Blues music got its much-deserved place in the sun when Congress proclaimed 2003 The Year of the Blues. The yearlong, centennial celebration honoring blues music's immeasurable contribution to American culture was designed to raise the visibility of a musical genre that's seen its share of hard times.

"I think blues has been, and in many ways remains, the stepchild of American music. It's probably the greatest musical influence of the 20th century, not only on jazz and rock and roll, but on other forms of music," said Dr. William Ferris, a member of the Year of the Blues (YOTB) national advisory board. "I think the Year of the Blues is the first step in doing right by the blues."

The Martin Scorcese-produced film series "The Blues" was the highlight of the YOTB programming, which also included a public radio series, commemorative CD and DVD releases, and education initiatives.

But how effective were these programs in raising blues music's profile and improving the livelihood of blues artists in the Triad?

Regional blues artists and club owners appreciated the fact that blues music was being recognized, but some expressed disappointment with the results.

"I've been playing live shows, many of them festivals, all through the Year of the Blues. I didn't meet one person, out of hundreds in 2003, who said, "This Year of the Blues made me check out Blues music," said blues guitarist Steady Rollin' Bob Margolin.

The consensus is that the Scorcese films created the most buzz out of all the YOTB events, especially among fellow musicians and existing blues fans.

"I think those films being on TV reached a lot of people who might not have been interested in blues," said Mike Wesolowski of Blues World Order. "There's a lot of people who don't know they like the blues until they happen to hear it. Anything that anybody can do to get it into the mainstream is good."

Shiela Klinefelter of The Ladies Auxiliary said, "I would like to think it (YOTB) had some impact. I'm not sure exactly what. Maybe it made them (the public) appreciate that it's good stuff."

Ferris, who is the director of The Center for the Study of the American South at the University of North Carolina-Chapel Hill and author of "Blues from the Delta" believes that the YOTB did have an impact. "I'm sure there are ways in measuring record and book sales and concert ticket sales, but there are other ways that are more difficult to measure, in terms of how these programs influence audiences. Blues in schools introduces students to the history of the music and teaches them how to play the music. This is essentially the creation of new audiences. It's building the future in a way that creates the foundations that have not been there in the past."

Klinefelter said she's seen these young audiences at jam sessions that she runs. "We've got young people 18 years old into the music. It's as if they've been into blues their whole life," she said.

Thea Chaplin, owner of Thea's Blues & Jazz Club said he did a "whole lot of special things" to celebrate the YOTB and expose a new generation to the music. "I had acts from Mississippi, Tennessee, Louisiana. Clarence "Gatemouth" Brown was in my club last year and it wasn't more than 10 people. Blues is the root of all music and for no one to come out and listen is a shame."

Art Jefferies, owner of the Clubhouse which hosts a blues jam session on Wednesday nights, expressed a similar sentiment. "I wish blues had a better following and I wish people would come out and listen to the fine blues musicians we have in the area."

Blues artists and club owners say the YOTB didn't translate into more gigs or an improved business climate in 2003.

"It definitely didn't do anything for me but gave me the blues," said singer/songwriter Roy Roberts, who owns Roy's Place and Rock House Records. "We had a bad year in terms of performing and making money. It didn't help my record company. It's the economy, that's what happened."

Margolin said he did a little better in 2003. "I think the success I had was from my performances, hard work, and credentials which I've earned."

Wesolowski of Blues World Order adds, "I saw clubs closing. I saw crowds not what they used to be. It (YOTB) was a good thought, but it just didn't turn out to be what everybody thought it would be." Despite challenging economic conditions, blues music is flourishing in other ways.

"Ironically, poignantly, today's blues music is more alive and growing than ever in an artistic way," said Margolin. "From the most traditional to the most progressive, both legends and youngbloods are carrying the music forward with creativity and passion."

Ferris said it's critical that steps are taken to preserve blues music's legacy and ensure its future.

"Blues is in no way dying. I think if anything it's growing," he said. "But it has not had the structural support that other music has - gospel, jazz, country - brick and mortar institutions, well-endowed institutions. B.B. (King) to his credit is doing this in his hometown of Indianola, Miss.

"Blues has been denied its rightful place at the table and it's gonna require an angel, several angels who have deep pockets and a commitment to the blues. We have to refuse to allow to give blues anything less than its fair share. When this happens, our nation will have come of age."