A Bad Woman Feeling Good Blues And The Women Who Sing Them

The women who broke the rules, creating their own legacy of how to live and sing the blues. An exciting lineage of women singers—originating with Ma Rainey and her protégée Bessie Smith—shaped the blues, launching it as a powerful, expressive vehicle of emotional liberation. Along with their successors Billie Holiday, Etta James, Aretha Franklin, Tina Turner, and Janis Joplin, they injected a dose of reality into the often trivial world of popular song, bringing their message of higher expectations and broader horizons to their audiences. These women passed their image, their rhythms, and their toughness on to the next generation of blues women, which has its contemporary incarnation in singers like Bonnie Raitt and Lucinda Williams (with whom the author has done an in-depth interview). Buzzy Jackson combines biography, an appreciation of music, and a sweeping view of American history to illuminate the pivotal role of blues women in a powerful musical tradition. Musician Thomas Dorsey said, "The blues is a good woman feeling bad." But these women show by their style that he had it backward: The blues is a bad woman feeling good.

This revised and updated definitive blues bibliography now includes 6,000-7,000 entries to cover the last decade’s writings and new figures to have emerged on the Country and modern blues to the R&B scene.

This volume of The New Encyclopedia of Southern Culture reflects the dramatic increase in research on the topic of gender over the past thirty years, revealing that even the most familiar subjects take on new significance when viewed through the lens of gender. The wide range of entries explores how people have experienced, understood, and used concepts of womanhood and manhood in all sorts of obvious and subtle ways. The volume features 113 articles, 65 of which are entirely new for this edition. Thematic articles address subjects such as sexuality, respectability, and paternalism and investigate the role of gender in broader subjects, including the civil rights movement, country music, and sports. Topical entries highlight individuals such as Oprah Winfrey, the Grimke sisters, and Dale Earnhardt, as well as historical events such as the capture of Jefferson Davis in a woman's dress, the Supreme Court's decision in Loving v. Virginia, and the Memphis sanitation workers' strike, with its slogan, "I AM A MAN." Bringing together scholarship on gender and the body, sexuality, labor, race, and politics, this volume offers new ways to view big questions in southern history and culture.

Columbus is the third-largest city in Georgia, and Red Clay, White Water, and Blues is its first comprehensive history. Virginia E. Causey documents the city’s founding in 1828 and brings its story to the present, examining the economic, political, social, and cultural changes over the period. It is the first history of the city that analyzes the significant contributions of all its citizens, including African Americans, women, and the working class. Causey, who has lived and worked in Columbus for more than forty years, focuses on three defining characteristics of the city’s history: the role that geography has played in its evolution, specifically its location on the Chattahoochee River along the Fall Line, making it an ideal place to establish water-powered textile mills; the fact that the control of city’s affairs rested in the hands of a particular business elite; and the endemic presence of violence that left a “bloody trail” throughout local history. Causey traces the life of Columbus: its founding and early boom years; the Civil War and its aftermath; conflicts as a modern city emerged in the first half of the twentieth century; racial tension and economic decline in the mid-to-late 1900s; and rebirth and revival of the city in the twenty-first century. Peppered throughout are compelling anecdotes about the city’s most colorful characters, including Sol Smith and His Dramatic Company, music phenom Blind Tom Wiggins, suffragist Augusta Howard, industrialist and philanthropist G. Gunby Jordan, peanut purveyor Tom Huston, blueswoman Ma Rainey, novelist Carson McCullers, and insurance magnate John Amos.

Southern music has flourished as a meeting ground for the traditions of West African and European peoples in the region, leading to the evolution of various traditional folk genres, bluegrass, country, jazz, gospel, rock, blues, and southern hip-hop. This much-anticipated volume in The New Encyclopedia of Southern Culture celebrates an essential element of southern life and makes available for the first time a stand-alone reference to the music and music makers of the American South. With nearly double the number of entries devoted to music in the original Encyclopedia, this volume includes 30 thematic essays, covering topics such as ragtime, zydeco, folk music festivals, minstrelsy, rockabilly, white and black gospel traditions, and southern rock. And it features 174 topical and biographical entries, focusing on artists and musical outlets. From Mahalia Jackson to R.E.M., from Doc Watson to OutKast, this volume considers a diverse array of topics, drawing on the best historical and contemporary scholarship on southern music. It is a book for all southerners and for all serious music lovers, wherever they live.

This four-volume encyclopedia contains compelling and comprehensive information on African American popular culture that will be valuable to high school students and undergraduates, college instructors, researchers, and general readers. From the Apollo Theater to the Harlem Renaissance, from barber shop and beauty shop culture to African American holidays, family reunions, and festivals, and from the days of black baseball to the era of a black president, the culture of African Americans is truly unique and diverse. This diversity is the result of intricate customs forged in tightly woven communities—not only in the United States, but in many cases also stemming from the traditions of another continent. Encyclopedia of African American Popular Culture presents information in a traditional A–Z organization, capturing the essence of the customs of African Americans and presenting this rich cultural heritage through the lens of popular culture. Each entry includes historical and current information to provide a meaningful background for the topic and the perspective to appreciate its significance in a modern context. This encyclopedia is a valuable research tool that provides easy access to a wealth of information on the African American experience.

Black Women’s Liberation Movement Music argues that the Black Women’s Liberation Movement of the mid-to-late 1960s and 1970s was a unique combination of Black political feminism, Black literary feminism, and Black musical feminism, among other forms of Black feminism. This book critically explores the ways the soundtracks of the Black Women’s Liberation Movement often overlapped with those of other 1960s and 1970s social, political, and cultural movements, such as the Black Power Movement, Women’s Liberation Movement, and Sexual Revolution. The soul, funk, and disco music of the Black Women’s Liberation Movement era is simultaneously interpreted as universalist, feminist (in a general sense), and Black female-focused. This music’s incredible ability to be interpreted in so many different ways speaks to the importance and power of Black women’s music and the fact that it has multiple meanings for a multitude of people. Within the worlds of both Black Popular Movement Studies and Black Popular Music Studies there has been a long-standing tendency to almost exclusively associate Black women’s music of the mid-to-late 1960s and 1970s with the Black male-dominated Black Power Movement or the White female-dominated Women’s Liberation Movement. However, this book reveals that much of the soul, funk, and disco performed by Black women was most often the very popular music of a very unpopular and unsung movement: The Black Women’s Liberation Movement. Black Women’s Liberation Movement Music is an invaluable resource for students, teachers, and researchers of Popular Music Studies, American Studies, African American Studies, Critical Race Studies, Gender Studies, and Sexuality Studies.

This one-of-a-kind reference investigates the music and the musicians that set the popular trends of the last half century in America. Many rock fans have, at one time or another, ranked their favorite artists in order of talent, charisma, and musical influence on the world as they see it. In this same spirit, author and music historian David V. Moskowitz expands on the concept of "top ten" lists to provide a lineup of the best 100 musical groups from the past 60 years. Since the chosen bands are based on the author's personal taste, this two-volume set provokes discussion of which performers are included and why, offering insights into the surprising influences behind them. From the Everly Brothers, to the Ramones, to Public Enemy, the work covers a wide variety of styles and genres, clearly illustrating the connections between them. Entries focus on the group's history, touring, membership, major releases, selected discography, bibliography, and influence. Contributions from leading scholars in popular music shed light on derivative artists and underscore the overall impact of the performers on the music industry.