Sure, the number of paragraphs and the overall logic of the essay will be different for different types of essays and majors. Still, no one ever discards the essentials that is, introduction — body paragraphs — conclusion. This is the part of the paper where you introduce the topic and give readers the general idea of what the essay will be focusing on. It outlines the topic, the scope of your work, and presents your thesis. It is also common to start an intro with a hook to make your reader interested, but this part is optional.
The structure of an intro looks like this: The purpose of the body is to prove your thesis. Depending on the paper, there can be a different number of body paragraphs, but we will focus on three as the most common practice. Each body paragraph focuses on a certain fact or event that supports your thesis.
Obviously, each of them should also follow a certain logic and structure that usually goes like this: Remember that a single body paragraph should give a quick detailed overview of the problem. Ideally, the reader should have no questions left after reading this section. So, take a good critical look at your logic to see if the information you provide is really enough. It all depends on the topic and the angle you choose. Sometimes, you will need ten body paragraphs; sometimes, two will be enough.
It quickly summarizes the relevance of your topic and the facts you operated in the process. The structure is usually like this: It is imperative that your supporting evidence matched your thesis. If in the course of writing, you drifted apart from the logic of your thesis, chances are — you will have to rewrite the thesis or the topic sentences.
As we write, we make dozens of typos and other mistakes, so proofreading is always a must. As you do, pay attention not only to spelling and punctuation but also to the overall logic of your work. Take some rest and come back to the assignment in a couple of hours at least.
Sometimes, getting a pair of fresh eyes can be very useful — especially, if you have little experience as an essay writer. If you answer all three correctly, coming up with an A analytical essay will be easier than it probably sounds at the moment. If you want to make sure your ideas are clear enough, ask someone else to read your paper.
When it comes to the actual writing, mind your tone and word choice. The problem with analytical essays is that most textbook definitions are pretty vague. My tip when working on an analytical essay is to ask yourself a couple of simple questions. Stick to the original plan have one before you start — making notes during the research should help you with that. After all, an analysis is an important part of essay writing, which is why the thin line between summary, reelection, and criticism can be very confusing for most college students.
In a nutshell, an analytical essay means digging into the subject as deep as you can. This kind of skill will help you through college years and will prove incredibly useful in your future profession. In that case, Elite Essay Writers will come to your rescue. We are the writing gurus in everything academic-related, so our paper will definitely get you an A!
Essays on The House on Mango Street examine Sandra Cisneros novel that has successfully taken several controversial issues such as immigration, poverty, religion, and rape and brought those issues into human form. In The House on Mango Street, Sandra Cisneros has successfully taken several controversial issues such as immigration, poverty, religion, and rape and brought those issues into human form. Cisneros shows us that these are not just issues with statistics attached to them. They are issues with people and families attached to them. They are issues that affect everyone they touch; even a young girl who through her naivete, innocence, and insight shows us her understanding of this world.
Esperanza and her family didn't always live on Mango Street. From the beginning, she says she can't remember all the houses they've lived in but "the house on Mango Street is ours and we don't have to pay rent to anybody, or share the yard with the people downstairs, or be careful not to make too much noise, and there isn't a landlord banging on the ceiling with a broom. But even so, it's not the house we thought we'd get.
Each story centers on a detail of her childhood: Esperanza's friends, family, and neighbors wander in and out of her stories; through them all Esperanza sees, learns, loves, and dreams of the house she will someday have, her own house, not on Mango Street.
Esperanza, an innocent Chicana girl, yearns to escape from Mango Street, a male dominant community. Unable to find happiness in Mango Street, Esperanza explores her sexual desires as a way to relief her sufferings and pain. Having a tough time becoming a mature woman, longing to go through puberty, Esperanza questions the sad lives of women in Mango Street, wondering whether their submissive and gentle qualities has caused their sorrows.
Abandoning her womanly accouterments, ultimately rejecting her femininity, Esperanza uses her masculinity to free herself from the oppressive world of Mango Street. Esperanza observes her femininity as a possible key to success. She often imagines herself as a robust femme fatale. She is the one who drives the men crazy and laughs them all away.
