یادداشتهای مربوط به کتابنامه ، واژه نامه و نمایه های داخل اثر
متن يادداشت
Includes bibliographical references (pages 383-387) and index.
یادداشتهای مربوط به مندرجات
متن يادداشت
Saloon-theaters and park pavilions : the birth of southern vaudeville, 1899-1909 -- The death of J. Ed Green and the birth of State Street vaudeville -- The life, death, and untold legacy of Bluesman Butler "String Beans" May -- Male blues singers in southern vaudeville -- The rise of the blues queen : female blues pioneers in southern vaudeville -- Theater circuits, theater wars, and the formation of the T.O.B.A. -- "Yours for business" : the commercialization of the blues, 1920-26.
بدون عنوان
0
یادداشتهای مربوط به خلاصه یا چکیده
متن يادداشت
In this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music, authoritatively connecting the black vaudeville movement with the explosion of blues that followed. 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. Black vaudeville theaters provided a safe haven where coon songs could be rehabilitated. Dynamic interaction between the performers and their audience unleashed creative energies that accelerated the development of the blues. The first blues star of black vaudeville was Butler "String Beans" May, a blackface comedian, pianist, singer, and dancer from Montgomery, Alabama. Before his senseless death in 1917, he was recognized as the "blues master piano player of the world." His 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 digni ed aura in the emergent persona of the "blues queen." Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, including forgotten blues heroine Ora Criswell and her protégé Trixie Smith, recon gured the use of blackface for their own subversive purposes. In 1921 black vaudeville was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collusion with the emergent Race recording industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. While the 1920s was the most celebrated and remunerative period of vaudeville blues, the previous decade was arguably the most creative, having witnessed the emergence, popularization, and early development of the original blues in southern theaters--Publisher description.
یادداشتهای مربوط به سفارشات
شماره انبار
12976623
ویراست دیگر از اثر در قالب دیگر رسانه
عنوان
Original blues.
شماره استاندارد بين المللي کتاب و موسيقي
9781496810038
عنوان اصلی به زبان دیگر
عنوان اصلي به زبان ديگر
Emergence of the blues in African American vaudeville
موضوع (اسم عام یاعبارت اسمی عام)
موضوع مستند نشده
Blues (Music)-- To 1931-- History and criticism.
موضوع مستند نشده
Vaudeville-- United States-- History and criticism.
موضوع مستند نشده
African American theater.
موضوع مستند نشده
Blues
موضوع مستند نشده
Blues (Music)
موضوع مستند نشده
Schwarze
موضوع مستند نشده
Vaudeville
موضوع مستند نشده
Vaudeville.
نام جغرافیایی به منزله موضوع
موضوع مستند نشده
United States.
موضوع مستند نشده
USA
بدون عنوان
7
بدون عنوان
7
رده بندی ديویی
شماره
781
.
64309/041
ويراست
23
رده بندی کنگره
شماره رده
ML3521
نشانه اثر
.
A23
2017
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )