Search, Read and Download Book "Shuffle Along" in Pdf, ePub, Mobi, Tuebl and Audiobooks. Please register your account, get Ebooks for free, get other books. We continue to make library updates so that you can continue to enjoy the latest books. Easy and Fast, 100%. If you have trouble, please contact us.
|Author||: Flournoy Miller,Aubrey Lyles,Noble Sissle|
Complete libretto to the 1921 ground breaking musical. One of the most significant musicals of the 20th Century, "Shuffle Along" was a rarity, written, produced, and acted wholly by African Americans. For the first time racially diverse audiences celebrated the uniqueness of this musical together. While the New York Times praised Eubie Blake "swinging and infectious score," it panned the rest of the production "as extremely crude-in writing, playing and direction." That didn't matter. New Yorkers, including George Gershwin and Fanny Brice, flocked to it and it soon became the most popular production of the season with record breaking sales. Its influences were felt throughout the 1920s when "Shuffle Along" type musicals became all the vogue.
|Author||: Noble Sissle,Eubie Blake|
|Editor||: A-R Editions, Inc.|
The Broadway musical Shuffle Alongwith book by Flournoy Miller and Aubrey Lyles, lyrics by Noble Sissle, and music by Eubie Blakepremiered on 23 May 1921 at the Cort Theatre on 63rd Street and became the first overwhelmingly successful African American musical on Broadway. Langston Hughes, who saw the production, said that Shuffle Along marked the beginning of the Harlem Renaissance. Both black and white audiences swarmed to the show, which prompted the integration of subsequent Broadway audiences. The dances were such a smash that choreographers for white Broadway shows hired Shuffle Along chorus girls to teach their chorus lines the new steps. Love Will Find a Way, the first successful unburlesqued love song in a black Broadway show, was so well-received that audiences demanded multiple encores. The shows influences went far beyond Broadway: Some of the periods most influential black musicians, including dancer Josephine Baker, vocalist Paul Robeson, composer Hall Johnson, and composer William Grant Still, all got their start in Shuffle Along. The editors have assembled the full score and libretto for this critical edition from the original performance materials. The critical report thoroughly explains all sources and editorial decisions. The accompanying scholarly essay examines the music, dances, and script of Shuffle Along and places this influential show in its social, racial, and historical context.
|Author||: Noble Sissle,Eubie Blake|
|Editor||: A-R Editions, Inc.|
"The Broadway musical Shuffle Along ... premiered on 23 May 1921 at the Cort Theatre on 63rd Street and became the first overwhelmingly successful African American musical on Broadway. Langston Hughes, who saw the production, said that Shuffle Along marked the beginning of the Harlem Renaissance. Both black and white audiences swarmed to the show, which prompted the integration of subsequent Broadway audiences. The dances were such a smash that choreographers for white Broadway shows hired Shuffle Along chorus girls to teach their chorus lines the new steps. "Love Will Find a Way," the first successful unburlesqued love song in a black Broadway show, was so well-received that audiences demanded multiple encores. The show's influences went far beyond Broadway: Some of the period's most influential black musicians, including dancer Josephine Baker, vocalist Paul Robeson, composer Hall Johnson, and composer William Grant Still, all got their start in Shuffle Along. The editors have assembled the full score and libretto for this critical edition from the original performance materials. The critical report thoroughly explains all sources and editorial decisions. The accompanying scholarly essay examines the music, dances, and script of Shuffle Along and places this influential show in its social, racial, and historical context." --
|Author||: Richard Carlin,Ken Bloom|
|Editor||: Oxford University Press|
A new biography of one of the key composers of 20th-century American popular song and jazz, Eubie Blake: Rags, Rhythm and Race illuminates Blake's little-known impact on over 100 years of American culture. A gifted musician, Blake rose from performing in dance halls and bordellos of his native Baltimore to the heights of Broadway. In 1921, together with performer and lyricist Noble Sissle, Blake created Shuffle Along which became a sleeper smash on Broadway eventually becoming one of the top ten musical shows of the 1920s. Despite many obstacles Shuffle Along integrated Broadway and the road and introduced such stars as Josephine Baker, Lottie Gee, Florence Mills, and Fredi Washington. It also proved that black shows were viable on Broadway and subsequent productions gave a voice to great songwriters, performers, and spoke to a previously disenfranchised black audience. As successful as Shuffle Along was, racism and bad luck hampered Blake's career. Remarkably, the third act of Blake's life found him heralded in his 90s at major jazz festivals, in Broadway shows, and on television and recordings. Tracing not only Blake's extraordinary life and accomplishments, Broadway and popular music authorities Richard Carlin and Ken Bloom examine the professional and societal barriers confronted by black artists from the turn of the century through the 1980s. Drawing from a wealth of personal archives and interviews with Blake, his friends, and other scholars, Eubie Blake: Rags, Rhythm and Race offers an incisive portrait of the man and the musical world he inhabited.
|Author||: George Hutchinson,George Evelyn Hutchinson|
|Editor||: Cambridge University Press|
The most comprehensive guide on the market to the key authors and works of the African American literary movement.
