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Ragged but Right
Black Traveling Shows, "Coon Songs," and the Dark Pathway to Blues and Jazz

By Lynn Abbott
and Doug Seroff

472 pages (approx.), 8 x 10 inches, 200 b&w illustrations, appendixes, general index, song index

978-1-57806-901-9 Cloth $75.00S

978-1-61703-645-3 Paper $40.00S

Cloth, $75.00

Paper, $40.00

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* In 2017-2018 University Press of Mississippi is closed for the holidays Thursday, December 21, and will reopen Tuesday, January 2, 2018. Orders sent by Paypal through Tuesday, December 12, will ship in time for Christmas. IF YOU ARE NOT ORDERING FOR THE HOLIDAYS, PLEASE LEAVE US A NOTE IN PAYPAL. After December 12, customers desiring shipping before Christmas should call 1.800.737.7788 and ask for rush delivery. Please be prepared to pay extra for rapid shipping. Orders that come to our website through the holidays (December 21, 2017-January 2, 2018) will begin shipping on January 2, 2018.

The groundbreaking study of "coon songs" and ragtime in black musical comedies, circus sideshows, and tented minstrel shows

The 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, and played a transitional role in the commercial ascendancy of blues and jazz.

In Ragged but Right, now in paperback, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the "big shows," the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Bessie Smith, and others were converted from "coon shouters" to "blues singers."

Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.

Lynn Abbott, New Orleans, Louisiana, works for the Hogan Jazz Archive at Tulane University. Doug Seroff, Greenbrier, Tennessee, is an independent scholar. Abbott and Seroff are the authors of Out of Sight: The Rise of African American Popular Music, 1889-1895, published by University Press of Mississippi.

472 pages (approx.), 8 x 10 inches, 200 b&w illustrations, appendixes, general index, song index