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The World Don't Owe Me Nothing
This vivid oral snapshot of an America that planted the blues is full of rhythmic grace. From the son of a sharecropper to an itinerant bluesman, Honeyboy's stories of good friends Charlie Patton, Big Walter Horton, Little Walter Jacobs, and Robert Johnson are a godsend to blues fans. History buffs will marvel at his unique perspective and firsthand accounts of the 1927 Mississippi River flood, vagrancy laws, makeshift courts in the back of seed stores, plantation life, and the Depression.
The World Don't Owe Me Nothing
He hopped the freight trains of blues lore - the Pea Vine, the Southern, and the Yellow Dog - and played the riverboats, juke joints, and good-timing houses along the dusty roads of the Delta.
Burning All Illusions
This is a book about freedom. Above all about the idea that there is often no greater obstacle to freedom than the assumption that it has already been attained. What prison, after all, could be more secure than that deemed to be "the world," where boundaries of action and thought are assumed to define not the limits of the permissible, but the limits of the possible. In the past we have been prisoners of tyrants and dictators, and consequently have needed to win our freedom in very concrete, physical terms. We now need to free ourselves not from a slave ship or a concentration camp, but from many of the illusions fostered in our democratic society. "[A] wise and acute analysis of the way our minds are controlled, not in a totalitarian state, but in a 'democratic' one. Edwards also suggests how we can escape this control in a self-help book which, unlike other books of this genre, connects our inner world of alienation with the world outside."--Howard Zinn "[A] treatise on what freedom truly means.... Burning All Illusions is an important philosophical and psychology text that should be on every political science curriculum reading list!"--Wisconsin Book Watch
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Today's Chicago Blues
Profiles dozens of Chicago's blues musicians; discusses the city's blues history; and offers tips on clubs, radio stations, record labels, grave sites, and places of interest to blues fans.
Representing Black Music Culture
In this collection of essays, interviews, and profiles, William C. Banfield reflects on his life as a musician and educator, weaving together pieces of cultural criticism and artistry and paying homage to Black music of the last forty years and beyond. The essays and interviews in Representing Black Music Culture: Then, Now, and When Again? are enhanced by seven years of daily diary entries that reflect on some of the country's most respected Black composers, recording artists, authors, and cultural icons, including Ornette Coleman, Bobby McFerrin, Toni Morrison, Amiri Baraka, Gordon Parks, the Marsalis brothers, Maya Angelou, Patrice Rushen, Billy Taylor, Herbie Hancock, and Quincy Jones. A...
Seems Like Murder Here
Winner of the 2004 C. Hugh Holman Award from the Society for the Study of Southern Literature. Seems Like Murder Here offers a revealing new account of the blues tradition. Far from mere laments about lost loves and hard times, the blues emerge in this provocative study as vital responses to spectacle lynchings and the violent realities of African American life in the Jim Crow South. With brilliant interpretations of both classic songs and literary works, from the autobiographies of W. C. Handy, David Honeyboy Edwards, and B. B. King to the poetry of Langston Hughes and the novels of Zora Neale Hurston, Seems Like Murder Here will transform our understanding of the blues and its enduring power.
A Blues Bibliography
This revised and updated definitive blues bibliography now includes 6,000-7,000 entries to cover the last decade’s writings and new figures to have emerged on the Country and modern blues to the R&B scene.
Blues with a Feeling
Whenever you hear the prevalent wailing blues harmonica in commercials, film soundtracks or at a blues club, you are experiencing the legacy of the master harmonica player, Little Walter. Immensely popular in his lifetime, Little Walter had fourteen Top 10 hits on the R&B charts, and he was also the first Chicago blues musician to play at the Apollo. Ray Charles and B.B. King, great blues artists in their own right, were honored to sit in with his band. However, at the age of 37, he lay in a pauper's grave in Chicago. This book will tell the story of a man whose music, life and struggles continue to resonate to this day.
Sounds So Good to Me
The roots of much American music lie in the intensely personal art form of the blues. What bluesmen from W.C. Handy to B.B. King have told us about their lives has shaped America's perception of the blues. These life stories provide central insights into blues music and stand as a fascinating form of narrative in their own right. Barry Lee Pearson has conducted dozens of field interviews and collected over a hundred published autobiographies to present this collective portrait of bluesmen's careers as they themselves tell them: their musical learning, communities, work, pleasures, travels, triumphs, and crises.
