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In 1922, Eugene Cunningham and his companion, both white travelers from the United States, entered a combination bar and grocery store in Zacapa on the Caribbean coast of Guatemala. The store was operated by a white American expatriate. An African American customer, also an expatriate, invited the travelers to have a drink with him. When they ignored this request, the man ordered the two white men to join him, after which a violent altercation ensued. In the course of his travels, Cunningham also heard of a white bar operator who warned a racist Irish American expatriate that if he continued

With his not-quite-in-tune acoustic guitar and a voice of bourbon and molasses, [Robert Belfour], 60, dragged such urban blues as \"Further on Up the Road\" and Ray Charles' \"What'd I Say\" back to the Mississippi soil--and to some extent back to African origins, the low-note drones and moans recalling Moroccan gnawa music. With his first album just out, Belfour is a highly personal performer and a living link to such progenitors as Charley Patton and Fred McDowell.

Red’s Juke Joint, one of many sprinkled throughout the abandoned downtowns of the Mississippi Delta, sits on the boundary of Clarksdale’s historically black New World district. Beneath its foundation are the edges of ancient Tunica burial mounds. These Native American ceremonial ridges, packed architecturally with loamy soil and ancestral bodies, doubled as powerful levees for the once-mighty Sunflower River, which runs behind Red’s establishment through a barrier of dense thickets of tall grass and cane break. From the front door of the bare plywood building, the looming stone sculpture of a sorrowful angel can be seen by the lamplight of

Examines the state of blues music in the heart of the Mississippi Delta. Contrasts the rural blues of musicians like Paul \"Wine\" Jones, Dave Thompson, and Junior Kimbrough, with the more refined blues currently favored by purists. Discusses the attempts by Fat Possum Records to record and market rural blues players.