Blow My Blues Away Vol. 2

Total Page:16

File Type:pdf, Size:1020Kb

Blow My Blues Away Vol. 2 Mississippi Delta Blues "BLOW MY BLUES AWAY” Vol. 2 Recorded by GEORGE MITCHELL in the 1960s MISSISSIPPI DELTA BLUES in the 1960s -V o l. 2 An Introduction - by George Mitchell (1968) It was our fifth day in Mississippi. for the members of the band, watching My wife and I were whiling away the the headlights as they crept by on the time on a bench in the "downtown" highway, hoping they might turn into section of Como. The town, popula­ the field in front of the house and head tion 789, was strangely quiet to urban toward us. It was past midnight when ears. Interstate 55 streamed past on the outdoor recording session finally one side, while old Highway 51 got underway. And three hours more rambled along the other. Half the store­ before the drums were lying on the fronts along the lifeless business dis­ ground among the lard buckets in trict were boarded up. The only public which Annie Mae McDowell had bathroom was in the one-room city planted sunflowers. Then Othar hall across the street. A hand scrawled Turner, one of the drummers, walked sign in the window of Mrs. M. Perkins' over and propped his leg on the porch store read: "Pay your burial dues here. " where I was sitting. "If you want a So far, we had had no luck in locat­ man who can flat lay down the blues, " ing unrecorded blues singers— the pur­ he said nonchalantly, "I know who pose of our trip. We had been up half that be. " Othar gave us directions to the night before trying to get the Como his house and said to be there at 3 Drum Band down on tape. It was the o'clock and he'd take us to "where first time our recorder had even been R. L. Burnside stayed at if nothing on and we had had to suffer five hours didn't happen. " of headaches to fill half a reel of tape. A little bit before 3, we gathered Most of the evening was spent on Fred ourselves together and headed for McDowell's unlit front porch waiting Othar's. As we bumped along a nar- Joe Callicott row dirt road that ran through the stopped dead when they saw us and middle of a seemingly endless cotton ran into the house. A woman peered field, we wondered whether Burnside through the gaping hole in the screen was going to be another mediocre mu­ door, and we asked her if R. L. was in, sician who could play a couple of John adding that we wanted to hear him Lee Hooker tunes. We waited at play. She stepped out on the sagging Othar's shack while he unhitched his front porch, shooed away the swarm mule, hung up his torn straw hat (re­ of flies, pointed in the direction of a ally), changed his boots, and we were cornfield to our right and replied in a off to R. L. Burnside's. friendly drawl, "No, he's over yonder It was 30 steaming minutes before cuttin' corn. You go back out and down we stopped at the barbed wire gate in the road and then cut over but you front of Burnside's house after a drive better walk cause that old bridge liable through the backwoods near not to hold no car. " Cold water that I thought our little bug I had expected to see Burnside "cut­ would never survive. Burnside's house ting corn" by hand but he was driving sat in back of his "bossman's" barns a tractor which was slashing down the and sheds which appeared consider­ parched stalks like a lawn mower. Two ably more livable than Burnside's laughing little boys, their shirts hang­ crackerbox shanty. My wife got out of ing open on their dark brown chests, the car, unfastened the gate and then were running alongside. Burnside was quickly shut it so as not to let a shaggy at the opposite end of one of the rows old horse escape (although he ap­ and waved when he saw us. We stood peared much too worn out to ever there watching as he guided the trac­ make the effort). About six or seven tor in our direction, shutting it off when raggedy kids darting here and there he reached us and stepping down smil­ on the hard packed dirt yard under ing. Not asking what we wanted, he several clothesless clotheslines wiped his brow and exclaimed, "Whew, it's hot. How y'all doing? " friends who had come over for the After chatting for a few minutes I said affair. But spaces were quickly made we had been told he could play some for us and beer was offered. old-time blues and we would love to We were anxious to hear some blues hear him. Burnside laughed and said but had to wait while R. L. scraped sure, to come back that night after he'd down our wound little-E string—he finished work. said the string has to be slick for "chok­ It was dark when we were again ing. " Any fears I had harbored earlier winding along the roads back to his about Burnside's musical ability were house, the night hushed except for the immediately shed when he sat down chirping of the katydids. Finally, we and began putting out a droning but saw a dim light burning off to the right rhythmic sound on the guitar and and we judged it could be R. L. 