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.

Arriving in New England first as crew members of whaling vessels, Afro-Portuguese immigrants from Cape Verde later came as permanent settlers and took work in the cranberry industry, on the docks, and as domestic workers. Marilyn Halter combines oral history with analyses of ships' records to chart the history and adaptation patterns of the Cape Verdean Americans. Though identifying themselves in ethnic terms, Cape Verdeans found that their African-European ancestry led their new society to view them as a racial group. Halter emphasizes racial and ethnic identity formation to show how Cape Verdeans set themselves apart from the African Americans while attempting to shrug off white society's exclusionary tactics. She also contrasts rural life on the bogs of Cape Cod with New Bedford’s urban community to reveal the ways immigrants established their own social and religious groups as they strove to maintain their Crioulo customs.

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.

"A rich Minnesota literary tradition is brought into the spotlight in this groundbreaking collection of incisive prose and powerful poetry by forty- three black writers who educate, inspire, and reveal the unabashed truth. Historically significant figures tell their stories, demonstrating how much and how little conditions have changed: Gordon Parks hitchhikes to Bemidji, Taylor Gordon describes his first day as a chauffeur in St. Paul, and Nellie Stone Johnson insists on escaping the farm for high school in Minneapolis. A profusionof modern voices-- poet Tish Jones, playwright Kim Hines, and memoirist Frank Wilderson-- reflect the dizzying, complex realities of the present. Showcasing the unique vision and reality of Minnesota's African American community from the Harlem renaissance through the civil rights movement, from the black power movement to the era of hip- hop and the time of America's first black president, this compelling anthology provides an explosion of artistic expression about what it means to be a Minnesotan. Alexs Pate, an award- winning novelist, playwright, and writing professor, is the president of Innocent Technologies, LLC. Pamela R. Fletcher is associate professor of English at St. Catherine University. J. Otis Powell!? is a poet, performance artist, and curator working in an aesthetic rooted in Afrocentric lore and culture"--

Tomorrow is Grandma's birthday, and the house is overflowing with family and friends. Hugs, laughter, and the smells of delicious food fill the air as everyone gets ready for a beach party. Cora is excited, but she is also worried because she still does not have a present for Grandma. Cora cannot think of anything special enough. Cora knows her grandmother misses her home country, Cape Verde. After a nighttime walk on the beach with Grandma, Cora finally comes up with an idea for the perfect gift. It is one that both of them will always remember--and a way to help Grandma reconnect with faraway family.

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.

Praised as "suave, soulful, ebullient" (Tom Waits) and "a meticulous researcher, a graceful writer, and a committed contrarian" (New York Times Book Review), Elijah Wald is one of the leading popular music critics of his generation. In The Blues, Wald surveys a genre at the heart of American culture. It is not an easy thing to pin down. As Howlin' Wolf once described it, "When you ain't got no money and can't pay your house rent and can't buy you no food, you've damn sure got the blues." It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflecting West African "tonal and rhythmic approaches," using a five-note "blues scale." Wald sees blues less as a style than as a broad musical tradition within a constantly evolving pop culture. He traces its roots in work and praise songs, and shows how it was transformed by such professional performers as W. C. Handy, who first popularized the blues a century ago. He follows its evolution from Ma Rainey and Bessie Smith through Bob Dylan and Jimi Hendrix; identifies the impact of rural field recordings of Blind Lemon Jefferson, Charley Patton and others; explores the role of blues in the development of both country music and jazz; and looks at the popular rhythm and blues trends of the 1940s and 1950s, from the uptown West Coast style of T-Bone Walker to the "down home" Chicago sound of Muddy Waters. Wald brings the story up to the present, touching on the effects of blues on American poetry, and its connection to modern styles such as rap. As with all of Oxford's Very Short Introductions, The Blues tells you--with insight, clarity, and wit--everything you need to know to understand this quintessentially American musical genre.