She will not give it away. However, knowing the tragic lives of her friends like Minerva and Sally, Esperanza begins to doubt the images of women portrayed in the media. Perceiving herself as neither beautiful nor cruel, Esperanza knows that becoming the femme fatale can only exist as a dream. In reality, Esperanza more consistently rejects her feminine sexuality. Femininity usually implies daintiness and gentleness; while masculinity suggests the opposite. I am one who leaves the table like a man, without putting back the chair or picking up the plate.
Esperanza views toughness and strength as traits of masculinity. She does not desire to become a man physically, but rather having the qualities of men, and becoming a manly woman. Evolving into a strong woman, Esperanza slowly loses her femininity, in turn becoming more masculine, gaining a new sense of direction in life. Unlike the women, they come and leave as they wish. Her papa having "thick hands and thick shoes," and her grandpa wearing "white socks and brown leather shoes. Poverty and race have been bedfellows since the birth of our country.
Esperanza, a Hispanic American, demonstrates the struggle to rise out of poverty with her desire for a house. She is dissuaded in many forms throughout the book. The fortune teller that tells her "home is in the heart" 64 and her aunt that echo's this sentiment. The facts of urban poverty are stacked against those of varying ethnic backgrounds. In , the median American family earned just under , a year. A new home could be had for ,, an average new car for , Attending a four-year private college cost around , a year: affordable, with some scrimping, to even median earners.
As for public university, it was a bargain at 0 a year. Median family income has risen slightly, to about ,, while median home prices have increased by about two-thirds. Car prices have remained steady. But the real outlier is higher education. Tuition at a private university is now roughly three times as expensive as it was in , costing an average of , a year; public tuition, at ,, has risen by nearly four times. This is a painful bill for all but the very richest. President Obama has proposed making community college available to nearly every American. Those on the right are also offering solutions, though they tend to consider government spending part of the problem.
Higher education is a fascinating, complex business. Its pricing dynamics ripple throughout the rest of our economy, in effect determining who will thrive and who will fail. Education can have enormous personal benefits for those who acquire it, but it also has external benefits to the rest of society. Education exerts something of a multiplier effect; it transforms not only the lives of the educated but of those around them as well. Workers with more education are more productive, which makes companies more profitable and the overall economy grow faster. Educated populations tend to be healthier, more stable and more engaged in their civic institutions and democratic debate.
Counterintuitively, the surest way to improve equality of access to elite schools might be to raise the cost of admission even further. Rich students paying the full price would make more aid, in money and educational support, available to be transferred to the best students from poor families and lower-performing schools. For most people who graduate from top-tier schools, debt is easily managed.
Their average loan outstanding upon graduation is ,, but these students — no matter what they major in — get a high wage-premium, making an average of , a year more than they would have had they not gone to the school. Students entering college today are confronted with far more costs — the average textbook budget is , a year now — and this can be quite shocking to parents for whom college was much more affordable.
And there are, no doubt, individual stories of deep hardship. But as a group, students who attend more-selective schools are among the luckiest in our society. In effect, they live in a different economy than the rest of the nation, one with a rich array of career opportunities, steadily rising wages and far less unemployment. The midtier public schools face a different set of challenges. Sandy Baum, a senior fellow at the Urban Institute, says that in the school year, public schools received from 44 percent to 62 percent of their funding from state governments. Only a decade later, those levels had decreased to 27 percent to 51 percent.
On average, states have lowered their per-student funding by 25 percent over the last 15 years. Some — Louisiana, Wisconsin, Kansas and Arizona — have cut their support sharply in the past few years. The money allocated for public education is a tempting target for governors facing shortfalls. The economic thinking behind public-university cuts can be confusing. Studies have shown that cutting support for public education balances budgets only in the short term.
Someone who graduates from a four-year institution earns about million in additional future earnings. Flagship public universities — like the University of California, Berkeley, or the Universities of Michigan and Virginia — often behave like elite private schools, using aid to attract the best students, typically the ones who would probably go to a decent school without government support.