's. We chanting: "Goin' down South, goin' were late and about 10 or 12 grins and down South, goin' down South. " Prac­ stares met us when we entered his tically hypnotized, I forgot about the house. Nine of Burnside's ten kids were couch spring poking my back and the sprawled out in the side room on one sweat pouring down my face and of the two clumpy beds that accom­ watched Othar and one of R. L. 's kids modated the whole family. But they snap their fingers and stomp the floor jumped up and scrambled into the hot in an improvised dance to the continu­ and stuffy front room when they heard ous, rolling rhythm. When the song us. They plopped down on the warped, was over, I whipped out my tape re­ dirty floor because the only other corder. And the music that played late pieces of furniture, a sofa with the into that night is what you hear on this springs splitting through the tattered CD. covering and a wooden box covered It was several days later, on a Satur­ by a piece of colored plastic, were oc­ day, when we rolled into the court­ cupied by R. L., his wife, Othar, and house square in Hernando, just north of Coldwater. The small towns which Callicott for years. He said Joe lived in dot the Delta and its fringes seem al­ Nesbit about seven miles north and we most deserted on weekdays. But "go­ could find him just east of the big ing into town" on Saturday is the ma­ highway. Callicott's house could not jor recreation for the men, and the be seen from the road but there was a streets and cafes are filled. Some play mailbox, with "Callicott" scribbled on checkers on the courthouse lawn, some it, beside a deeply rutted driveway on sit on benches outside the barbershop, a steep hill. We parked our car and and others get drunk in the shoddy climbed through the mud to a little cafes which line the streets of the "col­ house enshrouded in kudzu vine and ored section. " On that Saturday in giant sunflowers. We knocked, and Hernando, we pulled up in front of a asked the man who answered if Joe cluster of Black men shooting the bull Callicott lived there. The man grinned in front of the courthouse and spitting a wide smile and invited us in. "How tobacco juice on the sidewalk. Direct­ y'all doing? Have a seat. I'm Joe. " It ing the question toward no one in wasn't long before he was putting out particular, I asked if anyone had ever the old songs that most people have heard of Joe Callicott. A moment heard only on records, the songs you passed and no one said anything. hear on this CD. "Callicott? Joe Callicott? " an elderly Burnside and Callicott were our first man finally piped up. "Ain't never "real finds" of the trip, but there were heard of him. Go ask Eli. He'll tell you. many more to come during the five He knows just about everybody in often frustrating but eventful weeks these parts. " He pointed to an old, we spent combing the Delta for blues stooped-over man wearing a dirty singers in the summer of 1967. And we black derby who was leaning against a discovered that the oft-heard conten­ pair of stand-up penny scales in front tion that every worthwhile blues singer of a hardware store. Eli had known in the '20's and '30's was recorded has no basis in fact. Probably many good sis. Most of the ones we found did not bluesmen of the time never found their own guitars and were a little rusty, way on wax simply because the Ralph although they were able to play a few Peers and the H. C. Spears never ran numbers well. Burnside and Callicott across their paths or because they were were probably the two most consis­ unaware of the market.
Recommended publications
  • EXTENSIONS of REMARKS, Vol
    October 19, 2012 EXTENSIONS OF REMARKS, Vol. 158, Pt. 11 15025 EXTENSIONS OF REMARKS HONORING MR. WILLIE ‘‘SONNY and cotton picking in Tallahatchie County and the owners. In 1955, he began recording for BOY’’ WILLIAMSON started becoming a familiar voice and blues Chess Records in Chicago, Illinois after Trum- artist on the local circuits. He played on the pet Records went bankrupt. His years at HON. BENNIE G. THOMPSON street corners, at church socials, fish fry’s, and Chess Records were his most successful in OF MISSISSIPPI anywhere he could attract a crowd, sometimes his career as a blues artist. In fact, he re- IN THE HOUSE OF REPRESENTATIVES getting paid. Sonny Boy made friends with corded about 70 songs from 1955 to 1964 for other blues artists like Big Joe Williams, Checker Records, a subsidiary of Chess Friday, October 19, 2012 Elmore James, Joe Willie ‘‘Pinetop’’ Perkins, Records. In 1959 he finally got the opportunity Mr. THOMPSON of Mississippi. Mr. Speak- Robert Lockwood, Jr., and Robert Johnson. to record a compilation of stories about the er, I rise today to honor a blues musician and He was always looking for ways to entertain blues with his first LP record titled Down and legend of the Mississippi Delta, Mr. Willie besides just singing, so he started doing what Out Blues. It featured such hits as Dissatis- ‘‘Sonny Boy’’ Williamson. some might call impossible until they saw him fied, Your Funeral and My Trial, Don’t Start Mr. Speaker, the ‘‘Blues’’ is not just a song, do it—he would put his entire harmonica in his Me to Talkin, and All My Love in Vain.
