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First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
The 10 volumes of The Young Oxford History of African Americans describe how black Americans shaped and changed the history of this nation. Starting in 1502, more than a century before the day in 1619 when 19 Africans stepped off a Dutch ship in Jamestown, Virginia, the series ends with the relationship between West Indian immigrants and African Americans in large cities like New York in the late 20th century.This ready reference provides the perfect ending to a comprehensive history of African Americans. Included are the master index for the series and an extensive list of historic sites and museums related to the history of African Americans. The bulk of the volume, however, contains the personal histories of many of the people who appear in the previous 10 volumes. Each biography takes a close look at the famous and the lesser-known, revealing the backgrounds, experiences, and contributions of African Americans who were involved in the key events in American history. In addition to well-known facts, the biographies include much here that will surprise and fascinate readers. Muhammad Ali's brash and playful public persona earned him the nickname the "Louisville Lip"; Bill Cosby got his start while working in a Philadelphia coffee-house; and Madam C. J. Walker owned a mail-order and beauty school company that became one of the most profitable independently-owned businesses in the country around 1910. The portraits are as varied as the history itself, setting former slaves next to committed civil rights workers, prize-winning poets next to successful politicians.Volume 11 of The Young Oxford History of African Americans completes the fascinating and compelling story of nearly five centuries of African-American history. It is an exceptional resource for young adults and all who value the remarkable accomplishments of African Americans.
Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. 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. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical 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 dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
Vols. for 1963- include as pt. 2 of the Jan. issue: Medical subject headings.
Ted Gioia's History of Jazz has been universally hailed as a classic--acclaimed by jazz critics and fans around the world. Now Gioia brings his magnificent work completely up-to-date, drawing on the latest research and revisiting virtually every aspect of the music, past and present. Gioia tells the story of jazz as it had never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton, Louis Armstrong, Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker and Dizzy Gillespie's advocacy of modern jazz in the 1940s, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the current day. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. He also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born.
Alphabetically-arranged entries from O to T that explores significant events, major persons, organizations, and political and social movements in African-American history from 1896 to the twenty-first-century.