This fall, University of Illinois Press celebrates the final books published in the Folklore Studies in a Multicultural World Series. Since 2009, University of Illinois has been a partner in the multi-press initiative, funded by the Andrew W. Mellon
Foundation, along with the University Press of Mississippi, and the University of Wisconsin Press. The Folklore Studies in a Multicultural World series emphasizes the interdisciplinary and international nature of current folklore scholarship, documenting connections between communities and their cultural production. Series volumes highlight aspects of folklore studies such as world folk cultures, folk art and music, foodways, dance, African American and ethnic studies, gender and queer studies, and popular culture. 

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This fall we have published our final contributions to the series, including: Global Tarantella: Reinventing Southern Italian Folk Music and Dances in which author Incoronata Inserra ventures into the history, global circulation, and recontextualization of tarantella around the world; Storytelling in Siberia: The Olonkho Epic in a Changing World by Robin Harris, who documents how Siberia’s Sakha people have used UNESCO’s Masterpiece Program to revive the epic narrative and song tradition olonkho; Recasting Folk in the Himalayas: Indian Music, Media, and Social Mobility by Stefan Fiol who explores the lives and work of Gahrwali artists who produce folk music, juxtaposing performance contexts in Himalayan villages with Delhi recording studios; Czech Bluegrass: Notes from the Heart of Europe by Lee Bidgood who merges intimate immersion in the music with on-the-ground fieldwork informed by his life as a working musician to paint a portrait of the Czech bluegrass phenomenon; and Building New Banjos for an Old-Time World by Richard Jones-Bamman who ventures into workshops and old-time music communities to explore how banjo builders practice their art.

To celebrate the end of the series, University of Illinois Press, the University Press of Mississippi, and the University of Wisconsin Press will host a reception at the American Folklore Society Conference on Thursday, October 19, 2017.

Please join us in celebrating this remarkable scholarly collaboration!

 

 

pizzaSausage, an inexpensive meat as long as you avoid foodiepreneurs trying to sell you fennel-infused giraffewurtz, still offers you the chance to go carnivore on the cheap. Homeslice in Lincoln Park offers a heart-stopper that adds Canadian bacon and pepperoni to your Italian sausage pizza and even throws in some vegetables while the venerable Lou Malnati’s dumps sausage into its iconic deep dish. In fact, there are about a thousand at-least-adequate options within the city limits and even in the suburbs.

But that shouldn’t keep you from making your own. Homemade is always best, is it not? Once again The Chicago Food Encyclopedia provides the guidance.

Chicago-Style Deep-Dish Sausage Pizza [Pizza]

Prep: 45 minutes
Rise: 1 hour, 40 minutes
Cook: 30 minutes
Makes: One 14-inch pizza, about 6 servings

Feel free to use pepperoni or sweet Italian sausage, or both, in this recipe, adapted from The Great Chicago-Style Pizza Cookbook, by Pasquale Bruno Jr. (McGraw Hill, 1983).

Dough:

1 1/2 packages active dry yeast
1 1/2 cups warm water (105 to 115 degrees)
1 tablespoon sugar
3 1/2 cups unbleached all-purpose flour
1 teaspoon salt
1/4 cup corn or olive oil, plus more for brushing, drizzling
1/2 cup warm water

Topping:

1 can (28 ounces) crushed tomatoes, drained
1 teaspoon each: dried basil, dried oregano
1/2 teaspoon salt or to taste
10 ounces mozzarella cheese, thinly sliced
1/4 cup freshly grated Parmesan cheese
1/2 pound Italian sausage, casing removed, crumbled

1. For dough, dissolve yeast in 1 cup of the warm water. Stir in sugar; set aside. Combine flour and salt in a large bowl. Make a well in the center. Stir in the yeast mixture, the oil, and remaining 1/2 cup warm water until dough forms a rough ball and cleans the sides of the bowl.

