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A veteran music journalist explores rock-n-roll’s bayou roots in “a jolting 18-track joy ride [that] unlocks secrets and back-stories worth savoring” (The Wall Street Journal). The bayou of the American south—stretching from Houston, Texas, to Mobile, Alabama—is a world all its own, with a rich cultural heritage that has had an outsized influence on musicians across the globe. In this unique study of marsh music, Dave Thompson goes beyond the storied stomping grounds of New Orleans to discover secret legends and vivid mythology in the surrounding wilderness. In Bayou Underground, the people who have called the bayou home—such as Bob Dylan, Jerry Reed, Nick Cave, Bo Didley, a one-armed Cajun backwoodsman, and gator hunter named Amos Moses—are unearthed through their own words, their lives and music, and interviews with residents from the region. Included interviews with legendary musicians like Jerry Reed and Bo Didley, Bayou Underground is part travelogue, part social history, and part lament for a way of life that has now all but disappeared.
A magical coming-of-age story from Coretta Scott King honor author Jewell Parker Rhodes, rich with Southern folklore, friendship, family, fireflies and mermaids, plus an environmental twist. It's city-girl Maddy's first summer in the bayou, and she just falls in love with her new surroundings - the glimmering fireflies, the glorious landscape, and something else, deep within the water, that only she can see. Could it be a mermaid? As her grandmother shares wisdom about sayings and signs, Maddy realizes she may be the only sibling to carry on her family's magical legacy. And when a disastrous oil leak threatens the bayou, she knows she may also be the only one who can help. Does she have what it takes to be a hero? Jewell Parker Rhodes weaves a rich tale celebrating the magic within.
Texas, the 1930s—the years of the Great Depression. It was the Texas of great men: Dobie, Bedichek, Webb, the young Américo Paredes. And it was the Texas of May McCord and "Cocky" Thompson, the Reverend I. B. Loud, the Cajun Marcelle Comeaux, the black man they called "Grey Ghost," and all the other extraordinary "ordinary" people whom William A. Owens met in his travels. "Up and down and sideways" across Texas, Owens traveled. His goal: to learn for himself what the diverse peoples of the state "believed in, yearned for, laughed at, fought over, as revealed in story and song." Tell me a story, sing me a song brings together both the songs he gathered—many accompanied by music—and Owens' warm reminiscences of his travels in the Texas of the Thirties and early Forties.
Paul Evans, a former Baltimore newspaperman, uses the power of poetry to present a unique look at the decency and respectability of black Americans' lives before, during, and after the Civil Rights Movement in tribute to the Harlem Renaissance. However, Mr. Evans does not stop there. Uniquely, writing as a black man, he also offers poems that express his desire to see a nation that is inclusive and fair to all Americans, not overlooking the working-class white people who have been left out of Martin Luther King's dream. The Harlem Renaissance has taken its rightful place alongside the many literary movements and eras that have comprised American Literature. Through expressive verse, Mr. Evans reflects on the simplicity of an earlier time in a black man's life such as tending a coal furnace, talking to the ice cream man, or in "A Colored Boy at the Ocean" when he writes, Ocean, ocean carry me away/I'm a little colored boy here at play/I care not where your waves might take me to go/As long as getting there is mighty awfully slow. He honors the spirited artists, musicians, and writers who created magic during a dazzling period in American culture. As the centennial of the Harlem Renaissance approaches in 2019, Mr. Evans encourages a revisiting to this special time, resulting in a new appreciation of the importance of the work of the renaissance's writers and poets, in particular, whose work urged America to be what it says it is.

Hearings

United States. Congress. House. Committee on Appropriations

Published: 1956

Total Pages: 1826


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