    [Show full text]
  • Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
    father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public.
    [Show full text]
  • King Biscuit Time”--Sonny Boy Williamson II and Others (1965) Added to the National Registry: 2017 Essay by Edward Komara (Guest Post)*
    “King Biscuit Time”--Sonny Boy Williamson II and others (1965) Added to the National Registry: 2017 Essay by Edward Komara (guest post)* Sonny Boy Williamson II This King Biscuit show is about flour and the blues, not about flowers and rock music. “King Biscuit Time” was born when the blues harmonica master Sonny Boy Williamson (1899- 1965, born Aleck Miller) visited the newly opened KFFA radio studios in Helena, Arkansas. Seeing radio as a means of promoting his upcoming performances, Williamson pitched the idea of a regular show during the noon hour when his working audiences were taking their lunch breaks. KFFA agreed, securing Max Moore, owner of the Interstate Grocer Company and King Biscuit Flour, as the sponsor. “King Biscuit Time” debuted on November 21, 1941 at 12:15 pm, with Williamson and guitarist Robert Lockwood playing for 15 minutes. The success was immediate, allowing the musicians to maintain their time-slot every weekday. They were so successful that, in 1947, while the company’s flour bag continued to have its crown, the corn meal bag began to feature a likeness of Williamson sitting on an ear of corn. As the show continued through the 1940s, additional musicians were brought in to create a band behind Williamson. Chief among them were guitarists Joe “Willie” Wilkins, Earl Hooker and Houston Stackhouse, pianists Robert “Dudlow” Taylor, Willie Love and Pinetop Perkins, and drummer Peck Curtis. During the early broadcasts, Sam Anderson and Hugh Smith served as announcers. John William “Sonny” Payne filled in once in 1941, but he returned in 1951, staying on as the “King Biscuit Time” host until his death in 2018.
    [Show full text]
  • WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (Sp?)
    ..^ WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (sp?) ^A^ry/^-^ <1 II [of 3-N. f ^^r^^^^^^fl^^^ ^\ '/ ^ ^ sr r^, / r f \ May 25. 1960 \ <. ; .i:' S / /v;, /' f/- ^ L- Lv-^. Also presents Richard B. Alien, William Claxton (Will Shade talking first) [See Memphis folder.] Some of the bands playing around [Memphis] when WS was a boy t \ were led by W. C. Handy, Howard Yandey, and Bea [sp?] Smith. Yancey ^ was a man when WS "was a "kid in Knee pants;" Yancey, who is now at [operates?] the pool room just around tte corner, had a musicians' "headquarters, a club, at one time. The bands of that time were playing ragtime music and Dixieland, tunes such as "Way D%3»n Yonder In New Orleans." [Perhaps suggested by tlie fact that RBA was from N.O.] When WS began playing music for money, instrumentatdxan .and personnel of the band were: "Roundhouse" (real name, Elijah), jug? Ben Ramey, kazoo; WS, lead guitar and harmonica; Will Weldon, second guitar. WS made up his own tunes and wrote his own songs. The group was called the Memphis Jug Band. The first records WS made were with the persons listed above; the recordings were "Newport News," "Memphis Jug Band Blues," [Cf. discographies] "Stingy Woman Blues" and "Sun- brimmer's Blues." The original personnel have been replaced in the last ten or fifteen years as they died; Weldon was replaced by Robert Carter, guitar [Cf. discographies.]? Jones j'oined the band to play jug and piano. [Jab Jones?] WS recorded with Sleepy Sohn Estes around [19]26 or [19]27; they titles inciLuded "Diving Duck" and "[ ] Jail." Estes was in Brownville [i.e., Brownsville?], Tennessee, the last time WS heard from him; Estes is now blind.
