For much of the 20th century, Dallas was home to a wide range of vital popular music. By the 1920s, the streets, dance halls, and vaudeville houses of Deep Ellum rang with blues and jazz. Blind Lemon Jefferson was discovered singing the blues on the streets of Deep Ellum but never recorded in Dallas. Beginning in the 1930s, however, artists from Western swing pioneer Bob Wills to blues legend Robert Johnson recorded in a three-story zigzag moderne building at 508 Park Avenue. And from the late 1940s to the mid-1960s, a wrestling arena called the Sportatorium was home to a Saturday night country and rock-and-roll extravaganza called the Big "D" Jamboree.

A new edition of the biography of Dallas' own Deep Ellum. Just outside of downtown Dallas lies a section of the city called Deep Ellum, where graffiti and murals decorate the walls of trendy shops, loft apartments, restaurants, nightclubs, art galleries, and tattoo studios. The area has been home to a remarkable array of businesses, creatives, and artistic practices since its birth 150 years ago as a Black center of business. Because of the area’s long association with blues and jazz musicians, Deep Ellum has been shrouded in myth and misconceptions which obscure its actual history.  Alan Govenar and Jay Brakefield—using oral histories, old newspapers and photographs, city directories and maps, as well as more traditional public records and secondary sources—reveal another side of Deep Ellum which includes Central Track (formerly called Central Avenue), an area lined with Black-owned businesses which served both Black and white patrons during its heyday in the 1920s and 30s. In the Deep Ellum and Central Track areas, African Americans and whites, primarily Eastern European Jews, operated businesses from the late 19th to the mid-20th centuries, creating a unique social climate where cultural interaction took place.  Much of the information in the book is presented through the stories of remarkable individuals, including professionals, pawnbrokers and other merchants, police officers, criminals, and the blues and jazz musicians who had a lasting impact on American popular music.

Benny Joseph made his living as a professional photographer in Houston's black community during the crucial decades from the 1950s through the early 1980s, when the amplified pulse of rhythm and blues underscored the social changes sweeping the nation. Joseph photographed everything from parades and teen hops to impassioned speeches by civil rights leaders Martin Luther King, Jr., and Thurgood Marshall. Under contract to the pioneering black entrepreneur Don Robey, owner of the Duke and Peacock recording labels, Joseph photographed many of the popular recording artists of the day, including B.B. King, Mahalia Jackson, Buddy Ace, Clarence "Gatemouth" Brown, and Della Reese. With over 120 unique black and white photographs, this is a must have for all rhythm and blues enthusiasts, and a valuable historical resource for photography collectors. Writer, photographer, and filmmaker Alan Govenar met Joseph in 1984 when he was closing his studio in Houston's Third Ward and worked with him over the next five years, sifting through thousands of negatives to identify and contextualize his most compelling images of this remarkable era.

A new biography of the beloved but mysterious Blind Lemon Jefferson, famous blues musician. Born in 1897, Jefferson was a blind street musician who played his guitar at the corner of Elm Street and Central Avenue in the Deep Ellum area of Dallas, Texas, until a Paramount Records scout discovered him. Between 1926 and his untimely death in 1929, Jefferson made more than 80 records and became the biggest-selling blues singer in America. Although his recordings are extensive, details about his life are relatively few. Through Govenar and Lornell's extensive interviews and research, See That My Grave is Kept Clean gathers the scattered facts behind Blind Lemon Jefferson's mythic representations.

2011 ARSC Award for Excellence in Historical Recorded Sound Research for Best History By the time of his death in 1982, Sam “Lightnin’� Hopkins was likely the most recorded blues artist in history. This brilliant biography illuminates the many contradictions of the man and his myth. Born in 1912 to a poor sharecropping family in cotton country, Hopkins left home when he was eight years old with a guitar his brother had given him. This biography explores his meetings with Blind Lemon Jefferson and Texas Alexander, his time on a chain gang, his relationships with women, and his lifelong appetite for gambling and drinking. Hopkins began recording in 1946, when he was dubbed “Lightnin’� during his first session, and he soon joined Muddy Waters and John Lee Hooker on the national R & B charts. But by the time he was “rediscovered� by Mack McCormick and Sam Charters in 1959, his popularity had begun to wane. A second career emerged--now Lightnin’ was pitched to white audiences, not black ones, and he became immensely successful. This biography is based on scores of interviews with Lightnin’s lover, friends, producers, accompanists, managers, and fans.

