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*035 $a(NO-LaBS)11239551(bibid)
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*1001#$aAbbott, Lynn$d1946-$0(NO-TrBIB)8019166$_45304300
*24510$aRagged but right$bblack traveling shows, coon songs, and the dark pathway to blues and jazz$cLynn Abbott, Doug Seroff
*250 #$a1st ed.
*260 $aJackson$bUniversity Press of Mississippi$c2007
*300 #$aviii, 461 s.$bill.$c26 cm.
*336 #$atekst$0http://rdaregistry.info/termList/RDAContentType/1020$2rdaco
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*4901#$aAmerican made music series
*5058#$aCoon songs, big shows, and black stage stars of the Ragtime era ; The spirit of the smart set ; Blues for the sideshow tent ; "Under canvas" : African American tented minstrelsy and the untold story of Allen's New Orleans Minstrels, the Rabbit's Foot Company, the Florida Blossoms, and Silas Green from New Orleans.
*5058#$aIncludes bibliographical references (p. 383-426) and indexes.
*5208#$aThe commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. "Coon songs," with their ugly name, defined ragtime for the masses. Though the name itself is offensive to modern ears, it is impossible to investigate black popular entertainment of the ragtime era without directly confronting the "coon songs" which cleared the way for the "original blues.".
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*650 4$aAfro-amerikanere$_12594200
*650 4$aAfro-amerikansk musikk$_17319100
*650 4$aBlues$_10024500
*650 4$aJazz$_10024700
*650 4$aMusikkhistorie$_10460800
*650 4$aRagtime$_12081000
*651 $aUSA$_10088200
*7001#$aSeroff, Doug$emedforfatter$4aut$_27584400
*830 0$aAmerican made music series$_23130700
^
