Basic Information:
Author: Cary Baker
Edition: Kindle
Publisher: Jawbone Press
ISBN: 9781916829107 (ISBN10: 1916829104)
Start Date: January 14, 2025
Read Date: February 2, 2025
272 pages
Genre: History, Biography, Essay, Book Group
Language Warning: Low
Rated Overall: 3 out of 5
History: 3 out of 5
Synopsis:
A series of short biographies and backgrounds on street music, called busking. Baker takes the reader through five areas where busking predominates. Each area’s story is told how busking has become accepted as a legitimate form of artistry. Then he talks about several performers in each area.
Cast of Characters:
The Carolina Chocolate Drops
Gary Davis
Blind Arvella Gray
Blind Lemon Jefferson
Pearly Brown
Tom Paxton
Israel Young
Phil Ochs
Sonny Terry and Brownie McGhee
John Hiatt.
Edward ‘Kid’ Ory-Trombone player
Snooks Eaglin
Babe Stovall-may have inspired Mr Bojangles
Little Freddie King
David & Roselyn
Mary Howell-busking advocate in New Orleans
Grandpa Elliot
Meschiya Lake
Dave Brubeck
Stan Kenton
Duke Ellington
Dizzy Gillespie
Susan Osborn
Harry Perry
Victoria Williams
Eilen Jewell
Recommendation: Peter from my Book Group
When: December 2024
Date Became Aware of Book: December 2024
Why do I want to read this book: Book Group
What do I think I will get out of it? Background on street music
Thoughts:
I did not know what busking was until reading this book. It is performing on the streets, not in an organized venue, in the hope of reward.
Foreword: Feeding The Street By Dom Flemons
WHEN I BEGAN BUSKING around the age of seventeen, I called it ‘feeding the street,’ and even though it was more challenging than playing in a venue, that was part of the fun. Since that time Flemons has become a recognized performer. Sherri and I saw him a couple of years ago as one of the performers at a Sway-at-Home Festival.
Flemons says that busking gave him the ability to judge and adjust to an audience. There is no right or wrong way of going about doing this. When you know that the audience doesn’t have to give you their attention, your method of delivering a performance changes drastically to get it. This is a theme of the book.
Flemons thinks that busking gives the listener the most organic music. The master busker is not judged by musical quality alone but by their charisma and presence to enchant a crowd of strangers into their midst. The busker must not have an ego and be able to accept the failure of a moment.
Introduction: A Brief History Of Busking
Baker notes that busking is old. He starts by saying: STREET SINGING, ALSO KNOWN AS BUSKING, has been a form of entertainment for centuries, as far back as ancient Rome. Not only in Rome, but Baker found instances of street singing is in ancient Greece. This could take in more than musicians, such as theater, acrobatics and other performance based arts. He notes that Benjamin Franklin did this early on. Many of our early famous names-George Burns, Irving Berlin as well as many well known jazz musicians busked.
Park looks at Greenwich Village, Washington Square in New York as being the heart of modern busking. In 1970 the ban on busking in New York was finally lifted by Mayor John Lindsay. New Orleans and Chicago also had heavy draws of buskers.
Talks about locations where folks busk. These are usually heavily trafficked places. But can also include places like subway tunnels.
Baker quotes Glen Hansard-see the chapter on him towards the end of the book: As a busker, one thing that does not work is self- consciousness. A busker needs to be working. A busker needs to shed all ego and get down to work. Play your songs, play them well, earn your money, and don’t get in people’s way.
Part 1. Origins_
1. Maxwell Street Part 1: A Day In The Life
Talks about how busking developed in Chicago, particularly, Maxwell Street. Several greats started here, such as Chuck Berry, Muddy Waters and Bo Didley. Baker took us on a tour in 1981. Many places which people play are now vacant lots. At one time, they were vibrant storefronts.
Some films have used Maxwell as a backdrop: Blues Brothers and My Bodyguard to name two. Documentary called Maxwell Street Blues by Linda Williams and Raul Zarisky. The University of Illinois, Chicago was the mechanism. Baker says that only a part of what it’s taken. The surface area of the market has slowly been eaten up for such necessities as the UIC football fields. Seems a bit bitter.
Muck Muck proceeds to dance up a storm as L.V. Banks maintains a high-note guitar break…
2. Maxwell Street Part 2: Arvella Gray, Granny Littricebey, And A Market Scene's Demise
Baker’s father takes him to Maxwell street. His father said, ‘You’ll only want to go there once, believe me.’ Wrong he was: I returned to Maxwell Street every Sunday I could for the next fifteen years. His father had grown up there and wanted to educate his son on his background. But Maxwell St had changed from a Jewish enclave of those of eastern European descent to being a Black neighborhood. This was a turning point in Baker’s life.
