Son House Blues performer What were the names of some of the songs he sang? My Black Mama" and "Preachin' the Blues". Were they his original songs or covers? Two songs he learned from McCoy would later be among his best known: " How did he become a blues singer? He immediately changed his attitude about the blues, How did his attitude change? Another source of inspiration was Rube Lacey, Who was Rube Lacey? a much better known performer who had recorded for Columbia Records in 1927 What kind of blues was he known for? House developed to a professional standard a blues style Did he play an instrument? I don't know. Anything interesting happen to him? he allegedly shot the man dead.
Why did he shoot him?
Why did Son House shoot a man?
In 1927, at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, he heard one of his drinking companions, either James McCoy or Willie Wilson (his recollections differed), playing bottleneck guitar, a style he had never heard before. He immediately changed his attitude about the blues, bought a guitar from a musician called Frank Hoskins, and within weeks was playing with Hoskins, McCoy and Wilson. Two songs he learned from McCoy would later be among his best known: "My Black Mama" and "Preachin' the Blues". Another source of inspiration was Rube Lacey, a much better known performer who had recorded for Columbia Records in 1927 (no titles were released) and for Paramount Records in 1928 (two titles were released). In an astonishingly short time, with only these four musicians as models, House developed to a professional standard a blues style based on his religious singing and simple bottleneck guitar style.  Around 1927 or 1928, he had been playing in a juke joint when a man went on a shooting spree, wounding House in the leg, and he allegedly shot the man dead. House received a 15-year sentence at the Mississippi State Penitentiary (Parchman Farm), of which he served two years between 1928 and 1929. He credited his re-examination and release to an appeal by his family, but also spoke of the intervention by the influential white planter for whom they worked. The date of the killing and the duration of his sentence are unclear; House gave different accounts to different interviewers, and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the Mississippi Department of Corrections.  Upon his release in 1929 or early 1930, House was strongly advised to leave Clarksdale and stay away. He walked to Jonestown and caught a train to the small town of Lula, Mississippi, sixteen miles north of Clarksdale and eight miles from the blues hub of Helena, Arkansas. Coincidentally, the great star of Delta blues, Charley Patton, was also in virtual exile in Lula, having been expelled from his base on the Dockery Plantation. With his partner Willie Brown, Patton dominated the local market for professional blues performance. Patton watched House busking when he arrived penniless at Lula station, but did not approach him. He observed House's showmanship attracting a crowd to the cafe and bootleg whiskey business of a woman called Sara Knight. Patton invited House to be a regular musical partner with him and Brown. House formed a liaison with Knight, and both musicians profited from association with her bootlegging activities. The musical partnership is disputed by Patton's biographers Stephen Calt and Gayle Dean Wardlow. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula. Beaumont concluded that House became a friend of Patton's, traveling with him to gigs but playing separately. CANNOTANSWER
he had been playing in a juke joint when a man went on a shooting spree, wounding House in the leg,
Edward James "Son" House Jr. (March 21, 1902 – October 19, 1988) was an American delta blues singer and guitarist, noted for his highly emotional style of singing and slide guitar playing.

After years of hostility to secular music, as a preacher and for a few years also working as a church pastor, he turned to blues performance at the age of 25. He quickly developed a unique style by applying the rhythmic drive, vocal power and emotional intensity of his preaching to the newly learned idiom. In a short career interrupted by a spell in Parchman Farm penitentiary, he developed his musicianship to the point that Charley Patton, the foremost blues artist of the Mississippi Delta region, invited him to share engagements and to accompany him to a 1930 recording session for Paramount Records.

Issued at the start of the Great Depression, the records did not sell and did not lead to national recognition. Locally, House remained popular, and in the 1930s, together with Patton's associate Willie Brown, he was the leading musician of Coahoma County. There he was a formative influence on Robert Johnson and Muddy Waters. In 1941 and 1942, House and the members of his band were recorded by Alan Lomax and John W. Work for the Library of Congress and Fisk University. The following year, he left the Delta for Rochester, New York, and gave up music.

