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A strange thing you learn about American popular music, if you look back far enough, is that for a long time it didn’t much have “genres” — it had ethnicities. Vaudeville acts, for instance, had tunes for just about every major immigrant group: the Italian number, the Yiddish number, the Irish one, the Chinese. Some were sung in a spirit of abuse; others were written or performed by members of those groups themselves. And of course there were the minstrel shows, in which people with mocking, cork-painted faces sang what they pretended were the songs of Southern former slaves.
This was how we reckoned with our melting pot: crudely, obliviously, maybe with a nice tune and a beat you could dance to. Sometime in the 1950s, the mainstream saw its last great gasp of this habit. A nation that considered itself very space-age and worldly enjoyed quaint spins on sentimental Italian music (“That’s Amore” and its pizza pies) and Trinidadian calypso songs about hard, simple labor (“Day-O” and its bananas). You had your “Latin” numbers, your Hawaiian ones, your “Asian” songs — light ethnic pastiches laid out cheerily, like an international buffet that serves falafel one day and schnitzel the next, never too bothered about how accurate the recipes are. There was a simple notion behind all this stuff, and it was the belief that music, like food, came from someplace, and from some people. Even when it was played in a condescending ethnic-joke burlesque of who those people actually were — even when it was pretty aggressively racist — the notion remained: Different styles sprang from different people.