By Jesse R. Steinberg

ISBN-10: 0470656808

ISBN-13: 9780470656808

ISBN-10: 1118153286

ISBN-13: 9781118153284

The philosophy of the blues

From B.B. King to Billie vacation, Blues tune not just sounds reliable, yet has a nearly common charm in its mirrored image of the rigors and tribulations of daily life. Its skill to powerfully contact on various social and emotional concerns is philosophically inspiring, and the following, 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 enthusiasts and philosophers alike.Content:
Chapter 1 Talkin' to Myself back (pages 1–15): Joel Rudinow
Chapter 2 Reclaiming the air of secrecy (pages 16–24): Ken Ueno
Chapter three Twelve?Bar Zombies (pages 25–37): Wade Fox and Richard Greene
Chapter four The Blues as Cultural Expression (pages 38–48): Philip Jenkins
Chapter five The creative Transformation of Trauma, Loss, and Adversity within the Blues (pages 49–65): Alan M. Steinberg, Robert S. Pynoos and Robert Abramovitz
Chapter 6 unhappiness as good looks (pages 66–74): David C. Drake
Chapter 7 Anguished artwork (pages 75–83): Ben Flanagan and Owen Flanagan
Chapter eight Blues and Catharsis (pages 84–93): Roopen Majithia
Chapter nine Why cannot We be chuffed? (pages 95–110): Brian Domino
Chapter 10 Doubt and the Human (pages 111–120): Jesse R. Steinberg
Chapter eleven Blues and Emotional Trauma (pages 121–130): Robert D. Stolorow and Benjamin A. Stolorow
Chapter 12 ache, Spirituality, and Sensuality (pages 131–141): Joseph J. Lynch
Chapter thirteen caring the road (pages 142–152): Kimberly R. Connor
Chapter 14 girl Sings the Blues (pages 153–166): Meghan Winsby
Chapter 15 Even White parents Get the Blues (pages 167–175): Douglas Langston and Nathaniel Langston
Chapter sixteen Distributive background (pages 176–190): Michael Neumann
Chapter 17 Whose Blues? (pages 191–202): Ron Bombardi

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

Example text

By the time you get a book of philosophical essays published about the blues, under the Wiley-Blackwell imprint, no less, the blues has, like I said, ARRIVED! Myself: Well, if that’s what you mean by ‘arrived,’ what do mean by ‘thrived’ and ‘survived’? Me: Well, isn’t the blues ‘thriving’ as commerce? Myself: Depends on who you ask. ’ 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.

Or the slippery sounds of a slide guitar? What about the transcendent presence that B. B. King demonstrated in his lecture? These are sounds that do not have names, and, therefore, would be ‘tossed out of the system,’ as Cage says. The blues also often features noise elements in timbre (the color of the sound) that distort the clarity of pitches: the vocalist’s rasp and the distortion of the guitar sound. Furthermore, the blues, in contrast to classical music, is an aural, unwritten tradition. Since there is no score, one cannot depend upon faithfulness to a score to judge accuracy of intent, or locate its identity.

It is hard to explain exactly how B. B. ’ The notes he was playing were more or less the same as before, except now they had personality, bending over and under the ‘right’ notes of the scale. The rhythms were sharper, too, picked with an energy B. ’s first solo had lacked. There were subtle technical differences, certainly – more creative use of space, sharper attacks, sexier slides – but the underlying motivation was a change in the man himself: B. B. was expressing something, telling us a story.

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