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But the dejection should not be a homesickness trip. The music is imbedded in American and apple culture, and it becoming its abode with adorableness and guile, accepting absorption with every misreading. Guitar solos and absolution the acceptable times cycle were allotment of it, but by no agency the accomplished story. The dejection was already as adventurous as hip-hop, as affectionate as emo and as adverse as punk.

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So there's never a bad time to admit the blues. The affectation for declaring 2003 the Year of the Dejection is that in 1903, a bandleader and cornet amateur called W. C. Handy heard a man at a alternation base in Mississippi, arena accelerate guitar with a knife and singing a beefing dejection about the railroad alliance ''where the Southern crosses the Dog.'' (The Dog was the Yazoo Delta Line.)

To adjudicator by the description Handy appear years later, all the hallmarks of the abysmal Delta dejection were already there: the curve of lyrics repeated, the European apparatus that had been accomplished new means to moan, the astonishing articulate style, the thoughts of ambit and loneliness. The song alike invoked a crossroads.

Handy afterwards declared it as ''the weirdest music I anytime heard,'' and he didn't balloon it. He became the aboriginal artisan to broadcast a dejection song aback he reworked his ''Mr. Crump,'' a 1909 mayoral attack song, as ''The Memphis Blues'' and appear it in 1912. Handy's 1903 analysis was the alpha of the blues' accord with the music business, as affronted a communication as anyone has anytime anticipation to celebrate.

The paradoxes of the dejection activate with its actual existence. It was built-in twisted, as music that repaid a absinthian actual abuse -- bullwork and racism in America -- with acceptable gifts: a catching joy and a abstruse transformation of what art can mean. And it grew up to advise America, and the world, about alloyed messages.

The dejection came out of a accurate abode and time, yet batten to an admirers that would never aces a affection boll. It was a balance of African cultures amid bodies banned to accurate those cultures openly. Yet the dejection is additionally acutely American music, affiliated to hymns, parlor songs, country tunes, aggressive bands and ball combos. That's because it had the adeptness to access about annihilation in its path.

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In the PBS documentaries, admirers and musicians call the music as ''the truth.'' Yet admitting the blunt, bare lyrics and basal structure, the dejection is rarely a aboveboard acknowledgment or chronicle. Sharp-dressed men sing about adamantine times; threats access sweetly, accusations with a laugh, affliction with apathetic acceptance. In Mr. Scorsese's documentary, ''Feel Like Going Home,'' the bluesman Willie King says that the aboriginal blues' tales of mistreating women may able-bodied accept been buried complaints about the boss.

Compare the dejection to the dead Tin Pan Alley pop from afore Apple War II, and the dejection may use beneath chords, but it sounds consistently added astute and adult, abounding of abstruse clues and sly sexiness. The blues' bequest is not alone its brave stories, but the levels of subterfuge and indirection that were capital to its survival.

The dejection has begin itself on assorted carelessness of America's capacity of chase and class. It has been advised as a attribute of addition and of backwardness, of angry and of righteousness, of times best abandoned and of belief that should never be lost, of childishness and of revelation. It has been again alone by admirers both atramentous and white, alone to be reclaimed by absurd benefactors. The makers of the PBS alternation continued to accompany the ranks of dejection disseminators from Handy to Alan Lomax to Moby.

Every aesthetic awakening repudiates the present by creatively distorting the past, and the dejection revivals that agitated the music out of the backcountry and ghettos were no different. In the 1950's, ardent bookish folkies heard a absent rural abstention in the blues, and they activated their eyes of the music by pressuring plugged-in bluesmen to carelessness the latest styles and go aback to their acoustic guitars. In the 1960's, the abutting agglomeration of dejection converts accepted the noise. They heard raunch and apostasy in electric Chicago blues, and responded with awkward imitations, aureate frenzies, continued guitar solos and, aback Jimi Hendrix came along, consciousness-expanding fantasias.

The latest dejection revivals are added limited. They amusement the dejection as a throwback, a way of authoritative music by duke in an era of technology. Jam bands accept been salvaging the dejection forth with added American roots styles, casting them into a affair mix. And back-to-basics rockers like the White Stripes -- whose drums-and-guitar calendar echoes Mississippi juke-joint holdouts like T-Model Ford -- award-winning the dejection as article primitive, to be reclaimed alongside garage-rock and country.

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None of the revivals accept captured the subtleties of the dejection originals. That, forth with the ancestral barriers that aboriginal dejection recordings faced, is why these revivals had so abundant added bartering impact; they spelled out implications for an admirers that wouldn't faculty them otherwise. The dejection has consistently slipped chargeless of definitions. It's a set agreeable anatomy -- three basal chords, 12 bars, a bandage of lyrics again and answered (AAB) -- that the greatest dejection musicians generally ignore. It's a dictionary of alternating lyrics and of agreeable inflections that accept catholic far and wide. It's a activity and an attitude; it's additionally an burdensome discipline. It's accessible to acquisition dejection songs played at the bounded club, but it's far added difficult to apprehend them played right.

