Darker Blues

2 compact disc one is compilation of all fat possum artist. the other compact disc is of r.l. burnside

Paen Scott is a Dark One: a vampire without a soul. And his mother is about to lose hers too if Paen can’t repay a debt to a demon by finding a relic known as the Jilin God in five days. Half-elf Samantha Cosse may have gotten kicked out of the Order of Diviners, but she’s still good at finding things, which is why she just opened her own private investigation agency. Paen is one of Sam’s first clients and the only one to set her elf senses tingling, which makes it pretty much impossible to keep their relationship on a professional level. Sam is convinced that she is Paen’s Beloved—the woman who can give him back his soul...whether he wants it or not.

Introduction Get Free or Die Tryin' Declaration of Rights Troubadours, Warriors, and Diplomats Notes Acknowledgements Index.

Leeds, 1954: When Joanna Hart came into his office, enquiry agent Dan Markham thought it would be an easy case. All the blonde with red lips and swinging hips wanted was to know if her husband was unfaithful. But when the man is killed, Markham's involvement makes him suspect number one. As the evidence piles against him, he realises someone has set him up. In a deadly game, Markham has to battle to keep his client and himself alive. All he can rely on are his wits and the rusty skills he acquired during his National Service in military intelligence. But can he hope to be any match against a killer who has spies on every corner of Leeds and a reach that goes all the way to Whitehall?

NBA Blues is a cautionary tale that can serve as a handbook for any young athlete and their families facing the bittersweet taste of success in professional sports. Along with entertaining the reader, this book acts as a guide to help understand the pitfalls that come with financial success in professional sports. Most have a greater chance of becoming a business professional before he or she becomes a professional athlete, however, whether a young person has the talent and opportunity to become a professional athlete or a productive citizen in society, the proper guidance is necessary to maintain their success. Told in a compelling and engaging voice, this urban contemporary is creatively written with authentic characters. Although based on actual events, names and scenarios have been changed slightly to protect the innocent, and not so innocent. The message of the book is being presented in an educational and entertaining platform as author, Gerry Lancaster, renamed Gary Allen, shares his experiences while working as a personal assistant to a childhood friend who became a professional athlete. The real baller, renamed Vaughn Fisher (an Olympic Gold Medal Winner and four -time NBA All-star Player with earnings of over 100 million dollars) is the subject of the book. Vaughn was a talented athlete who attained his dream of playing professional basketball in the NBA, but the fame and fortune disappeared quickly as the thrill of making a basket was replaced by the thrill of getting a high from prescription drugs and alcohol. His story is told through the words of a friend who knew him from his humble beginnings, to the great heights of fame and back down the slippery slope of drugs, promiscuity and financial ruin. No one could tell the complete story unless they were actually there, and Gerry was.

In the near future, almost the entire world lies in the iron grip of the power-hungry conglomerate, Persona Century Corporation. The city of Shinjuku has, until this point, remained outside the grasp of this greedy company, but in spite of this, or perhaps because of it, it has become a dangerous and lawless town, teeming with rebels and terrorists. One day, a handsome, enigmatic young man by the name of Darkside mysteriously appears in Shinjuku. He, along with a small band of rebels, will attempt to break Persona's stranglehold on the world, if it isn't too late.

How do you love and not like the same thing at the same time? This was the riddle that met Mississippi writer B. Brian Foster when he returned to his home state to learn about Black culture and found himself hearing about the blues. One moment, Black Mississippians would say they knew and appreciated the blues. The next, they would say they didn't like it. For five years, Foster listened and asked: "How?" "Why not?" "Will it ever change?" This is the story of the answers to his questions. In this illuminating work, Foster takes us where not many blues writers and scholars have gone: into the homes, memories, speculative visions, and lifeworlds of Black folks in contemporary Mississippi to hear what they have to say about the blues and all that has come about since their forebears first sang them. In so doing, Foster urges us to think differently about race, place, and community development and models a different way of hearing the sounds of Black life, a method that he calls listening for the backbeat.

The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. “Coon songs,” with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz. In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the “big shows,” the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from “coon shouters” to “blues singers.” Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.