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Rarely has a book received such unanimous praise as the Blue's Who's Who. Eighteen years of research and writing, most of it done by Sheldon Harris alone, have produced a reference book that has been accepted in the U.S., England, and Europe, as truly indispensable for anyone seriously interested in the history of country, city, folk, and rock blues. Covering all eras and styles, it features detailed biographies of 571 blues artists, 450 photographs, and hundreds of pages of carefully researched facts.
Mamie Smith's pathbreaking 1920 recording of "Crazy Blues" set the pop music world on fire, inaugurating a new African American market for "race records." Not long after, such records also brought black blues performance to an expanding international audience. A century later, the mainstream blues world has transformed into a multicultural and transnational melting pot, taking the music far beyond the black southern world of its origins. But not everybody is happy about that. If there's "No black. No white. Just the blues," as one familiar meme suggests, why do some blues people hear such pronouncements as an aggressive attempt at cultural appropriation and an erasure of traumatic histories that lie deep in the heart of the music? Then again, if "blues is black music," as some performers and critics insist, what should we make of the vibrant global blues scene, with its all-comers mix of nationalities and ethnicities? In Whose Blues?, award-winning blues scholar and performer Adam Gussow confronts these challenging questions head-on. Using blues literature and history as a cultural anchor, Gussow defines, interprets, and makes sense of the blues for the new millennium. Drawing on the blues tradition's major writers including W. C. Handy, Langston Hughes, Zora Neale Hurston, and Amiri Baraka, and grounded in his first-person knowledge of the blues performance scene, Gussow's thought-provoking book kickstarts a long overdue conversation.
Nicknames by which the musicians are known are cross-referenced; photos of many blues greats, some from the author's personal collection; an extensive filmography, discography, and bibliography; visits to highly musical places where the blues flourished in America; and a study of the influence of voodoo on the blues and, in turn, the influence of the blues on rock and roll.
Hailed as an “American counter-culture classic,” this “funny” and candid musical memoir offers a delicious glimpse into the 1930s jazz scene (The Wall Street Journal) Mezz Mezzrow was a boy from Chicago who learned to play the sax in reform school and pursued a life in music and a life of crime. He moved from Chicago to New Orleans to New York, working in brothels and bars, bootlegging, dealing drugs, getting hooked, doing time, producing records, and playing with the greats, among them Louis Armstrong, Bix Beiderbecke, and Fats Waller. Really the Blues—the jive-talking memoir that Mezzrow wrote at the insistence of, and with the help of, the novelist Bernard Wolfe—is the story of an unusual and unusually American life, and a portrait of a man who moved freely across racial boundaries when few could or did, “the odyssey of an individualist . . . the saga of a guy who wanted to make friends in a jungle where everyone was too busy making money.”
“This is one of those special novels—a piece of working magic, warm, funny, and sane.”—Thomas Pynchon The whooping crane rustlers are girls. Young girls. Cowgirls, as a matter of fact, all “bursting with dimples and hormones”—and the FBI has never seen anything quite like them. Yet their rebellion at the Rubber Rose Ranch is almost overshadowed by the arrival of the legendary Sissy Hankshaw, a white-trash goddess literally born to hitchhike, and the freest female of them all. Freedom, its prizes and its prices, is a major theme of Tom Robbins’s classic tale of eccentric adventure. As his robust characters attempt to turn the tables on fate, the reader is drawn along on a tragicomic joyride across the badlands of sexuality, wild rivers of language, and the frontiers of the mind.