That means that high-achieving students from educated families receive a disproportionate share of financial assistance, while those at the bottom, struggling students from families ill equipped to support their educations, receive a disproportionately small share. Nonselective schools, the ones serving our most at-risk and in-need students, are struggling for money. Obama recently proposed making community college free for anyone able to maintain a G.
The program would be surprisingly cheap, costing around billion annually, a pittance in the federal budget. Some four-year schools have truly abysmal records when it comes to graduating their students in six years or less. Entire state public-university systems with collective graduation rates below 50 percent include Arkansas Baum says that among nonselective, four-year, for-profit schools, graduation rates above 50 percent are the exception, and a few, especially online schools, have rates well below 10 percent.
Nearly every education expert I spoke to mentioned a remarkable new program that has had the greatest success yet in improving the graduation rate of at-risk college enrollees. The experimental program was introduced at the community colleges of the City University of New York, where the overall graduation rate has been as low as 16 percent. Coming from families and communities with few, if any, college graduates, they are poor and every day have to calculate the trade-off between investing in their long-term education and paying their short-term bills.
Students received help paying their tuition and other fees; they even received free passes for public transportation. Three years into the program, an outside education-research firm began an experiment: A group of entering freshmen, all of whom had developmental needs, was randomly assigned to ASAP. They and a comparison group that received no special intervention were monitored for three years. Pilot versions of the program are now being tried at several Ohio schools. College aid — all the federal and state grants and subsidies, the various scholarships and aid packages offered by schools and foundations — evolved in piecemeal fashion over decades.
Students who go to private nonprofit schools, disproportionately children of middle-class and wealthy parents with college educations, receive an average of , a year in aid. If you put all of these players in a bowl and stir them up you get Bobby Rush. I come from a lot of guys. They looked at what I was doing while I was aware of what they were doing. I see what the young guys do and it motivates me. Chicken Heads was my first Gold Record in That record was a lot like my last record, Porcupine Meat, which won a Grammy.
Back to Chicken Heads. Initially it was going to be called Chick Heads.
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You came along girl what did I do. I lost my heart and my head went too. I was told I needed a B side too. I told the higher up the song was called Mary Jane.
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He said he had a girl that did him wrong and her name was Mary Jane. I was talking about reefer. A lot of songs that I liked never received airplay.
The ones I love have deep meaning. Making the decisions by the old folk crying is different when your mama cries. You would never expect it to be the garbage man. I get confused sometimes which is which. I am enthused with what I am doing and that God keeps blessing me by giving me the strength to keep working. Here are my daily prayers: Stay enthused, keep recording, and thank God every day. Where are the Blues going and what else do you want to accomplish? I think the Blues are here to stay. I am trying to make my mark while I am alive. What I do now is going to last forever.
I am hoping my Grammy win will allow me to be a leader for young people. I want to keep them encouraged so they can continue with what they are doing. Many Black people are ashamed and afraid of singing and playing the Blues. Promoters, writers, T. There are a lot of Blues houses and festivals that are cool, but a lot of time they play everything but the Blues. I hope I leave a mark so others can say if Bobby Rush did it, so can I.
I try to be good at what I do. I am not just a Blues guy. I own all of my masters. Nobody thinks about this or talks about these things. How many Blues guys are there at my age that own masters? There are a few guys that did. Sam Cooke was killed for it. We also had Prince and Michael Jackson. I am holding my masters and hoping I can make a dent in this world. I keep working because my bandstand is my record shop. I have a fan base but I do not have the fan base that Elton John has. I am heading in that direction.
I want guys who play the blues to know where it comes from. They are telling stories about where it comes from. They help the blues and it helps the Black Blues guys encourage them to do the Blues. I really want this new record to make a dent. Fernando Jones is an American Bluesman, educator, songwriter, lecturer, and scholar. Born in the South Side of Chicago, he taught himself to play guitar at the age of four. Jones is the Blues Ensemble director at Columbia College Chicago and is a highly sought after lecturer. Could you talk about your Blues Kids and Blues Camp program? What are the differences?