In 1964, a group of young record collectors discovered House, whom they knew of from his records issued by Paramount and by the Library of Congress. With their encouragement, he relearned his repertoire and established a career as an entertainer, performing for young, mostly white audiences in coffeehouses, at folk festivals and on concert tours during the American folk music revival, billed as a "folk blues" singer. He recorded several albums, and some informally taped concerts have also been issued as albums. House died in 1988.  In 2017, his single "Preachin' the Blues" was inducted in to the Blues Hall of Fame.

Biography

Early life 

House was born in the hamlet of Lyon, north of Clarksdale, Mississippi, the second of three brothers, and lived in the rural Mississippi Delta until his parents separated, when he was about seven or eight years old. His father, Eddie House, Sr., was a musician, playing the tuba in a band with his brothers and sometimes playing the guitar. He was a church member but also a drinker; he left the church for a time, on account of his drinking, but then gave up alcohol and became a Baptist deacon. Young Eddie House adopted the family commitment to religion and churchgoing. He also absorbed the family love of music but confined himself to singing, showing no interest in the family instrumental band, and hostile to the blues on religious grounds.

When House's parents separated, his mother took him to Tallulah, Louisiana, across the Mississippi River from Vicksburg, Mississippi. When he was in his early teens, they moved to Algiers, New Orleans. Recalling these years, he would later speak of his hatred of blues and his passion for churchgoing (he described himself as "churchy" and  "churchified"). At fifteen, probably while living in Algiers, he began preaching sermons.

At the age of nineteen, while living in the Delta, he married Carrie Martin, an older woman from New Orleans. This was a significant step for House; he married in church and against family opposition. The couple moved to her hometown of Centerville, Louisiana, to help run her father's farm. After a couple of years, feeling used and disillusioned, House recalled, "I left her hanging on the gatepost, with her father tellin' me to come back so we could plow some more." Around the same time, probably 1922, House's mother died. In later years, he was still angry about his marriage and said of Carrie, "She wasn't nothin' but one of them New Orleans whores".

House's resentment of farming extended to the many menial jobs he took as a young adult. He moved frequently, on one occasion taking off to East Saint Louis to work in a steel plant. The one job he enjoyed was on a Louisiana horse ranch, which later he celebrated by wearing a cowboy hat in his performances. He found an escape from manual labor when, following a conversion experience ("getting religion") in his early twenties, he was accepted as a paid pastor, first in the Baptist Church and then in the Colored Methodist Episcopal Church. However, he fell into habits which conflicted with his calling—drinking like his father and probably also womanizing. This led him after several years of conflict to leave the church, ceasing his full-time commitment, although he continued to preach sermons from time to time.

Blues performer

In 1927, at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, he heard one of his drinking companions, either James McCoy or Willie Wilson (his recollections differed), playing bottleneck guitar, a style he had never heard before. He immediately changed his attitude about the blues, bought a guitar from a musician called Frank Hoskins, and within weeks was playing with Hoskins, McCoy and Wilson. Two songs he learned from McCoy would later be among his best known: "My Black Mama" and "Preachin' the Blues". Another source of inspiration was Rube Lacey, a much better known performer who had recorded for Columbia Records in 1927 (no titles were released) and for Paramount Records in 1928 (two titles were released). In an astonishingly short time, with only these four musicians as models, House developed to a professional standard a blues style based on his religious singing and simple bottleneck guitar style.

Around 1927 or 1928, he had been playing in a juke joint when a man went on a shooting spree, wounding House in the leg, and he allegedly shot the man dead. House received a 15-year sentence at the Mississippi State Penitentiary (Parchman Farm), of which he served two years between 1928 and 1929. He credited his re-examination and release to an appeal by his family, but also spoke of the intervention by the influential white planter for whom they worked. The date of the killing and the duration of his sentence are unclear; House gave different accounts to different interviewers, and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the Mississippi Department of Corrections.