    [Show full text]
  • Nbr 204 1970 Oct 15 to 28
    KRAfl PROGRAM GUIDE NUMBER 204---- TH E JACK STRA¥! MEMORIAL FOU~DATION 9029 ROOSEVELT WAY NORTH EAST SEATTLE WASHDIGTON 98115 LA2- s11I1111 CONTAINING PROGRAM LISTINGS FOR THE NEX Y TIIATS 'lEU TWO ;~EEKS-lOls70 TO 102 870, AS BROADCAST ON KRAB, A LISTENER SUPPORTED RADIO STATlOI! TIIAT LIKES EVEN MARGINS BUT OOESNT GET 1,1UCH O1ANCE TO IfSE TIIEH, OKAY ? This !veek ' s ?Togram guide cover is bv Alice Gant. and last issue's cover was the work of L'im Hat "'ield . ~la ybe the D~ i lY won't steal them this time, but when YOUT a c0u :fagj~£, hard-hitting journalist, well ...... The sUbscription rates are: $15 a year mini mum $25 a y~ar regQlar $500 a year swell Make all checks payable to the .TACK STRAW MEMORIAL FOUNDATION And remember, its TAX DEDUCTIBLE!! 2 BACKGROUND OF THE HEARING The KRAB 'obscenity hassle,' as we've come to call it, began on August 5, 1967, with the scheduled broadcast of a thirty hour long 'autobiographical novel on' tape' by Reverend Paul Sawyer. Lorenzo Milam, then station manager, was listening to the program at home and heard words used the Federal Communications Commission c:onsiders . obscene (or at least, what Lorenzo thought the FCC thought was obscene). After a few warnings to Reverend Sawyer (who was at the station playing the pro­ gram on his own tape recorder) Lorenzo took the program off the air. In December of the same year, another 'obscene' program was broadcast, this with Reverend James Bevel, Reverend Bevel's speech waS played twice, in its entirety .
    [Show full text]
  • American Epic Sessions Song List
    Press Contacts: Brian Moriarty, DKC Communications, 212-981-5252; [email protected] Aliza Rabinoff, DKC Communications, 212-981-5157; [email protected] Natasha Padilla, WNET, 212-560-8824; [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://americanepic.com , http://pbs.org/americanepic , http://facebook.com/americanepic , @AmericanEpic , http://instagram.com/americanepic/ , http://google.com/+americanepic , http://youtube.com/americanepic , #AmericanEpic The American Epic Sessions Premieres Tuesday, June 6 at 8 p.m. on PBS (check local listings) Song List Performances “Matrimonial Intentions” Traditional Performed by Jack White Arranged by Jack White Jack White: Vocals and Guitar Dominic Davis: Upright Bass Fats Kaplin: Mandolin Lillie Mae Rische: Vocals and Fiddle Carla Azar: Percussion Produced by Jack White and T Bone Burnett Courtesy of Columbia Records, a Division of Sony Music Entertainment “If The River Was Whiskey” Composed by Charlie Poole and Norman Woodlieff Performed by Frank Fairfield Frank Fairfield: Vocals and Slide Guitar Zac Sokolow: Banjo Produced by T Bone Burnett Published by Charlie Poole Publishing, Inc. and Original Rambler Music Inc., admin. by Bluewater Music Services Corp. Courtesy of Columbia Records, a Division of Sony Music Entertainment “On The Road Again” Composed by J.B. Jones and Will Shade Performed by Nas Nas: Vocals Dominic Davis: Upright bass Jake Faulkner: Jug Fats Kaplin: Banjo Alfredo Ortiz: Drums Lillie Mae Rische: Fiddle
    [Show full text]
  • CBS Newsletter January 2018
    January 2018 BLUES NEWS Message from the President: Hello and Happy New Year! I’d like to thank those on the previous boards who did not return for their sup- port with moving CBS forward. Our biggest challenge this year is to implement the CBS Scholarship and Edu- cational Fund initiated by John Adams. Currently most of the funding for the “Fund” comes from our annual Blues Cruise. We’re looking forward to our next Cabin Fever Picnic on February 18th. This is an opportunity to meet other members and the CBS board. Hope to see many of you then. Bill Koteles A new year means another beginning. Keeping the Blues alive takes work, takes com- mitment, and it needs YOU. Think about helping us by becoming involved this year. Where else can you volunteer your time to bring live music to our area and have such a sweet payoff! CBS is going to be ten years old in June. Stay tuned for more information. Our newsletter will be published bi-monthly. The next issue will be in March 2018. From all of us at CBS, all the best this New Year, and may live music be a part of your life, always! 2017-2019 Cleveland Blues Society Board Members President: Bill Koteles Vice President: Anthony Lovano Secretary: Kris Diehl Treasurer: Elaine DeStephano Board Member: Mike Kormos Board Member: Dave Rolland Board Member: Bob Dickow Board Member: Susanne Mayer Board Member: Penny Holycross Cleveland Blues Society 1/7/2018 1 Inside this i s s u e : DECEMBER JAM Decembrer Jam Band 2-3 MS.