2. Turn dough out onto a floured surface. Knead dough, dusting with flour if too sticky, until smooth and soft, 5 to 6 minutes. Dust dough and a large, clean bowl with flour. Put dough in bowl; cover with plastic wrap and towel. Let rise in warm place until doubled, about 1 1/2 hours.

3. Meanwhile, for topping, combine tomatoes, basil, oregano and salt. Set aside. Heat oven to 475 degrees. Turn dough out of bowl; knead about 2 minutes. Let dough stand, covered, about 10 minutes. Oil bottom and sides of a 14-inch round, 2-inch deep pizza pan. Spread dough in pan until it covers the bottom. Press edges of dough up sides to form a lip around the pan edge. Pierce dough bottom with a fork at 1/2-inch intervals. Bake exactly 4 minutes; remove from oven. Brush crust lightly with olive oil.

4. Lay slices of mozzarella evenly over crust. Spoon tomatoes over cheese. Sprinkle Parmesan over tomatoes. Distribute pepperoni or flattened sausage pieces evenly over filling, Drizzle 1 tablespoon olive oil over top. Bake on bottom oven rack 5 minutes. Move pizza to upper third of oven. Bake until crust is lightly browned and sausage is cooked through, 15 to 20 minutes. Let cool slightly before slicing.

In an era where you may find any sort of foodstuff on your gourmet pizza, the classic za with sausage not only gets overlooked, but looked upon suspiciously, as if one is ordering something called a Cannibalism Special off the menu.

Sausage is one of the foods where people avoid the manufacturing process not out of apathy, but outright terror. The hot dog, an item with an ingredient list that usually just reads DON’T ASK, belongs to the extended sausage family, as do the various wurtzes. Yet the hunger for sausage in all its forms is so pervasive that the health-minded went to the trouble of inventing turkey sausage in order to keep the delicious item on their breakfast plates.

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tate and franchLex Tate is an adjunct lecturer in journalism and advertising at the University of Illinois at Urbana-Champaign, and served as associate director of the University of Illinois Office for University Relations. She recently answered some questions about her book An Illini Place: Building the University of Illinois Campus.

Q: How did this book first come about?

Lex Tate: Like so many good things in life, happenstance and serendipity played into my decision to write An Illini Place. Roland Kehe, the retired campus architect, asked if I knew anyone who could/would write a book on campus planning to continue the story from the 1930 book by Tilton & O’Donnell. Crazily, I said I would if Kehe could wait until I retired from the Office for University Relations, the PR operation for the U of I President’s Office and others where I had worked since 1985. Kehe had a proposal that centered on planning; I’m not a planner or an architect so revised the proposal to broaden the reach and appeal of the book and created a budget. Kehe successfully approached the President’s Office, the Chancellor’s Office and the U of I Foundation for money to support research, writing, photography, etc., and we were off and running. Archivist Bill Maher urged me to hire John Franch and, for 10 years, John and I collaborated over gallons of chai latte, hot in the winters and iced in the summer. He is a wonderful searcher and finder of archival and other research matter that undergirds the book and is a good writer. He’s the author of Robber Baron, The Life of Charles Tyson Yerkes, a biography of the mastermind behind the Chicago El and the London Tube who also bankrolled a famous telescope.

Q: Briefly, can you summarize how the campus began and how the first buildings laid the groundwork for how it looks today?

