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` ` Ebook published February 1, 2012 by Guitar International Group, LLC Editors: Rick Landers and Matt Warnock Cover Design: Debra Devi Originally published January 1, 2006 by Billboard Books Executive Editor: Bob Nirkind Editor: Meryl Greenblatt Design: Cooley Design Lab Production Manager: Harold Campbell Copyright (c) 2006 by Debra Devi Cover photograph of B.B. King by Dick Waterman courtesy Dick Waterman Music Photography Author photograph by Matt Warnock Additional photographs by: Steve LaVere, courtesy Delta Haze Corporation Joseph A. Rosen, courtesy Joseph A. Rosen Photography Sandy Schoenfeld, courtesy Howling Wolf Photos Mike Shea, courtesy Tritone Photography Toni Ann Mamary, courtesy Hubert Sumlin Blues Grateful acknowledgment is made to the following for permission to reprint previously published material: 6DPXHO&KDUWHUV³7KH6RQJRI$OKDML)DEDOD.DQXWHK´H[FHUSWIURPThe Roots of the Blues by Samuel Charters, originally published: Boston: M. Boyars, 1981. Transaction Publishers: Excerpt from Deep Down in the Jungle: Negro Narrative Folklore from the Streets of Philadelphia by Roger Abrahams. Warner-7DPHUODQH3XEOLVKLQJ&RUSRUDWLRQ6NXOO0XVLF/\ULFIURP³,:DON2Q*XLOGed 6SOLQWHUV´E\0DF5HEHQQDFN Library of Congress Control Number: 2005924574 All rights reserved. No part of this publication may be reproduced or used in any form or by any means- graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage-and-retrieval systems- without the prior permission of the author. ` Guitar International Reston, Virginia ` Winner of the 2007 ASC AP Deems Taylor Award for Outstanding Book on Popular Music ³:KDWDJUHDWUHVRXUFH«DVfascinating as it is informative. Debra's passion for the blues VKLQHVWKURXJK´ ±Bonnie Raitt ³(YHU\EOXHVJXLWDULVWQHHGVWRNQRZWKHLUEOXHVKLVWRU\DQGZKHUHWKHEOXHVDUHFRPLQJ IURP'HEUD¶VERRNZLOOWHDFK\RXZKDW\RXUHDOO\QHHGWRNQRZ´± Joe Bonamassa ³7KLVLVDEHDXWLIXOERRN$IWHUKHDULQJµ+HOOKRXQGRQ0\7UDLO¶LQKLJKVFKRRO,ERXJKW every vintage blues record available at the time. Upon receiving The Language of the Blues I discovered my knowledge only scratched the surface. Debra Devi has written an LQYDOXDEOHUHIHUHQFHERRN$QGLW¶VDOVRJUHDWIXQWRUHDG´± Hal Willner ³'RQ¶WWKLQNWKDWThe Language of the Blues might read like a dictionary or reference ERRN7KHUH¶VQRSORWEXW\RXFDQRSHQLWXSDWUDQGRPDQGIDOOLQWRWKHZRUOGRI\RXU favorite Blues songs, and find out more about the lyrics than you would be guessing from FRQWH[W,OHDUQHGDORWPRUHDERXWWKH%OXHVPXVLF,DOUHDG\ORYHG´± Bob Margolin ³7KLVLVDERRNWKDWORYHUVRIPXVLFDQGMXVWSODLQROGORYHUVZLOOORYHWRKDYHLQWKHLU collections. Its candor and witty honesty bring us into the world Debra Devi describes so ZHOOZLWKEHDXWLIXOVWUHQJWK´± Ed Sanders ³)LQDOO\RQHFDQXQGHUVWDQGWKHPHFKDQLFVEHKLQGWKHRYHUZKHOPLQJYLVFHUD of the %OXHV'HEUD'HYL¶VZRUNLVDWUXHJXLGHERRNWRWKHVRXO´± Al Jourgensen ³7KLVERRNLVIDVFLQDWLQJ7DNHLWWRWKHEDWKURRPDQGGRQ¶WFRPHRXWXQWLO\RX¶UHdone UHDGLQJLW´± Jimmy Vivino 7RXQHDUWKWKHRULJLQVDQGPHDQLQJVRIEOXHVWHUPVOLNH³DOFRUXE´³PRMR´DQG³NLOOLQJ IORRU´'HEUD'HYLSRUHGRYHUO\ULFVGXJWKURXJKREVFXUHDFDGHPLFVRXUFHVDQG interviewed many legendary blues artists, including Little Milton Campbell, Robben Ford, Henry Gray, Dr. John, Robert Jr. Lockwood, Bob Margolin, Bonnie Raitt, Hubert Sumlin and Jimmie Vaughan. The Los Angeles Times FDOOHGWKHUHVXOW³RQHRIWKHZLWWLHVWEDZGLHVWDQGPRVW fascinating dictionaries ever.´1DW+HQWRIIGHFODUHGThe Language of the Blues ³LQYDOXDEOH´LQWKHWall Street Journal, and Blues Revue QDPHGLW³DQHVVHQWLDOSXUFKDVH IRUVFKRODUVDQGIDQV´New York Times FROXPQLVW6KHOWRQ,YDQ\DGGHG³,I\RXKDYHDQ\ questions about songs, lyrics, musicians or events, chances are that you will find your DQVZHUVLQWKLVXQSDUDOOHOHGSXEOLFDWLRQ´ 'HYLFDOOVKHUERRNDQ³DQHFGRWDOGLFWLRQDU\´EHFDXVHLW¶VSDFNHGZLWKLQVLJKWIXO amusing and outrageous anecdotes from her interviews with blues greats. The Language of the Blues also includes photos - some rare and previously unpublished²of twenty-plus artists, and a remarkable foreword by Dr. John. ` About the Author Debra Devi is the singer/guitarist for the rock band DEVI. SKH¶VDFender Girl Rock Nation artist, and the first female guitarist to record for Guitar World¶V³/LFNRIWKH'D\´L3KRQH app. A former associate editor of Blues Revue magazine, she has also written for The Village Voice, Rolling Stone.com, Guitar World, Vintage Guitar, and Yoga Journal. 'HYL¶VGHEXWDOEXPGET FREE (True Nature Records/Redeye USA), has earned her comparisons to singers Sheryl Crow and PJ Harvey, and guitarists Jimi Hendrix and George Harrison. C L I C K H E R E F O R 1 FR E E D O W N L O A D 2)'(9,¶VG E T F RE E A L BU M ͞ĞďƌĂĞǀŝ is a supersonic fret-burner with a deep feel for the blues who writes hauntingly memorable ƐŽŶŐƐ͘͟JamBase Her compelling voice reminds us of Sheryl Crow & PJ Harvey, ǁŚŝůĞĞǀŝ͛ƐŐƵŝƚĂƌ playing reminds us of the incomparable Jimi Hendrix. Metal Hammer ͞ŶĞŶĚĞĂƌŝŶŐĨƵƐŝŽŶ between the melodic finesse of Sheryl Crow and the rough rock energy of Queens of the Stone Age! Beat ͞ŝŐ͕ŵĞůŽĚŝĐĂŶĚďŽůĚ͘͞ Vintage Guitar ` Foreword :K\OLVWHQDWWKHEOXHV"¶&DXVHLW¶VUHDO%XWWKHUH¶VDPLOOLRQNLQGRIEOXHV¶FDXVHWKHUH¶V DPLOOLRQNLQGVRISHRSOH7KHUH¶VVRSKLVWLFDWHGEOXHVOLNH&KDUOHV%URZQDQG5D\ &KDUOHVDQGWKHUH¶VMD]]FDWVEOXHV7KHUH¶VJXWEXFNHWEOXHVOLNH/LJKWQLQ¶+RSNLQVDQG John Lee Hooker, and barrelhouse blues. Each set added its own language to the blues. $OOWKHVHJX\VMXVWWDONHGDORWRIWUDVKDQGWKDW¶VZKDWWKLVERRNLVDERXW A lot of bucket-of-blood joints, for instance, catered to the junkies and the pimps and the hos. The street set would hang at them joints when the bands they liked would be there, DQGWKH\¶GH[SHFWVRPHWDLORUHG-for-them music. The juke joint was a different kind of set. It was more sophisticated than a bucket-of-EORRGMRLQW<RXDLQ¶WJRQQDVHHDVPDQ\ shankings in a juke joint as you will in a bucket of blood. You dRQ¶WFDOOLWDEXFNHWRI blood for nothing. ,ZHQWLQWRWKLVMRLQWWRPHHWP\ROGIULHQG/LWWOH:DOWHUDQGKHVDLG³*HH]\RXGRQH PLVVHGDOOWKHVKLW´,VDLG³:KDWKDSSHQHG"´$QGKHVDLG³$ZWKLVJX\JRWVKDQNHG under his armpit with an oyster knife! There was a big pile of blood, right where \RX¶UHVWDQGLQJ´ +HVDLG³DELJSLOHRIEORRG´1RZWKDW¶VDQLQWHUHVWLQJEXFNHW-of-blood kinda lyric. I was always listening for stuff like that. When I first would write songs I would bring them to all these guys in the different record companies in New Orleans back then, and they always would turn me down. So one day I talked to Earl King and Huey Smith, and Huey Smith did a real beneficial thing- he gave me a book for kids called How and Why. It had thesHSRHPVLQLWDQGKHVDLG³-XVWZULWHVWXIIOLNHWKDWEXWZULWHLWLQKRZSHRSOHWDONV WRGD\´+HDOVRVDLG³*ROLVWHQWRWKHPVRQJV- like what girls sing when they jump rope RUSOD\WKH\OLWWOHJDPHV´ (DUO.LQJDVNHGPH³:KDW\RXJHWLQVSLUHGIURP"´DQG,WROGKLP³:HOO,UHDGDORWWD FRPLFERRNV´DQGKHVDLG³<HDKZKDWNLQG"´DQG,VDLG³<RXNQRZTales From The Crypt RUZKDWHYHU´DQGKHVDLG³:RZ PDQ,GRQ¶WWKLQN\RXJRQQDJHWWKHPVRQJVFXW ZLWKWKDW´6RKH¶GJLYHPHVRPHDGYLFHDQGWKDWwas to listen to what people said on the street. 6WUHHWODQJXDJHLVDOZD\VFKDQJLQJDQGLW¶VSUHWW\KLSVWXII(YHU\WLPHVRPHERG\JHWV ZLVHWRWKHVWUHHWVLGHRIDZRUGWKHVWUHHWVKLIWVLWDURXQG/LNHLI\RXORRNDW³XSWLJKW´ once upon a time it meDQW³QHUYRXV´7KHQVWUHHWSHRSOHJRWKLSWRWKHIDFWWKDWWKH general public was on to that, so they reversed it and Stevie Wonder had a hit record, ³8SWLJKW (YHU\WKLQJ¶V$OULJKW ´ The street language in New Orleans that inspired me was not on just any streets in New Orleans; it was the lower Ninth Ward. New Orleans has got twenty different languages floating through it, but the lower Ninth Ward is the root. I used to hear all kinds of sayings down there. Like, if you want to get a chick, or a chick wants to give a guy head, vi ` WKH\ZRXOGVD\³,JRWWDJHWVRPHEUDLQVDODGVXUJHU\´,XVHGWKDWOLQHLQP\VRQJ³5LJKW 3ODFH:URQJ7LPH´ :KHQ,ZDVDNLG%LJ-RH7XUQHUVDQJ³%RRJLHP\ZRRJLHXQWLOP\H\HVJHWFKHUU\ UHG´%XWLW¶VQRWUHDOO\³¶WLOP\H\HVJHWFKHUU\UHG´LW¶V³¶WLO\RXUmayoun get cherry UHG´1 7KDW¶VD&UHROHZRUGLWPHDQV\RXUYDJLQD*LUOVXVHGWRDQVZHUEDFN³:HOO, then \RXFDQKRRFKLHP\FRRFKLHDQGWRRFKLHP\QRRFKLH´7KDWZDVROGZKHQ,ZDVDNLG Stuff like that is coming out of the dozens, which is a very strong tradition. A lot of the ODQJXDJHLQWKHEOXHVZDVMXVWGLIIHUHQWLQYHUVLRQVRIWKHGR]HQV³7XWWL )UXWWL´VWDUWHGRII as straight-XSGR]HQVLWZDV³WXWWLIUXWWLJRRGERRW\´6WXIIOLNH³,KDGDJDOQDPHG6XH VKHNQHZMXVWKRZWRVFUHZ´$FWXDOO\LW¶VDVKRZRIDIIHFWLRQ,I\RXGRQ¶WFDSRQ SHRSOHWKH\GRQ¶WILJXUH\DOLNHWKH\DVV All this stXIIVWDUWHGEDFNLQ$IULFDDQGWKHUH¶VDPLOOLRQWKLQJVDERXWWKHEOXHVWKDW¶V $IULFDQEXWMXVWGRQ¶WEHDWDGHDGKRUVHEDFNWROLIH,W¶VOLNHJXPER- have you ever had DQ$IULFDQJXPER",WKRXJKWLWZDVJRQQDEHDELJNLFN,WULHGLWDQG,JXHVV,¶PVSoiled IURP1HZ2UOHDQVJXPER¶FDXVHLWZDVVRPHZHLUGVRXSZLWKsome