    [Show full text]
  • Liner Notes to J.D. Short & Son House
    SON HOUSE & J. D. SHORT Blues from the Mississippi Delta/Folkways Records FA2467 DESCRIPTIVE NOTES ARE INSIDE POCKET COVER DESIGN BY RONALD CLYNE / PHOTOGRAPH BY DAVID GAHR SIDE ONE SIDE TWO I. J. D. SHORT SON HOUSE c. Re~OJ~ed by Samuel Charters July 3, 1962; st. Louis, Missouri From the Archives of the library of Congress l,Jand 1. SO MUCH WINE Band 1. MY BLACK WOMAN Band 2. TRAIN, BRING MY BABY BACK • Band 2. SUN GOIN' DOWN -Aland 3. YOU BEEN CHEATING ME Band 3. I AIN'T GOIN' TO CRY NO MORE .....I Band 4. CHARLIE PATION Band 4. THE KEY OF MINOR :;:;: '.;J Band 5. FIGHTING FOR DEAR OLD UNCLE SAM Band 5. THIS WAR WILL LAST YOU FOR YEARS --~~.-:' Band 6. WAS I RIGHT OR WRONG? Band 7. COUNTY FARM BLUES FOLKWAYS RECORDS Album if FA 2467 ©1963 by Folkways Records & Service Corp., 165 W. 46th St. NYC USA J. D. SHORT and SON HOUSE The Blues of the Mississippi Delta Samuel Charters Yazoo River. It is good country for cotton. The soil is rich, the fields are flat and easy to work, and the area is near Memphis, with its facilities for market­ Northwest Mississippi is beautiful in the spring and ing and shipping. The delta has long been one of the the fall. There is a softness to the air, a distant sections of the country with the highest percentage haze that colors the horizon a faint purple. The of Negro population, and bec ause of the brutality of grass covers the earth with a deep, rich green; the the social system there has been a gulf between the dried grass of autumn a mottled brown.
    [Show full text]
  • Samuel B. Charters: Notes to Folkways FS 3823 "Furry Lewis"
    FOLKWAYS RECORDS Album No. FA 3823 ©1959 Folkways Records & Service Corp., 43 W. 61st St., N. Y. C., USA FURRY LEWIS Edited by Samuel B. Charters Photo by A. R. Danberg FURRY LEWIS imagination that doesn't depend on technical display. As the singers mature their music often The last time I saw Furry Lewis he was chopping weeds achieves a new expressiveness. on a highway embankment near the outskirts of Memphis, Tennessee, the town he has lived in since he was six years- old. He was wearing faded denim overalls, a khaki work shirt, a bright red handkerchief tied The next afternoon I rented a guitar, a big Epiphone, around his neck. It was a hot day, and his sweat from a pawn shop on Beale Street, and took it over soaked shirt clung to his back. He was chopping at to Furry's room. He had gotten off work early and the heavy plants with a hoe, stopping every now and was sitting on the porch waiting for me. He carried then to wipe off his face. Furry has worked as a the guitar inside, sat down and strummed the strings laborer for the city of Memphis for nearly thirty- to make sure it was in tune, then looked up and five years. He chops weeds, cuts grass, rakes leaves, asked me, "What would you like to hear? " picks up trash, whatever needs done around the city's streets and parks. He limps a little, but watching I was surprised that he didn't want to try the him work it's still a surprise to notice that he has guitar a little first, but I managed to think of only one leg.
