This Ain T Chicago

When Zandria Robinson returned home to interview African Americans in Memphis, she was often greeted with some version of the caution "I hope you know this ain't Chicago." In this important new work, Robinson critiques ideas of black identity constructed through a northern lens and situates African Americans as central shapers of contemporary southern culture. Analytically separating black southerners from their migrating cousins, fictive kin, and white counterparts, Robinson demonstrates how place intersects with race, class, gender, and regional identities and differences. Robinson grounds her work in Memphis--the first big city heading north out of the Mississippi Delta. Although Memphis sheds light on much about the South, Robinson does not suggest that the region is monolithic. Instead, she attends to multiple Souths, noting the distinctions between southern places. Memphis, neither Old South nor New South, sits at the intersections of rural and urban, soul and post-soul, and civil rights and post-civil rights, representing an ongoing conversation with the varied incarnations of the South, past and present.

This Ain't Chicago: Race, Class, and Regional Identity in the Post-Soul South

When Zandria Robinson returned home to interview African Americans in Memphis, she was often greeted with some version of the caution "I hope you know this ain't Chicago." In this important new work, Robinson critiques ideas of black identity constructed through a northern lens and situates African Americans as central shapers of contemporary southern culture. Analytically separating black southerners from their migrating cousins, fictive kin, and white counterparts, Robinson demonstrates how place intersects with race, class, gender, and regional identities and differences. Robinson grounds her work in Memphis--the first big city heading north out of the Mississippi Delta. Although Memphis sheds light on much about the South, Robinson does not suggest that the region is monolithic. Instead, she attends to multiple Souths, noting the distinctions between southern places. Memphis, neither Old South nor New South, sits at the intersections of rural and urban, soul and post-soul, and civil rights and post-civil rights, representing an ongoing conversation with the varied incarnations of the South, past and present.

Knowledge emerges from contexts, which are shaped by people’s experiences. The varied essays in Thinking the US South: Contemporary Philosophy from Southern Perspectives demonstrate that Southern identities, borders, and practices play an important but unacknowledged role in ethical, political, emotional, and global issues connected to knowledge production. Not merely one geographical region among others, the US South is sometimes a fantasy and other times a nightmare, but it is always a prominent component of the American national imaginary. In connection with the Global North and Global South, the US South provides a valuable perspective from which to explore race, class, gender, and other inter- and intra-American differences. The result is a fresh look at how identity is constituted; the role of place, ancestors, and belonging in identity formation; the impact of regional differences on what counts as political resistance; the ways that affect and emotional labor circulate; practices of boundary policing, deportation, and mourning; issues of disability and slowness; racial and other forms of suffering; and above all, the question of whether and how doing philosophy changes when done from Southern standpoints. Examining racist tropes, Indigenous land claims, Black Southern philosophical perspectives, migrant labor, and more, this incisive anthology makes clear that roots matter.

A vivid portrait of African American life in today’s urban South that uses food to explore the complex interactions of race and class Getting Something to Eat in Jackson uses food—what people eat and how—to explore the interaction of race and class in the lives of African Americans in the contemporary urban South. Joseph Ewoodzie Jr. examines how “foodways”—food availability, choice, and consumption—vary greatly between classes of African Americans in Jackson, Mississippi, and how this reflects and shapes their very different experiences of a shared racial identity. Ewoodzie spent more than a year following a group of socioeconomically diverse African Americans—from upper-middle-class patrons of the city’s fine-dining restaurants to men experiencing homelessness who must organize their days around the schedules of soup kitchens. Ewoodzie goes food shopping, cooks, and eats with a young mother living in poverty and a grandmother working two jobs. He works in a Black-owned BBQ restaurant, and he meets a man who decides to become a vegan for health reasons but who must drive across town to get tofu and quinoa. Ewoodzie also learns about how soul food is changing and why it is no longer a staple survival food. Throughout, he shows how food choices influence, and are influenced by, the racial and class identities of Black Jacksonians. By tracing these contemporary African American foodways, Getting Something to Eat in Jackson offers new insights into the lives of Black Southerners and helps challenge the persistent homogenization of blackness in American life.

