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Millions of women don't feel their best and don't know why. They're not outright depressed, but they aren't really happy either. They eat too much or have gained weight lately. They find it hard to concentrate or have trouble sleeping. They feel tense, anxious, or irritable, or they're highly sensitive to criticism. They're tired and not very interested in sex (or even everyday life). When Your Body Gets the Blues offers a clinically proven solution. A simple, drug-free treatment known as the LEVITY program—Light, Exercise, and Vitamin Intervention TherapY—can help women think clearly, sleep soundly, cope easily with stress, reduce anxiety and depression, and lose unwanted pounds—in 8 weeks or less! The author's easy-to-follow program includes self-quizzes, tips for increasing exposure to light and getting mood-elevating exercise even on dark or rainy days, and six recommended vitamins and minerals proven to relieve the Body Blues. Marie-Annette Brown, Ph.D., R.N., tested the LEVITY program on real women, and they improved significantly--far more than women who took placebo pills. In fact, many participants cut their feelings of depression in half. One woman who completed the LEVITY program said, "I know that if I ever feel blue again, I have my own way of feeling better—I won't have to run to my doctor for a prescription." Now, for the first time, When Your Body Gets the Blues offers the groundbreaking LEVITY program to women everywhere. All it takes is a small investment of 20 minutes and a few pennies a day. With this clinically proven program, any woman—young or old, active or inactive—can regain control over her mood and her life.
A guide to sub-clinical depression presents an eight-week program which uses light therapy, moderate exercise, and vitamins to combat depression, overcome fatigue, and provide a greater sense of control, balance, and well-being.
Horror meets humorous urban fantasy in second book of the White Trash Zombie series • Winner of the 2012 Best Urban Fantasy Protagonist by the RT Awards Angel Crawford is finally starting to get used to life as a brain-eating zombie, but her problems are far from over. Her felony record is coming back to haunt her, more zombie hunters are popping up, and she’s beginning to wonder if her hunky cop-boyfriend is involved with the zombie mafia. Yeah, that’s right—the zombie mafia. Throw in a secret lab and a lot of conspiracy, and Angel’s going to need all of her brainpower—and maybe a brain smoothie as well—in order to get through it without falling apart.
Vacation goals...I have them. Real life is not cooperating.I don't require poolside margaritas under a fancy cabana to have a good time. All I wanted was ten ghost-free days to enjoy sightseeing New Orleans with my boyfriend, to admire art galleries, listen to live music, and eat as many beignets as I can before my pants stop buttoning.I might as well have asked Santa for a unicorn. Within thirty-six hours of setting foot in the Big Easy, an ancient ghost warns me of a murderous spirit lurking in the city, a strip-mall psychic tells me I look pregnant (I blame the beignets) and, oh, yeah, a dead body shows up on the set of my boyfriend's TV show and he lands himself at the top of the suspect list.If this karma, I must have been an ax murderer in a previous life.
“This is one of those special novels—a piece of working magic, warm, funny, and sane.”—Thomas Pynchon The whooping crane rustlers are girls. Young girls. Cowgirls, as a matter of fact, all “bursting with dimples and hormones”—and the FBI has never seen anything quite like them. Yet their rebellion at the Rubber Rose Ranch is almost overshadowed by the arrival of the legendary Sissy Hankshaw, a white-trash goddess literally born to hitchhike, and the freest female of them all. Freedom, its prizes and its prices, is a major theme of Tom Robbins’s classic tale of eccentric adventure. As his robust characters attempt to turn the tables on fate, the reader is drawn along on a tragicomic joyride across the badlands of sexuality, wild rivers of language, and the frontiers of the mind.
A vivid investigation of how blues music teaches listeners about sin, suffering, marginalization, lamentation, and worship.
Traces the artistic heritage of numerous women blues singers, from Ma Rainey and Billie Holiday to Aretha Franklin and Tina Turner, exploring the messages within their songs and images while discussing their contributions to music and American history. 15,000 first printing.
Leadbelly, Robert Johnson, Charley Patton-we are all familiar with the story of the Delta blues. Fierce, raw voices; tormented drifters; deals with the devil at the crossroads at midnight. In this extraordinary reconstruction of the origins of the Delta blues, historian Marybeth Hamilton demonstrates that the story as we know it is largely a myth. The idea of something called Delta blues only emerged in the mid-twentieth century, the culmination of a longstanding white fascination with the exotic mysteries of black music. Hamilton shows that the Delta blues was effectively invented by white pilgrims, seekers, and propagandists who headed deep into America's south in search of an authentic black voice of rage and redemption. In their quest, and in the immense popularity of the music they championed, we confront America's ongoing love affair with racial difference.
It's a prime ingredient in countless substances from cereal to soup, from cola to coffee. Consumed at the rate of one hundred pounds for every American every year, it's as addictive as nicotine -- and as poisonous. It's sugar. And "Sugar Blues," inspired by the crusade of Hollywood legend Gloria Swanson, is the classic, bestselling expose that unmasks our generation's greatest medical killer and shows how a revitalizing, sugar-free diet can not only change lives, but quite possibly save them.
Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.