https://sophieabramowitz.com Sophie Abramowitz Thu, 11 May 2023 23:31:03 +0000 https://sophieabramowitz.com en https://sophieabramowitz.com/Home Thu, 11 May 2023 23:31:00 +0000 Sophie Abramowitz https://sophieabramowitz.com/Home ︎ hello&nbsp;︎ Sophie Abramowitz is a writer, curator, producer, podcaster, educator, and digital distribution specialist with training in archival theory + practice. ︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎ <img width="2708" height="1886" width_o="2708" height_o="1886" data-src="https://freight.cargo.site/t/original/i/d7df988b9b72d0ad15c5f672cdc1316b0798f078785c65f8430ff919959a49e9/Horse-Homepage-final-web.png" data-mid="178750346" border="0" src="https://freight.cargo.site/w/1000/i/d7df988b9b72d0ad15c5f672cdc1316b0798f078785c65f8430ff919959a49e9/Horse-Homepage-final-web.png" /> ︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎︎ https://sophieabramowitz.com/Criticism-Essays Thu, 11 May 2023 23:31:00 +0000 Sophie Abramowitz https://sophieabramowitz.com/Criticism-Essays Criticism &amp; Essays Essays (Culture + History): “She Knows a Place,” New York Review of Books, 16 April 2026. “‘Trained and Taught This Song By Zora Hurston’: Dramatic Ethnography and Zora Neale Hurston’s The Great Day,” American Quarterly, Vol. 72, No. 4, December 2020.“Take Them Back Home: Johnny Shines, Mable Hillery, and the Revival Stage,” Dig! Americana, May 2020. With David Beal, Parker Fishel. “Langston Hughes: Experimental Folklorist,” Hidden Folklorists Series, Library of Congress, October 2018.“Tools of Displacement: How Charlottesville’s Confederate statues helped decimate the city’s historically successful black communities,” Slate, June 2017. With Eva Latterner, Gillet Rosenblith. Film + Art Reviews: “Lift Every Voice,” review of: The Harlem Renaissance and Transatlantic Modernism, New York Review of Architecture, Issue #42, September / October 2024.“Thumbs Up for Mother Universe: Stories from the Life of Lonnie Holley,” Journal of American Folklore, Vol. 137, No. 544, Spring 2024. “Blue Velvet: Sophie Abramowitz on George C. Wolfe’s Ma Rainey’s Black Bottom,” Artforum, 21 December 2020.&nbsp; Book Reviews:&nbsp; “Am I Blue?: Black Music and White Male Self-Construction,” Expanded Review Essay of Blind Joe Death's America: John Fahey, the Blues, and Writing White Discontent by George Henderson and Whose Blues?: Facing Up to Race and the Future of the Music by Adam Gussow Journal of Popular Music Studies, Vol. 34, No. 1, September 2022.&nbsp; Essays (Research + Libraries): “Engaging the Anthology: Pedagogical Approaches to Black Music History in Collections and Compilations,” Journal of Music History Pedagogy, Vol 14, No. 2, December 2024. With Dr. Laura Stokes. “Approaching Site Models,” Digital Scholarship Resources for Courses LibGuide, Brown University Library, March 2022. With Elli Mylonas. “Citations &amp; Copyright in Digital Research &amp; Teaching,” The Writing and Rhetoric Program at the University of Virginia, June 2020.&nbsp; &amp; more:On Sasha Frere-Jones’s substack, writing about:&nbsp;&nbsp;2024, 2025 https://sophieabramowitz.com/Music-Releases Thu, 11 May 2023 23:31:01 +0000 Sophie Abramowitz https://sophieabramowitz.com/Music-Releases Music Releases ︎Ann Arbor Blues Festival 1969︎ Third Man Records, 2019 <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/2e78d17a7c8c0adf5c5292645b1f74e72fbfec5e2fa0e3c9c1162ca56cbf4501/AABF-image.jpg" data-mid="178737680" border="0" data-scale="76" src="https://freight.cargo.site/w/900/i/2e78d17a7c8c0adf5c5292645b1f74e72fbfec5e2fa0e3c9c1162ca56cbf4501/AABF-image.jpg" />Image © Third Man Records This release is a 50th anniversary celebration of the original festival, collecting 24 previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, Pinetop Perkins, J. B. Hutto &amp; His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. The first ever release of music recorded live at the landmark event, ANN ARBOR BLUES FESTIVAL 1969 is available in two individual 2x LP volumes (Volume 1, Volume 2), a Double CD set, and a Deluxe Edition vinyl edition featuring a 58-page bound book and reproductions of original festival ephemera. Critical Acclaim: “[I]t’s more important for blues history than ever that these tapes were found and released. This isn’t just an important and historical listen, though; it’s also an extremely fun one.” — PopMatters “[T]he 1969 festival was a landmark event that paved the way for the dozens of festivals that blues lovers can enjoy today…. Yes, the sound varies from somewhat murky to razor-sharp depending on the recorder’s location, and yes, there are extraneous sounds of conversation, laughter, and cheering from the crowd, but the result captures the feeling that you were there better than