Folklore Recycled starts from the proposition that folklore--usually thought of in its historical social context as ""oral tradition""--is easily appropriated and recycled into other contexts. That is, writers may use folklore in their fiction or poetry, taking plots, as an example, from a folktale. Visual artists may concentrate on depicting folk figures or events, like a ritual or a ceremony. Tourism officials may promote a place through advertising its traditional ways. Folklore may play a role in intellectual conceptualizations, as when nationalists use folklore to promote symbolic unity. Folklore Recycled discusses the larger issue of folklore being recycled into non-folk contexts, and proceeds to look at a number of instances of repurposing. Colson Whitehead's novel John Henry Days is a literary text that recycles folklore but does so in a manner which examines a number of other uses of the American folk figure John Henry. The nineteenth-century members of the Louisiana branch of the American Folklore Society and the author Lyle Saxon in the twentieth century used African American folklore to establish personal connections to the world of the southern plantation and buttress their own social status. The writer Lafcadio Hearn wrote about folklore to strengthen his insider credentials wherever he lived. Photographers in Louisiana leaned on folklife to solidify local identity and to promote government programs and industry. Promoters of ""unorthodox"" theories about history have used folklore as historical document. Americans in Mexico took an interest in folklore for acculturation, for tourism promotion, for interior decoration, and for political ends. All of the examples throughout the book demonstrate the durability and continued relevance of folklore in every context it appears.

For folklorists, students, as well as general readers, this is the most comprehensive survey of American folktales and legends currently available. It offers an amazing variety of American legend and lore - everything from Appalachian Jack tales, African American folklore, riddles, trickster tales, tall tales, tales of the supernatural, legends of crime and criminals, tales of women, and even urban legends.The anthology is divided into three main sections - Native American and Hawaiian Narratives, Folktales, and Legends - and within each section the individual stories explore the myriad narrative traditions and genres from various geographic regions of the United States. Each section and tale genre is introduced and placed in its narrative context by noted folklorist Frank de Caro. Tale type and motif indexes complete the work.

After Hurricane Katrina devastated New Orleans and the surrounding region in 2005, the city debated whether to press on with Mardi Gras or cancel the parades. Ultimately, they decided to proceed. New Orleans's recovery certainly has resulted from a complex of factors, but the city's unique cultural life-perhaps its greatest capital-has been instrumental in bringing the city back from the brink of extinction. Voicing a civic fervor, local writer Chris Rose spoke for the importance of Carnival when he argued to carry on with the celebration of Mardi Gras following Katrina: "We are still New Orleans. We are the soul of America. We embody the triumph of the human spirit. Hell, we ARE Mardi Gras."" Since 2006, a number of new Mardi Gras practices have gained prominence. The new parade organizations or krewes, as they are called, interpret and revise the city's Carnival traditions but bring innovative practices to Mardi Gras. The history of each parade reveals the convergence of race, class, age, and gender dynamics in these new Carnival organizations. Downtown Mardi Gras: New Carnival Practices in Post-Katrina New Orleans examines six unique, offbeat, Downtown celebrations. Using ethnography, folklore, cultural, and performance studies, the authors analyze new Mardi Gras's connection to traditional Mardi Gras. The narrative of each krewe's development is fascinating and unique, illustrating participants' shared desire to contribute to New Orleans's rich and vibrant culture.

After Hurricane Katrina devastated New Orleans and the surrounding region in 2005, the city debated whether to press on with Mardi Gras or cancel the parades. Ultimately, they decided to proceed. New Orleans's recovery certainly has resulted from a complex of factors, but the city's unique cultural life-perhaps its greatest capital-has been instrumental in bringing the city back from the brink of extinction. Voicing a civic fervor, local writer Chris Rose spoke for the importance of Carnival when he argued to carry on with the celebration of Mardi Gras following Katrina: "We are still New Orleans. We are the soul of America. We embody the triumph of the human spirit. Hell, we ARE Mardi Gras."" Since 2006, a number of new Mardi Gras practices have gained prominence. The new parade organizations or krewes, as they are called, interpret and revise the city's Carnival traditions but bring innovative practices to Mardi Gras. The history of each parade reveals the convergence of race, class, age, and gender dynamics in these new Carnival organizations. Downtown Mardi Gras: New Carnival Practices in Post-Katrina New Orleans examines six unique, offbeat, Downtown celebrations. Using ethnography, folklore, cultural, and performance studies, the authors analyze new Mardi Gras's connection to traditional Mardi Gras. The narrative of each krewe's development is fascinating and unique, illustrating participants' shared desire to contribute to New Orleans's rich and vibrant culture.

