Whether their cover bands play Willie Dixon or Willie Nelson, juke joints and honky-tonks appeal to hard-working men and women looking for a good time. Offering hot music, cheap food, and generous amounts of liquor, jukes and tonks are often a community’s unofficial gathering spot, where Saturday nights are spent committing the sins church leaders rail against the following morning. The stories in Jukes & Tonks introduce you to many sinners and few saints, love begun and love gone wrong, and all manner of unsavory criminal endeavors. What the stories have in common is that they plop you down in worlds where the music pulsating from the compact stage—if there’s a stage at all—provides the backbeat for tales that are unsparing, heartbreaking, twisty, and a few are as dark as the night, and the blinking sign offering live music is an invitation to the unexpected. Contributors include Trey R. Barker, Michael Bracken, Jonathan Brown, S.A. Cosby, John M. Floyd, Debra H. Goldstein, Gar Anthony Haywood, Penny Mickelbury, Gary Phillips, William Dylan Powell, Kimberly B. Richardson, and Stacy Woodson. Praise for JUKES & TONKS: “The world needs more jukes, more tonks, and more fine crime fiction—and this fast-paced playlist from Michael Bracken and Gary Phillips offers all of the above and then some. It’s a #1 hit…with a bullet!” —Josh Pachter, editor of The Great Filling Station Holdup: Crime Fiction Inspired by the Songs of Jimmy Buffett “While twists abound and nothing is predictable, one thing is certain: Jukes & Tonks transports the reader to a world where the drinks are cheap, the dancing is close, and the music reigns supreme.” —Holly West, Anthony Award-nominated editor of Murder-a-Go-Go’s: Crime Fiction Inspired by the Music of The Go-Go’s

What southerners do, where they go, and what they expect to accomplish in their spare time, their "leisure," reveals much about their cultural values, class and racial similarities and differences, and historical perspectives. This volume of The New Encyclopedia of Southern Culture offers an authoritative and readable reference to the culture of sports and recreation in the American South, surveying the various activities in which southerners engage in their nonwork hours, as well as attitudes surrounding those activities. Seventy-four thematic essays explore activities from the familiar (porch sitting and fairs) to the essential (football and stock car racing) to the unusual (pool checkers and a sport called "fireballing"). In seventy-seven topical entries, contributors profile major sites associated with recreational activities (such as Dollywood, drive-ins, and the Appalachian Trail) and prominent sports figures (including Althea Gibson, Michael Jordan, Mia Hamm, and Hank Aaron). Taken together, the entries provide an engaging look at the ways southerners relax, pass time, celebrate, let loose, and have fun.

Alcohol consumption goes to the very roots of nearly all human societies. Different countries and regions have become associated with different sorts of alcohol, for instance, the “beer culture” of Germany, the “wine culture” of France, Japan and saki, Russia and vodka, the Caribbean and rum, or the “moonshine culture” of Appalachia. Wine is used in religious rituals, and toasts are used to seal business deals or to celebrate marriages and state dinners. However, our relation with alcohol is one of love/hate. We also regulate it and tax it, we pass laws about when and where it’s appropriate, we crack down severely on drunk driving, and the United States and other countries tried the failed “Noble Experiment” of Prohibition. While there are many encyclopedias on alcohol, nearly all approach it as a substance of abuse, taking a clinical, medical perspective (alcohol, alcoholism, and treatment). The SAGE Encyclopedia of Alcohol examines the history of alcohol worldwide and goes beyond the historical lens to examine alcohol as a cultural and social phenomenon, as well—both for good and for ill—from the earliest days of humankind.

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.

Across five studio albums with Art Garfunkel (1964-1970) and fourteen solo albums (1965-2018), Paul Simon’s music and lyrics have inspired generations of listeners. For Paranoia Blues, nineteen masters of contemporary short crime fiction wrote new stories, each inspired by one of Simon’s songs: one from each of the five Simon and Garfunkel studio albums (plus a bonus second story inspired by a song from Bridge Over Troubled Water) and one from each of the fourteen solo studio albums. The contributors include award-winners E.A. Aymar, Martin Edwards, Cheryl A. Head, Edwin Hill, Tom Mead, Raquel V. Reyes, Gabriel Valjan, and a dozen more—plus the first new story by Robert Edward Eckels in more than forty years! This is the fifth “inspired by” anthology edited by Josh Pachter, a recent winner of the Short Mystery Fiction Society’s Golden Derringer Award for Lifetime Achievement; the previous books drew on the music of Jimmy Buffett, Billy Joel, and Joni Mitchell—and the films of the Marx Brothers.

Examines the history of people, places, and events in the years often referred to as the "Roaring twenties."

This Must Be The Place is the first architectural history of popular music performance space, describing its beginnings, its different typologies, and its development into a distinctive genre of building design. It examines the design and form of popular music architecture and charts how it has been developed in ad-hoc ways by non-professionals such as building owners, promoters, and the musicians themselves as well as professionally by architects, designers, and construction specialists. With a primary focus on Europe and North America (and excursions to Australia, the Far East and South America), it explores audience experience and how venues have influenced the development of different musical scenes. From music halls and Vaudeville in the 1800s, via the seminal clubs and theatres of the 20th century, to the large-scale multi-million-dollar arena concerts of today, this book explores the impact that the use of private and public space for performance has on our cities' urban identity, and, to a lesser extent, how rural space is perceived and used. Like architecture, popular music is neither static nor standardized; it continuously develops and has multiple strands. This Must Be The Place describes the factors that have determined the development of music venue architecture, focusing on both famous and less well-known examples from the smallest bar room music space to the largest stadium-filling rock set.