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iBlues for New Orleansi is a generous study of Mardi Gras, but it is also a creative intervention, a passionate explanation and defense of creolization, a cultural rescue operation. It is a furious, blues-tinged, erudite hymn to our greatest vernacular city. Read it and weep read it and rejoice!--Edward Hirsch, President, John Simon Guggenheim Memorial Foundation There is no more powerful celebration of the happy gumbo of life in New Orleans than Mardi Gras. In the aftermath of Hurricane Katrina, as the citizens of New Orleans regroup and some put down roots elsewhere, many people wonder what will become of one of the nation's most complex creole cultures. New Orleans emerged like Atlantis from under the sea, as the city in which some of the most important American vernacular arts took shape. Creativity fostered jazz music, made of old parts and put together in utterly new ways architecture that commingled Norman rooflines, West African floor plans, and native materials of mud and moss

Blues for New Orleans | Abrahams Roger | Twarda

Exploring the diverse landscape of American life, the stories in iBlues and Trouble Twelve Storiesi capture the lives of people caught between circumstance and their own natures or on the run from fate, from a Jewish couple encountering a dealer in Nazi memorabilia to the troubled family of a Gulf Coast fisherman awaiting a hurricane. p Tom Piazza's debut short story collection, originally published in 1996, heralded the arrival of a startlingly original and vital presence in American fiction and letters. Set in Memphis, New Orleans, Florida, Texas, New York City, and elsewhere, the stories echo voices from Ernest Hemingway to Robert Johnson in their sharp eye for detail and their emotional impact. New to this volume is an introduction written by the author. Drawing themes, forms, and stylistic approaches from blues and country music, these stories present a tough, haunting vision of a landscape where the social and spiritual ground shifts constantly underfoot.

Blues and Trouble | Piazza Tom | Twarda

A member of Muddy Waters' legendary late 1940s-1950s band, Jimmy Rogers pioneered a blues guitar style that made him one of the most revered sidemen of all time. Rogers also had a significant if star-crossed career as a singer and solo artist for Chess Records, releasing the classic singles That's All Right and Walking By Myself. p In iBlues All Day Longi, Wayne Everett Goins mines seventy-five hours of interviews with Rogers' family, collaborators, and peers to follow a life spent in the blues. Goins' account takes Rogers from recording Chess classics and barnstorming across the South to a late-in-life renaissance that included new music, entry into the Blues Hall of Fame, and high profile tours with Eric Clapton and the Rolling Stones. Informed and definitive, Blues All Day Long fills a gap in twentieth century music history with the story of one of the blues' eminent figures and one of the genre's seminal bands.

Blues All Day Long | Goins Wayne Everett | Twarda

bThis companion to the classic iIf You Meet the Buddha on the Road, Kill Him!i takes us on a spiritual search for inner peace with daily universal reflections. b pFrom renowned psychotherapist, philosopher, and risktaker Sheldon Kopp, iBlues Ain't Nothing But a Good Soul Feeling Bad ilyrically explores the uncertainties that plague us all. With insight and accessible writing, this remarkable book guides us to look inwardly and find the answers to questions such as p -How do I find a self of my ownbr -Where am I in my lifebr -Who am I in my worldbr -Where do I go from here p Challenging and provocative, iBlues Ain't Nothing But a Good Soul Feeling Bad ihelps us face our flaws and learn to accept and love all that we are.

