When November Nelson loses her boyfriend, Josh, to a pledge stunt gone horribly wrong, she thinks her life can't possibly get any worse. But Josh left something behind that will change November's life forever, and now she's faced with the biggest decision she could ever imagine. How in the world will she tell her mom? And how will Josh's parents take the news? She's never needed a friend more. Jericho Prescott lost his best friend when he lost his cousin, Josh, and the pain is almost more than he can bear. His world becomes divided into "before" and "after" Josh's death. He finds the only way he can escape the emptiness he feels is to quit doing the things that made him happy when his cousin was alive, such as playing his beloved trumpet, and take up football, where he hopes the physical pain will suppress the emotional. But will hiding behind shoulder pads really help? And will his gridiron obsession prevent him from being there for his cousin's girlfriend when she needs him most? This sequel to The Battle of Jericho is a no-holds-barred look at what happens when life doesn't go as planned, by the acclaimed author of the 2007 Coretta Scott King Award winner Copper Sun.
Sixteen-year-old Jericho is awaiting initiation to the Warriors of Distinction, the oldest and most exclusive club in school—but how high a price will he have to pay to belong? Find out in this first novel in Sharon M. Draper’s Jericho Trilogy. When Jericho is invited to pledge for the Warriors of Distinction, he thinks his life can’t get any better. As the most exclusive club in school, the Warriors give the best parties, go out with the hottest girls, and great grades are a given. When Arielle, one of the finest girls in his class, starts coming on to him once the pledge announcements are made, Jericho is determined to do anything to become a member… But as the initiation week becomes progressively harrowing, Jericho is forced to make choices he’s not entirely comfortable with. And one member seems to have it in for the sole female pledge in the group…a pledge who will stop at nothing to show she can handle the pressure. But when is she being pushed too far, and when should Jericho and his friends step in and risk losing their places in the pledging process? As Jericho becomes increasingly uneasy, his cousin Joshua breezes through the initiation, never thinking of the consequences, even when the fine line between fun and games, and life and death is crossed.
Daniel Pennac has never forgotten what it was like to be a very unsatisfactory student, nor the day one of his teachers saved his life by assigning him the task of writing a novel. This was the moment Pennac realized that no-one has to be a failure for ever. In School Blues, Pennac explores the many facets of schooling: how fear makes children reject education; how children can be captivated by inventive thinking; how consumerism has altered attitudes to learning. Haunted by memories of his own turbulent time in the classroom, Pennac enacts dialogues with his teachers, his parents and his own students, and serves up much more than a bald analysis of how young people are consistently failed by a faltering system. School Blues is not only universally applicable, but it is unquestionably a work of literature in its own right, driven by subtlety, sensitivity and a passion for pedagogy, while embracing the realities of contemporary culture.
Best known for his "Legend of Duluoz" novels, including On the Road and The Dharma Bums, Jack Kerouac is also an important poet. In these eight extended poems, Kerouac writes from the heart of experience in the music of language, employing the same instrumental blues form that he used to fullest effect in Mexico City Blues, his largely unheralded classic of postmodern literature. Edited by Kerouac himself, Book of Blues is an exuberant foray into language and consciousness, rich with imagery, propelled by rythm, and based in a reverent attentiveness to the moment. "In my system, the form of blues choruses is limited by the small page of the breastpocket notebook in which they are written, like the form of a set number of bars in a jazz blues chorus, and so sometimes the word-meaning can carry from one chorus into another, or not, just like the phrase-meaning can carry harmonically from one chorus to the other, or not, in jazz, so that, in these blues as in jazz, the form is determined by time, and by the musicians spontaneous phrasing & harmonizing with the beat of time as it waves & waves on by in measured choruses." —Jack Kerouac
The good ol' days are over. It's official, it's the news! With my brand-new baby brother came the brand-new baby blues! When a new baby wears her old pajamas, sleeps in her old bed, and seems to get all her parents' attention, a girl's bound to sing the blues. Is there anything a baby brother can do to change her tune?
Stuart Woods brings back small-town police chief Holly Barker—and her extraordinary Doberman, Daisy—for another exhilarating adventure in this New York Times bestseller. When Holly Barker’s wedding festivities are shattered by a brutal robbery, she vows to find the culprits. With nothing to go on but the inexplicable killing of an innocent bystander, Holly discovers evidence that leads her into the midst of a clan whose members are as mysterious as they are zealous. Holly’s father, Ham, a retired army master sergeant, is her ticket into their strange world. What he finds there boggles the mind and sucks them all—Holly, Ham, and Daisy—into a whirlpool of crazed criminality from which even the FBI can’t save them...
This little book transcends geographical, social, and economic boundaries to search the heart and soul of the blues, looking for rules to live by, hope for the downtrodden, cautionary tales for the good times, and truths that "hurt so good". Sometimes, you just gotta be blue. But, as this book goes to show, that's okay--because you're never alone.
Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
Hailed as an “American counter-culture classic,” this “funny” and candid musical memoir offers a delicious glimpse into the 1930s jazz scene (The Wall Street Journal) Mezz Mezzrow was a boy from Chicago who learned to play the sax in reform school and pursued a life in music and a life of crime. He moved from Chicago to New Orleans to New York, working in brothels and bars, bootlegging, dealing drugs, getting hooked, doing time, producing records, and playing with the greats, among them Louis Armstrong, Bix Beiderbecke, and Fats Waller. Really the Blues—the jive-talking memoir that Mezzrow wrote at the insistence of, and with the help of, the novelist Bernard Wolfe—is the story of an unusual and unusually American life, and a portrait of a man who moved freely across racial boundaries when few could or did, “the odyssey of an individualist . . . the saga of a guy who wanted to make friends in a jungle where everyone was too busy making money.”
Raven gets a vision of her crush, Devon kissing her at a kiddie pizza parlor, so she arranges a date with Devon , his little sister, and her younger brother Cory. Raven will do anything to make sure this kiss happens!