weird seasoning and ,GLGQ¶WHQMR\LWDWDOO,ZDVWKRURXJKO\GLVDSSRLQWHGZLWKWKHJRGGDPQed African JXPER%XWLW¶VOLNHWKDWZLWKWKHEOXHV\RXZRXOGQ¶WILQGLWLQ$IULFDWKHZD\LW is here. A lot of the terminology of the blues came from the lottery business, for instance. Musicians picked that shit up- OLNH³JRLQJRQDJLJ´³FRPLQJRXWRIDEDJ´DQGFDOOLQJD JXLWDUDQ³D[H´$JLJZDVDWKUHH-number combo, and an axe was a gun or a piece, ZKLFKZDVFDUULHGLQDEDJ<RXPLJKWKHDUVRPHWKLQJOLNH³WKDWELWFKZDVFRPLQJRXWRI DEDJRQKHU´:HOOLQWKHORWWHU\EXVLQHVVLIWKH\ZDVFRPLQJRXWRIDEDJWKDWPHDQW they was pulling a piece on someone. This old numbers cat would DOZD\VVKRRWULEVDWWKHEDQGDERXWWKHZRUGVZHXVHG+H¶G VD\³:HXVHGDOOWKHPZRUGV\RXVWXSLGVXFNHUVDQGQRZ\RX¶UHWZLVWLQJLWDOOXS´ Today with hip-KRSLW¶VWKHVDPHWKLQJ2OGFDWVSDVVHGVWXIIGRZQDQGDORWRIWKHVH kids is doing their thing with it- they kinda half ass it with something they heard from somebody in they family. I can tell some of
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    M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos.
  • At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2

    At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2

    1 At the CrossroAds Pottery by Mark hewitt Pucker Gallery | Boston 2 BiG Vase, CArPenter’s eGG, black manganese glaze with revealed salt glaze, yellow, and pink polka dots 43.5 x 24 x 24" Mh101 Cover: ten GAllon vAse, alkaline glaze with blue glass runs and black manganese neck 26 x 17.5 x 17.5" Mh99 All works Are stonewAre. 3 At the CrossroAds Pottery by Mark hewitt essAy By ChristoPher Benfey strAnGe thin Gs hAPPen At A southern Southern potters and comes up with his own distinctive kind of crossroads. Consider the red-clay town of Pittsboro, North ceramic music, utterly new and fresh—and very, very big. Carolina, where Mark Hewitt turns and burns his big-hearted Take a long look at two of Hewitt’s monumental pots, pots, down a winding gravel lane called Johnny Burke Road. Ike’s Peacock (MH102) and Carpenter’s Egg (MH101). These Smack-dab in the center of town, where two highways cross, magnificent pots, in their burgeoning scale, are unprecedented stands the Chatham County Courthouse, built in 1881 of in the North Carolina folk pottery canon. Solemn and seductive, rugged brick made down the highway in Sanford, the self- with their scale providing a thrilling clout, they have an immediate designated “Brick Capital of the U.S.A.” Or rather, the new appeal like that of Martin Puryear’s visionary sculptures, with courthouse stands there, since the old building, except for their own intersection of folk tradition and modernist panache. its façade and its statue of a Confederate soldier standing at They also represent the passage from the past to the present.
  • Idioms-And-Expressions.Pdf

    Idioms-And-Expressions.Pdf

    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.