According to the sleeve notes of their new album, Blue and Lonesome, Rolling Stones’ guitarist, Keith Richards, wants written on his gravestone:
He passed it on
The gnarled rockers’ latest album returns to their roots, echoing their first LP, it is a homage, a love story, a dedicated exploration of the blues. With each of the twelve bars and harmonica blow the Stones pass it on and if they hadn’t ever bothered what would our musical culture be like now?
It is not for us, it is not for them, it is for the love of the music itself that they pass it on. From Muddy Waters to Chuck Berry the Stones helped introduce these guys to our shores. Nowadays some may complain about cultural appropriation, I prefer to call it cultural education, conserving and adding to our culture. From the swamps of the Mississippi and Can’t be Satisfied to Satisfaction (I Can’t Get No) and the Thames Estuary, the flow of time and the Hoochie Coochie would bring the bluesmen together, it is the music that they are servants to.
As Hannah Arendt said, education must be conservative, in the sense of conservation and this is an important part of the job. Pass it on, from oral, to written, to online; we have a duty to conserve the things that matter and even some of the things that don’t just in case that, one day, they might.
As Hector says in The History Boys:
Pass the parcel. That’s sometimes all you can do. Take it, feel it and pass it on. Not for me, not for you, but for someone, somewhere, one day. Pass it on, boys. That’s the game I want you to learn. Pass it on.
The late great Alexis Korner the ‘father’ of British Blues said of the time just after the war:
In those days, between the ages of 12 and 18 you meant nothing. You were the extra place at the side table if someone came to dinner. You were too big to be petted or fondled or thought pretty and you were too small to work and you were of no interest to anyone, and you had a chance to learn—this is what’s missed today
In many of the arguments about what to teach many talk about what might be good for the child, what might be useful, accessible, engaging, fewer talk about what might be for the good of the subject itself. Maybe if the ‘needs’ of the child were to become less of a concern, instead of worrying about their destinations and putting their every piece of work under scrutiny, we could rebalance things. Teach what is good for the survival of the subject, one day it might make a difference to someone.
Teach Shakespeare’s plays for the intrinsic gift of the plays themselves. And play the Blues, because of the intrinsic gift of the blues. The chance encounter between Richards and Jagger on platform two at Dartford railway station, found the old school chums brought together by a mutual love of the blues, a band formed with the need to pass that love on, to add to it, and, now, on their latest album back to their roots again as they go full circle back to the tradition.
Teachers pass on the stories of their subjects, not because it is intrinsically good for the child, for the job market or for the betterment of humanity, but because they have to. This is the gift the teacher gives, every day. This is why what you pass on has to be qualitatively superior, as it is for the good of the art, and those arts, in turn, survive because they are the saviour of someone, somewhere, sometime, even though the charges in front of you in a lesson don’t get it, one day a child of a child of a pupil in front of you might, and that’s why you keep going.
Muddy Waters had no idea the satisfaction his music would create for two teenagers in Dartford, but thankfully he just passed it on. Changed it and passed it on.