I established The Blues Kids of America program 30 years ago. I created it while teaching in Chicago Public Schools. I was a substitute teacher at the time. The program is designed to be a multicultural arts interdisciplinary arts-in-education music program. When I was teaching at different schools, I recommended my program. Eventually, kids had the opportunity to perform at the Chicago Blues Festival. We developed a relationship with the Chicago Blues Festival.
We had a performance space in a tent and we sell merchandise. Blues Camp is for a fixed period of time. This is the 10 th year of camp and we will be at Columbia College Chicago. We service anywhere from student musicians promoting ages We will have some years olds in the camp. Parents, family, and loved ones have the opportunity to participate in my Blues Mammas and Blues Daddies band during blues camp. They are put together under the direction of Ms. Flo Lawnicki. When I started the program, I wanted it to be a place where kids could play the blues with like minded others from 8 a.
We started giving snacks and lunch. This was not part of the original vision. We will take them skating and bowling and they will have the opportunity to play games and get to know each other. I like to call Blues Camp the bluesiest place on Earth. On Wednesday night we have a performance at Reggie's Rock Club. On Thursday we have our annual white party at Navy Pier. Throughout the week, kids have the opportunity to get hands on instruction and performance experience.
There is no camp like this in the world. What made you want to write a book? In , I had conversation with Sugar Blue. Most times conversations are superficial with musicians in general. There is no substance. During this particular conversation, Sugar Blue let me know that he really appreciated the fact that I was a Black man playing harmonica.
I wanted show people that young Blacks are still playing and supporting the Blues. This is always a bone of contention with us musicians; being afraid to publicly talk about race even though it is the whole condition and backbone of the Blues. I started writing and I submitted some things to Ebony magazine. Around this time, one person per block had a computer.
I bought a typewriter and I started typing. If I made a mistake, I would type the paragraph over again and cut the paragraph from the page and paste it over the top of my manuscript. I was writing about Blues history, being a Black man with Mississippi roots, and being born into the Blues. I also wanted to interview people like me. The book was released February and it opened many doors for me. It opened the door for me as a performer. It received attention from big time promoter Marino Grandi. He was fascinated with the fact that I was writing, arranging, and producing my own music.
Being Black and writing about Black music was another advantage for me. We are still tight today. I respectfully call him my European Godfather. I was a young man and he embraced me and gave me an opportunity. His son Davide does management for me today. I also hope I am one of the best you have heard. You never want to get distracted by yourself.
I embrace who I am and I do not apologize for it. My road has been a little longer and rockier but I own myself and I play what I want to. I am not in dispute with anyone else owning my material. I am free and have always been free. The common denominator is that I am free. What courses do you teach at Columbia College Chicago? The courses that I have on books vary from semester to semester and it depends on overall enrollment.
During the last few years, we have had a decline in enrollment. I had the opportunity to take 27 students down to the Mississippi Delta. King was still alive during the time and I took them to the B. King Museum. Six to seven of the students were from my Blues Ensemble class and I had them play down there. It was a really good service. Some of my students said if they knew there were churches like that, they would have gone as a kid.
I make Chicago an open book when it comes to Blues. We talk about copyrighting and publishing. I partner them up in groups of 3 or 4. The topic may be on someone like Buddy Guy. Then it's up to them to figure out what they are going to do on him. They can make a skit. During the second part of my career, cell phones and cameras emerged. Everything that I am talking about has been documented. Anyone can look at artifacts ranging from Blues obituaries, clippings, letters, and my awards.
Any upcoming recordings or live performances? I am going to start releasing them on Facebook. I can put songs up for free on Facebook and people can watch and or listen to them. I want to put them out there. You never know when your candle is going to burn out. The interview and song will have a run time of about two and a half minutes.
I want to be recognized. I am not interested in money because I have access to money. I want to be like Smokey Robinson, Babyface, and Prince. I am talking about artists that have successfully contributed on every level. I want some people to think of me as a writer, others to think of me as a hell of a guitar player that doesn't sound like anybody else, and some people to think of me as the guy that opened the door for kids to be able to play the Blues in a safe environment. My perspective is different because I started playing as a 4 year old kid. I am 55 now and I have been consistently doing this for 51 years.
