists. However, much like the mid level musicians in today’s market that are fed up with big city bullshit and promises of stardom, Mississippi is sick of being taken advantage of by the “music professionals” that made careers feeding off Mississippi talent. The industry monsters are no longer dictating what/whom/when something is popular. The once essential need to attach yourself to the major markets in the major cities is no longer relevant. I’m pleased that (1) musicians now recognize this distinction after years of getting screwed by the evil empire, (2) Mississippi is absolutely determined to rebuild its music scene, and (3) the State’s politicians and tourism are aggressive about securing its place in not only American music history but in the world. So back to the question: am I biased on this topic- “yes”. Argue with me all day as I’ll gladly debate; but be aware of one final side note before you start the sparring match. The National Academy of Recording Arts and Science (aka: Grammy Association or NARAS or The Recording Academy), an organization that is universally known and arguable the controlling force in the music industry has teamed up with Mississippi. NARAS does NOT work individually with any other state. Because of Mississippi’s deep musical heritage, NARAS, working in conjunction with Peavey Electronics, produces The Peavey Awards to honor Mississippi’s Grammy legacy. This relationship is unmet by any other state. So if you disagree with me about the true ‘Birthplace of America’s Music,’ fine. However NARAS also recognizes this legacy, and if you disagree with the Recording Academy I truly question your legitimacy in the music industry.