Download Blues: Philosophy for Everyone: Thinking Deep About Feeling by Abrol Fairweather, Jesse R. Steinberg PDF

By Abrol Fairweather, Jesse R. Steinberg

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The philosophy of the blues
From B.B. King to Billie vacation, Blues tune not just sounds stable, yet has a virtually common allure in its mirrored image of the pains and tribulations of way of life. Its skill to powerfully contact on quite a number social and emotional matters is philosophically inspiring, and right here, a various variety of thinkers and musicians provide illuminating essays that make very important connections among the human and the Blues that would entice track fanatics and philosophers alike.

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Additional resources for Blues: Philosophy for Everyone: Thinking Deep About Feeling Low

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Or is the relationship more of a ‘branching off’? Myself: Well, I suppose it’s more of a ‘branching off’ sort of relationship, in that there’s continuity going from psychedelic blues-rock back to the blues roots, but why do you ask? I: Well, suppose we focus more closely at the ‘crotch’ where the branch is most integrally connected to its root source and is just beginning to develop in its own separate direction. So, for example, how would you want to characterize Clapton’s 1966 version of ‘Crossroads’?

Aykroyd turned Belushi on to the blues, and Belushi grew to be a committed blues fan himself, his interest growing deeper through his encounters with Curtis Salgado and Robert Cray during the production of National Lampoon’s Animal House in the late 1970s in Eugene, Oregon (Cray wound up appearing as the bass player in the band that performs as ‘Otis Day and the Knights’ in the roadhouse and frat-house party scenes). indd 6 JO EL RU DINOW 9/23/2011 2:03:03 AM pretty unimpeachable sources. And, if you look closely you begin to see that what the Blues Brothers were really making fun of was themselves as white guys getting into the blues.

Did you know that the San Francisco Blues Festival, the longest running blues festival anywhere, shut down two years ago for economic reasons? And lots of smaller regional festivals have had to do the same, and in this economy… I: Look, in the twenty-first century the whole music industry is in deep turmoil. At this point, none of the old business models seem viable even short-term. So what’s the point of debating the commercial viability of one particular genre of music? Myself: Okay. Let’s skip the economics.

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