He wrote an essay for the free paper and The Reader published my article as its cover story on January 7, 1972. I was sixteen, and my life as a writer had begun. The article was on Blind Arvella Gray. Eventually Baker recorded Gray.
Talks about Blind Arvella Gray background.
Then Granny Clara Littricebey.
There was a move to make Maxwell St a National Historic site, but the University did not want it.
Two more documentaries: And this is Free: The Life & Times of Chicago’s Legendary Maxwell Street by Mike Shea and Cheat You Fair by Phill Ranstrom.
Maxwell Street Foundation was set up. Chicago has moved where performers can busk to a street over. Baker says that this is not the same.
3. Street Corner Serenade: The Rise Of Doo-Wop On Urban American Streets
Even Doo-Wop was street music. It formed in many cities, both major and small. Doo- wop emerged as a form of vocal harmony music that was often performed a cappella or with simple instrumentation, and it was typically characterized by tight harmonies, catchy melodies, and lyrics about love, relationships, and teenage life.
One person noted that if you sang, you would not get beaten up.
Goes through several group names and talks about Wimoweh from the Weavers.
4. Busking Bluesmen: Pre- And Post-War
Looks at three artists:
Blind Lemon Jefferson
Gary Davis-sometimes sang with Sonny Terry & Brownie McGhee and Blind Boy Fuller. He also taught guitar lessons to other musicians, including Woody Guthrie.
Pearly Brown
Part 2. The East Coast_
Emphasis on singer-songwriter. Tom Paxton, Tom Rush and Bob Dylan are all mentioned in this opening.
5. Washington Square: Singing The Riot Act
Streets and singing in them go way back. New York City was a key place, particularly Washington Square. In 1936, LaGuardia banned the licensing of street musicians, stopping the legitimate ones. Should they be classified as beggars or artists?
In 1961 the Parks&Recreation said that parks should be a place of quiet. This incited the Beatnik Riot. This is remembered as a spontaneous event when a folk music concert application was denied and the concert went on anyway. The police intervened. One of the people was Israel Young. Now people sing any time, day or night in the square.
Talks about recording pot songs as well as drinking songs.
6. Ramblin'jack Elliott: Not Busking, Just Singing For The Fun Of It
Elliot was inspired by Woody Guthrie. Bob Dylan was inspired by Elliot. And the thread will go on. Elliot did busk in New York, but not for long.
7. Oliver Smith: An Ordinary Man's Lucky Day
Tells the story of how Smith made his only record.
8. Moondog: The Road To Carnegie Hall, And The Sidewalks Along The Way
Moondog’s birth name was Louis Thomas Hardin. Wore Viking apparel. Played percussion on a variety of stuff, much of it with whatever was handy. Artur Rodzinski of the New York philharmonic noticed him and gave him access to rehearsals. Eventually they played a concert of his material in 1974. Moondog was blind, but crossed streets without an instant of hesitation until he showed me how he listened to the traffic lights; …
9. Satan & Adam: Angels Of Harlem
Sterling Magee and Adam Gussow. Blues. Gussow was the younger, but when they met, he already had five years of playing on the streets. Much of the chapter is on Gussow. Gussow says that Busking—the existential risk and creativity of buskin--it released him from being an introvert. Gussow says that there was an element of calling.
Adams thoughts on busking’s future and some advice to future buskers. ‘If you want to busk, there are three key things you have to pay attention to,’ he says. ‘You have to pay attention to the weather, … You have to pay attention to foot traffic…. and the police.
More stories, but Baker never explains how Magee got the name Satan.
10. Mary Lou Lord: Tubes And Trolleys, Squats And Pitches
Talks about being discovered during South by Southwest (SBSW) festival playing on the streets. She had been performing. She was a student at Berklee. Stories of the busking life. She also realizes that busking can be intrusive since you are playing around people who will have no choice but to listen. That having a band with amps and drums, particularly drums, the sound will carry. She says that If you’re gonna be a busker, you gotta realize that it’s people’s space too.’
Part 3. South And Midwest
11. Cortelia Clark: Five'n' Dime Street Singer
Talks about how Clark won his Grammy
12. Old Crow Medicine Show: Curbing Their Enthusiasm
Ketch Secor of the band says that Busking was the richest, almost meditative or sacred kind of act for me as a hungry musician in the 1990s. I thought that the curb was a more authentic place to go have the experiences of a young musician.
