Fresh from reenacting a Civil War battle, Kyle Sherman, dressed in his Union uniform, is lost in Yewville, South Carolina. Dixie Lee Smith knows such a man should be treated as the enemy?shunned, or at the very least ignored. But with no Southern gentlemen pounding down her door, Dixie finds herself wondering if maybe the state of their potential "union" should be addressed. And once she discovers there's competition for Kyle, this particular rebel belle stops worrying about which side won the war, determined to win the handsome Yankee for herself. She's got a battle on her hands for sure. Because Kyle himself might not be so easy to subdue!

Discusses techniques, tools, and terms of barbecue cooking, and offers trailer decoration advice and recipes for dishes including Baptist burgers, ambrosia pound cake, and Dr Pepper BBQ sauce.

The success of Ruby Ann's regular newspaper column, Trailer Talk, a fictional but familiar look at the lots of the High Chaparral Trailer Park, led to the publication of this hilarious cookbook, in which each High Chaparral resident has his or her own story to tell, along with juicy gossip, a special photo, and of course, finger lickin' (and cheap) recipes. Features over 200 classic trailer park fixings, from Spam Rolls to Mayonnaise Cake to Homemade Grape Soda, and everything in between, each personally tested by Ruby Ann in the kitchen of her double-wide.

Even those who live in a house without wheels can now share in the very special lifestyle afforded by the unique trailer park milieu. Ruby Ann shares her secrets for livin' life to the fullest along with anecdotes from the vaults of the High Chaparral trailer park where hot sex, warm spam and cold beer are just the beginning. With b/w photos throughout.

Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music—spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday. Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life. In Wiregrass Country, “You don't have to sing like an angel” is a frequently expressed sentiment. To these women, “good” music is God's music regardless of the manner delivered. Therefore, Downhome Gospel presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.

American roots music, also known as Americana music, can be challenging to categorize, spanning the genres of jazz, bluegrass, country, blues, rock and roll, and an assortment of variations in between. In The Downhome Sound, Mandi Bates Bailey explores the messages, artists, community, and appeal of this seemingly disparate musical collective. To understand the art form’s intended meanings and typical audiences, she analyzes lyrics and interviews Americana artists, journalists, and festival organizers to uncover a desire for inclusion and diversity. Bailey also conducts an experiment to assess listener reception relative to more commercial forms of music. The result is an in-depth study of the political and cultural influence of Americana and its implications for social justice.

The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. “Coon songs,” with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz. In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the “big shows,” the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from “coon shouters” to “blues singers.” Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.

"Downhome Saturday night is where blues and blacks come together in intimate embrace. It was eating, dancing, drinking, gambling, womanizing, a vibrant scene of rhythmic communion. In this detailed analysis of early blues music, Titon takes us back to that scene, or, in the words of the blues artist Jo Jo Williams, 'down home...back to the root...where it all start at, this music, the blues...'" --Front jacket flap.

Tin Pan Alley, once New York City’s songwriting and recording mecca, issued more than a thousand songs about the American South in the first half of the twentieth century. In Reinventing Dixie, John Bush Jones explores the broad impact of these songs in creating and disseminating the imaginary view of the South as a land of southern belles, gallant gentlemen, and racial harmony. In profiles of Tin Pan Alley’s lyricists and composers, Jones explains how a group of undereducated and untraveled writers—the vast majority of whom were urban northerners or European immigrants— constructed the specific and detailed images of the South used in their song lyrics. In the process of evaluating the origins of Tin Pan Alley’s songbook, Jones analyzes these songwriters’ attitudes about North-South reconciliation, ideals of honor and hospitality, and the recurring theme of the yearning for home. Though a few of the songs employed parody or satire to undercut the vision of a peaceful, romantic South, the majority ignored the realities of racism and poverty in the region. By the end of Tin Pan Alley’s era of cultural prominence in the mid-twentieth century, Jones contends that the work of its writers had cemented the “moonlight and magnolias” myth in the minds of millions of Americans. Reinventing Dixie sheds light on the role of songwriters in forming an idyllic vision of the South that continues to influence the American imagination.