Ragged but Right: Black Traveling Shows, "Coon Songs," and the Dark Pathway to Blues and Jazz (American Made Music Series)

Seroff, Doug,Abbott, Lynn

ISBN 10: 1617036455 / ISBN 13: 9781617036453

Edité par University Press of Mississippi, 2012

A propos de cet article

Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized.

N° de réf. du vendeur M1617036455Z3

Détails bibliographiques

• Titre: Ragged but Right: Black Traveling Shows, "Coon Songs," and the Dark Pathway to Blues and Jazz (American Made Music Series)
• Éditeur: University Press of Mississippi
• Date de parution: 2012
• Langue: anglais
• ISBN à 10 chiffres: 1617036455
• ISBN à 13 chiffres: 9781617036453
• Reliure: Paperback
• État de l'article: Good

A propos de ce titre

Synopsis

The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. "Coon songs," with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz.

In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the "big shows," the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from "coon shouters" to "blues singers."

Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.

À propos des auteurs

Lynn Abbott is an independent scholar living in New Orleans. He is coauthor (with Doug Seroff) of Out of Sight: The Rise of African American Popular Music, 1889-1895; Ragged but Right: Black Traveling Shows, "Coon Songs," and the Dark Pathway to Blues and Jazz; The Original Blues: The Emergence of the Blues in African American Vaudeville; and To Do This, You Must Know How: Music Pedagogy in the Black Gospel Quartet Tradition, all published by University Press of Mississippi. His work has also been published in American Music, 78 Quarterly, American Music Research Center Journal, and The Jazz Archivist.

Doug Seroff is an independent scholar living in Greenbrier, Tennessee. He is coauthor (with Lynn Abbott) of Out of Sight: The Rise of African American Popular Music, 1889-1895; Ragged but Right: Black Traveling Shows, "Coon Songs," and the Dark Pathway to Blues and Jazz; The Original Blues: The Emergence of the Blues in African American Vaudeville; and To Do This, You Must Know How: Music Pedagogy in the Black Gospel Quartet Tradition, all published by University Press of Mississippi. His work has also appeared in American Music, Popular Music and Society, Blues Unlimited, and the Rag Time Ephemeralist, among others.