Upon his release in 1929 or early 1930, House was strongly advised to leave Clarksdale and stay away. He walked to Jonestown and caught a train to the small town of Lula, Mississippi, sixteen miles north of Clarksdale and eight miles from the blues hub of Helena, Arkansas. Coincidentally, the great star of Delta blues, Charley Patton, was also in virtual exile in Lula, having been expelled from his base on the Dockery Plantation. With his partner Willie Brown, Patton dominated the local market for professional blues performance. Patton watched House busking when he arrived penniless at Lula station, but did not approach him. He observed House's showmanship attracting a crowd to the café and bootleg whiskey business of a woman called Sara Knight. Patton invited House to be a regular musical partner with him and Brown. House formed a liaison with Knight, and both musicians profited from association with her bootlegging activities. The musical partnership is disputed by Patton's biographers Stephen Calt and Gayle Dean Wardlow. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula. Beaumont concluded that House became a friend of Patton's, traveling with him to gigs but playing separately.

Recording 
In 1930, Art Laibly of Paramount Records traveled to Lula to persuade Patton to record several more sides in Grafton, Wisconsin. Along with Patton came House, Brown, and the pianist Louise Johnson, all of whom recorded sides for the label. House recorded nine songs during that session, eight of which were released, but they were commercial failures. He did not record again commercially for 35 years, but he continued to play with Patton and Brown, and with Brown after Patton's death in 1934. During this time, House worked as a tractor driver for various plantations in the Lake Cormorant area.

Alan Lomax recorded House for the Library of Congress in 1941. Willie Brown, the mandolin player Fiddlin' Joe Martin, and the harmonica player Leroy Williams played with House on these recordings. Lomax returned to the area in 1942, where he recorded House once more.

House then faded from the public view, moving to Rochester, New York, in 1943, and working as a railroad porter for the New York Central Railroad and as a chef.

Rediscovery 

In 1964, after a long search of the Mississippi Delta region by Nick Perls, Dick Waterman and Phil Spiro, House was "rediscovered" in Rochester, New York working at a train station. He had been retired from the music business for many years and was unaware of the 1960s folk blues revival and international enthusiasm for his early recordings.

He subsequently toured extensively in the United States and Europe and recorded for CBS Records. Like Mississippi John Hurt, he was welcomed into the music scene of the 1960s and played at the Newport Folk Festival in 1964, the New York Folk Festival in July 1965, and the October 1967 European tour of the American Folk Festival, along with Skip James and Bukka White.

The young guitarist Alan Wilson (later of Canned Heat) was a fan of House's. The producer John Hammond asked Wilson, who was just 22 years old, to teach "Son House how to play like Son House," because Wilson had such a good knowledge of blues styles. House subsequently recorded the album Father of Folk Blues, later reissued as a 2-CD set Father of Delta Blues: The Complete 1965 Sessions. House performed with Wilson live, as can be heard on "Levee Camp Moan" on the album John the Revelator: The 1970 London Sessions.

House appeared in Seattle on March 19, 1968, arranged by the Seattle Folklore Society. The concert was recorded by Bob West and issued on Acola Records as a CD in 2006. The Arcola CD also included an interview of House recorded on November 15, 1969 in Seattle.

In the summer of 1970, House toured Europe once again, including an appearance at the Montreux Jazz Festival; a recording of his London concerts was released by Liberty Records. He also played at the two Days of Blues Festival in Toronto in 1974. On an appearance on the TV arts show Camera Three, he was accompanied by the blues guitarist Buddy Guy.

Ill health plagued House in his later years, and in 1974 he retired once again. He later moved to Detroit, Michigan, where he remained until his death from cancer of the larynx. He had been married five times. He was buried at the Mt. Hazel Cemetery. Members of the Detroit Blues Society raised money through benefit concerts to put a monument on his grave.

Honors
In 2007, House was honored with a marker on the Mississippi Blues Trail in Tunica, Mississippi.

In 2017, his single "Preachin' the Blues" was inducted in to the Blues Hall of Fame.

