By Preston Lauterbach
The first historical past of the community of black juke joints that spawned rock 'n' roll via an unholy alliance among vice and entertainment.
A definitive account of the start of rock 'n' roll in black the USA, this booklet establishes the Chitlin' Circuit as an immense strength in American musical heritage. Combining awesome firsthand reporting with deep ancient learn, Preston Lauterbach uncovers characters like Chicago Defender columnist Walter Barnes, who pioneered the circuit within the Nineteen Thirties, and larger-than-life promoters corresponding to Denver Ferguson, the Indianapolis playing chieftain who consolidated it within the Nineteen Forties. Charging from Memphis to Houston and now-obscure issues in among, The Chitlin' Circuit brings us into the sweaty again rooms the place such stars as James Brown, B. B. King, and Little Richard received their begin. together with his unforgettable images of unsung heroes together with King Kolax, Sax Kari, and Clarence "Gatemouth" Brown, Lauterbach writes of an international of golf equipment and con males that has controlled to prevent a lot exam regardless of its wealth of brash characters, fascinating plotlines, and vulgar glory, and offers us an excavation of an underground musical the USA.
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Additional info for The Chitlin' Circuit: And the Road to Rock 'n' Roll
Despite Wagner’s huge reservations about a revival of Tristan und Isolde in Leipzig, given the massive challenges entailed in bringing it to the stage the first time, Seidl had scored a major success with the work. ”41 Seidl’s close identification with the Ring in these years was confirmed by the far-ranging tour of Neumann’s “Traveling Richard Wagner Theater,” during which Seidl conducted nearly 135 Ring performances and 58 concerts between September 1, 1882, and June 5, 1883. Seidl took note of all these performances in a small notebook, a study in understatement given the nature of the enterprise: Friday Sept.
38 • ↑ Kenneth Hamilton Liszt regularly consulted Wagner in his Zurich exile over questions ranging from titles for his arrangements to the structural details of their layout. ”29 On the latter point things were different. The formal scheme of Liszt’s arrangement of the Act 3 prelude and “Bridal Chorus” from Lohengrin––two statements of the main material of the prelude framing a treatment of the chorus “Treulich geführt” (“Here Comes the Bride” to English speakers)––was devised by Wagner for his Zurich concerts of May 1853 and quickly taken over by Liszt for his transcription.
Sarah Hibberd carefully distinguishes somnambulism from madness in French stage works of the late 1820s and illuminates the rich web of musical allusions that Hérold employed in conjunction with Thérèse’s somnambulistic tendencies. See her article “‘Dormez donc, mes chers amours’: Hérold’s La Somnambule (1827) and dream phenomena on the Parisian lyric stage,” Cambridge Opera Journal, 16/2 (July 2004): 107–32. • 24 • Notes to FROM PAGE TO STAGE: WAGNER AS REGISSEUR 15. Wagner’s own accounts of his early experiences of Schröder-Devrient in performance have often been questioned for their accuracy.