Continues to talk about Secor’s experiences. Including how they met Doc Watson.
Talks about how both the band and patrons like to hear a coin hitting the basket. The sound of a dollar bill hitting bottom is not so much.
13. Tim Easton: The World As An Acoustic Stage
Follows his story as a busker. Talks about dealing with distractions. Also about being true to what he wanted to sing, rather than popular music.
14. New Orleans Part 1: Blues With A Side Of Bourbon
Talks about the history of street music in New Orleans, starting back in the 1830’s. Includes people like Louis Armstrong. Goes through several performers. Some busking went on the move, first on wagons and then on flatbed trucks.
15. New Orleans Part 2: David & Roselyn, Grandpa Elliott, And More
David & Roselyn - talks about their story. Also how they were involved with loosening up New Orleans to busking. They played on the The Gong Show and won.
Grandpa Elliott-more biography. Elliott Small.
Meschiya Lake-
16. Present-Day New Orleans Busking: Tuba Skinny, Royal Street Royalty
Interviews the washboard player, Robin Rapuzzi. He says that I always think, If only their city council would consider street performing, they would have a much more peaceful downtown—a much more positive and communicative downtown area. Street performing can really help the ecosystem of any city. I think that’s something that people are missing out on across the world, but especially in America. Baker’s conclusion is that downtown America should look like New Orleans.
Gives the background on Tuba Skinny. The group likes to play on Royal Street. Talks about another tuba player, Tuba Fats who helped police resolve disputes about noise. Also talks about how groups need to share the streets. The street is not a group’s personal property. Good citizenship, of course, is a two-way street. The organization also publishes a ‘New Orleans Street Performers Code Of Etiquette’ for musicians, which includes these guidelines, among others…
Talks about the restrictions placed on street musicians in the past. Some got arrested. One irony was that Tuba Skinny was told not to play as they were illegal. But they were also featured on the cover of a New Orleans tourist brochure.
It probably was worth reading this book just for this group, both the name and the sound. Out of all the groups and musicians in this book, this is the one which I think I would listen to most often.
17. George 'bongo Joe' Coleman: American Primitive
Coleman was a percussionist rather than something you blow through and strum. Only one record of thim. One track, Innocent Little Doggie, became something which was played a lot. His sound was primitive. Coleman in a documentary called Bongo Jo, said You ain’t living if you ain’t doing ... and if you ain’t progressing, you ain’t living. And, of course, if you ain’t doing, you’re dead. You’d be surprised at the walking dead we stumble across daily.
18. Poi Dog Pondering: Aloha To Austin
Started in Hawaii, then California where they figured out how to play at parties. Then moved around. The lead said that Busking by myself [was] hard going, for sure ... finding a quiet place [is important]—places that have a resonance behind you, like the open front of a movie house.
19. Lucinda Williams: Happy Woman Busking
Talks about how she got into music and busking in particular. This included time in San Francisco on Fisherman’s Wharf. Busking was like being on the stage ... you had with immediate and instant audience.
20. Violent Femmes: What Made Milwaukee Famous
Normal stuff about how they started and how they became known. Brian Richie said The most misunderstood and maligned performance format is busking. Many people and even entire municipalities look upon busking as begging, a nuisance, noise pollution. But in fact it can be a joy for both musicians and listeners if it’s done properly. Unfortunately, it seldom is. He went on to say busking is the ultimate freedom of expression. But is it? Aren’t they influenced and in some ways corralled by what people are willing to listen to, and eventually pay for?
Also, he says that you must be acoustic to busk.Amplified/electronic is not busking.
Part 4. California
21. Peter Case: Nerves Of Steel
Description of Case. Documentary by Fred Parnes called Peter Case: A Million Miles Away.
Baker seems to throw in some tidbits of places. But when describing San Francisco, he goes to trite-Herb Caen’s description as Baghdad by the Bay. Seems like I see that everywhere.
Talks about a place called the Coffee Gallery at Grant&Green-closed. San Francisco was generally a friendly town to buskers.
22. Fantastic Negrito: The Power In Not Caring
The rise and fall and the resurrection of Xavier Amin Dphrepaulezz, aka Xavier, aka Fantastic Negrito. After a near-fatal car accident, after his record release, he just wanted to play on the street because it felt very honest and beautiful and therapeutic and fun. He mostly played in Oakland. Being on the street is about connecting. In 2015, a street observer suggested that Fantastic Negrito enter NPR’s inaugural Tiny Desk Contest. He won and it was the first step in being successful.