Tate: It’s a story often told, especially in this sesquicentennial year. After a questionable selection process that included effective lobbying of the legislature (e.g., quail and liquor), Champaign County beat out other Illinois cities and counties (with better bids) for the privilege to host the new land-grant university made possible by the 1862 federal law popularly called the Morrill Act. The offer: One five-story second-hand spec building on 10 bleak acres close to where the Beckman Institute is today, about 400 acres farm land south of the cemetery, another 400 acres southeast of Urbana (quickly sold), 160 acres north of the cemetery, rail freight, trees. This was 1867 and before classes started in 1868, the regent, John Milton Gregory, and the newly appointed Board of Trustees wisely bought more land, including a narrow strip of almost 40 acres that ran north-south for one mile from the old spec building, derisively called the “Elephant.”  Although the main Quad was not formed until the seminal 1905-06 Blackall plan, this strip of land set the stage for the campus’s strong north-south orientation. The earliest buildings that followed the Elephant reflected the time: the mechanical building (1872, later demolished), University Hall (1874, taken down to make room for the Illini Union), Botany Greenhouse (1878, later demolished), Chemical Laboratory (1878, now Harker Hall), Drill Hall (1890, now Gym Annex) and Natural History (1893, restored and remodeled 2015-17). There were 15 buildings by 1900, many on the north campus, some to the south. Then, as now, the buildings tie directly to the campus’s work: lots of engineering and agriculture and horticulture, the library (Altgeld), science (Observatory) and a way to power them all–the campus’s first central power plant (1898). Five of the 15 buildings were designed by Nathan C. Ricker, the first architecture graduate in the country and a legend. The early buildings are eclectic in style and somewhat randomly sited. Continue reading

The University of Illinois Press is pleased to announce the launch of the Bruno Nettl Fund for Ethnomusicology. The fund honors UIUC professor emeritus Bruno Nettl, internationally renowned musicologist, co-founder of the Society for Ethnomusicology, and longtime editor of the journal Ethnomusicology.

We hNettl Fund graphicave some great titles in ethnomusicology this season that represent the breadth and excellence of ethno scholarship published by UIP:

  • Richard Jones-Bamman’s book on builders of old-time banjos
  • Robin Harris’s research on storytelling in Siberia
  • Stefan Fiol’s analysis of music, media, and social mobility in the Himalayas
  • Lee Bidgood’s ethnography of bluegrass music in the Czech Republic

We are also excited about forthcoming titles in 2018, which include Sarah Weiss’s comparative study of women’s rituals in world religions and Margaret Sarkissian and Ted Solis’s long-anticipated, ambitious, and comprehensive ethnography of the field of ethnomusicology. Two other 2018 books will add to the growing scholarship in eco-musicology. Michael Silvers’s book explores relationships between popular music, the environmental and social costs of drought, and the politics of culture and climate vulnerability in the Northeast region of Brazil. And Timothy Cooley and Gregory Barz’s edited collection brings together top voices in the field to provide a broad overview of how social, economic, and environmental changes impact the sustainability of cultural practices.

The Bruno Nettl Fund will help ensure the future of publishing groundbreaking, exceptional scholarship that continues to diversify the field.

To find out more go to //www.press.uillinois.edu/giving/. Or contact Julie Laut, PhD., Outreach & Development Coordinator, at jlaut2@illinois.edu or 217-300-4126.

It would be easy to call a significant part of the NCAA basketball landscape a cesspool of cheating, money, and other sins. Indeed, an oft-alleged mariner on those dark waters was told to hit the showers just this morning and takes with him a towering, and entwined, reputation for coaching defense and practicing cartoonishly unethical behavior.

But that job dismissal is just an early rockslide in the avalanche of scandal sure to result from the recent bombshell FBI revelations about a handful of NCAA basketball programs—and by implication, a great many more of the programs that compete with them for recruits.

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Here are 5 new African American Studies books to keep an eye out for at ASALH this year. Make sure to stop by the UIP booth and check them out!

1.The Rise and Fall of the Associated Negro Press By Gerald Horne

“An immersive read, a welcome contribution to our understanding of the evolving relationship between African Americans and the media during Jim Crow and its demise. . . . Highly recommended.”–People’s World

 

 

 

BedingfieldF172. Newspaper Wars By Sid Bedingfield

“Very well written and enjoyable to read. Journalists, Sid Bedingfield persuasively demonstrates, did not just document the civil rights movement in South Carolina, but rather they actively influenced its course and outcomes.”–Michael Stamm, author of Sound Business: Newspapers, Radio, and the Politics of New Media 

 

 

 

 

