The Eight Principles of Yong explain how to write eight common strokes in regular script which are found all in the one character, 永. It was traditionally believed that the frequent practice of these principles as a beginning calligrapher could ensure beauty in one's writing; the Eight Principles are influenced by the earlier Seven Powers by Lady Wei Shuo of Eastern Jin. Publications on the Principles include: The Praise to the Eight Principles of "Yong" by Liu Zongyuan of the Tang Dynasty. Explanations to the Eight Principles of "Yong" by Li Puguang of the Yuan Dynasty. Lǐ provided two-character metaphorical names. Note: － Xié 斜 is sometimes added to the 永's strokes, it is a concave Shù falling right, always ended by a Gōu, visible on this image. In addition to these eight common strokes in 永, there are at least two dozen strokes of combinations which enter in the composition of CJK strokes and by inclusion the CJK characters themselves. CJK characters CJK strokes Explanations to the Eight Principles of "Yong" by Li Puguang Unicode page for all CJK strokes, thus including the 8 strokes of Yong
Charles Anderson was an American vaudeville entertainer and female impersonator, known as a pioneer performer of blues songs. Born in either Snow Hill or Birmingham, Anderson was an active vaudeville performer by 1909, when he played in Memphis, Tennessee, he shared bills with Bessie Smith on several occasions, by summer 1913 was known for his comedy and his performances of blues songs and "lullaby yodels", called by one reviewer "the Male Mockingbird". Anderson performed as a female impersonator, in costume as an archetypal "mammy", performed songs including "Baby Seals Blues" and W. C. Handy's "Saint Louis Blues". Ethel Waters, long regarded as the first performer of the latter song, stated that she had first heard it sung by Anderson in Baltimore in 1917, he toured in Ontario and elsewhere. In 1923, Anderson recorded Seals' blues for Okeh Records, as "Sing'Em Blues", with piano accompaniment by Eddie Heywood Sr.. Blues scholars Lynn Abbott and Doug Seroff commented on the performance: "Capturing the full range of Anderson's folk-operatic tenor voice in a remarkable rendition of the first published vocal blues song, this record survives to demonstrate an unabashedly comical resolution of "high" and "low" art, a positive realization of "colored folks opera."
Anderson recorded a further six songs for Okeh in 1924, at his final recording session in 1928 recorded "Saint Louis Blues" as well as "I Got Those Crying Yodelin' Blues."Although a favorite with black vaudeville audiences at the time, Anderson has tended to be dismissed as a curiosity by critics because of his high voice and clear diction, which Abbott and Seroff say "conflict with modern tastes and stereotypes."Anderson is thought to have died in Pittsburgh, after 1937