I have been a continuous player, learner, and lover of music. Joe is my best friend in the music world. The band is a marriage made in heaven for both of us. We recorded it in Chicago at Reliable Recorders. Alex Hall runs the studio. The man is from the Southside of Chicago and has been in jail for years.
I had a flu shot that made me sick.
I was sick November through February of last year. I want to tell everyone to look for the new album coming to a store near you or you can get it online. How did you find your way into The Cashbox Kings? Could you talk about your fellow bandmates? I was living in small town called Janesville Wisconsin and I was very bored. At the club, the previous guitar player for The Cash Box Kings introduced himself to me. I sat in with the band and we rolled through a set. The band said they have never received such applause.
We went through a rough patch as I was the new guy in the band. We have become best of friends. How did you get signed to Alligator Records? What is it like working with Bruce Iglauer? How does he help the band? The Alligator thing. I met Bruce when I signed the contract. In the studio, I learned so much from him. Bruce and I have a great relationship. He fine tunes everything and has an incredible ear. The label does all of the advertising and places our music around the world. Joe Nosek is our gig getter and negotiator. Bruce helps us personally and gets us gigs across the country.
Favorite venues to play? It is my favorite place to play. The bar owner, Chris Kalmbach, is fantastic. The bar is on the east side of Madison and no one thought it would last. Chris is a great promoter and keeps it going. Our last performance at The Knuckle was packed. People were outside waiting to get in. We were on the bill with another group from Madison called The Jimmys.
The Madison audience is very receptive. The whole Madison scene has more black people coming to gigs versus Chicago. In Madison, musicians are really taken care of. There is another bar called The Crystal Corner. The Harmony and High Noon Saloon are also great clubs.
Those are the four main clubs for bands. Future Goals? We want to keep rising to the top. We want to be known as one of the best bands to ever do it. If we were a rock blues band, we would make a lot more money. We play from p. See you there! Bill Dickens, and Buddy Guy. What are you currently working on? We are currently working on a new Corey Dennison Band cd. We are getting all the material finalized and the songs arranged. We are starting to play them live and we are fine tuning everything so we can go into the recording studio and knock it out. Lyrically, 10 songs are written and few more songs may pop up at the last minute.
When did you get signed to Delmark Records? What are the benefits of being signed and what should we be listening to? I was signed to Delmark Records about 5 or 6 years ago and it changed my life. It jumped me up to the next level and became a reality. It gave me the opportunity to go into a real studio, work with a producer and engineer, and create amazing music with my fellas: Gerry Hundt on guitar, Joel Baer on drums, and Aaron Whittier plays bass.
Everything that was in my head is on the cd. When I received the final mix, I was driving home from the studio. All I could do was cry down the highway because everything I heard in my head was right at my fingertips. It was incredible. My guys are amazing. I used to play with Carl Weathersby and he took me all over the world. He taught me everything.
My band members know me really well and have the ability to translate my feelings to music form. In my opinion, the first album is the best. It let people know about us and that we are here to stay. How long did you play with Carl Weathersby? What did you learn from him? I played with Carl for about 10 to 13 years. I learned everything from him. I am what I am today because of him. You primarily play with your fingers and do not use a pick and you play very hard. How do you do this? Massive Calluses? It was a great experience and I love Sugar Blue.
I have known him since I was a kid. My uncle was a harmonica player and he was a Sugar Blue disciple. During the day the room would be open for bingo and people would walk around and see Grammy memorabilia. People would steal my guitar picks and steal my rubber duckies.
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I take rubber duckies with me on the road and I Velcro them to my amplifier. People kept stealing my picks and rubber duckies. We were headed towards the Caribbean and I somehow found a music store. I needed guitar strings and picks. I spent 60 to 70 dollars on two packs of guitar strings and a small pack of guitar picks. I told myself if they steal these guitar picks, I am not buying anymore. A couple of days went by and I was out of guitar picks. I asked Sugar Blue not to give me anymore guitar solos because I was not going to be using guitar picks.