|Author||: Kevin James Byrne|
Minstrel Traditions: Mediated Blackface in the Jazz Age explores the place and influence of black racial impersonation in US society during a crucial and transitional time period. Minstrelsy was absorbed into mass-culture media that was either invented or reached widespread national prominence during this era: advertising campaigns, audio recordings, radio broadcasts, and film. Minstrel Traditions examines the methods through which minstrelsy's elements connected with the public and how these conventions reified the racism of the time. This book explores blackface and minstrelsy through a series of overlapping case studies which illustrate the extent to which blackface thrived in the early twentieth century. It contextualizes and analyzes the last musical of black entertainer Bert Williams, the surprising live career of pancake icon Aunt Jemima, a flourishing amateur minstrel industry, blackface acts of African American vaudeville, and the black Broadway shows which brought new musical styles and dances to the American consciousness. All reflect, and sometimes incorporate, the mass-culture technologies of the time, either in their subject matter or method of distribution. Retrograde blackface seamlessly transitioned from live to mediated iterations of these cultural products, further pushing black stereotypes into the national consciousness. The book project oscillates between two different types of performances: the live and the mediated. By focusing on how minstrelsy in the Jazz Age moved from live performance into mediatized technologies, the book adds to the intellectual and historical conversation regarding this pernicious, racist entertainment form. Jazz Age blackface helped normalize new media technologies and that technology extended minstrelsy's influence within US culture. Minstrel Traditions tracks minstrelsy's social impact over the course of two decades to examine how ideas of national identity employ racial nostalgias and fantasias. This book will be of great interest to scholars and researchers in theatre studies, communication studies, race and media, and musical scholarship
|Author||: Kat Sherrell|
|Editor||: Rowman & Littlefield|
Sherrell explores American musical theater, beginning with the early-twentieth-century shift from European-influenced operettas and bawdy variety shows to sophisticated works and thus provides listeners with the tools and background necessary to gain an understanding of the highly variegated structure and character of Broadway music.
|Author||: George C. Wolfe|
|Editor||: Grove Press|
Eleven sketches, "exhibits" in the Colored Museum, offer a humorous and irreverent look at slavery, Black cuisine, soldiers, family life, performers, and parties
|Author||: Dan Dietz|
|Editor||: Rowman & Littlefield|
Despite the stock market crash of October 1929, thousands of theatregoers still flocked to the Great White Way throughout the country’s darkest years. In keeping with the Depression and the events leading up to World War II, 1930s Broadway was distinguished by numerous political revues and musicals, including three by George Gershwin (Strike Up the Band, Of Thee I Sing, and Let ’Em Eat Cake). The decade also saw the last musicals by Gershwin, Jerome Kern, and Vincent Youmans; found Richard Rodgers and Lorenz Hart in full flower; and introduced both Kurt Weill and Harold Arlen’s music to Broadway. In The Complete Book of 1930s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway from 1930 through 1939. This book discusses the era’s major successes, notorious failures, and musicals that closed during their pre-Broadway tryouts. It includes such shows as Anything Goes, As Thousands Cheer, Babes in Arms, The Boys from Syracuse, The Cradle Will Rock, The Green Pastures, Hellzapoppin, Hot Mikado, Porgy and Bess, Roberta, and various editions of Ziegfeld Follies. Each entry contains the following information: Plot summary Cast members Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Opening and closing dates Number of performances Critical commentary Musical numbers and the performers who introduced the songs Production data, including information about tryouts Source material Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and list of published scripts, as well as lists of black-themed and Jewish-themed productions. This comprehensive book contains a wealth of information and provides a comprehensive view of each show. The Complete Book of 1930s Broadway Musicals will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.
|Author||: Terri Simone Francis|
|Editor||: Indiana University Press|
Josephine Baker, the first Black woman to star in a major motion picture, was both liberated and delightfully undignified, playfully vacillating between allure and colonialist stereotyping. Nicknamed the "Black Venus," "Black Pearl," and "Creole Goddess," Baker blended the sensual and the comedic when taking 1920s Europe by storm. Back home in the United States, Baker's film career brought hope to the Black press that a new cinema centered on Black glamour would come to fruition. In Josephine Baker's Cinematic Prism, Terri Simone Francis examines how Baker fashioned her celebrity through cinematic reflexivity, an authorial strategy in which she placed herself, her persona, and her character into visual dialogue. Francis contends that though Baker was an African American actress who lived and worked in France exclusively with a white film company, white costars, white writers, and white directors, she holds monumental significance for African American cinema as the first truly global Black woman film star. Francis also examines the double-talk between Baker and her characters in Le Pompier de Folies Bergère, La Sirène des Tropiques, Zou Zou, Princesse Tam Tam, and The French Way, whose narratives seem to undermine the very stardom they offered. In doing so, Francis artfully illuminates the most resonant links between emergent African American cinephilia, the diverse opinions of Baker in the popular press, and African Americans' broader aspirations for progress toward racial equality. Examining an unexplored aspect of Baker's career, Josephine Baker's Cinematic Prism deepens the ongoing conversation about race, gender, and performance in the African diaspora.