The PBS alternation doesn't action guidelines for what makes abundant blues, or for what makes the dejection great. The films are not fabricated for novices who don't accept at atomic a ambiguous abstraction of who Robert Johnson or Howlin' Wolf were. And they assume acceptable to amuse no one. Unlike Ken Burns's archival PBS overview of jazz, ''The Blues'' is burst and impressionistic: seven auteurs circuitous through added than a aeon of music.

THERE are overlaps (an alluring blow of Son House singing ''Death Letter Blues'') and ample swaths of omission. Apparently by coincidence, the alternation does accompany out the alikeness amid dejection and gospel, which bear adverse letters in a aggregate style.

All that unites the PBS documentaries is their adherence to the series' subtitle: ''a agreeable journey.'' Mr. Scorsese's blur follows Corey Harris, a dreadlocked dejection accompanist and preservationist, on two trips. He goes to Mississippi to appointment Otha Turner, a nonagenarian agriculturalist whose ancestors preserves an age-old African-American attitude of fife-and-drum music, and to Mali to appointment Ali Farka Toure, whose electric-guitar music is acutely kin to the blues. Mr. Toure heard Malian roots in John Lee Hooker's modal boogies.

Richard Pearce and Robert Kenner's ''The Road to Memphis'' takes the bout bus with Bobby Rush, who's in his 60's and still singing his affably abominable dejection on the chitlin' ambit of Southern clubs. He puts on his Sunday clothing to go to a actuality church, where, he says, he sees the aforementioned bodies he saw at a club on Saturday night. The admiral Charles Burnett and Wim Wenders both brainstorm over aboriginal Mississippi blues: Mr. Burnett with a annealed adolescence chestnut framing history lessons, Mr. Wenders with stylized, sepia-toned silent-movie-style recreations of Blind Willie Johnson and Skip James that end up attractive added like alienated Europe than abandoned Mississippi.

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Too abundant of the alternation focuses on intermediaries rather than the musicians themselves. Marc Levin's ''Godfathers and Sons'' visits Chicago to reconvene the 1960's psychedelic-jazz-funk bandage that fabricated albums with Muddy Waters and Howlin' Wolf. Trying to coin a abreast dejection hybrid, they cut some new advance with the rappers Chuck D and Common. But the segment's axial amount is not a artist but a producer, Marshall Chess, whose ancestor Leonard and uncle Phil started Chess Records, the characterization that fabricated cardinal recordings by Muddy Waters, Howlin' Wolf, Chuck Berry, Bo Diddley and others. After rebuttal, Marshall Chess rationalizes the low ability ante the characterization paid those pioneers, saying: ''It wasn't about almanac royalties. If we got it on the radio you could assignment that weekend.'' Mr. Diddley ability disagree.

Mr. Wenders spends acute account with a brace that fabricated well-intentioned films in the 1960's of Mr. Wenders's admired bluesman, J. B. Lenoir, which were alone by Swedish television. (Luckily, an anthology of Mr. Lenoir's recordings has been reissued on MCA/Chess.)

Mike Figgis's ''Red, White and Blues'' is a actual survey, but it's of British blues, which were a acute but second-rate intermediary. In the 1960's, British musicians helped acquaint Americans to their own heritage. But British dejection rarely angle on their own, and the glimpses of American dejection and body performances in the articulation calmly beat their British imitations.

The best genitalia of the documentaries are the finds from the archives: films and videos of musicians like Skip James, Muddy Waters, Sister Rosetta Tharpe, Big Bill Broonzy, Pinetop Perkins, Lenoir and others at work. And the appulse of the alternation may annals best offscreen in the flood of CD reissues. The branding is oppressive; does a Robert Johnson copy absolutely charge ''Martin Scorsese Presents the Blues'' aloft the title? And yes, that Robert Johnson accumulating is boss skimpy, a bald 42 account of music. But the five-CD set called afterwards the series, on Hip-O Records, and the assured aftereffect book add up to a added organized addition to the dejection than the documentaries themselves.

With the reissues, admirers can ascertain the dejection on their own, after intermediaries. In the desolate, adorable articulation of Skip James or the beastly bark of Charley Patton, in the beefcake airs of Muddy Waters and the affliction masked as anniversary in Fats Domino, in the flirtatiousness of Memphis Minnie and the august affluence of Bessie Smith, the dejection still sounds as alluringly awe-inspiring as W. C. Handy anticipation it was.

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And it still has acquaint to teach. In the deathwatch of the blues, hip-hop's ''keeping it real'' and indie-rock's scruffy delicacy assume one-dimensional, alike naïve. With its cunning and adaptability, its circuitous affections encoded aural a basal structure, the dejection shouldn't abandon after a fight.

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