Some of the greatest guitar players in the world did not use guitar picks. When I stopped using a guitar pick the things that I heard in my head started to come out. I had a better connection with my instrument. I originally wrote it for Carl and never had a chance to present it to him. When I recorded it for the new record, he was there and I asked him to play on it. I told him I would give him a couple hundred dollars.
That was the greatest compliment ever. I was with him for so long. I really loved playing guitar for him. I loved playing chords and bringing him up. I loved everything about it. I remember doing the crossing which is a trip from Miami to Spain. It takes 12 days on a cruise ship. Every night, the clock goes up an hour and you cross two to three oceans. I woke up one morning and went out to smoke a cigarette and I looked to my left and I thought I saw the mountains of Spain.
We were crossing through the Strait Of Gibraltar. I wrote a Facebook post thanking everyone that helped me and still believed in me. A couple of weeks later, we recorded it. My dad died when I was really young. I had to help out a lot more around the house and watch my brothers. It was really rough.
We grew up really poor. There were a couple of times for a month long period where we only ate oatmeal and baloney. My 10 month old son, Carleton, talks on the beginning of the song. I recorded it and knew that had to be on it. I named him after Carl Weathersby. Honestly, I think about that all the time. I really want to continue writing good music and performing. I want to take my band to places that I got to go with Carl Weathersby. I want Carl to be proud of me and show him that nothing he taught me was in vain.
I want to keep touching people with my music. Last night at Kingston Mines I played a song and a girl was in tears. She told me she realized that everything is going to be o. There is always somebody out there who has it way worse than I do. You have to keep fighting and pushing. As long as I can make good music and help people, I am going to do it. I really want to go to the next level and take care of everyone that has taken care of me over the years.
I want to say thank you in my own special way. If they want to stay with me and keep doing the same thing; kicking ass and taking names than great. If they feel like they need to move on and do their own thing, I wish them the best. I want them to accomplish and achieve their dreams. Hopefully, they want to do the same thing that I am doing. In he formed The Mike Wheeler Band. He was inducted into the Chicago Blues Hall of Fame in I put my first cd out on my own. I do not know what we are going to name it.
It is going to be about life. Normally we go into the studio and the basic tracks are cut in a few days. We come back and do overdubs. I spend time on vocal overdubs. We can finish a cd in about 2 weeks. How do you differentiate yourself from other Chicago Blues Artists? What differentiates me is that I have a large variety of influences and I listen to a lot of music.
I incorporate it into all of the music I make. It is still blues music but it comes from different angles. My biggest influences are Buddy Guy and Albert King. I listen to everything. How did it feel getting inducted? That was amazing to be acknowledged.
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For me, it all started with the blues when I was 5 or 6 years old and my mother played Chicago blues artists around the house. The committee inducts people who have been around for a while and have played with a lot of people. The committee also acknowledges photographers and blues promoters. They try to acknowledge everybody. How has the club changed over the years? I have been playing at Kingston Mines with my band for over 9 years.
I have played there with other acts. Playing there has evolved because the crowd is getting younger and they are still hungry for Chicago style blues. They like all genres. The diversity in the music keeps the crowd interested and around. All the clubs treat me nice. I like all of the Chicago venues equally. Could you talk about your songwriting process? Do you write by yourself or with others? Most of the time I write by myself. Sometimes I write with my band.
The band and I wrote our first Delmark cd together. If something comes up at rehearsal we just start writing. A lot of time I write at home. When I get ideas, I put them into my phone. I would like to play the bigger festivals in the United States. Other than that I have no complaints. My band and I have been together for 17 years and I want to give them a shout out; Larry Williams plays bass, Cleo Cole is on the drums, and Brian James plays keyboards.
We are like a family. Joseph Morganfield is a blues singer and the youngest son of Muddy Waters. What music projects are you currently working on? I released a 4 song E. It came out last August. I am going to be recording a new full cd later this year. I am going to start it in June or July. I am going to be singing on the record.