CaseF173. Leaders of Their Race By Sarah H. Case

“Case has beautifully written a strong argument about the central purpose of these schools and how they compare, with emphasis on both similarities and differences. . . . Case has a strong sense of changes over time, even as she documents continuity.”–Joan Marie Johnson, author of Southern Women at the Seven Sister Colleges: Feminist Values and Social Activism, 1875–1915

 

 

 

 

WeemsF174. Building the Black Metropolis Edited By Robert E. Weems Jr. and Jason P. Chambers

“A work that examines history in its own skin. At a time when scholarship is praising immigrant entrepreneurship in America, it is great to see a book that says, ‘Black America has been there, done that, and got the T-Shirt.’ A work that should bind the past with the future because it recreates a model of business success that holds the key to the future. An American Story well done.”–John Sibley Butler, author of Entrepreneurship and Self-Help Among Black Americans: A Reconsideration of Race and Economics 

 

 

WolfskillF175. Archibald Motley Jr. and Racial Reinvention By Phoebe Wolfskill

“In this engaging and well-researched book, Phoebe Wolfskill enlists the career of early 20th century Chicago painter Archibald Motley as a paradigm for considering the difficulties facing African American artists who have lived with cultural stereotypes their whole lives. Through a judicious balancing of insights derived from the careful analysis of individual paintings with a wide range of cultural, artistic, social, and theoretical references, Wolfskill honors the complex underpinnings of Motley’s works and explains the contradictions within them. As a whole, the book both provides an internal coherence to Motley’s career and successfully demonstrates his relation to other American artists of the period who similarly concerned themselves with questions of identity and representation during the interwar decades.”–Mary Ann Calo, author of Distinction and Denial: Race, Nation, and the Critical Construction of the African American Artist, 1920-1940 

Don’t forget to grab free issues of Women, Gender, and Families of Color and The Journal of Civil and Human Rights too!

Entoloma salmoneum (Peck) Saccardo 

Entoloma salmoneum can be found growing alone or scattered in leaf litter under hardwoods, or in moss under conifers; frequently on rotting, moss-covered conifer logs.

When thumbing through Mushrooms of the Midwest, you see Entoloma salmoneum among the 500 featured shrooms and think, “That is an attractive fungus.” Also known as the unicorn mushroom, E. salmoneum‘s appearance suggests the fantastical. Colored a vivid salmon orange and in its early growth shaped like a gnome’s hat, E. salmoneum appears in the summer and fall. The cap is sticky at first. That aspect of the texture fades with age, as does the color.

Though the effects of many Entolomas remain unknown, experts caution against eating E. salmoneum. Its relative E. rhodopolium, the wood pinkgill, contains muscarine, a toxin known to cause gastrointestinal distress. In general, the Entolomas require more research into their status as foodstuffs.

The German priest-mycologist Paul Kummer did pioneering work with the Entolomas and other mushrooms. His 1871 book Der Führer in die Pilzkunde established Entolomasamong othersas a separate genus, and the abbreviation P. Kumm remains prevalent in the mycological literature. Kummer later published a mushroom hunting guide and, having looked down for years already, wrote another for lichen enthusiasts.

Photo: Noah Siegel

VonGlahnF17Denise Von Glahn is the Curtis Mayes Orpheus Professor of Musicology at Florida State University, where she is also the coordinator of the Musicology Area and director of the Center for Music of the Americas. She recently answered some questions about Libby Larsen: Composing an American Life

Q: What makes Larsen stand out from other composers or musicians?

Von Glahn: Libby Larsen has made a mark on American music culture in multiple ways. She is first and foremost a remarkably productive and performed composer. Her works are heard around the world and beloved by amateurs and professionals alike. Beyond her primary work as a composer, however, she is also responsible for having co-founded the American Composer’s Forum, originally the Minnesota Composers’ Forum. This organization continues in 2017, more than 40 years after Larsen and Stephen Paulus created it as graduate students at the University of Minnesota.  Today Larsen is one of the nation’s greatest advocates for American music and American composers. Her participation on numerous arts’ boards and her tireless efforts on behalf of American music culture in its myriad forms makes her stand out from other composers whose energies are turned more inward. In dozens of interviews with her collaborators each spoke of her tirelessness and generosity. She is among the most selfless people I have ever encountered.

