"Inspired by Nin-me-'sar-ra, Enheduanna's song to Inanna."

Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.

Women have traditionally been expected to tend the sick as part of their domestic duties; yet throughout history they have faced an uphill struggle to be accepted as healers outside the household. In this provocative anthology, twelve essays by historians and literary scholars explore the work of women as healers and physicians. The essays range across centuries, nations, and cultures to focus on the ideological and practical obstacles women have faced in the world of medicine. Each examines the situation of women healers in a particular time and place through cases that are emblematic of larger issues and controversies in that period. The stories presented here are typical of different but parallel facets of women's history in medicine. The first six concern the controversial relationship between magic and medicine and the perception that women healers can harm or enchant as well as cure. Women frequently were banished to the edges of medical practice because their spiritualism or unorthodoxy was considered a threat to conventional medicine. These chapters focus mainly on the Middle Ages and the Renaissance but also provide continuity to women healers in African American culture of our own time. The second six essays trace women healers' efforts to seek professional standing, first in fifth-century Greece and Rome and later, on a global scale, in the mid-nineteenth century. In addition to actual case studies from Germany, Russia, England, and Australia, these essays consider treatments of women doctors in American fiction and in the writings of Virginia Woolf. Women Healers and Physicians complements existing histories of women in medicine by drawing on varied historical and literary sources, filling gaps in our understanding of women healers and nulling social attitudes about them. Although the contributions differ dramatically, all retain a common focus and create a unique comparative picture of women's struggles to climb the long hill to acceptance in the medical profession.

Perfect for fans of The United States vs. Billie Holiday, this is the fiercely honest, no-holds-barred memoir of the legendary jazz, swing, and standards singing sensation—a fiftieth-anniversary edition updated with stunning new photos, a revised discography, and an insightful foreword by music writer David Ritz Taking the reader on a fast-moving journey from Billie Holiday’s rough-and-tumble Baltimore childhood (where she ran errands at a whorehouse in exchange for the chance to listen to Louis Armstrong and Bessie Smith albums), to her emergence on Harlem’s club scene, to sold-out performances with the Count Basie Orchestra and with Artie Shaw and his band, this revelatory memoir is notable for its trenchant observations on the racism that darkened Billie’s life and the heroin addiction that ended it too soon. We are with her during the mesmerizing debut of “Strange Fruit”; with her as she rubs shoulders with the biggest movie stars and musicians of the day (Bob Hope, Lana Turner, Clark Gable, Benny Goodman, Lester Young, Coleman Hawkins, and more); and with her through the scrapes with Jim Crow, spats with Sarah Vaughan, ignominious jailings, and tragic decline. All of this is told in Holiday’s tart, streetwise style and hip patois that makes it read as if it were written yesterday.

The ballad "John Henry" is the most recorded folk song in American history and John Henry--the mighty railroad man who could blast through rock faster than a steam drill--is a towering figure in our culture. In Steel Drivin' Man, Scott Reynolds Nelson recounts the true story of the man behind the iconic American hero, telling the poignant tale of a young Virginia convict who died working on one of the most dangerous enterprises of the time, the first rail route through the Appalachian Mountains. Using census data, penitentiary reports, and railroad company reports, Nelson reveals how John Henry, victimized by Virginia's notorious Black Codes, was shipped to the infamous Richmond Penitentiary to become prisoner number 497, and was forced to labor on the mile-long Lewis Tunnel for the C&O railroad. Equally important, Nelson masterfully captures the life of the ballad of John Henry, tracing the song's evolution from the first printed score by blues legend W. C. Handy, to Carl Sandburg's use of the ballad to become the first "folk singer," to the upbeat version by Tennessee Ernie Ford. Attractively illustrated with numerous images, Steel Drivin' Man offers a marvelous portrait of a beloved folk song--and a true American legend.

Based in Jyväskylä, Finland, Keijo Virtanen is somewhat of a legend in the Finnish psych scene. His music is often based in ambient and drone, and incorporates – beside of electronic devices – weird traditional folk instruments from around the world. Keijo is also renowned for his throat singing skills, plus – when he’s not throat singing and actually forming words – a strong, nasal voice that makes his songs unique and bizarre. His roots and influences are traditional world music, American Appalachian folk, jazz – and drone. This book offers a representative collection of those ”actually formed words” – 200+ pages of Keijo-in-writing, introduced by ”liner notes” from colleagues from around the world, compiled by Juri Joensuu. ”When I look across the road, where it can take, I see something blue. And I cannot get that view off of my mind. It’s like a flavor or a taste in the memory. It makes me to look for it, to get there, where to get some of it, there where its producer is, or rather, where that maker is going. On the road.” – Keijo