I am just going to be doing vocals until my guitar playing is ready. I am working really hard and trying to get my guitar playing back. Who are your biggest influences? How would you describe your style? I mostly like the old cats. I really like Keb Mo. I have been around blues all my life but I started singing about three years ago. My life went a different route and I ended up getting a basketball scholarship.
I pursued it and put the guitar down. When I married and had kids, music was still at a distance, but the desire has always remained in my heart. As my children grew up, I decided to pursue music. I would rather try it and fail than have regrets. This is why I am here. Could you talk about this? What are the nomination titles? My next goal is to get in as a vocalist. I am an ambassador for my fathers Muddy Waters estate. You are writing a book on your father: How is the writing going? When will it come out? I have another writer who is helping me.
I do not have a date yet. I spent 10 years with my father before he passed away. I was the only boy he raised. I had hands on experience. Eric Clapton and Johnny Winter would visit our house. I traveled with his band and listened in on dressing room conversations. Lake Park Ave. Who owns it?
Do you think it will ever be restored so his spirit remains? I lived there for one year before we moved to Westmont. To make a long story short, she bought the house from the estate and neglected it. We are currently negotiating with her. The plan is to get the house back and restore it. Right now I am trying to get established and get gigs. I am trying to fine tune my craft and work on my vocals.
I take vocal lessons and rehearse with my band. My ultimate goal is to win a Grammy. Also, I perform all over the United States. Big Bill and Mud Morganfield are keeping his legacy alive. We are doing our part. You have different families that are keeping the blues alive. Everyone is playing their part for younger generations. Billy Branch was discovered by Willie Dixon while he was still in college. Willie encouraged Billy to finish his college education. Instead of going to law school after receiving his political science degree, Billy began touring with The Willie Dixon Chicago All Stars.
Billy has played on over different recordings. You have a new cd coming out on Alligator Records? What is it called and could you talk about the record? We have some ideas tossed around. We are part of The Little Walter Foundation. My wife Rosa is the director. Last year we produced the Little Walter tribute show at Bluesfest commemorating the 50 th year of his passing.
It featured four other harp players along with myself. Marion was encouraging us to do a record and tribute to her father. Between her and my wife, I had no choice. To be honest, I pushed back because there have been so many tributes for Little Walter. This project is unique because Marion provides commentary about memories of her father. This makes it unique. Once we embarked on the project, it became bigger and more satisfying than I had anticipated and hoped for. We added what we call the Sons of Blues touch so you are getting musical deviations and surprises.
How is it different from other instruments? Within that question there are several answers. The bottom line depends on who is holding the harmonica. During the course of my quest to master the instrument, or at least become an accomplished capable harmonica player, my style developed. A lot of the time I am playing horn lines or rhythmic riffs. Some harmonica players simply focus on soloing. When you hear my band I am playing throughout the song. I am adopting the role of an accompanist. In my case, I love all harmonica styles. What did you learn from Willie Dixon and Junior Wells?
They were the strongest primary live influences for me. These guys were contemporaries and disciples. I was around all of them. I learned that less is more on the instrument. Junior taught me how to become a competent band leader and how to successfully and effectively get musicians to play a groove, especially in situations where I would have to use a pick up band while in a foreign country.
Everyone would be jamming and it sounded like crap. Junior would hit the stage and all of a sudden the band was cooking. It took me a long time to learn this skill. I owe the biggest debt to Willie. I learned so many things from Willie. Willie was a philosopher. He ate, slept and breathed blues. The blues were his life.
About Dr. David C Lowery
He embodied it. He was very proud that his people were the creators of this music. He felt imperative that we realize that. I inherited that same desire to impart that upon my fellow African American brothers and sisters, as well as the world. The blues, despite it being the roots of all American music, has always been relegated to an underground status. I was always acutely aware that blues was not on mainstream radio or television except on rare occasions. It has not been given the due that it legitimately deserves.
