From Banks’s brewery’s yeasty stink to groaty pudding to spicy curry, Sebastian Groes and R. M. Francis have assembled a new literary history of the smells and (childhood) memories that belong to the Black Country. This often overlooked region of the United Kingdom at the frontlines of post-industrial upheaval is a veritable treasure trove for studying the relationship between olfaction and place-specific memory. Smell, Memory, and Literature in the Black Country is an interdisciplinary exploration of the relationship between smell and memory in which the contributions consider both personal and communal memory. Drawing on psychology, neuroscience, memory studies, literary studies and philosophy, the critical essays reconsider psychogeography through cutting-edge sensory and philosophical engagements with physical space, smell, language and human behaviour. The creative contributions from writers including Liz Berry, Narinder Dhami, Anthony Cartwright, and Kerry Hadley-Pryce meditate on the senses, place, and identity. Not only does this book illustrate the rich cultural heritage of the Black Country, it will also appeal to those interested in place writing. The book is prefaced by Will Self.

In Growing Up Country: Memories of an Iowa Farm Girl, Carol Bodensteiner tells the stories of a happy childhood growing up on a family-owned dairy farm in the middle of America in the 1950s, a time when a family could make a good living on 180 acres.

(Piano/Vocal/Guitar Artist Songbook). This songbook includes all 15 songs from the 2006 release, Jackson's first ever gospel album. Songs: Blessed Assurance * How Great Thou Art * I'll Fly Away * In the Garden * The Old Rugged Cross * Softly and Tenderly * What a Friend We Have in Jesus * and more.

Alice Randall, award-winning professor, songwriter, and author with a “lively, engaging, and often wise” (The New York Times Book Review) voice, offers a lyrical, introspective, and unforgettable account of her past and her search for the first family of Black country music. Country music had brought Randall and her activist mother together and even gave Randall a singular distinction in American music history: she is the first Black woman to cowrite a number one country hit, Trisha Yearwood’s “XXX’s and OOO’s”. Randall found inspiration and comfort in the sounds and history of the first family of Black country music: DeFord Bailey, Lil Hardin, Ray Charles, Charley Pride, and Herb Jeffries who, together, made up a community of Black Americans rising through hard times to create simple beauty, true joy, and sometimes profound eccentricity. What emerges in My Black Country is a celebration of the most American of music genres and the radical joy in realizing the power of Black influence on American culture. As country music goes through a fresh renaissance today, with a new wave of Black artists enjoying success, My Black Country is the perfect gift for longtime country fans and a vibrant introduction to a new generation of listeners who previously were not invited to give the genre a chance.

The second part of Kathleen Hann's autobiography, Still Telling It As It Was, sees us through her early married life in the Black Country from 1951 to her move to Telford in 1969. With her husband Peter, just demobbed, they face financial hardship due to low wages and high housing costs. Bringing up three children at the time, Kathleen shows her love, care, mettle and great skills with "make do and mend" which have been passed on by her mother. Unwittingly renting a room to a prostitute and her pimp, buying a war bombed house, and getting a failing public house back on its feet are just a few of the trials and tribulations which Kathleen and Peter face in this story. Tales of terribly hard physical labour for both of them, which left permanent physical and mental scars, are retold with chilling accuracy. The progress of her son's major illness is also described with great passion and dignity, especially considering the way she was treated by the some of the medical profession at the time. There are lighter notes though – the DIY chimney sweeping saga, the Golden Child who stuffed her knickers down the drains, and Kathleen's own very short fuse to an exploding temper – these all bring very different and sometimes highly amusing insights into this very closely knit and loving family. A vital document for any social historian, or a grippingly real story of hardship in the Black Country of the 1950s and 60s, this book is a prime candidate for anyone's must read list.

Between the outbreak of the Second World War and the end of the century, life changed dramatically for the working-class people of the Black Country. Having survived the hardships of war, they found themselves facing a slew of social issues, all the while playing a vital role in manufacturing to stabilise the country's struggling economy. Innovations such as the wireless, television and cinema also brought huge societal changes that would move them closer to the present day. As well as a nostalgic look at the past, this book details the appalling health conditions, pollution, morality and crime in the region, before finally taking a look at the decline of crucial industries. Tom Larkin takes us back to the good old days and asks the question – whatever happened to the real Black Country? The author's royalties are being donated to the Wolverhampton charity Let Us Play.

"This book was written to provide and preserve an oral history of the eighty-four men and women who were interviewed...sharing their memories of World War II. The stories include seventy-six veterans and eight women who served as USO volunteers, Red Cross service workers, a Holocaust survivor, and women who worked on the home front...All of the veterans and the women who served in various support roles have a connection to Indiana"--from the Preface.

After a century of racist whitewashing, country music is finally reckoning with its relationship to Black people. In this timely work—the first book on Black country music by a Black writer—Francesca Royster uncovers the Black performers and fans, including herself, who are exploring the pleasures and possibilities of the genre. Informed by queer theory and Black feminist scholarship, Royster’s book elucidates the roots of the current moment found in records like Tina Turner’s first solo album, Tina Turns the Country On! She reckons with Black “bros” Charley Pride and Darius Rucker, then chases ghosts into the future with Valerie June. Indeed, it is the imagination of Royster and her artists that make this music so exciting for a genre that has long been obsessed with the past. The futures conjured by June and others can be melancholy, and are not free of racism, but by centering Black folk Royster begins to understand what her daughter hears in the banjo music of Our Native Daughters and the trap beat of Lil Nas X’s “Old Town Road.” A Black person claiming country music may still feel a bit like a queer person coming out, but, collectively, Black artists and fans are changing what country music looks and sounds like—and who gets to love it.