    [Show full text]
  • October 4, 1973 University of Missouri-51
    - October 4, 1973 University of Missouri-51. Louis Issue 177 -------- ------------------'''',-- Veterens aw-arded UNITED - $6"0,000 grant counsels by Paul April veteran who has served in the inner-city armed forces within the last ten A $60,830 veterans defense years. Decisions about how the grant has been awarded to grant is to be used will not be students UMSL with officials offering made until a coordinator has very little information about the been hired . An assistant coor­ by Dee Gerding grant. The reason for this lack of dinator-recruiter who would be A bewildered student timidly information is that a coordinator responsible for organizing and enters an ominous-looking door must first be hired. The grant a'Ss isting veterans with educa­ and asks if someone could help was awarded to the University tional services must also be him choose courses for the for this fi scal year by the hired. coming semester. A counsellor Veterans Program Unit of Edu­ Th e new veterans office, when in Project UNITED willingly cation. This unit is a branch of set up, would be responsible for shows him into her offl,Ce. The the department of Health, Edu­ explaining available benefits to student discovers that he is an cation, and Welfare. The grant veterans and also would recruit inner city h. g h s c h 0 0 1 was awarded wh en the Univer­ other veterans for the Univer­ graduate, has' never been 'to sity met the requirement of sity. The two coordinators will UMSL before, and really does having ten per cent more work in conjunction with the not know what is going on.
    [Show full text]
  • Tyler Dewayne Moore
    TYLER DEWAYNE MOORE EDUCATION 2018 PhD History, UNIVERSITY OF MISSISSIPPI (UM) Fields: Modern US History, Slavery, African Diaspora 2010 MA Public History, MIDDLE TENNESSEE STATE UNIVERSITY (MTSU) Fields: Museum Studies, Archival Administration, Historic Preservation 2001 BS Mass Communications: Production & Technology, MTSU TEACHING EXPERIENCE 2020 TO… PRAIRIE VIEW A&M UNIVERSITY (PVAMU), DEPT. OF SOCIAL SCIENCES Lecturer of US & Public History AAS 1001/HIST: 1313 Slavery & Early US (F2F & async) AAS 1002/HIST: 1323 The Black Freedom Struggle (F2F & async) HIST: 1313 Early US History (hybrid & async) HIST: 1323 Modern US History (F2F & async) 2019-2020 BOWLING GREEN STATE UNIVERSITY (BGSU), HISTORY DEPARTMENT Assistant Teaching Professor of History HNRS 2010: Critical Thinking (F2F) HIST 2050: Early US (F2F & async) HIST 2060: Modern US (async) HIST 4260: Civil War & Reconstruction (F2F) HIST 4320/5820: African American History (F2F & sync) ACS 6570/HIST 6570: Historical Society Admin (F2F & sync) 2014-2019 UM ARCH DALRYMPLE III DEPARTMENT OF HISTORY Graduate Professor of History HIST 131: Early US History (F2F) HIST 131-2: Modern US History (F2F) 2010-2013 UM, ARCH DALRYMPLE III DEPARTMENT OF HISTORY Teaching Assistant HIST 131: Early US History (F2F) HIST 131-2: Modern US History (F2F) AAS 326/HIST 415: African Americans since 1865 (F2F) AAS 440/HIST 420: African Americans in Sports (F2F) FORTHCOMING MONOGRAPHS NOV 2021 Old Time Mississippi Fiddle Tunes & the Segregation of Sound Working title for second volume of Fiddle Tunes and
    [Show full text]
  • Selling the Blues at Fat Possum Records
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2018 The Same Old Blues Crap: Selling The Blues At Fat Possum Records Jacqueline Sahagian University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Ethnomusicology Commons Recommended Citation Sahagian, Jacqueline, "The Same Old Blues Crap: Selling The Blues At Fat Possum Records" (2018). Electronic Theses and Dissertations. 886. https://egrove.olemiss.edu/etd/886 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SAME OLD BLUES CRAP: SELLING THE BLUES AT FAT POSSUM RECORDS A Thesis presented in partial fulfillment of requirements for the Master of Arts in Southern Studies The University of Mississippi JACQUI SAHAGIAN MAY 2018 Copyright © 2018 by Jacqui Sahagian All rights reserved ABSTRACT This thesis interrogates the marketing strategies of the Oxford, Mississippi-based record label Fat Possum, which was founded in the early 1990s by Matthew Johnson with the goal of recording obscure hill country blues artists. Fat Possum gained recognition for its raw-sounding recordings of bluesmen, including R.L. Burnside, Junior Kimbrough, Cedell Davis, and T-Model Ford, as well as its irreverent marketing techniques. Adopting the tagline “not the same old blues crap,” Fat Possum asserted that its blues were both different from and superior to all other blues music. This thesis argues that while Fat Possum claimed to be a disruptive force in the blues world, the label actually repeated marketing strategies that have been used to sell the blues since the genre was first sold during the 1920s race records era.
    [Show full text]