We know that there would be no Rolling Stones, Led Zeppelin, Doors, and all of these great groups that emerged without the blues. That fact is not widely acknowledged. I learned a deep appreciation and love for this music, and what it really represents from a historical and cultural social climate. I am one of the first people to ever engage in Blues in Schools. I have been doing it since I have done it in different capacities. I am still actively involved. I have done it with just a guitar and harmonica.
The most notable thing is when the whole band and I do residencies for five weeks at a time. We did it in Seattle and years ago in South Carolina. I am doing this globally now. We do two hour sessions. I quiz them. After the first hour, they split up with other respected musicians. Some want to learn drums, bass, or guitar. I teach them standard songs and they compose their own songs. Towards the end of the week period they perform at schools, festivals, or nightclubs. Last year we did a U. Embassy sponsored tour to Ecuador.
I taught Blues in Schools in Spanish. We went to Afro-Ecuadorian communities. That really fulfilled me. Branch I still have my harmonica. In early programs, there were times when Willie Dixon and Koko Taylor would come and address the students and play onstage with them. Tony Mangiullo and Mama Rosa created the club. To a degree that is true. Tony will take the time to talk and interact with people. With Buddy Guy being attached to it, it makes it very special. I played there every Monday for 27 years.
It was a magical place. It would be nice to become very wealthy. That would be wonderful. I would like to be included with groups that cross the cultural genre and get younger people interested and engaged in the blues. Nothing could be further from the truth. There are so many different styles and musicians who bring their unique original flavor to it. We know there is only one Howlin Wolf, B. I feel very privileged to have played and recorded with them.
I was born here North Chicago , but grew up in Los Angeles. I came back on a scholarship to the University of Illinois. I was completely ignorant about the blues. Fate being fate, fortunately it opened up my eyes and ears. It made me appreciated it while becoming an integral part of it. I felt everybody should know about this. That was my motivation for Blues in Schools. In over 40 plus years of teaching Blues in Schools, I have never had an unsuccessful program. The children always get it. They are enthusiastic and embrace it.
After 40 years, many of them still retain it. Griffith Blues Fest Griffith, Indiana. Could you talk about your new album coming out on Delmark Records? When is it coming out? My first album came out in and the last album I released on Delmark was in This is the first album with all original material. It will consist of four instrumentals and eight tunes with vocals. I have always been a guitarist and a bandleader. I have done a couple instrumental records and most of my recordings consist of backing other singers.
I am finally going to break out and sing. I will be singing on three tunes. You have been on Delmark for over 28 years: What has your Delmark journey been like? I started out working for the label as a shipping clerk. I worked for them in when the Bears won the Superbowl. The blues got me and I decided I wanted to become a professional blues guitar player. I moved back to Chicago and wanted to immerse myself in the music as much as I could. Bob Koester owned both until very recently.
He sold both. I was working a few days a week for the label and one or two days a week at the store. I worked for them for about a year. I was also a doorman at Blues on Halsted. I worked there for a few years. That was great because I was working and listening to live blues every night. I met so many great musicians from all over the world. The list goes on and on. That was all part of my early journey and experience. You are a real blues promoter and preserver. I launched the podcast very recently in December.
I signed to a Chicago guitar based label called Fret I did a record called Spectified for them. David Hidalgo from Los Lobos guests on it. They were interested in creating content for their website which is a worldwide guitar community. I was their first blues artist. They wanted me to start doing video interviews with other guitar players to include that as content on their website. They are all up on YouTube. There are about 20 interviews online. A couple years ago some forward thinking friends of mine recommended I create a podcast.
We have a recording studio right behind the club. I have amazing access to a wide range of local musicians and national touring musicians. The idea was to interview artists while they were at Space. We have a great sounding studio and that was the impetus for the podcast. The most recent interview is with Albert Lee. There is a really cool joint interview with Sam Lay and Corky Siegel that includes a live jam session with myself. It creates a unique musician to musician perspective.
What was it like being inducted into the Chicago blues hall of fame? It was a nice surprise and I felt honored. It gives well deserved recognition to a lot of people in the Chicago Blues Scene.
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