This directory includes over 500 African American performers and theater people who have made a significant contribution to the American stage from the early 19th century to the beginning of the civil rights movement of the 1960s. Entries provide succinct biographical and theatrical information gathered from a variety of sources including library theater and drama collections, dissertations and theses, newspaper and magazine reviews and criticism, theater programs, theatrical memoirs, and earlier performing arts directories. Among the professional artists included in this volume are performers, librettists, lyricists, directors, producers, choreographers, stage managers, and musicians. The individuals profiled represent almost every major category and genre of the professional, semiprofessional, regional, and academic stage including minstrelsy, vaudeville, musical theater, and drama. Persons of historical significance are included as well as those stars and theatrical personalities that were well known during their time but who are relatively forgotten today. This comprehensive volume will appeal to theater and musical theater, Black studies, and American studies scholars. Cross-referenced throughout, this reference also includes an extensive bibliography and appendices of other theater personalities excluded from the main text. Separate indexes list the personalities, teams and partnerships, and performing groups, organizations, and companies.

Entries provide succinct biographical and theatrical information gathered from a variety of sources including library theater and drama collections, dissertations and theses, newspaper and magazine reviews and criticism, theater programs, theatrical memoirs, and earlier performing arts directories. Among the professional artists included in this volume are performers, librettists, lyricists, directors, producers, choreographers, stage managers, and musicians. The individuals profiled represent almost every major category and genre of the professional, semiprofessional, regional, and academic stage including minstrelsy, vaudeville, musical theater, and drama.

From the music of Louis Armstrong to the portraits by Beauford Delaney, the writings of Langston Hughes to the debut of the musical Show Boat, the Harlem Renaissance is one of the most significant developments in African-American history in the twentieth century. The Encyclopedia of the Harlem Renaissance, in two-volumes and over 635 entries, is the first comprehensive compilation of information on all aspects of this creative, dynamic period. For a full list of entries, contributors, and more, visit the Encyclopedi a of Harlem Renaissance website.

An interdisciplinary look at the Harlem Renaissance, it includes essays on the principal participants, those who defined the political, intellectual and cultural milieu in which the Renaissance existed; on important events and places.

Whether they appeared on Broadway or the Strand, the shows appearing in 1924 epitomized the glamor of popular musical theatre. What made this particular year so distinctive – so special – was the way it brought together the old and the new, the venerated and the innovative, and the traditional and the chic. William Everett, in his compelling new book, reveals this remarkable mid-Roaring Twenties stagecraft to have been truly transnational, with a stellar cast of producers, performers and creators boldly experimenting worldwide. Revues, musical comedies, zarzuelas and operettas formed part of a thriving theatrical ecosystem, with many works – and their leading artists – now unpredictably defying genres. The author demonstrates how fresh approaches became highly successful, with established leads like Marie Tempest and Fred Stone appearing in new productions even as youthful talents such as Florence Mills, Fred and Adele Astaire, Gertrude Lawrence and George Gershwin now started to make their mark.

This book provides a sequel to Robert Ford's comprehensive reference work A Blues Bibliography, the second edition of which was published in 2007. Bringing Ford's bibliography of resources up to date, this volume covers works published since 2005, complementing the first volume by extending coverage through twelve years of new publications. As in the previous volume, this work includes entries on the history and background of the blues, instruments, record labels, reference sources, regional variations, and lyric transcriptions and musical analysis. With extensive listings of print and online articles in scholarly and trade journals, books, and recordings, this bibliography offers the most thorough resource for all researchers studying the blues.