Discography

78-RPM recordings

Recorded May 28, 1930, in Grafton, Wisconsin, for Paramount Records

 "Walking Blues" (unissued and lost until 1985)
 "My Black Mama – Part I" 
 "My Black Mama – Part II"
 "Preachin' the Blues – Part I"
 "Preachin' the Blues – Part II"
 "Dry Spell Blues – Part I" 
 "Dry Spell Blues – Part II" 
 "Clarksdale Moan" (unissued and lost until 2006)
 "Mississippi County Farm Blues" (unissued and lost until 2006)

Recordings for Library of Congress and Fisk University

Recorded August 1941, at Klack's Store, Lake Cormorant, Mississippi.
There are some railway noises in the background on some titles, as the store (which had electricity necessary for the recording) was close to a branch line between Lake Cormorant and Robinsonville.
 "Levee Camp Blues", with Willie Brown, Fiddlin' Joe Martin, Leroy Williams
 "Government Fleet Blues", with Brown, Martin, Williams
 "Walking Blues", with Brown, Martin, Williams
 "Shetland Pony Blues", with Brown
 "Fo' Clock Blues", with Brown, Martin
 "Camp Hollers", with Brown, Martin, Williams
 "Delta Blues", with Williams

Recorded July 17, 1942, Robinsonville, Mississippi
 "Special Rider Blues" [test]
 "Special Rider Blues"
 "Low Down Dirty Dog Blues"
 "Depot Blues"
 "Key of Minor" (Interviews: Demonstration of concert guitar tuning)
 "American Defense"
 "Am I Right or Wrong"
 "Walking Blues" 
 "County Farm Blues"
 "The Pony Blues"
 "The Jinx Blues (No. 1)"
 "The Jinx Blues (No. 2)"

The music from both sessions and most of the recorded interviews have been reissued on LP and CD.

Singles
 "The Pony Blues" / "The Jinx Blues", Part 1 (1967)
 "Make Me a Pallet on the Floor" (Willie Brown) / "Shetland Pony Blues" (1967)
 "Death Letter" (1985)

Other albums

This list is incomplete. For a complete list, see external links.
The Complete Library of Congress Sessions (1964), Travelin' Man CD 02
Blues from the Mississippi Delta, with J. D. Short (1964), Folkways Records
The Legendary Son House: Father of Folk Blues (1965), Columbia 2417
In Concert (Oberlin College, 1965), Stack-O-Hits 9004
Delta Blues (1941–1942), Smithsonian 31028
Son House & Blind Lemon Jefferson (1926–1941), Biograph 12040
The Real Delta Blues (1964–1965 recordings), Blue Goose Records 2016
Son House & the Great Delta Blues Singers, with Willie Brown and others, Document CD 5002
Son House at Home: Complete 1969, Document 5148
Son House (Library of Congress), Folk Lyric 9002
John the Revelator, Liberty 83391
American Folk Blues Festival '67 (1 cut), Optimism CD 2070
Son House (1965-1969), Private Record PR 1
Son House – Vol. 2 (1964–1974), Private Record PR 2 (1987)
Father of the Delta Blues: The Complete 1965 Sessions, Sony/Legacy CD 48867
Living Legends (1 cut, 1966), Verve/Folkways 3010
Real Blues (1 cut, University of Chicago, 1964), Takoma 7081
John the Revelator: The 1970 London Sessions, Sequel CD 207
Son House (1964–1970), Document (limited edition of 20 copies)
Great Bluesmen/Newport, (2 cuts, 1965), Vanguard CD 77/78
Blues with a Feeling (3 cuts, 1965), Vanguard CD 77005
Masters of the Country Blues, House and Bukka White, Yazoo Video 500
Delta Blues and Spirituals (1995)
In Concert (Live) (1996)
"Live" at Gaslight Cafe, N.Y.C., January 3, 1965 (2000)
New York Central Live (2003)
Delta Blues (1941–1942) (2003), Biograph CD 118
Classic Blues from Smithsonian Folkways (2003), Smithsonian Folkways 40134
Classic Blues from Smithsonian Folkways, vol. 2 (2003), Smithsonian Folkways 40148
The Very Best of Son House: Heroes of the Blues (2003), Shout! Factory 30251
Proper Introduction to Son House (2004), Proper

References

External links
Memphis Beale Street Brass Note Submission Biography 
Illustrated Son House discography

