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It wasn’t accepted among the comments, so I’m trying to post it here.
It’s a great article about Juke Joints...

United States, along the roads of the juke joints
Myths / Old venues where blues has always been a daily soundtrack. Traveling from Memphis to New Orleans. Meeting places that have helped build and spread African American culture

United States, along the roads of the juke joints

Gianluca Diana

On December 30, 2023, Cornelius Orlando “Red” Paden passed away at the age of sixty-seven, a figure almost unknown to most but central to the African American contemporary blues scene. He was known as Red or, even more simply, Red’s, which is also the name of his juke joint in Clarksdale, Mississippi. Telling his story and, in turn, that of the physical space forever tied to his memory means delving into the concrete mythology of the blues, made up of the women and men who have traditionally lived in and inhabited those places. It is an endeavor that risks descending into the worst kind of rhetoric, the one connected to the imagery of the last blues musician and the equally final juke joint: “last of the bluesman and last of the real juke joints” are the worst clichés one can apply to contemporary African American culture, giving a distorted image of reality.
People were already speculating about “lasts” at the beginning of the Sixties, predicting the imminent end of the blues and those who embodied it, claiming that the revival icons of the time—among the main ones, let’s remember Mississippi John Hurt, Big Bill Broonzy, Son House, Nehemiah Skip James, and Mississippi Fred McDowell—represented the end of an era. Since then, countless cotton-Delta blues and new blues talents have flourished, demonstrating that the main American folk expression is alive, well, and in great shape. So if you avoid donning the clothes of a compulsive tourist, always eager to capture unbelievable moments on social media like no one else in the world, today’s Deep South is a wonderful place to visit. To do so in the best, most correct, and respectful way towards those communities, it may be helpful to have a similar approach to the masters of wandering like Bruce Chatwin and Joe Sacco. The ability to listen and observe will help you understand that with Red’s passing, nothing has truly ended: another chapter in the story has simply been added.

THE EPICENTER
Cornelius was born on November 27, 1956, in a tiny rural settlement in northwest Mississippi called Alligator, in Bolivar County. From a young age, he was nicknamed Big Red, a name he would carry throughout his life. As a young man, he distinguished himself with quite a good career on local football teams, which he later left to complete his studies at Jackson State University. Once he finished that path, he made Clarksdale, where he began working as an entrepreneur, the center of his life. The childhood memories of some of his family members involved in the jukebox trade postremo:
 
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Another definition of Juke (or Jook) Joint

Zora Neale Hurston’s essay, Characteristics of Negro Expression, published in 1934, was perhaps the first attempt, in the form of an official document*, to define the jook joint.
Hurston treated the jook as an indigenous Black cultural formation:

Jook is a term that indicates a pleasure house for Blacks. It can mean a pleasure house. It can also mean the secluded house that is set up during public works where men and women dance, drink, and gamble. Often, it is a combination of all these things. (89)

Similar to night clubs, jook joints acquired a particular flavor through their association with the labor camp culture in the South. The Florida State Guide of the Federal Writers’ Project connected Florida’s jook joints to the work of Blacks in the turpentine camps in the north of the state; “less well known are the Black ‘jooks,’ primitive rural equivalents of resort night clubs, where turpentine workers relax in the evening deep in the pine woods” (114).

It is no coincidence that jook joints are associated with labor camps; they arose as a necessary secular social counterpart to the reorganized labor system after emancipation. “They were often built like labor camps, turpentine camps, or sawmills, allowing the workers to let off steam after a hard day—or more often a week—of work” (Juke Joints and Jubilee 5). Some scholars have argued that jook joints reproduced the private leisure space of the plantation in the new social order (Hazzard-Gordon 77).

*The definition of jook contained in the Oxford English Dictionary cites her book Mules and Men, published in 1935, as the first mention of the word in literature.

• Juliet Gorman, May 2001 •

What is a Jook Joint?

And another record...

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Juke joint is a dialectal English term used to describe those venues, mostly run by African Americans in the southern United States, where music was played, people danced, drank, and gambled.

The word “juke” is thought to derive from the Creole term “joog,” which means noisy and disorderly. Another word used to describe these places was “barrelhouse,” which could be translated into Italian as "bèttola." These venues began to spread after the emancipation of African Americans, who needed a place to gather and unwind from the hardships of their strenuous work. Field workers and sharecroppers would frequent these makeshift venues—just four wooden planks and a bit of sheet metal—where they could finally be free. The owners supplemented their income by selling food to patrons and the famous moonshine, a corn mash liquor that was most often distilled illegally.
(https://it.wikipedia.org/wiki/Juke_joint)

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