1920s Jazz age
A01=Michelle R. Scott
Age Group_Uncategorized
Age Group_Uncategorized
Author_Michelle R. Scott
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black entrepreneurship
black excellence
black wealth
blues music
business history
Butterbeans and Susie
Cab Calloway
Category1=Non-Fiction
Category=ASZH
Category=ATX
Category=AVC
Category=HBTB
Category=JBSL1
Category=JFSL3
Category=NHTB
censorship
Charles Turpin
child labor
chorus girls
Colored Actor's Union
Colored Actor’s Union
comedians
COP=United States
Delivery_Delivery within 10-20 working days
East 9th Street-Chattanooga
Emma Griffin
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
fame
historic theaters
John. T. Gibson
Language_English
legacy
minstrelsy
Nicholas Brothers
PA=Available
popular culture
Price_€100 and above
PS=Active
racial uplift
racial violence
ragtime
religious backlash
segregated economies
segregation
Sherman H. Dudley
show business
softlaunch
State Street-Chicago
T Street-Washington D.C
theater management
travel
Tulsa Massacre
unionization
Product details
- ISBN 9780252044885
- Weight: 454g
- Dimensions: 156 x 235mm
- Publication Date: 28 Feb 2023
- Publisher: University of Illinois Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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Black vaudevillians and entertainers joked that T.O.B.A. stood for “tough on black artists.” But the Theater Owner’s Booking Association (T.O.B.A.) played a foundational role in the African American entertainment industry and provided a training ground for icons like Cab Calloway, Bessie Smith, Ethel Waters, Sammy Davis Jr., the Nicholas Brothers, Count Basie, and Butterbeans and Susie.
Michelle R. Scott’s institutional history details T.O.B.A.’s origins and practices while telling the little-known stories of the managers, producers, performers, and audience members involved in the circuit. Looking at the organization over its eleven-year existence (1920–1931), Scott places T.O.B.A. against the backdrop of what entrepreneurship and business development meant in black America at the time. Scott also highlights how intellectuals debated the social, economic, and political significance of black entertainment from the early 1900s through T.O.B.A.’s decline during the Great Depression.
Clear-eyed and comprehensive, T.O.B.A. Time is a fascinating account of black entertainment and black business during a formative era.
Michelle R. Scott is an associate professor of history at the University of Maryland, Baltimore County. She is the author of Blues Empress in Black Chattanooga: Bessie Smith and the Emerging Urban South.