Since man first walked the Earth in heels, no other art form has wielded as unique an influence on pop culture as Drag. Drag artists have now sashayed their way to snatch the crowns as the Queens of mainstream entertainment. Through informative and witty essays chronicling over 100 years of drag, readers will embark on a Priscilla-like journey through pop culture, from television shows like The Milton Berle Show, Bosom Buddies, and RuPaul s Drag Race, films like Some Like It Hot, To Wong Foo , and Tootsie, and Broadway shows like Hedwig and the Angry Inch, La Cage aux Folles, and Kinky Boots. With stops in cities around the globe, and packed with interviews and commentaries on the dramas, joys, and love that make-up a life in wigs and heels, Drag features contributions from today s most groundbreaking and popular artists, including Bianca del Rio, Miss Coco Peru, Hedda Lettuce, Lypsinka, and Varla Jean Merman, as well as notable performers as Harvey Fierstein and Charles Busch. It includes more than 100 photos many from performers personal collections, and a comprehensive timeline of drag herstory.

Folklore Recycled: Old Traditions in New Contexts starts from the proposition that folklore - usually thought of in its historical social context as "oral tradition" - is easily appropriated and recycled into other contexts. That is, writers may use folklore in their fiction or poetry, taking plots, as an example, from a folktale. Visual artists may concentrate on depicting folk figures or events, like a ritual or a ceremony. Tourism officials may promote a place through advertising its traditional ways. Folklore may play a role in intellectual conceptualizations, as when nationalists use folklore to promote symbolic unity. Folklore Recycled discusses the larger issue of folklore being recycled into nonfolk contexts and proceeds to look at a number of instances of repurposing. Colson Whitehead's novel John Henry Days is a literary text that recycles folklore but does so in a manner that examines a number of other uses of the American folk figure John Henry. The nineteenth-century members of the Louisiana branch of the American Folklore Society and the author Lyle Saxon in the twentieth century used African American folklore to establish personal connections to the world of the southern plantation and buttress their own social status. The writer Lafcadio Hearn wrote about folklore to strengthen his insider credentials wherever he lived. Photographers in Louisiana leaned on folklife to solidify local identity and to promote government programs and industry. Promoters of "unorthodox" theories about history have used folklore as historical document. Americans in Mexico took an interest in folklore for acculturation, for tourism promotion, for interior decoration, and for political ends. All of the examples throughout the book demonstrate the durability and continued relevance of folklore in every context it appears.

"He struck a match to look at his watch. In the flare of the light they saw a young woman just at Pitot's elbow -- a young woman dressed all in black, with pale gold hair, and a baby sleeping on her shoulder. She glided to the edge of the bridge and stepped noiselessly off into the black waters." -- from Ghost Stories of Old New Orleans

Ghosts are said to wander along the rooftops above New Orleans' Royal Street, the dead allegedly sing sacred songs in St. Louis Cathedral, and the graveyard tomb of a wealthy madam reportedly glows bright red at night. Local lore about such supernatural sightings, as curated by Jeanne deLavigne in her classic Ghost Stories of Old New Orleans, finds the phantoms of bitter lovers, vengeful slaves, and menacing gypsies haunting nearly every corner of the city, from the streets of the French Quarter to Garden District mansions. Originally printed in 1944, all forty ghost stories and the macabre etchings of New Orleans artist Charles Richards appear in this new edition.

Drawing largely on popular legend dating back to the 1800s, deLavigne provides vivid details of old New Orleans with a cast of spirits that represent the ethnic m?lange of the city set amid period homes, historic neighborhoods, and forgotten taverns. Combining folklore, newspaper accounts, and deLavigne's own voice, these phantasmal tales range from the tragic -- brothers, lost at sea as children, haunt a chapel on Thomas Street in search of their mother -- to graphic depictions of torture, mutilation, and death.

Folklorist and foreword contributor Frank de Caro places the writer and her work in context for modern readers. He uncovers new information about deLavigne's life and describes her book's pervasive lingering influence on the Crescent City's culture today.