a pristine recording from the board ever could. — Living Blues Magazine ︎Hotter Than A Polecat Spitting In A Bulldog’s Eye: Mable Hillery + Johnny Shines, Live 1975 ︎ AMP!, 2019 <img width="529px;" height="540px;" src="https://lh4.googleusercontent.com/1xtayswxfom9aLDEE8XG2IpAlvcqkA-zGwecyCS_GibkZT2RsuJTe66RI5Ppp_deBFL65jnDg38Q4uRJKa8rTYId9L2xb8tic7jIuc16XrN-KLCsqEHvTtH5A5NUvih5bHU6qKTZVyzlfLitylUMApDz=s2048" style="width: 342.045px; height: 349.157px;" data-scale="74">Only Mable Hillery's second full-length release, Hotter Than A Bulldog Spitting In A Polecat's Eye presents a glimpse of a long-underappreciated master. In 1975, brothers John and Jim Fishel organized the fourth annual Miami Blues Festival at the University of Miami in Florida. When blues legend Johnny Shines suggested a then-obscure traditional blues singer named Mable Hillery, the brothers booked her on the strength of his recommendation. In a special one-off collaboration, the pair dazzled the Miami audience with a set that conjured the skill and power of renowned classic blues musician Bessie Smith and Memphis Minnie. Now available on LP featuring extensive research, and original artwork by Rachel Meirs. Critical Acclaim: “This timeless LP is…an essential recording for any serious blues enthusiast.” – Blues Music Magazine “[Johnny] Shines is the only accompanist and his playing approaches perfection…[Hillery’s interpretations of blues classics] might be presented as prime examples of re-creation within the tradition.”&nbsp; – Blues &amp; Rhythm https://sophieabramowitz.com/Radio-Podcasts Thu, 11 May 2023 23:31:01 +0000 Sophie Abramowitz https://sophieabramowitz.com/Radio-Podcasts Radio &amp; Podcasts Podcasts: The Female Bob Dylan, with Sarah Bachman and Emily Hilliard, launched in August 2024. Follow along here. ︎ In 2021, I helped produce the “‘Race &amp;’ in America” Podcast Project in collaboration with the Center for Digital Scholarship at Brown University Library. Listen to the whole series here. ︎ In 2021 I was also featured on“Langston Hughes: Experimental Folklorist,” an episode of Folklife Today: the podcast of the American Folklife Center. The episode is based off of the eponymous guest post that I wrote as a part of the “Hidden Folklorists” series for “Folklife Today,” the American Folklife Center’s blog for the Library of Congress. Listen here. ︎ In 2019 developed and managed the “Song Stories” Podcast Project, in collaboration with the Virginia Audio Collective, WTJU 91.1 FM-Cville, and my American Roots Music writing seminars. Listen on Apple Podcasts or Spotify. Radio: Beginning around 2016 and then again from 2018-2021 I DJ’d for WTJU 91.1 FM-Charlottesville. I was mostly on a show called “Walkin’ Blues,” where I played pre-war &amp; acoustic blues, but I started on “Wild Women &amp; Friends” in 2015. Here’re a couple of my playlists from those shows (scroll down on the linked page): ***2015***2016 (It’s Murder: Bloodthirsty Classic Blues) ***2018 ***2019 (Do Nothing Til You Hear From Me: A Rosetta Records Retrospective) ***2020&nbsp; ***2021 (final show!) I’ve also DJ’d a bunch of festival shows, which means I’ve gotten the chance to play all kinds of music. Here’re a couple of those playlists (again scroll down!): ***Girl Groups ***Banana Peel Soul 45 Spectacular (with Nick Murray) ***Swamp Rock ***Deadbeat Club (guest slot) Check back soon to access recordings of some of my favorite special broadcasts, live shows, guest co-hosts, and interviews... ︎ From about 2008-20I2 I DJ’d for WKCR 89.9 FM-NY on “Something Inside of Me,” an acoustic &amp; electric blues show that’s still running, Saturdays 2-4 PM (back then it was 1-4 pm!). Most of these playlists aren’t catalogued, but you can see a few of them here: ***2010: September 4, October 9 ***2011: January 8,&nbsp; June 11 ***2012: March 31, September 1 You can also see the record of the Western Swing-themed Country Music Festival that I co-organized in 2011 here.&nbsp; https://sophieabramowitz.com/Events Thu, 11 May 2023 23:31:02 +0000 Sophie Abramowitz https://sophieabramowitz.com/Events Events Upcoming: “Bessie Smith &amp; Ma Rainey: Independent Women’s Blues” Hot Club, New York, NY︎ 7:30 - 10:30 PM, April 30, 2026. Recent: Podcast and Live Recording of The Female Bob Dylan with Dr. Jessie Wilkerson - The Life and Music of Hazel Dickens, A Celebration of Women in Old Time Music, Knoxville, TN︎ 2:30 PM - 3:30 PM; March 7, 2026. Introducing the Rosetta Records Project, The Hot Club, New York, New York︎7:30 PM - 10:30 PM; November 21, 2025 The Female Bob Dylan: Folk Music Podcasting and Feminist Storytelling, Folk Alliance International Conference, Montreal, BC︎ 11:30 AM - 12:30 PM; February 21, 2025. Rosetta Reitz Centennial Birthday Broadcast, WCKR 89.9 