Inaugural (1980) inductee to Blues Hall of Fame (bio by Jim O'Neal)
, History of National Reso-Phonic Guitars, Part 3
House Discography at Smithsonian Folkways
 (biography by Cub Koda)
Bob West interview of Son House March 16, 1968

Delta blues musicians
Country blues musicians
Blues revival musicians
Gospel blues musicians
Country blues singers
American blues guitarists
American male guitarists
Blues musicians from Mississippi
Resonator guitarists
Juke Joint blues musicians
Slide guitarists
Columbia Records artists
1902 births
1988 deaths
20th-century American criminals
People from Coahoma County, Mississippi
Deaths from cancer in Michigan
Paramount Records artists
20th-century American guitarists
Guitarists from Mississippi
People from Lula, Mississippi
American male criminals
Mississippi Blues Trail
African-American guitarists
20th-century African-American male singers
Why Shoot the Teacher? is a 1977 Canadian comedy-drama film directed by Silvio Narizzano and starring Bud Cort, Samantha Eggar, Kenneth Griffith, and Chris Wiggins. It is based on a book of the same name by Max Braithwaite.

Plot
The plot is set in 1935, during the Depression. Max Brown (Bud Cort) is an urban east-province Canadian fresh from college who travels to Western Canada to accept a teaching position at a one-room rural schoolhouse in the fictional settlement of Willowgreen, Saskatchewan, because there are no other jobs available.

He decides to live in the school's basement, having to adapt to teaching in the Depression-era rural setting, especially given the bleakness of the settlement. His students at first are rebellious, but it eventually changes to a connection between student and teacher as Max gets into a love for Alice Field (played by Samantha Eggar), going to him for emotional support.

Max barely gets paid and he suffers through the paltry winter of Willowgreen, especially suffering given his physical and emotional isolation in the town, only finding solace in Harris Montgomery (played by Gary Reineke) and Alice Field, who both try to use him to solve their problems of political socialism and her being a war bride of Britain.

Max eventually begins to understand Willowgreen and the rural struggles, as the inspector (Kenneth Griffith) comes in to look at his work, which does not end too well. The school year ends as Max is getting on a train back east, but before the credits roll, he tells us he returned the following September to teach another year at Willowgreen.

Cast
 Bud Cort as Max Brown 
 Samantha Eggar as Alice Field 
 Chris Wiggins as Lyle Bishop 
 Gary Reineke as Harris Montgomery 
 John Friesen as Dave McDougall 
 Michael J. Reynolds as Bert Field 
 Kenneth Griffith as Inspector Woods 
 Scott Swan as Dan Trowbridge

Production notes
Why Shoot the Teacher? was filmed on location at Hanna, Alberta.  The film was produced with the assistance of the Canadian Film Development Corporation.

Reception
James DeFelice won a 1978 Canadian Film Award for the film's adapted screenplay. The film also won the Golden Reel Award for attaining higher box-office gross revenues of that year than any other Canadian film with a gross of $1.8 million.

References

External links
Why Shoot the Teacher? at the Canadian Film Encyclopedia
Why Shoot the Teacher?, movie review at The New York Times
 

1977 films
Canadian films
Canadian comedy-drama films
Canadian Screen Award-winning films
English-language Canadian films
Films set in Saskatchewan
Films shot in Alberta
Films about educators
Films set in 1935
Films directed by Silvio Narizzano Robin Hood Newly Revived is Child ballad 128, and an origin story for Will Scarlet.

Synopsis
Robin Hood and Little John are hunting when they see a finely dressed stranger shoot a deer. Robin says if he accepts it, he can be a yeoman in their band. The stranger threatens him, and forbids him to sound his horn. They aim arrows at each other, and Robin proposes that they fight with swords instead. They strike some blows. Robin asks him who he is, and he is Young Gamwell, and, because he killed his father's steward, he is seeking his uncle, who is called Robin Hood. That stops their fight, and they join the band. Little John asks why he is gone so long, and Robin says they were fighting, but Little John must not fight him. He names his nephew Scarlet.

See also
Another variation of this story was collected as Child ballad 132, The Bold Pedlar and Robin Hood.

External links
Robin Hood and the Newly Revived

Child Ballads
Robin Hood ballads