The original blues: the emergence of the blues in African American vaudeville
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 replac...
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Jackson
University Press of Mississippi
2017
|
| Schriftenreihe: | American made music series
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | 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 |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | viii, 420 Seiten Illustrationen |
| ISBN: | 9781496810021 |
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| 520 | 3 | |a 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. | |
| 520 | 3 | |a 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. | |
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CONTENTS
vii Acknowledgments 7 CHAPTER ONE
Saloon-Theaters and Park Pavilions:
3 Introduction The Birth of Southern Vaudeville, 1899-1909
♦ ♦ ♦ 57 FIRST INTERLUDE
The Death of J. Ed Green and the Birth
311 Notes of State Street Vaudeville
383 Bibliography 67 CHAPTER TWO
The Life, Death, and Untold Legacy of
389 General Index Bluesman Butler"String Beans" May
409 Song Index 125 CHAPTER THREE
Male Blues Singers in Southern Vaudeville
417 Theater Index
i6i CHAPTER FOUR
The Rise of the Blues Queen: Female Blues
Pioneers in Southern Vaudeville
231 SECOND INTERLUDE
Theater Circuits, Theater Wars, and the
Formation of the T.O.B. A.
249 CHAPTER FIVE
"Yours for Business": The Commercialization
of the Blues, 1920-26 |
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| spelling | Abbott, Lynn 1946- Verfasser (DE-588)133200248 aut The original blues the emergence of the blues in African American vaudeville Lynn Abbott and Doug Seroff Jackson University Press of Mississippi 2017 viii, 420 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier American made music series Includes bibliographical references and index 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 Geschichte 1899-1926 gnd rswk-swf Blues (Music) To 1931 History and criticism Vaudeville United States History and criticism Vaudeville (DE-588)4187453-5 gnd rswk-swf Blues (DE-588)4132568-0 gnd rswk-swf Schwarze (DE-588)4116433-7 gnd rswk-swf USA USA (DE-588)4078704-7 gnd rswk-swf USA (DE-588)4078704-7 g Schwarze (DE-588)4116433-7 s Blues (DE-588)4132568-0 s Vaudeville (DE-588)4187453-5 s Geschichte 1899-1926 z DE-604 Seroff, Doug Verfasser aut Erscheint auch als Online-Ausgabe, epub single 978-1-4968-1003-8 Erscheint auch als Online-Ausgabe, epub institutional 978-1-4968-1004-5 Erscheint auch als Online-Ausgabe, pdf single 978-1-4968-1005-2 Erscheint auch als Online-Ausgabe, pdf institutional 978-1-4968-1006-9 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029676073&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Abbott, Lynn 1946- Seroff, Doug The original blues the emergence of the blues in African American vaudeville Blues (Music) To 1931 History and criticism Vaudeville United States History and criticism Vaudeville (DE-588)4187453-5 gnd Blues (DE-588)4132568-0 gnd Schwarze (DE-588)4116433-7 gnd |
| subject_GND | (DE-588)4187453-5 (DE-588)4132568-0 (DE-588)4116433-7 (DE-588)4078704-7 |
| title | The original blues the emergence of the blues in African American vaudeville |
| title_auth | The original blues the emergence of the blues in African American vaudeville |
| title_exact_search | The original blues the emergence of the blues in African American vaudeville |
| title_full | The original blues the emergence of the blues in African American vaudeville Lynn Abbott and Doug Seroff |
| title_fullStr | The original blues the emergence of the blues in African American vaudeville Lynn Abbott and Doug Seroff |
| title_full_unstemmed | The original blues the emergence of the blues in African American vaudeville Lynn Abbott and Doug Seroff |
| title_short | The original blues |
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| title_sub | the emergence of the blues in African American vaudeville |
| topic | Blues (Music) To 1931 History and criticism Vaudeville United States History and criticism Vaudeville (DE-588)4187453-5 gnd Blues (DE-588)4132568-0 gnd Schwarze (DE-588)4116433-7 gnd |
| topic_facet | Blues (Music) To 1931 History and criticism Vaudeville United States History and criticism Vaudeville Blues Schwarze USA |
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