Blues Ain't Nothing But a Good Soul Feeling Bad | Kopp Sheldon | Twarda

pbThe long-awaited reissue of the sequel to Amiri Baraka's seminal work, iBlues People.ibpBaraka writes with the passion and lyricism that can only come from a jazz critic who is uncompromisingly invested in the social and aesthetic dimensions of the music.br--biWBGObi Newark Public RadiopJones has learned--and this has been very rare in jazz criticism--to write about music as an artist.br--Nat HentoffpiBlack Musici is a book about the brilliant young jazz musicians of the early 1960s John Coltrane, Thelonious Monk, Miles Davis, Ornette Coleman, Cecil Taylor, Archie Shepp, Sun Ra, and others. It is composed of essays, reviews, interviews, liner notes, musical analyses, and personal impressions from 1959-1967. Also includes Amiri Baraka's reflections in a 2009 interview with Calvin Reid of iPublishers Weeklyi.pbLeRoi Jonesb now known as bAmiri Barakab is the author of numerous books of poetry, fiction, and nonfiction. He was named Poet Laureate of New Jersey from 2002 to 2004 by the New

Black Music | Jones | Amiri Baraka LeRoi | Twarda | Twarda

For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, iBlues People iand iBlack Music, iBaraka offers essays on the famous-Max Roach, Charlie Parker, Miles Davis, John Coltrane-and on those whose names are known mainly by jazz aficionados-Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to ge

Digging, 13 | Baraka Amiri | Twarda

pNew Yorker James Baldwin once declared that a black man can look at a map of the United States, contemplate the area south of the Mason-Dixon Line, and thus scare himself to death. In iThe Scary Mason-Dixon Line, i renowned literary scholar Trudier Harris explores why black writers, whether born in Mississippi, New York, or elsewhere, have consistently both loved and hated the South. Harris explains that for these authors the South represents not so much a place or even a culture as a rite of passage. Not one of them can consider himself or herself a true African American writer without confronting the idea of the South in a decisive way. pHarris considers native-born black southerners Raymond Andrews, Ernest J. Gaines, Edward P. Jones, Tayari Jones, Yusef Komunyakaa, Randall Kenan, and Phyllis Alesia Perry, and nonsouthern writers James Baldwin, Sherley Anne Williams, and Octavia E. Butler. The works Harris examines date from Baldwin's iBlues for Mr. Charliei 1964 to Edward P. Jones'

Scary Mason | Dixon Line | Harris Trudier | Twarda

iBlues Legacyi is a collection of poems inspired by and celebrating various genres of African American music. The poet's voice is stark and clear her lines are uncompromisingly lean and powerful, evoking the deepest, tenacious strains of African American political resistance and endurance. As the poetry moves along in familiar, everyday images, the poet peels back outer layers of experience to reveal the tender, vulnerable, striving energy of a people. iBlues Legacyi refers, then, to a revered music heritage, yes, but also to a way of life fashioned over centuries, characterized by the rhythms of perseverance, self-determination, and affirmation of beauty that have kept the people and their culture alive and evolving. While the poet honors this ancestral past, she also points to the future, appealing to African American women especially to empower themselves, and step confidently into their roles as community torchbearers.

Blues Legacy | Armstrong Jacquese | Paperback | Twarda

Contemporary African American dramatists such as Amiri Baraka, James Baldwin, August Wilson, and Suzan-Lori Parks as well as Lorraine Hansberry, Alice Childress, and Pearl Cleage find their creative inspiration in historical events from slavery to the civil rights movement. From the Emmett Till-inspired character in Baldwin's iBlues for Mister Charliei to Parks's recreation of Lincoln and Booth, these playwrights show that history is the mirror that shapes the identities of African American writers and characters.

Reading Contemporary African American Drama | Thompson Carlyle V. | Twarda

It started with a question about the blues what makes the music of the downtrodden black man so alluring to white middle-class ears And that's where it gets interesting. Because blues is more than a musical genre it's a cultural phenomenon that spans several centuries on both sides of the Atlantic, from slavery to Black Lives Matter, from Jan van Riebeeck to Fees Must Fall, from Robert Johnson to Abdullah Ibrahim. brbrIn iBlues for the White Mani, Fred de Vries looks for answers in America's Deep South, drawing historical parallels with South Africa's experience of colonialism, slavery, racism, civil war, segregation, and protest. Traveling to Atlanta, Memphis, Nashville, New Orleans, and the Mississippi Delta, De Vries speaks to musicians, Black Lives Matter activists, and Trump supporters. He continues the conversation in South Africa, interviewing student protesters, white farmers, and political thought-leaders to develop an understanding of white supremacy and black anger, white fe

Blues for the White Man | De Vries Fred | Twarda

Black Music | Jones | Amiri Baraka Leroi | Paperback | Twarda

iBlues of a Lifetimei is essential reading for people interested in suspense novelist Cornell Woolrich, author of Rear Window. Woolrich's autobiography includes accounts of his working methods, his family and home, memories of childhood, college experience, and his philosophy of life.

