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The grumble of the music, the corridors, the streets of Durban, the heat, the sweat, the voices, the loss - everything.
Winner of the Oklahoma Book Award and the Deems Taylor ASCAP Award for Best Folk, Pop, or Jazz Biography "A beautiful job…In exploring the nuances of Guthrie's work, Cray's exacting style is pitch-perfect." —Los Angeles Times Book Review A patriot and a political radical, Woody Guthrie captured the spirit of his times in his enduring songs. He was marked by the FBI as a subversive. He lived in fear of the fatal fires that stalked his family and of the mental illness that snared his mother. At forty-two, he was cruelly silenced by Huntington’s disease. Ed Cray, the first biographer to be granted access to the Woody Guthrie Archive, has created a haunting portrait of an American who profoundly influenced Pete Seeger, Bob Dylan, Bruce Springsteen, and American popular music itself.
(Book). Back in the good old days, all of America was infatuated with the singing cowboys of movies and radio. This huge interest led to the production of "cowboy guitars." These were guitars manufactured with western scenes painted right on the guitar, and were sold by stores such as Sears and Montgomery Wards. This fun, fact-filled book is an outstanding roundup of these wonderful instruments, starting with the Gene Autry model of 1932, through guitars made to capitalize on the popularity of the Lone Ranger and Roy Rogers, up through present-day makers. Includes hundreds of fantastic photos, a 32-page color section, and biographies of the artists behind the guitars, plus a chapter on leading custom guitar maker Greg Rich, showcasing some of the western guitars he has built. A must for every guitar collector! Steve Evans is the world's foremost authority on and leading collector of cowboy guitars. He owns a music store in Jacksonville, AR. A resident of Anaheim, CA, the affable Ron Middlebrook is the founder and owner of Centerstream Publishing. He is an avid instrument collector and husky musher.
I met him before I knew. I loved him before I knew. I didn't know he was my stepbrother when I fell for Bladen. I fell for a mystery guy who I spent a long, amazing weekend with. Then he got up and left me, without even a goodbye. I was nothing more than a bit of fun. He broke my heart. I didn't see him again. Until my mom and her new husband, Jack, decide to take us all on a family vacation to the lake so I can meet my new stepbrothers for the first time. I don't see it coming. When he gets out of that car, my world stops. My passionate lover is...my stepbrother. He isn't the same man. He's a prick and he makes sure I know it. I'm not the same woman. I'm in love with him and I very much plan to make sure he knows it. He won't make my life easy. I won't give up.
Memphis, Tennessee, is a major crossroads for blues musicians, songs, and styles. Memphis is where the blues first "came to town" and established itself as a cosmopolitan performance genre, and the city has long been a center of synthesis and evolution in blues recording. This volume tells the story of the blues in Memphis through previously unpublished interviews with nine performers who helped create and sustain the music from the days before its commercial success through the early 1970s. Their attitudes, experiences, and insights impart a deeper understanding of the blues aesthetic and philosophy. The performers' backgrounds range across the blues genres, from classic blues (Lillie Mae Glover) to country blues (Bukka White), from jug band blues (Laura Dukes) to tough, postwar electric blues (Joe Willie Wilkins and Houston Stackhouse). Some, like Furry Lewis and Bukka White, are known around the world. Others, like Laura Dukes, are locally popular, while Boose Taylor is virtually unknown. The range of instruments mastered by the musicians--banjo, fiddle, guitar, fife, bass, ukulele, piano, and harmonica--testifies to the many expressive voices of the blues. Some of the interviewees were singing and performing mostly for white blues/folk revivalist audiences by the 1970s; others, such as Joe Willie Wilkins and Houston Stackhouse, continued to perform mostly for black audiences in Memphis and in the small cafes that dotted the Mississippi Delta. Each interview is illustrated by noted printmaker George D. Davidson and introduced with a biographical sketch by Fred J. Hay. In addition, Hay's extensive notes identify many other blues performers--friends and music partners of the interviewees whose names come up in their many asides and allusions. Together these materials document and pay tribute to the remarkable richness of the Memphis blues scene.
In Practically Joking, the first full-length study of the practical joke, Moira Marsh examines the value, artistry, and social significance of this ancient and pervasive form of vernacular expression. Though they are sometimes dismissed as the lowest form of humor, practical jokes come from a lively tradition of expressive play. They can reveal both sophistication and intellectual satisfaction, with the best demanding significant skill and talent not only to conceive but also to execute. Practically Joking establishes the practical joke as a folk art form subject to critical evaluation by both practitioners and audiences, operating under the guidance of local aesthetic and ethical canons. Marsh studies the range of genres that pranks comprise; offers a theoretical look at the reception of practical jokes based on “benign transgression”—a theory that sees humor as playful violation—and uses real-life examples of practical jokes in context to establish the form’s varieties and meanings as an independent genre, as well as its inextricable relationship with a range of folklore forms. Scholars of folklore, humor, and popular culture will find much of interest in Practically Joking.
GameAxis Unwired is a magazine dedicated to bring you the latest news, previews, reviews and events around the world and close to you. Every month rain or shine, our team of dedicated editors (and hardcore gamers!) put themselves in the line of fire to bring you news, previews and other things you will want to know.
This fascinating compendium explains the most unusual, obscure, and curious words and expressions from vintage blues music. Utilizing both documentary evidence and invaluable interviews with a number of now-deceased musicians from the 1920s and '30s, blues scholar Stephen Calt unravels the nuances of more than twelve hundred idioms and proper or place names found on oft-overlooked "race records" recorded between 1923 and 1949. From "aggravatin' papa" to "yas-yas-yas" and everything in between, this truly unique, racy, and compelling resource decodes a neglected speech for general readers and researchers alike, offering invaluable information about black language and American slang.