A celebration of achievement, accomplishments, and pride! The first African American president, U.S. senator, and the first black lawyer in the Department of Education. The first black chairman of the U.S. Joint Chiefs of Staff and the first African American commissioned officer in the Marine Corps. The first black professors in a variety of fields. The first African American advertising agency. The first African American Olympian. The first black pilot for a scheduled commercial airline. The first recorded slave revolt in North America. The first African American cookbook writer. Revel and rejoice in the renowned and lesser-known, barrier-breaking trailblazers in all fields—arts, entertainment, business, civil rights, education, government, invention, journalism, religion, science, sports, music, and more. Black Firsts: 500 Years of Trailblazing Achievements and Ground-Breaking Events, Fourth Edition bears witness to the long and complex history of African Americans! Expanded, updated, and revised for the first time in over eight years, Black Firsts collects more than 500 all-new achievements and previously unearthed firsts. This massive tome proves that African American accomplishments are wide-ranging and ongoing, documenting thousands of personal victories and triumphs. Who was the first black American depicted on a postage stamp? (1940 Booker Taliaferro Washington) Who was the first African American bookseller? (1834 David Ruggles, New York City) Where was the first black car dealership? (1941 Edward Davis, Detroit, Studebaker) When was the first black-owned company listed on a major stock exchange? (1971 Johnson Products) Who was the first black U.S. senator? (1870 Hiram Rhoades [Rhodes] Revels, Mississippi) Who was the African American columnist who won a Pulitzer Prize for Commentary? (1989 Clarence Page) Who was the U.S. Supreme Court’s first black justice? (1967 Thurgood Marshall) Who first broke the color barrier to become a flight attendant? (1958 Ruth Carol Taylor) Who became the first black to graduate from the U.S. Military Academy at West Point? (1877 Henry Ossian Flipper) Which model was the first black to grace Sports Illustrated cover? (1997 Tyra Banks) Who became the American Medical Association’s first black president? (1995 Lonnie Bristow) What is the oldest surviving black church in America? (The African Meeting House, built in 1806 and known as the Joy Street Baptist Church, in Boston) Who became the first black pitcher to win a World Series game? (1952 Rookie of the Year, Joe Black, of the Brooklyn Dodgers) Who was the first regularly recognized black physician in the United States? (1780s James Durham [Derham]) Who was the first black actress to receive an Emmy Award? (1969 Gail Fisher) Who became the first black professional football player? (1904 Charles W. Follis) What was first short story published by a black woman in the United States? (1859 Frances Ellen Watkins Harper’s “The Two Offers”) Who was the black explorer who joined the Lewis and Clark expedition? (York) Who was the first black lawyer to argue a case before the Supreme Court? (1880 Samuel R. Lowery) Which two songs by black Americans were the first to be send out of the solar system? (1977 Chuck Berry’s song “Johnny B. Goode” and Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground” on Voyager I) What famous inventor and agronomist has a national monument named after him in Diamond, Missouri? (1960 George Washington Carver) What movie featured the first black female lead in a Disney animated feature? (2009 “The Princess and the Frog” starred Anika Noni Rose) Who was the first black American to win a gold medal in the women’s all-around final competition.? (2012 Gabrielle “Gabby” Christina Victoria Douglas) Who were the Tuskegee Airmen and why are they so famous? (1941 The U.S. Congress established the first combat unit for blacks in the Army Air Corps with a training facility for black airmen, known as the Tuskegee Airmen, located at Tuskegee Institute, Alabama) Who participated in the first armed encounter of the American Revolution and later became the first black to receive an honorary master's degree? (Lemuel Haynes) Who was the author of a book of poetry that won the first Pulitzer Prize awarded to a black American? (1950 Gwendolyn Brooks for “Annie Allen”) What was the first black record company? (Pace Phonograph Company established 1921 by Henry Pace) Who was the black hero who sacrificed himself at the Boston Massacre, an event that would help inspire the American Revolution? (1770 Crispus Attucks) Who was the first black entertainer to host his own talk show on national television? (1989 Arsenio Hall) Who was the first African American to lead the NASA space program? (2009 Charles Frank Bolden Jr.) Who was the first black American to win the Nobel Peace Prize? (1944 Ralph Johnson Bunche) Who was the first black American athlete to win an Olympic gold medal? (1908 John Baxter “Doc” Taylor Jr. winner of the 4 X 400-meter relay in London) Which inventor had the first patent granted an African American? (1872 Elijah McCoy) Who was the first African American to win a Grammy Award? (1959 Count [William] Basie) Who is thought to be the United States’ first black millionaire? (1890 Thomy Lafon, New Orleans real estate speculator and moneylender) Who was the first black named Association of College and Research Librarian of the Year? (1985 Jessie Carney Smith) Which black first sang a principal role with the Metropolitan Opera? (1955 Marian Anderson) When was the first black judge appointed to the U.S. Court of Appeals? (1966 Spottswood Robinson) Which black artist was the first to be featured in a solo exhibit at New York’s Museum of Modern Art? (1937 William Edmondson) When was the first black mayor of Dallas elected? (1995 Ron Kirk) Who was the first elected black chairman of Republican National Convention? (1884 John Roy Lynch) Who was the first known black to graduate from an American college? (1823 Alexander Lucius Twilight received a bachelor’s degree from Middlebury College in Vermont) With more than 350 photos and illustrations, this information-rich book also includes a helpful bibliography and an extensive index, adding to its usefulness. This vital collection will appeal to anyone interested in America’s amazing history and resilient people.