Q: Describe your personal experiences upon hearing a piece of Larsen’s music.  Does it tell you a story, convey an emotion or transport you somewhere?

Von Glahn: Depending upon the piece I’m listening to, I can be focused exclusively on the sound world Larsen has created, with no thought to extra-musical programs or imagery, or upon a scene she is capturing and musicalizing, or follow her through a highly pictorial work. There is no single way to listen to Larsen’s music, and no single way to listen to a single piece of her music!  Each work invites multiple engagements, and that is what makes it worthwhile listening to in the first place. I can listen to a flute solo with no knowledge of its title and luxuriate in the sounds, or I can acknowledge the title and reflect upon how the piece is an “aubade.”  Like the best art, Larsen’s music invites and rewards multiple engagements.

Q: When did you first become interested in Libby Larsen as a composer and as a subject for writing?

Von Glahn: I can’t remember the first time I heard Larsen’s music; it has been a part of my sound world for a very long time. Interviewing her for the first time in 2009, however, and discovering the depth of her personal integrity and musical being convinced me that I wanted to include her as one of nine composers in a book I wrote on women who composed the natural world.  Her investment in her upper Midwest environs and the ways her fidelity to place informs her music struck me as needing to be explored. Her appearing to be the model I never had for how a woman musician negotiates the gendered world of professional music composition and music making made me want to learn more about her.

Q: How was writing this biography different from your experiences writing other books?

Von Glahn: In the process of writing Libby Larsen’s biography, I realized that I was writing the book I had wanted to read when I was a young girl looking for models of people who looked like me and did what I thought I wanted to do. It became so clear how desperately we all need models!  I’ve written 3 books previously and while each taught me lessons I didn’t realize I needed to learn, this book has been epiphanic; I’m still learning from Libby Larsen’s life.  I appreciate the many lives we all lead. Although I had initially worried about writing a book on a living subject, and one with whom I had much in common, I quickly realized there was no issue with my confusing my subject with myself. My close-in position provided me with empathy and understanding, but it also clarified who my subject was.

Q: What were some of Larsen’s greatest obstacles as woman in this field?

Von Glahn: The book provides numerous answers to this question. When Larsen entered the field of music composition, there were not a lot of models for her to emulate. She was not taken seriously by many of her faculty and colleagues. As she persevered she encountered subtle behaviors intended to discourage or prevent her from continuing. She was dismissed by some and diminished by others. She felt she was not supported by her university. She was questioned whether she composed something because it was too good. But Larsen never questioned her talents when it came to composing.  She thinks in music. She composes. Perhaps the greatest obstacle Larsen had to contend with was what she characterizes as “false choices.”  And the most devastating of those choices was “You can be a professional composer or a mother.” Libby Larsen dismissed the false choice and elected to be both. In this regard, she has demonstrated that no one needs to be limited by the imaginations or rules of others who can’t fathom what you are capable of doing or being.  Her greatest obstacle as a woman in this field is the same obstacle that all people face who are not in positions of power face: how to show that unfathomable things can be done every day!  Limitations are in the minds of those who are themselves limited. Libby Larsen rejects false choices and encourages others to do the same.

 

Lee Bidgood offers a fascinating study of the Czech bluegrass phenomenon, merging intimate immersion in the music with on-the-ground fieldwork informed by his life as a working musician. Drawing on his own personal and professional interactions, Bidgood charts how Czech bluegrass put down roots and looks at its performance as a uniquely Czech musical practice. He also reflects on Americanist musical projects and the ways Czech musicians use them to construct personal and social identities. Bidgood sees these acts of construction as a response to Czech Republic’s postsocialist environment but also to US cultural prominence within our global mediascape.

Czech Bluegrass by Lee Bidgood will be available October 2017.