Living Blues #265 (February/March) begins the celebration of the 50th Anniversary of Living Blues. Eighty-eight-year-old Leon Blue has had a remarkable, though mostly under the radar, musical career. Through run-ins with Bob Wills, recording with Lowell Fulson, and touring with Ike Turner and Albert Collins, Blue has seen it all. Chicago club stalwart Smilin’ Bobby… Read More >
Living Blues #260 (April/May 2019) features bluesman Eric Bibb on the cover. Eric Bibb’s music is rooted in the American blues tradition, but the scope of his vision is expanded by his world travels and musical partnerships. California bluesman Mike Henderson is a true Renaissance man. His artistic skills are wide ranging. A musician, filmmaker… Read More >
Living Blues #255 (June/July 2018) features Louisiana bluesman Chris Thomas King on the cover. A second generation Baton Rouge bluesman, King has been making records for more than 30 years and over that time his perception of the blues and where it came from has evolved and broadened. King discusses his early years with his father, Tabby Thomas, and his forthcoming book about the origins of the blues.
Written by Grace Nelson The film industry is achieving big things as this year’s 17th annual Tribeca Film Festival is set to premiere 75 new films. Adam Gussow, University of Mississippi associate professor of English and Southern studies, is among the stars of the festival and will attend the Friday (April 20) premiere of “Satan… Read More >
The blues—as a palette of intense, often contradictory feelings; a range of social conditions heavily inflected by blackness and southernness; an expressive form encompassing literature as well as music; and a philosophical orientation towards experience—are a more complex cultural phenomenon than some realize. This essay unpacks the latter two concepts: blues expressiveness and the blues ethos. Blues expressiveness is constituted by a range of cultural practices, including the AAB stanza, call and response procedure, vocalizations, blues-idiomatic language, and signifying. The blues ethos, too, offers multiple strategies for surviving bad times by refusing to reify the down-ness of the present moment as an inescapable condition, sometimes with the help of harsh, redemptive laughter. In this essay, Adam Gussow draws on a range of lyric, literary, and folkloristic commentary by Langston Hughes, Cornell West, Bessie Smith, Howard Odum, Kalamu ya Salaam, W. C. Handy, Angela Y. Davis, Lonnie Johnson, and many others. The essay also takes an autobiographical turn as Gussow mines his own bandstand and classroom experience with Mississippi-born blues performers Sterling “Mr. Satan” Magee and Bill “Howl-N-Madd” Perry to illustrate the blues ethos in action.
SOUTHERN MUSIC SYMPOSIUM · FEBRUARY 26 CALL FOR PROPOSALS FOR UM STUDENTS We invite University of Mississippi students to submit papers or completed documentary work for public presentation and discussion at the February 26 Symposium. Subjects can concern how southern music has shaped or related to place, race, gender, class, locality, environment, globalization, consumerism, and/or politics.… Read More >
New on Mississippi Stories, a lecture by Assistant Professor of Sociology and Southern Studies Dr. Brian Foster: “‘That’s for the White Folks’: Race, Culture, and (Un)Making Place in the Rural South.” Dr. Foster presented the lecture, based on his ethnographic work in rural Mississippi, on October 25, 2017 as part of the Center’s Brown Bag Lecture Series.