23. Wild Man Fischer: Not Shy Anymore
I do not think I would drop anything into his basket from the track I heard. Loud screaming seems to be characteristic. A music store employee’s comment was Sometimes annoying, sure, but always a mix of sweetness and lunacy, which to all of us workers at the store became endearing.
24. Ted Hawkins: Soul Amid The Sun, The Skv And The Surf
Biographic info on Hawkins. One person who even after making a hit record, still took to the streets.
25. Street Relief, Wild Spaces, Rollerblades: The Buskers Of Venice Beach
Harry Perry-more biography. Roller skating, guitar playing shek on Venice Beach. He realized that being an independent player rather than going through an agent had a lot of benefit. Talks about how the times are changing. People are streaming rather than buying CD’s.
Victoria Williams-Has MS. Foundation called Sweet Relief Foundation helps her and other musicians with MS.
Eilen Jewell-a friend tricked her into busking in Santa Fe at a farmer’s market. She was terrified to play in front of people. So I got a taste of the positive side of performing where I’d only ever had the terrifying aspect and the doing-it-out-of-obligation side of performing. I got a taste of how much joy it could bring me to bring joy to other people.
Jewell says about busking: ‘For me, it’s an argument for keeping some kind of wild space available for artists. It’s important for a graffiti artist to have a wall where they can do an amazing mural, and [the city] won’t control it. Like, just go for it. [Busking is] our graffiti art. It’s so crucial to just have at least one space like that.’
Part 5. Europe
26. Elvis Costello: Watching For Detectives
How Costello got arrested for busking in Londo-not really busking, but singing on the streets.
27. Glen Hansard: Swell Seasons On The Streets Of Dublin
Started off in Dublin on Grafton Street. His school principal suggested this as an avenue for a talented student who did not do well in school. He got into films as well, mostly low-budget. Most importantly, low-budget didn’t mean low-experience.
28. Billy Bragg: Riff-Raffin' The Tube
His songs were ones of social justice, inequality and working-class struggles. Preferred underground stations. Braggs said that he wouldn’t say I ever made a living [by busking], but I made enough money to get through the next few days. He notes that busking is going with what you have. While playing in a venue, there is a tendency to get everything right and not play before then. He still likes to get a feel for the crowd before playing.
29. Tymon Dogg: Fiddling, Strumming, And Clashing
Busked after playing in venues with major groups. Plays multiple instruments
30. Mojo Nixon: London Calling
Sang songs of ridicule.
31. Madeleine Peyroux: Busking By Benz And Barge
Biography of someone who was not making it on her own-very young. But hooked up with an older busker and was making it. She said that The thing that boggles my mind is that being a good busker [gives you] all the skills that you need for being an entertainer. Talks about taking Venmo or PayPal instead of money.
Epilogue: Playing For Change: 'buskers Are In The Joy Business'
Playing For Change - a group which is focused on primarily street singers. Talks about how the group was born. First person recorded was Roger Ridley. Ridley said that I’m in the joy business—I come out to bring joy to the people.
Music From The Streets - partners with homeless groups. He found a person named Lorenzo Laroc in New York who said If I made you late for work, then I’ve done my job. Baker feels this sums up busking.
Chp |
Artist |
Web info |
Music |
Notes |
For |
Dom Flemons |
Wikipedia |
Heard with Dust Bowl Revival |
|
2 |
Arvella Gray |
|
||
2 |
Granny Littricebey |
|
|
|
6 |
Ramblin'jack Elliott |
|
||
7 |
Oliver Smith |
Wikipedia |
YouTube |
|
8 |
Moondog |
|
||
9 |
Satan & Adam |
|
||
10 |
Mary Lou Lord |
|
||
11 |
Cortelia Clark |
|
||
12 |
Old Crow Medicine Show |
|
||
13 |
Tim Easton |
|
||
15 |
David & Roselyn |
|
||
15 |
Grandpa Elliott |
|
||
16 |
Tuba Skinny |
Interesting |
||
17 |
George 'bongo Joe' Coleman |
|
||
18 |
Poi Dog Pondering |
|
||
19 |
Lucinda Williams |
|
||
20 |
Violent Femmes |
|
||
21 |
Peter Case |
|
||
22 |
Fantastic Negrito |
|
||
23 |
Wild Man Fischer |
|
||
24 |
Ted Hawkins |
|
||
25 |
Street Relief |
|
|
|
25 |
Wild Spaces |
|
|
|
25 |
Rollerblades |
|
|
|
26 |
Elvis Costello |
|
||
27 |
Glen Hansard |
|
||
28 |
Billy Bragg |
|
||
29 |
Tymon Dogg |
|
||
30 |
Mojo Nixon |
|
||
31 |
Madeleine Peyroux |
|
Evaluation:
Baker gives us biographies of many buskers. If you are like me and did not know what a busker is, it is someone who performs on the streets, usually a musician, with the hope of being monetarily appreciated.
The buskers being talked about range from Chicago, the East Coast, to New Orleans to California and Europe. Time wise he takes in from the early 1900 to the present. Some of the buskers have made a name commercially, some have not.
While it is good to know the background of these people, the telling of their stories get repetitive. Personally, I found that I started to skim over them I then realized what I was missing was their music. So I looked up many of the people and found selections of them. You can do the same or use my notes which has links to their music. Go to my blog for these notes.
Notes from my book group:
Which names did you know? Did you learn anything more about them? Have you heard any of them?
Which story resonated with you? What surprised you when you read this book?
Was there someone which you did not know which seemed interesting to you? Did you look up or find any of their music?
What is the difference between busking and begging? Does the quality of the performance matter?
Robin Rapuzzi of Tuba Skinny said that I always think, If only their city council would consider street performing, they would have a much more peaceful downtown—a much more positive and communicative downtown area. Street performing can really help the ecosystem of any city. I think that’s something that people are missing out on across the world, but especially in America. Do you think busking is good for a neighborhood? What benefits does it bring? What detractions? Is there a place in the Fresno area, or your locality, where this would be of benefit? Should there be defined places to busk or let it be free on the streets?
How does a locality balance the need for freedom of expression with the need for silence? Mary Lou Lord talks about the sensitivity an artist needs to balance the two: If you’re gonna be a busker, you gotta realize that it’s people’s space too.
Each of the performers talked about were buskers and I think they all started on the street. Many went on to play in clubs and venues. Most of the ones interviewed who went indoors talks about missing playing on the street. Why do these performers not go back and play on the street? What does this say about what influences them?
Adam Glossow said of busking that there is the existential risk and creativity in this activity. What did he mean by that?
There is a sense of freedom of expression by playing on the street. Why is this so? What restrains a performer when they play in a club or venue from playing what they want to?
George Coleman (Bongo Jo) said You ain’t living if you ain’t doing ... and if you ain’t progressing, you ain’t living. And, of course, if you ain’t doing, you’re dead. You’d be surprised at the walking dead we stumble across daily. What do you think of this thought?
As a person who is the audience, how would seeing a performance on the street differ from a performance in a venue? Which do you think would give you a better experience? Which place would give you a better performance? Note on this question: Don Flemon said: The master busker is not judged by musical quality alone but by their charisma and presence to enchant a crowd of strangers into their midst.
If you are a Christian, how do you think Jesus would have related to people like Wild Man Fischer? How do you think Jesus would want you to relate to him?
Is this a type of book which is good to read as a book group and discuss? Why?
How do you want your life to change because you read this book?
Many of these questions are either from or adapted from LitLovers.
Why the title of Down on the Corner?
Does this story work as a collection of biographies?
Did the ending seem fitting? Satisfying? Predictable?
Which busker was the most convincing? Least?
Which busker did you identify with?
Which one did you dislike?
Every book has a world view. Were you able to identify this book’s world view? What was it? How did it affect the book?
In what context was religion talked about in this book?
Why do you think the author wrote this book?
What would you ask the author if you had a chance?
What “takeaways” did you have from this book?
What central ideas does the author present?
Are they personal, sociological, global, political, economic, spiritual, medical, or scientific?
Describe the culture talked about in the book.
How is the culture described in this book different than where we live?
What economic or political situations are described?
Does the author examine economics and politics, family traditions, the arts, religious beliefs, language or food?
How did this book affect your view of the world?
Of how God is viewed?
What questions did you ask yourself after reading this book?
Talk about specific passages that struck you as significant—or interesting, profound, amusing, illuminating, disturbing, sad...?
What was memorable?
New Words:
- busk-perform music or other entertainment in the street or another public place for monetary donations.
- Jongleurs-an itinerant medieval entertainer proficient in juggling, acrobatics, music, and recitation.
- melisma-a vocal technique that involves singing a syllable of text while moving between multiple notes
- spasm band-actual thing, loosely defined as a musical group playing a variety of Dixieland, trad jazz, jug band, or skiffle music.