Dive into the life and work of master craftsman Jeronimo Lozano and his extraordinarily detailed retablos. Steeped in ancient Peruvian traditions, these small sculpted figures show religious and secular scenes housed in structures large and small, ranging from pistachio shells and matchboxes to handmade wooden boxes and freestanding installations. Lozan's retablos are both traditional and innovative, visualizing the cultural life of people in the mountains of Peru, from ceremonies, processions, and market stands to fiestas, street performance, historical tableaux, and current events. Writer, documentarian, and folklorist Alan Govenar shares an in-depth interview with Lozano, tracking his childhood in Ayacucho, Peru, to his arrival in the US; how he's navigated his hearing disability; and his process from start to finish. Divided into My Story, My Life, and My Process, the interview is paired with colourful photographs of his work. A celebration of the form of the retablo, one of the many folk and traditional art forms that make up the American arts-and-crafts landscape.

In this updated edition, the extraordinary life of Stoney St. Clair-circus performer turned tattoo artist-comes to life in photos, tattoo flash, and his own words, edited by writer and filmmaker Alan Govenar. Born Leonard St. Clair in 1912 in West Virginia, Stoney discovered his passion for drawing at Johns Hopkins, where he was being treated for rheumatoid arthritis. Not deterred by his disability, he joined the circus at 15 as a sword swallower and then learned tattooing from other circus performers. From traveling with the circus to setting up tattoo shops in Tampa and Columbus, Stoney met, tattooed, and worked with some of the greatest. Vincent Canby, writing in the New York Times, described Stoney as "an ebullient little man with the gab of a circus tout (spoken in the accents of Appalachia) and a fund of bizarre stories about tattooing and unrelated matters."

Inspired by The Decameron and its dark and satirical novellas, Boccaccio in the Berkshires chronicles the foibles of seven women and three men, all in their twenties, who meet in an online chat room for asymptomatic pandemic survivors. They have all endured the deaths of loved ones and decide to shelter together for fourteen days in an Italianate mansion in the Berkshires, offered to the group rent-free. The vacant but furnished villa provides a luxurious, yet bizarre, setting for members of the chat room, who leave their homes in different cities around the United States. Over the course of their stay, they bond together in unexpected ways as they tell each other stories, ranging from the personal to the ludicrous, at times riffing on the absurdity of Boccaccio's tales. A terrible storm fractures the group and forces the characters to come to terms with their own lives as they pursue love, faith, and the truth that medieval history ultimately reveals.

An extraordinary woman. An extraordinary time. Here is an inspiring story of Morgan (18731952), the youngest daughter of financier J. P. Morgan, and her pioneering use of photography to advance her social work and philanthropic mission. Time and again, Morgan used photographs to muster support for her relief efforts and charitable activities. The thousands of photos she commissioned during World War I stand as her enduring achievement. But it is the press images showing her social advocacy, the snapshots chronicling her private life, and the studio portraits displaying her poise, stature, and fascination with dressing up in costumes and uniforms that illuminate the context of her public work. Together, these offer an intriguing view of her world during the early and mid-20th century, when the photographic image emerged as one of the most pervasive means of mass communication. Coauthored by Guggenheim Fellow Alan Govenar and UCLA professor emerita Mary Niles Maack, Anne Morgan is a must-have addition to any library, whether personal or public.

A collection of first hand narratives and oral histories portraying the African American experience from slavery through emancipation and into the 20th century. African American Frontiers concentrates on the period from 1703, the date of the first published narrative of an African slave's attainment of freedom in the American colonies, to 1948, the year in which President Harry S. Truman integrated the United States armed forces through Executive Order 9981. This book is an invaluable historical resource that brings together diverse first-person accounts of individual African Americans through primary source documents, including: Henry "Box" Brown, who escaped the South by express mailing himself to Philadelphia in a wooden crate; Herb Jeffries, who introduced the black cowboy in Westerns; and Eunice Jackson, whose funeral home was destroyed in the Tulsa Race Riot of 1921. Such little known stories, most of them previously unpublished, resonate with the determination, forbearance, moral strength, and imagination of the tellers, and give readers an opportunity to see the world as it once was, as told by the men and women who lived in it. Includes primary source documents