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When Jerome Strait is turned away from Heavens Gate, hes shocked to find that he cant buy his way into heaven. On Earth, money allowed him to have everything he wanted. Now, he must return to Earth, relive his life, and right all of his wrongs in order to be saved. Can this greedy, selfish man learn that the only lasting values are faith, hope, and love? A guardian angel named Ezekiel is sent to help him. If Jerome fails to change and earn his redemption in the two days between Good Friday and Easter Sunday, his soul is lost forever. Will he be able to meet the challenge, or is he doomed to hell?
In researching for the book, Mobile Under Siege, author Paula Lenor Webb, came across a woman unlike any other who lived in the 1800s. Octavia Walton LeVert, living in the wealth and wilds of the expanding United States, influenced those around her. Paula realized how fascinating this story was and set out to discover more. After five years of traveling, visiting archives, and private collections, Paula Webb has written the true story of a woman ahead of her time.
Although his story has been told countless times--by performers from Ma Rainey, Cab Calloway, and the Isley Brothers to Ike and Tina Turner, James Brown, and Taj Mahal--no one seems to know who Stagolee really is. Stack Lee? Stagger Lee? He has gone by all these names in the ballad that has kept his exploits before us for over a century. Delving into a subculture of St. Louis known as "Deep Morgan," Cecil Brown emerges with the facts behind the legend to unfold the mystery of Stack Lee and the incident that led to murder in 1895. How the legend grew is a story in itself, and Brown tracks it through variants of the song "Stack Lee"--from early ragtime versions of the '20s, to Mississippi John Hurt's rendition in the '30s, to John Lomax's 1940s prison versions, to interpretations by Lloyd Price, James Brown, and Wilson Pickett, right up to the hip-hop renderings of the '90s. Drawing upon the works of James Baldwin, Richard Wright, and Ralph Ellison, Brown describes the powerful influence of a legend bigger than literature, one whose transformation reflects changing views of black musical forms, and African Americans' altered attitudes toward black male identity, gender, and police brutality. This book takes you to the heart of America, into the soul and circumstances of a legend that has conveyed a painful and elusive truth about our culture.
Based on scores of interviews with the artist's relatives, friends, lovers, producers, accompanists, managers, and fans, this brilliant biography reveals a man of many layers and contradictions. Following the journey of a musician who left his family's poor cotton farm at age eight carrying only a guitar, the book chronicles his life on the open road playing blues music and doing odd jobs. It debunks the myths surrounding his meetings with Blind Lemon Jefferson and Texas Alexander, his time on a chain gang, his relationships with women, and his lifelong appetite for gambling and drinking. This volume also discusses his hard-to-read personality; whether playing for black audiences in Houston's Third Ward, for white crowds at the Matrix in San Francisco, or in the concert halls of Europe, Sam Hopkins was a musician who poured out his feelings in his songs and knew how to endear himself to his audience--yet it was hard to tell if he was truly sincere, and he appeared to trust no one. Finally, this book moves beyond exploring his personal life and details his entire musical career, from his first recording session in 1946--when he was dubbed Lightnin'--to his appearance on the national charts and his rediscovery by Mack McCormick and Sam Charters in 1959, when his popularity had begun to wane and a second career emerged, playing to white audiences rather than black ones. Overall, this narrative tells the story of an important blues musician who became immensely successful by singing with a searing emotive power about his country roots and the injustices that informed the civil rights era.
The Callings refers not only to the call of a man to the priesthood, but also to the call of the devil to a drugusing teenager who commits matricide, the call of the wild to keep a teacher on the chenieres where her ancestors settled, and the call of an author who feels compelled to write about the crime.
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 bold reconsideration of Hoodoo belief and practice Katrina Hazzard-Donald explores African Americans' experience and practice of the herbal, healing folk belief tradition known as Hoodoo. She examines Hoodoo culture and history by tracing its emergence from African traditions to religious practices in the Americas. Working against conventional scholarship, Hazzard-Donald argues that Hoodoo emerged first in three distinct regions she calls "regional Hoodoo clusters" and that after the turn of the nineteenth century, Hoodoo took on a national rather than regional profile. The spread came about through the mechanism of the "African Religion Complex," eight distinct cultural characteristics familiar to all the African ethnic groups in the United States. The first interdisciplinary examination to incorporate a full glossary of Hoodoo culture, Mojo Workin': The Old African American Hoodoo System lays out the movement of Hoodoo against a series of watershed changes in the American cultural landscape. Hazzard-Donald examines Hoodoo material culture, particularly the "High John the Conquer" root, which practitioners employ for a variety of spiritual uses. She also examines other facets of Hoodoo, including rituals of divination such as the "walking boy" and the "Ring Shout," a sacred dance of Hoodoo tradition that bears its corollaries today in the American Baptist churches. Throughout, Hazzard-Donald distinguishes between "Old tradition Black Belt Hoodoo" and commercially marketed forms that have been controlled, modified, and often fabricated by outsiders; this study focuses on the hidden system operating almost exclusively among African Americans in the Black spiritual underground.
On August 5, 1864, the Civil War arrived at Mobile s doorstep. The Union navy blockaded Mobile Bay and the city for eight months. Confederate general Dabney Maury fought to protect the city and its citizens who refused to leave, such as Octavia LeVert and Augusta Evans. Union admiral Farragut and General Canby slowly starved the city, knowing that the fall of Mobile could end the war. Author Paula Webb details the experiences of the ordeal and the defeat of a Confederate city that echoed through the entire country."
Carolyn Wilkins grew up defending her racial identity. Because of her light complexion and wavy hair, she spent years struggling to convince others that she was black. Her family’s prominence set Carolyn’s experiences even further apart from those of the average African American. Her father and uncle were well-known lawyers who had graduated from Harvard Law School. Another uncle had been a child prodigy and protégé of Albert Einstein. And her grandfather had been America's first black assistant secretary of labor. Carolyn's parents insisted she follow the color-conscious rituals of Chicago's elite black bourgeoisie—experiences Carolyn recalls as some of the most miserable of her entire life. Only in the company of her mischievous Aunt Marjory, a woman who refused to let the conventions of “proper” black society limit her, does Carolyn feel a true connection to her family's African American heritage. When Aunt Marjory passes away, Carolyn inherits ten bulging scrapbooks filled with family history and memories. What she finds in these photo albums inspires her to discover the truth about her ancestors—a quest that will eventually involve years of research, thousands of miles of travel, and much soul-searching. Carolyn learns that her great-grandfather John Bird Wilkins was born into slavery and went on to become a teacher, inventor, newspaperman, renegade Baptist minister, and a bigamist who abandoned five children. And when she discovers that her grandfather J. Ernest Wilkins may have been forced to resign from his labor department post by members of the Eisenhower administration, Carolyn must confront the bittersweet fruits of her family's generations-long quest for status and approval. Damn Near White is an insider’s portrait of an unusual American family. Readers will be drawn into Carolyn’s journey as she struggles to redefine herself in light of the long-buried secrets she uncovers. Tackling issues of class, color, and caste, Wilkins reflects on the changes of African American life in U.S. history through her dedicated search to discover her family’s powerful story.