Bars Blues And Booze

Bars, Blues, and Booze collects lively bar tales from the intersection of black and white musical cultures in the South. Many of these stories do not seem dignified, decent, or filled with uplifting euphoria, but they are real narratives of people who worked hard with their hands during the week to celebrate the weekend with music and mind-altering substances. These are stories of musicians who may not be famous celebrities but are men and women deeply occupied with their craft--professional musicians stuck with a day job. The collection also includes stories from fans and bar owners, people vital to shaping a local music scene. The stories explore the "crossroads," that intoxicated intersection of spirituality, race, and music that forms a rich, southern vernacular. In personal narratives, musicians and partygoers relate tales of narrow escape (almost getting busted by the law while transporting moonshine), of desperate poverty (rat-infested kitchens and repossessed cars), of magic (hiring a root doctor to make a charm), and loss (death or incarceration). Here are stories of defiant miscegenation, of forgetting race and going out to eat together after a jam, and then not being served. Assorted boasts of improbable hijinks give the "blue collar" musician a wild, gritty glamour and emphasize the riotous freedom of their fans, who sometimes risk the strong arm of southern liquor laws in order to chase the good times.

Editor Andrew Scott (Naked Summer) brings together twenty-four authors to share their stories of bruised eyes and hearts, busted dreams and guitars, drunken nights and sober truths. Lee K. Abbott, Rusty Barnes, Victoria Barrett, Robert Boswell, Karen Brown, Eugene Cross, Jennine Capo Crucet, Murray Dunlap, Roxane Gay, Becky Hagenston, Holly Goddard Jones, Victoria Lancelotta, Sarah Layden, John McNally, Kyle Minor, Debra Monroe, Darlin' Neal, Michael Parker, Victoria Patterson, Andrew Roe, Jared Yates Sexton, Chad Simpson, Anne Valente, and Richard Yanez."

Twelve poems recalling a young musician's early musical life and memories. Drawings by the author.

This book provides a sequel to Robert Ford's comprehensive reference work A Blues Bibliography, the second edition of which was published in 2007. Bringing Ford's bibliography of resources up to date, this volume covers works published since 2005, complementing the first volume by extending coverage through twelve years of new publications. As in the previous volume, this work includes entries on the history and background of the blues, instruments, record labels, reference sources, regional variations, and lyric transcriptions and musical analysis. With extensive listings of print and online articles in scholarly and trade journals, books, and recordings, this bibliography offers the most thorough resource for all researchers studying the blues.

The smoke was thick, the music was loud, and the beer was flowing. In the fast-and-loose 1980s, Jackson Station Rhythm & Blues Club in Hodges, South Carolina, was a festive late-night roadhouse filled with people from all walks of life who gathered to listen to the live music of high-energy performers. Housed in a Reconstruction-era railway station, the blues club embraced local Southern culture and brought a cosmopolitan vibe to the South Carolina backcountry. Over the years, Jackson Station became known as one of the most iconic blues bars in the South. It offered an exciting venue for local and traveling musical artists, including Widespread Panic, the Swimming Pool Qs, Bob Margolin, Tinsley Ellis, and R&B legend Nappy Brown, who loved to keep playing long after sunrise. The good times ground to a terrifying halt in the early morning hours of April 7, 1990. A brutal attack—an apparent hate crime—on the owner Gerald Jackson forever altered the lives of all involved. In this fast-paced narrative, Jackson Station emerges as a cultural kaleidoscope that served as an oasis of tolerance and diversity in a time and place that often suffered from undercurrents of bigotry and violence—an uneasy coexistence of incongruent forces that have long permeated southern life and culture.

Arranged in four parts--each associated with a particular Louisiana city--the poems in Rhythm & Booze trace the hardships and uncertainties, as well as the moments of unexpected sublimity, of a life lived in a continuous struggle between fresh starts and destructive old patterns. Mirroring the music of New Orleans, Kane's poems combine traditional form with improvisational flourishes. Rhythm & Booze charts her progress as she undertakes a number of journeys, from youth to experience, from blues bars to college classrooms, from city to country, from chaos to something approaching peace.

Winner of the 2020 Zócalo Public Square Book Prize “Clear-eyed and meticulous...While depicting the terrors of Jim Crow, [Sturkey] also shows how Hattiesburg’s black residents, forced to forge their own communal institutions, laid the organizational groundwork for the civil rights movement of the ’50s and ’60s.” —New York Times “Sturkey’s magnificent portrait reminds us that Mississippi is no anachronism. It is the dark heart of American modernity.” —Robin D. G. Kelley, author of Thelonious Monk If you really want to understand Jim Crow—what it was and how African Americans rose up to defeat it—you should start by visiting Mobile Street in Hattiesburg, Mississippi, the heart of the historic black downtown. There you can see remnants of the shops and churches where, amid the violence and humiliation of segregation, men and women gathered to build a remarkable community. William Sturkey introduces us to both old-timers and newcomers who arrived in search of economic opportunities promised by the railroads, sawmills, and factories of the New South. And he takes us across town into the homes of white Hattiesburgers to show how their lives were shaped by the changing fortunes of the Jim Crow South.