Blues of a Lifetime | Bassett Mark T. | Twarda

Can a type of music be owned Examining how music is linked to racial constructs and how African American musicians and audiences reacted to white appropriation, iBlues Music in the Sixtiesi shows the stakes when whites claim the right to play and live the blues. pIn the 1960s, within the larger context of the civil rights movement and the burgeoning counterculture, the blues changed from black to white in its production and reception, as audiences became increasingly white. Yet, while this was happening, blackness--especially black masculinity--remained a marker of authenticity. Crossing color lines and mixing the beats of B.B. King, Eric Clapton, and Janis Joplin the Newport Folk Festival and the American Folk Blues Festival and publications such as Living Blues, Ulrich Adelt discusses these developments, including the international aspects of the blues. He highlights the performers and venues that represented changing racial politics and addresses the impact and involvement of audien

Blues Music in the Sixties | Adelt Ulrich | Twarda

iBlues on Stagei presents a new history of the development of the Classic Blues of the 1920s, offering a comprehensive review of various Black singers who recorded and were influential in this era, including Bessie Smith, Trixie Smith, Butterbeans and Susie, and Ma Rainey. The business of music recording and publishing, including songwriting and touring theater circuits, is explored as part of the narrative of how and when these artists became nationally popular. The most highly regarded singers of this period were not folk or rural artists, but rather highly experienced stage professionals whose careers often extended two decades or more prior to their first recordings. These artists, some of the most famous acts on the Black vaudeville and tent show circuits, were preceded in the recording studio by many cabaret and nightclub singers with a different entertainment perspective and were followed by artists who came from a more rural, less professional background. For anyone interested 

Blues on Stage | Clark John L. | Paperback | Twarda

pbBreathe the blues into your harmonica bp pBlues harmonica is the most popular and influential style of harmonica playing, and it forms the basis for playing harmonica in other styles such as rock and country. iBlues Harmonica for Dummiesi gives you a wealth of content devoted to the blues approach--specific techniques and applications, including bending and making your notes sound richer and fuller with tongue-blocked enhancements use of amplification to develop a blues sound blues licks and riffs constructing a blues harmonica solo accompanying singers historical development of blues styles and important blues players and recordings.p pThe accompanying audio CD features all the musical examples from the book, plus play-along exercises and songs that let you hear the sound you're striving for.p ul liIn-depth coverage of major blues harmonica techniquesli liBlues song forms, improvisation, and accompanying singersli liInformation on blues history and personalitiesli ul pIf you're intr

Blues Harmonica for Dummies | Yerxa Winslow | Paperback | Twarda

Black Music--whether it be jazz, blues, rb, gospel, or soul--has always expressed, consciously or not, its African oral heritage, reflecting the conditions of a minority culture in the midst of a white majority. iBlack Talki is one of those rare books since LeRoi Jones's iBlues Peoplei to examine the social function of black music in the diaspora it sounds the depths of experience and maps the history of a culture from the jazz age to the revolutionary outbursts of the 1960s. Ben Sidran finds radical challenges to the Western, white literary tradition in such varied music as Buddy Bolden's loud and hoarse cornet style, the call and response between brass and reeds in a swing band, the emotionalism of gospel, the primitivism of Ornette Coleman, and the cool ethic of bebop. The musician is the document, says Sidran. He is the information himself. The impact of stored information is transmitted not through records or archives, but through the human response to life.

Black Talk | Sidran Ben | Paperback | Twarda

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