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“In their homelands, they were West Africans and West Europeans whose identities were determined by culture, heritage, region, but in this mixed new country, skin itself has currency as meaning, and they become black and whites. the whites who were at the bottom of the social ladder in Europe now have someone lower than them, and a lot of them seem to like it that way; they live for centuries in highly structured suspicion and interconnection.

“The ballads and rhythms of their musics mix with least inhibition, and in the twentieth century new indigenous musics evolve, out of the red dirt, the strong African and maybe Native American beats and rhythms, the Celtic melancholy, into the hillbilly music cleaned up as country and western, and into blues and rhythm and blues. They all dovetail as rock and roll, a medium that spreads less like imperialism than like the potato and becomes a local crop all over the world, particularly the English-speaking world, a local crop that expresses the insurrection of the young against tradition and authority, of the margin against the center, and that sometimes becomes an institution itself, like U2 in Ireland. The melancholy and the exuberance of slaves and outsiders have come, or come back, to Ireland.”

– Rebecca Solnit, A Book of Migrations

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