- All's Well That Ends Well
- Antony and Cleopatra
- As You Like It
- The Comedy of Errors
- Coriolanus
- Cymbeline
- Hamlet
- Henry IV, Part 1
- Henry IV, Part 2
- Henry V
- Henry VI, Part 1
- Henry VI, Part 2
- Henry VI, Part 3
- Henry VIII
- Julius Caesar
- King John
- King Lear
- Love's Labor's Lost
- A Lover's Complaint
- Macbeth
- Measure for Measure
- The Merchant of Venice
- The Merry Wives of Windsor
- A Midsummer Night's Dream
- Much Ado About Nothing
- Othello
- Pericles
- The Rape of Lucrece
- Richard II
- Richard III
- Romeo and Juliet
- Shakespeare's Sonnets
- The Taming of the Shrew
- The Tempest
- Timon of Athens
- Titus Andronicus
- Troilus and Cressida
- Twelfth Night
- The Two Gentlemen of Verona
- Venus and Adonis
- The Winter's Tale
In a conversation with Cutler about the blues, Ma addresses both the cultural and historical origins of the genre. Although white people like Sturdyvant are perfectly happy to record and sell the blues, Ma suggests that they don’t really “understand” it. The implication here is that white people see the blues as nothing more than a form of entertainment, whereas Black musicians understand that it’s much more than that.
For Ma, the blues is a deeply expressive artform, one that makes it possible to better understand one’s own life. To that end, the blues has deep roots in storytelling, as…