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For musicians, Harlem, New York's cabarets and nightclubs shined a light on black performers and allowed for black residents to enjoy music and dancing. However, some of the most popular clubs (that showcased black musicians) were exclusively for white audiences; one of the most famous white-only nightclubs in Harlem was the Cotton Club , where ...
The control of white owned music companies was tested in the 1920s, when Black Swan Records was founded in 1921 by the African American businessman Harry Pace. Black Swan was formed to integrate the black community into a primarily white music industry, issuing around five hundred race records per year. [6]
According to The Political economy of Black Music By Norman Kelley, "Black music exists in a neo-colonial relationship with the $12 billion music industry, which consist of six record companies." African-American entrepreneurs embraced record stores as key vehicles for economic empowerment and critical public spaces for black consumers at a ...
He started his career in the 1920s and was one of the first performers to be introduced on Nashville radio station WSM's Grand Ole Opry, and becoming alongside Uncle Dave Macon one of the programs most famous performers. [6] He was the first African-American performer to appear on the show, and the first performer to record his music in ...
B. DeFord Bailey; Kid Bailey; Philip Bailey; David Baker (composer) King Ernest Baker; Hank Ballard; Billy Banks (singer) Larry Banks; John Henry Barbee; Danny Barker
The jazz pianist and composer Eubie Blake got his start in 1920s Vaudeville, [41] as did Louis Armstrong and other jazz musicians. [ 42 ] [ 43 ] Notable Black female blues singers who started on the Vaudeville stage included Ma Rainey , Bessie Smith , Clara Smith , Mamie Smith , Mamie Brown, Ida Cox , and Edmonia Henderson . [ 44 ]
Eileen Southern, Biographical Dictionary of Afro-American and African Musicians, Westport, Connecticut: Greenwood Press, 1982. Lester Sullivan, "Composers of Color of Nineteenth-Century New Orleans: The History Behind the Music", Black Music Research Journal, vol. 8, no. 1 (1988), 51–82.
The Army Music School at Fort Jay is moved to the Army War College in Washington, D.C. [25]; Eubie Blake and Noble Sissle's Shuffle Along is an influential work in the history of African American theater, re-establishing the black musical theater tradition.