|Author||: Barbara Lupack|
The early years of the twentieth century were a formative time in the long history of struggle for black representation. More than any other medium, movies reflected the tremendous changes occurring in American society. Unfortunately, since they drew heavily on the nineteenth-century theatrical conventions of blackface minstrelsy and the "Uncle Tom Show" traditions, early pictures persisted in casting blacks in demeaning and outrageous caricatures that marginalized and burlesqued them and emphasized their comic or servile behavior. By contrast, race films—that is, movies that were black-cast, black-oriented, and viewed primarily by black audiences in segregated theaters—attempted to counter the crude stereotyping and regressive representations by presenting more authentic racial portrayals. This volume examines race filmmaking from numerous perspectives. By reanimating a critical but neglected period of early cinema—the years between the turn-of-the-century and 1930, the end of the silent film era—it provides a fascinating look at the efforts of early race film pioneers and offers a vibrant portrait of race and racial representation in American film and culture.
|Author||: Soyica Diggs Colbert,Douglas A. Jones Jr.,Shane Vogel|
|Editor||: Duke University Press|
The contributors to Race and Performance after Repetition explore how theater and performance studies account for the complex relationship between race and time. Pointing out that repetition has been the primary point of reference for understanding both the complex temporality of theater and the historical persistence of race, they identify and pursue critical alternatives to the conceptualization, organization, measurement, and politics of race in performance. The contributors examine theater, performance art, music, sports, dance, photography, and other forms of performance in topics that range from the movement of boxer Joe Louis to George C. Wolfe's 2016 reimagining of the 1921 all-black musical comedy Shuffle Along to the relationship between dance, mourning, and black adolescence in Flying Lotus's music video “Never Catch Me.” Proposing a spectrum of coexisting racial temporalities that are not tethered to repetition, this collection reconsiders central theories in performance studies in order to find new understandings of race. Contributors. Joshua Chambers-Letson, Soyica Diggs Colbert, Nicholas Fesette, Patricia Herrera, Jasmine Elizabeth Johnson, Douglas A. Jones Jr., Mario LaMothe, Daphne P. Lei, Jisha Menon, Tavia Nyong’o, Tina Post, Elizabeth W. Son, Shane Vogel, Catherine M. Young, Katherine Zien
|Author||: John Kenrick|
|Editor||: Bloomsbury Publishing USA|
This is a comprehensive history of stage musicals from the 1840s all the way up to Andrew Lloyd Webber and Broadway as it we know it today. Wide-ranging in content, it covers Europe, the UK, and North American traditions and developments.
|Author||: Arnold Shaw|
|Editor||: Oxford University Press|
F. Scott Fitzgerald named it, Louis Armstrong launched it, Paul Whiteman and Fletcher Henderson orchestrated it, and now Arnold Shaw chronicles this fabulous era in The Jazz Age. Spicing his account with lively anecdotes and inside stories, he describes the astonishing outpouring of significant musical innovations that emerged during the "Roaring Twenties"--including blues, jazz, band music, torch ballads, operettas and musicals--and sets them against the background of the Prohibition world of the Flapper. The jazz age set the sound of popular music into the 1950s. It included the flowering of improvised music by such artists as Armstrong, Bix Benderbecke, and Duke Ellington; the maturation and Americanization of the Broadway musical theatre; the explosion of the arts celebrated in the Harlem Renaissance; the rise of the classical blues singers starting with Mamie Smith and climaxing with Bessie Smith; the evolution of ragtime into stride piano; the spread of "speakeasy" night life and the emergence of the Cabaret singers; the musical creativity of a whole range of composers and songwriters including Kern, Gershwin, Berlin, Youmans, Rodgers and Hart, and Cole Porter, whom Shaw calls Song Laureate of the Roaring 20s. Here is a lively account of all these significant developments and personalities. A bibliography, detailed discography, and two informative lists--songs of the 20s in Variety's Golden 100 and films featuring singers and songwriters of the era--round out the book.
|Author||: Jessica Sternfeld,Elizabeth L. Wollman|
The Routledge Companion to the Contemporary Musical is dedicated to the musical’s evolving relationship to American culture in the late twentieth and early twenty-first centuries. In the past decade-and-a-half, international scholars from an ever-widening number of disciplines and specializations have been actively contributing to the interdisciplinary field of musical theater studies. Musicals have served not only to mirror the sociopolitical, economic, and cultural tenor of the times, but have helped shape and influence it, in America and across the globe: a genre that may seem, at first glance, light-hearted and escapist serves also as a bold commentary on society. Forty-four essays examine the contemporary musical as an ever-shifting product of an ever-changing culture. This volume sheds new light on the American musical as a thriving, contemporary performing arts genre, one that could have died out in the post-Tin Pan Alley era but instead has managed to remain culturally viable and influential, in part by newly embracing a series of complex contradictions. At present, the American musical is a live, localized, old-fashioned genre that has simultaneously developed into an increasingly globalized, tech-savvy, intensely mediated mass entertainment form. Similarly, as it has become increasingly international in its scope and appeal, the stage musical has also become more firmly rooted to Broadway—the idea, if not the place—and thus branded as a quintessentially American entertainment.