The speaker in Cape Verdean Blues is an oracle walking down the street. Shauna Barbosa interrogates encounters and the weight of their space. Grounded in bodily experience and the phenomenology of femininity, this collection provides a sense of Cape Verdean identity. It uniquely captures the essence of “Sodade,” as it refers to the Cape Verdean American experience, and also the nostalgia and self-reflection one navigates through relationships lived, lost, and imagined. And its layers of unusual imagery and sound hold the reader in their grip.

The Making of the Cape Verdean is a book written about Cape Verdeans who migrated from the Cape Verde Islands in the late 1800's to the 1970's to New Bedford Massachusetts. The book is based on the historical facts about the Portuguese colonization of the Cape Verde islands and its people located off the West Coast of Africa. The author provides the history of colonization under Portuguese rule of Salazar and how the Cape Verdean people survived famine, imprisonment, torture, politcal unrest and the abandonment of the Portuguese government. In addition, the author gives you a voyeuristic view of what life was like growing up in the Cape Verdean community in New Bedford after they migrated to the United States. This book is a powerful recap of of Cape Verdeans from this period and location. There is no other documentation that captures the Cape Verdeans the way "The Making of the Cape Verdean" does in this book.

Situates the cultures of Portuguese-speaking Africa within the postcolonial, global era.

(Play It Like It Is). Artist-approved, note-for-note transcriptions in standard notation and tab for a dozen of the best from this formidable blues rocker. Includes: Asking Around for You * The Ballad of John Henry * Ballpeen Hammer * Black Night * Bridge to Better Days * Dirt in My Pocket * The Great Flood * Last Kiss * Lonesome Road Blues * One of These Days * Sloe Gin * So Many Roads, So Many Trains.

All too often an incident or accident, such as the eruption in Crown Heights with its legacy of bitterness and recrimination, thrusts Black-Jewish relations into the news. A volley of discussion follows, but little in the way of progress or enlightenment results--and this is how things will remain until we radically revise the way we think about the complex interactions between African Americans and Jews. A Right to Sing the Blues offers just such a revision. Black-Jewish relations, Jeffrey Melnick argues, has mostly been a way for American Jews to talk about their ambivalent racial status, a narrative collectively constructed at critical moments, when particular conflicts demand an explanation. Remarkably flexible, this narrative can organize diffuse materials into a coherent story that has a powerful hold on our imagination. Melnick elaborates this idea through an in-depth look at Jewish songwriters, composers, and perfomers who made Black music in the first few decades of this century. He shows how Jews such as George Gershwin, Irving Berlin, Al Jolson, and others were able to portray their natural affinity for producing Black music as a product of their Jewishness while simultaneously depicting Jewishness as a stable white identity. Melnick also contends that this cultural activity competed directly with Harlem Renaissance attempts to define Blackness. Moving beyond the narrow focus of advocacy group politics, this book complicates and enriches our understanding of the cultural terrain shared by African Americans and Jews.

(Guitar Recorded Versions). All 11 songs from the 2016 album release by this popular modern blues guitarist in standard notation and tab. Includes: Blues of Desperation * Distant Lonesome Train * Drive * How Deep This River Runs * Livin' Easy * Mountain Climbing * No Good Place for the Lonely * This Train * The Valley Runs Low * What I've Known for a Very Long Time * You Left Me Nothin' but the Bill and the Blues.