A01=Doug Seroff
A01=Lynn Abbott
African American Studies
Author_Doug Seroff
Author_Lynn Abbott
black musical comedies
Category1=Non-Fiction
Category=ATX
Category=AVLP
Category=JBSL
Category=NL-AS
Category=NL-AV
Category=NL-JF
circus sideshows
coon songs
COP=United States
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
Format=BC
History
HMM=254
IMPN=University Press of Mississippi
ISBN13=9781617036453
Jazz
Language_English
minstrel shows
Music
PA=Available
PD=20120930
POP=Jackson
Price=€50 to €100
PS=Active
PUB=University Press of Mississippi
ragtime
Subject=Dance & Other Performing Arts
Subject=Music
Subject=Society & Culture : General
WMM=203
Product details
- ISBN 9781617036453
- Weight: 1315g
- Dimensions: 200 x 254mm
- Publication Date: 25 Sep 2012
- Publisher: University Press of Mississippi
- Publication City/Country: Jackson, US
- Product Form: Paperback
- Language: English
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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, now in paperback, 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.
Lynn Abbott works for the Hogan Jazz Archive at Tulane University. He co-wrote (with Doug Seroff) the award-winning book Out of Sight: The Rise of African American Popular Music, 1889-1895 and the forthcoming To Do This, You Must Know How: Music Pedagogy in the Black Gospel Quartet Tradition, both published by the University Press of Mississippi.|Doug Seroff is an independent scholar living in Greenbrier, Tennessee. He co-wrote (with Lynn Abbott) the award-winning book Out of Sight: The Rise of African American Popular Music, 1889-1895 and the forthcoming To Do This, You Must Know How: Music Pedagogy in the Black Gospel Quartet Tradition, both published by the University Press of Mississippi.