Show Boat: Performing Race in an American Musical draws on exhaustive archival research to tell the story of how Jerome Kern, Oscar Hammerstein II, and a host of directors, choreographers, producers, and performers -- among them Paul Robeson -- made and remade the most important musical in Broadway history.

The early drama of Eugene O’Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O’Neill’s dramatic writing—changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism--theater artists of color have used O’Neill’s texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie N. Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O’Neill’s plays such as The Emperor Jones and All God’s Chillun Got Wings make ideal case studies because of the way these works stimulated traffic between Broadway and Harlem—and between white and Black America. These investigations of O’Neill and Broadway productions are enriched by the vibrant transnational exchange found in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic.

The triumphant story of how an all-Black Broadway cast and crew changed musical theatre—and the world—forever. "This musical introduced Black excellence to the Great White Way. Broadway was forever changed and we, who stand on the shoulders of our brilliant ancestors, are charged with the very often elusive task of carrying that torch into our present."—Billy Porter, Tony, Grammy, and Emmy Award-winning actor "The 1920s were the years of Manhattan's Black Renaissance. It began with Shuffle Along." —Langston Hughes If Hamilton, Rent, or West Side Story captured your heart, you'll love this in-depth look into the rise of the 1921 Broadway hit, Shuffle Along, the first all-Black musical to succeed on Broadway. No one was sure if America was ready for a show featuring nuanced, thoughtful portrayals of Black characters—and the potential fallout was terrifying. But from the first jazzy, syncopated beats of composers Noble Sissle and Eubie Blake, New York audiences fell head over heels. When Broadway Was Black is the story of how Sissle and Blake, along with comedians Flournoy Miller and Aubrey Lyles, overcame poverty, racism, and violence to harness the energy of the Harlem Renaissance and produce a runaway Broadway hit that launched the careers of many of the twentieth century's most beloved Black performers. Born in the shadow of slavery and establishing their careers at a time of increasing demands for racial justice and representation for people of color, they broke down innumerable barriers between Black and white communities at a crucial point in our history. Author and pop culture expert Caseen Gaines leads readers through the glitz and glamour of New York City during the Roaring Twenties to reveal the revolutionary impact one show had on generations of Americans, and how its legacy continues to resonate today. Praise for When Broadway Was Black: "A major contribution to culture."—Brian Jay Jones, New York Times bestselling author of Jim Henson: The Biography "With meticulous research and smooth storytelling, Caseen Gaines significantly deepens our understanding of one of the key cultural events that launched the Harlem Renaissance."—A Lelia Bundles, New York Times bestselling author of On Her Own Ground: The Life and Times of Madam C.J. Walker "Absorbing..."—The Wall Street Journal Previously published as Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way