Experience music history with this memoir by one of the last of the genuine old school Blues and R&B legends, the Grammy-winning dynamic showman Bobby Rush. This memoir charts the extraordinary rise to fame of living blues legend, Bobby Rush. Born Emmett Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. As a teenager, Rush acquired his first real guitar and started playing in juke joints in Little Rock, Arkansas, donning a fake mustache to trick club owners into thinking he was old enough to gain entry. He led his first band in Arkansas between Little Rock and Pine Bluff in the 1950s. It was there he first had Elmore James play in his band. Rush later relocated to Chicago to pursue his musical career and started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed and Little Walter. Rush eventually began leading his own band in the 1960s, crafting his own distinct style of funky blues, and recording a succession of singles for various labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album which went on to be listed in the Top 10 blues albums of the 1970s by Rolling Stone and a handful of regional jukebox favorites including "Sue" and "I Ain't Studdin' Ya." And Rush's career shows no signs of slowing down now. The man once beloved for performing in local jukejoints is now headlining major music/blues festivals, clubs, and theaters across the U.S. and as far as Japan and Australia. At age eighty-six, he is still on the road for over 200 days a year. His lifelong hectic tour schedule has earned him the affectionate title "King of the Chitlin' Circuit," from Rolling Stone. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and his ribald sense of humor. He was featured in Martin Scorcese's The Blues docuseries on PBS, a documentary film called Take Me to the River, performed with Dan Aykroyd on The Tonight Show Starring Jimmy Fallon, and most recently had a cameo in the Golden Globe nominated Netflix film, Dolemite Is My Name, starring Eddie Murphy. He was recently given the highest Blues Music Award honor of B.B. King Entertainer of the Year. His songs have also been featured in TV shows and films including HBO's Ballers and major motion pictures like Black Snake Moan, starring Samuel L. Jackson. Considered by many to be the greatest bluesman currently performing, this book will give readers unparalleled access into the man, the myth, the legend: Bobby Rush.

James Holding enjoys a reputation as one of the more prolific contributors to the mystery magazines of the 1960s and 1970s. (Our bibliography shows nearly 200 stories published in Alfred Hitchcock’s Mystery Magazine, Ellery Queen’s Mystery Magazine, The Man from U.N.C.L.E. Magazine, etc.) He had series, such as the "Leroy King" stories (which poke gentle fun at "Ellery Queen"). He had standalones. He had mysteries of every sort imaginable -- and this volume includes a selection of 24 choice crimes (plus a poem)...a thematic grouping involving murder and mayhem. Included are: BYLINES WHERE IS THY STING THE INQUISITIVE BUTCHER OF NICE AN EXERCISE IN INSURANCE THE PHOTOGRAPHER AND THE UNDERTAKER GROUNDS FOR DIVORCE THE DUTIFUL ROOKIE MYSTERY FAN CONFLICT OF INTEREST A HOMEMADE DRESS A MESSAGE FROM MARSHA A VISITOR TO MOMBASA SPECIAL DELIVERY THE ZAMBOANGA SHUTTLE PASSPORT TO PARADISE BORDER CROSSING THE FUND-RAISERS IN THE SOUP THE PACKING CASE REASON ENOUGH THE SWAP SHOP ONE FOR THE ROAD PAPER CAPER WORK OF ART EXIT THE DRAGON If you enjoy this volume of classic mysteries, don't forget to search your favorite ebook store for "Wildside Press Megapack" to see the 220+ other entries in this series, including mysteries, adventure, science fiction, fantasy, horror, westerns -- and much, much more!

How second homeowners strategically leverage their privilege across multiple spaces In recent decades, Americans have purchased second homes at unprecedented rates. In Privileging Place, Meaghan Stiman examines the experiences of predominantly upper-middle-class suburbanites who bought second homes in the city or the country. Drawing on interviews with more than sixty owners of second homes and ethnographic data collected over the course of two years in Rangeley, Maine, and Boston, Massachusetts, Stiman uncovers the motivations of these homeowners and analyzes the local consequences of their actions. By doing so, she traces the contours of privilege across communities in the twenty-first century. Stiman argues that, for the upper-middle-class residents of suburbia who bought urban or rural second homes, the purchase functioned as a way to balance a desire for access to material resources in suburban communities with a longing for a more meaningful connection to place in the city or the country. The tension between these two contradictory aims explains why homeowners bought second homes, how they engaged with the communities around them, and why they ultimately remained in their suburban hometowns. The second home is a place-identity project—a way to gain a sense of place identity they don’t find in their hometowns while still holding on to hometown resources. Stiman’s account offers a cautionary tale of the layers of privilege within and across geographies in the twenty-first century.