FM-NY, wkcr.org, New York, NY + worldwide︎ 12 AM - 11:59 PM; September 28, 2024. “Bessie Smith Invented Herself: Celebrating Bessie Smith’s Recording Centennial,” Hot Club, New York, NY ︎ 7 - 8:30 PM, Cafe Bohemia, 15 Barrow Street, February 27, 2023. “Failure as Pedagogy,” American Studies Association Conference, New Orleans, LA. ︎ 10 - 11:45 AM, Hilton New Orleans Riverside, Grand Salon B, November 5, 2022. “Approaching Site Models; or, What Digital Archives Tell Us Through Design,” Brown University Digital Humanities Salon, Providence, RI ︎ 4 - 5:00 PM, Brown University Rockefeller Library, Digital Scholarship Lab, March 3, 2022. https://sophieabramowitz.com/About-1 Thu, 11 May 2023 23:31:03 +0000 Sophie Abramowitz https://sophieabramowitz.com/About-1 About <img width="2091" height="3922" width_o="2091" height_o="3922" data-src="https://freight.cargo.site/t/original/i/3407627ca24f514363bd22c0040ea05601312fb6e410d789e274fd2a89c881c8/Web-Profile.png" data-mid="178750732" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/3407627ca24f514363bd22c0040ea05601312fb6e410d789e274fd2a89c881c8/Web-Profile.png" /> I am currently working on three projects. The first is a music podcast in collaboration with artist and musician Sarah Bachman and folklorist, writer, and SPINSTER co-owner Emily Hilliard called The Female Bob Dylan. Listen here, and follow along here. Its tongue-in-cheek name is inspired by the phenomenon of women folk musicians of the 20th and 21st centuries being dubbed, for better or worse (usually worse), “the female Bob Dylan.” This is a podcast about gender and genre, singer-songwriters, the idea of tradition, and what we need to do to find Connie Converse (according to ChatGPT). We hang out, talk a little trash, and reassess the women of the folk scene, using their own words and music to tell their stories. They love us on Bandcamp - maybe you will too.... The second is a series of LPs produced by SPINSTER and Americana Music Productions, renewing and expanding the work of Rosetta Reitz’s legendary feminist record label, Rosetta Records. Over 3 curated LPs, we creatively respond to Rosetta Records’ pioneering compilations of rarely-reissued, hard-to-find early blues and jazz recordings with historical research, original writing, archival images, and new transfers of rare audio in best sound. In this way, we aim to continue the critical unfinished work of Reitz’s life: honoring the genius of under-appreciated Black women blues and jazz musicians from the 1920s-1950s. We are thrilled to welcome conteporary writers, artists, and organizers to engage with this extensive and illuminating archive. The third, a book called Blues Is My Business: Writings by Victoria Spivey, introduces and anthologizes the prolific and unsung writings of the classic blues singer, pianist, and songwriter, whose career spanned from the vaudeville and club circuits through nightclubs, theaters, film, the church, the biggest record labels of the early 20th century, and eventually the international folk festival circuit and her own record label with her partner Leonard Kunstadt. I’m also very excited to be working for Smithsonian Folkways Recordings as their Digital Communications &amp; Distribution Specialist. You can listen to playlists that I curate and coordinate here, beginning July 2023:&nbsp;https://folkways.si.edu/playlists&nbsp; For the last few years I’ve appreciated working as a volunteer reference librarian for the Prison Library Support Network. My writing has been published in Slate, Journal of Popular Music Studies, American Quarterly, the Journal of American Folklore, The New York Review of Architecture, The Library of Congress, and more. I previously worked as an Emerging Voices Fellow with the American Council of Learned Societies and as a Postdoctoral Researcher at Brown University in a joint appointment with Brown University Library and the Department of American Studies. In these positions, I developed and instructed interdisciplinary American Studies and Public Humanities courses that used the Hazel V. Carby papers, the Hortense Spillers papers, and the Representations of Blackness in Music of the United States digital collection to produce creative digital archival exhibitions. Among other projects, I processed and created the collection description for the Hazel V. Carby papers and researched anti- and decolonial frameworks for the collaborative research, reference, and mapping database from primary source documents on Indigenous enslavement called Stolen Relations. I received a PhD in English Literature with a Certificate in American Studies from the University of Virginia. My presentation style has been described as “coolly gleeful” in Greil Marcus’s “Real Life Rock Top 10” column.