This volume explores concepts of freedom and bondage in the blues and argues that this genre of music explicitly calls for a reckoning while expressing faith in a secular justice to come. Placing blues music within its historical context of the post-Reconstruction South, Jim Crow America, and the civil rights era, Julia Simon finds a deep symbolism in the lyrical representations of romantic and sexual betrayal. The blues calls out and indicts the tangled web of deceit and entrapment constraining the physical, socioeconomic, and political movement of African Americans. Surveying blues music from the 1920s to the early twenty-first century, Simon’s analyses focus on economic relations, such as sharecropping, house contract sales, debt peonage, criminal surety, and convict lease. She demonstrates how the music reflects this exploitative economic history and how it is shaped by commodification under racialized capitalism. As Simon assesses the lyrics, technique, and styles of a wide range of blues musicians, including Bessie Smith, Blind Lemon Jefferson, Big Bill Broonzy, Muddy Waters, B. B. King, Albert Collins, and Kirk Fletcher, she argues forcefully that the call for racial justice is at the heart of the blues. A highly sophisticated interpretation of the blues tradition steeped in musicology, social history, and critical-cultural hermeneutics, Debt and Redemption not only clarifies blues as an aesthetic tradition but, more importantly, proves that it advances a theory of social and economic development and change.

This volume explores concepts of freedom and bondage in the blues and argues that this genre of music explicitly calls for a reckoning while expressing faith in a secular justice to come. Placing blues music within its historical context of the post-Reconstruction South, Jim Crow America, and the civil rights era, Julia Simon finds a deep symbolism in the lyrical representations of romantic and sexual betrayal. The blues calls out and indicts the tangled web of deceit and entrapment constraining the physical, socioeconomic, and political movement of African Americans. Surveying blues music from the 1920s to the early twenty-first century, Simon's analyses focus on economic relations, such as sharecropping, house contract sales, debt peonage, criminal surety, and convict lease. She demonstrates how the music reflects this exploitative economic history and how it is shaped by commodification under racialized capitalism. As Simon assesses the lyrics, technique, and styles of a wide range of blues musicians, including Bessie Smith, Blind Lemon Jefferson, Big Bill Broonzy, Muddy Waters, B. B. King, Albert Collins, and Kirk Fletcher, she argues forcefully that the call for racial justice is at the heart of the blues. A highly sophisticated interpretation of the blues tradition steeped in musicology, social history, and critical-cultural hermeneutics, Debt and Redemption not only clarifies blues as an aesthetic tradition but, more importantly, proves that it advances a theory of social and economic development and change.

Jelly's Blues vividly recounts the tumultuous life of Jelly Roll Morton (1890-1941), born Ferdinand Joseph Lamonthe to a large, extended family in New Orleans. A virtuoso pianist with a larger-than-life personality, he composed such influential early jazz pieces as "Kansas City Stomp" and "New Orleans Blues." But by the late 1930s, Jelly Roll Morton was nearly forgotten as a visionary jazz composer. Instead, he was caricatured as a braggart, a hustler, and, worst of all, a has-been. He was ridiculed by the white popular press and robbed of due royalties by unscrupulous music publishers. His reputation at rock bottom, Jelly Roll Morton seemed destined to be remembered more as a flamboyant, diamond-toothed rounder than as the brilliant architect of that new American musical idiom: Jazz.In 1992, the death of a New Orleans memorabilia collector unearthed a startling archive. Here were unknown later compositions as well as correspondence, court and copyright records, all detailing Morton's struggle to salvage his reputation, recover lost royalties, and protect the publishing rights of black musicians. Morton was a much more complex and passionate man than many had realized, fiercely dedicated to his art and possessing an unwavering belief in his own genius, even as he toiled in poverty and obscurity. An especially immediate and visceral look into the jazz worlds of New Orleans and Chicago, Jelly's Blues is the definitive biography of a jazz icon, and a long overdue look at one of the twentieth century's most important composers.

The novel The Eclipse Blues is a tale of reverse power and fortune that comes about in the United States thirty years into the 21st Century as a result of massive global warming that's referred to by scientist as "the global warming mega-effect". As a result of the "global warming mega-effect" many diseases such as tuberculosis, the West Nile virus, and malaria are widely manifested. The most extensive debilitating disease is metastasis skin cancer that grows into a pandemic and greatly impacts and destroys the lives of people with pale and fair complexions - mostly Caucasians - who, as a result, become gravely ill and suffer a high mortality rate that subsequently makes them the minority in the United States to people of color who discriminate against them and prompt Caucasians to fight for their civil rights and equal justice much like people of color did during previous decades. Two influential personalities, Lutheran Minister Jerry Hines and newspaper owner Dewey Washington, come to the forefront in the story as protagonists who work diligently to end discrimination, inequality, and injustice toward pale-skinned citizens. These men put a lot on the line, including their own well-being, and in the case of Washington, the life of his daughter who is kidnapped by deranged David Butterfield, who is the diabolic leader of the Pale-skinned People Warriors Party that has declared vengeance and therewith violence against people of color.

What caused Asia's largest economy, once the envy of the world, to lag behind many of the other industrial countries? And why did it take so long for Japan to recover from the bursting of its asset price bubble of the late 1980s? In this volume, a team from the International Monetary Fund examines the causes of the lingering economic problems of Japan, the crisis in its banking system, the reasons for weak business investment, and the government's efforts to kick-start the economy through a series of stimulus packages. This book presents a compelling story about Japan's economy. Its message - that banking reform and corporate restructuring are central to any sustained revival of the economy- is backed up through detailed background research. This research provided the analytical framework for the IMF's policy advice during a period of rapid change--a period during which macroeconomic policymaking moved into uncharted territory. The research papers were prepared by members of the Japan team in the IMF during 1998 and the first half of 1999.

An epic journey through the economies of ancient civilizations, and how they managed debt versus social instability. Shocking historical truths about how debt played a central role in shaping (or destroying) ancient societies (viz: Rome), and that the Bible is preoccupied with debt, not sin, which has been disturbingly inverted in modern times.

Lonnie Johnson is a blues legend. His virtuosity on the blues guitar is second to none, and his influence on artists from T-Bone Walker and B. B. King to Eric Clapton is well established. Yet Johnson mastered multiple instruments. He recorded with jazz icons such as Duke Ellington and Louis Armstrong, and he played vaudeville music, ballads, and popular songs. In this book, Julia Simon takes a closer look at Johnson’s musical legacy. Considering the full body of his work, Simon presents detailed analyses of Johnson’s music—his lyrics, technique, and styles—with particular attention to its sociohistorical context. Born in 1894 in New Orleans, Johnson's early experiences were shaped by French colonial understandings of race that challenge the Black-white binary. His performances call into question not only conventional understandings of race but also fixed notions of identity. Johnson was able to cross generic, stylistic, and other boundaries almost effortlessly, displaying astonishing adaptability across a corpus of music produced over six decades. Simon introduces us to a musical innovator and a performer keenly aware of his audience and the social categories of race, class, and gender that conditioned the music of his time. Lonnie Johnson’s music challenges us to think about not only what we recognize and value in “the blues” but also what we leave unexamined, cannot account for, or choose not to hear. The Inconvenient Lonnie Johnson provides a reassessment of Johnson’s musical legacy and complicates basic assumptions about the blues, its production, and its reception.