- ribald-referring to sexual matters in an amusingly coarse or irreverent way.
- Jocosely-witty, humorous, facetious, jocular, jocose mean provoking or intended to provoke laughter. witty suggests cleverness and quickness of mind. a witty remark.
- Buskers: A History Of Street Entertainment by Ben Greenwood
- Buskers Advocates - web site
- Just My Soul Responding by Brian Ward
- They All Sang On The Street Corner by Phil Groia
- Deep Blues by Robert Palmer
- Passing The Hat by PATRICIA J. CAMPBELL
- Moondog: The Viking Of 6th Avenue by Robert Scotto
- Busker’s Holiday by Adam Gussow
- Mister Satan’s Apprentice by Adam Gussow
- Busker by Tim Eaton
- Charles Kerault’s America by Charles Kerault
- As Far As You Can Get Without A Passport by Peter Case
- Steal This Book by Abbie Hoffman
Good Quotes:
- First Line: STREET SINGING, ALSO KNOWN AS BUSKING, has been a form of entertainment for centuries, as far back as ancient Rome.
- Last Line: Nothing I’d rather do with my time. So, thank you!
- You ain’t living if you ain’t doing ... and if you ain’t progressing, you ain’t living. And, of course, if you ain’t doing, you’re dead. You’d be surprised at the walking dead we stumble across daily. 17. George 'bongo Joe' Coleman: American Primitive
- Foreword: Feeding The Street By Dom Flemons
- Introduction: A Brief History Of Busking
- Part 1. Origins_
- 1. Maxwell Street Part 1: A Day In The Life
- 2. Maxwell Street Part 2: Arvella Gray, Granny Littricebey, And A Market Scene's Demise
- 3. Street Corner Serenade: The Rise Of Doo-Wop On Urban American Streets
- 4. Busking Bluesmen: Pre- And Post-War
- Part 2. The East Coast_
- 5. Washington Square: Singing The Riot Act
- 6. Ramblin'jack Elliott: Not Busking, Just Singing For The Fun Of It
- 7. Oliver Smith: An Ordinary Man's Lucky Day
- 8. Moondog: The Road To Carnegie Hall, And The Sidewalks Along The Way
- 9. Satan & Adam: Angels Of Harlem
- 10. Mary Lou Lord: Tubes And Trolleys, Squats And Pitches
- Part 3. South And Midwest
- 11. Cortelia Clark: Five'n' Dime Street Singer
- 12. Old Crow Medicine Show: Curbing Their Enthusiasm
- 13. Tim Easton: The World As An Acoustic Stage
- 14. New Orleans Part 1: Blues With A Side Of Bourbon
- 15. New Orleans Part 2: David & Roselyn, Grandpa Elliott, And More
- 16. Present-Day New Orleans Busking: Tuba Skinny, Royal Street Royalty
- 17. George 'bongo Joe' Coleman: American Primitive
- 18. Poi Dog Pondering: Aloha To Austin
- 19. Lucinda Williams: Happy Woman Busking
- 20. Violent Femmes: What Made Milwaukee Famous
- Part 4. California
- 21. Peter Case: Nerves Of Steel
- 22. Fantastic Negrito: The Power In Not Caring
- 23. Wild Man Fischer: Not Shy Anymore
- 24. Ted Hawkins: Soul Amid The Sun, The Skv And The Surf
- 25. Street Relief, Wild Spaces, Rollerblades: The Buskers Of Venice Beach
- Part 5. Europe
- 26. Elvis Costello: Watching For Detectives
- 27. Glen Hansard: Swell Seasons On The Streets Of Dublin
- 28. Billy Bragg: Riff-Raffin' The Tube
- 29. Tymon Dogg: Fiddling, Strumming, And Clashing
- 30. Mojo Nixon: London Calling
- 31. Madeleine Peyroux: Busking By Benz And Barge
- Epilogue: Playing For Change: 'buskers Are In The Joy Business'
- Acknowledgments: 'if I Made You Late For Work, Then I've Done My Job'
- Select Bibliography
- Endnotes
- Index
References:
- Publisher's Web Site for Book
- Author’s Website
- Amazon-Book
- Amazon-Author
- Barnes and Noble
- GoodReads-Book
- GoodReads-Author
- NPR Review
- It’s Psychedelic Baby Magazine
- Joshua Tree Voice review
- The Tennesean review
- Desert Sun review
- YouTube
- BlogCritics
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