In Blues Mamas and Broadway Belters, songwriter, scholar, and dramatist Masi Asare explores the singing practice of black women singers in US musical theatre between 1900 and 1970. Asare shows how a vanguard of black women singers including Gertrude “Ma” Rainey, Bessie Smith, Ethel Waters, Pearl Bailey, Juanita Hall, Lena Horne, Eartha Kitt, Diahann Carroll, and Leslie Uggams created a lineage of highly trained and effective voice teachers whose sound and vocal techniques continue to be heard today. Challenging pervasive narratives that these and other black women possessed “untrained” voices, Asare theorizes singing as a form of sonic citational practice—how the sound of the teacher’s voice lives on in the student’s singing. From vaudeville-blues shouters, black torch singers, and character actresses to nightclub vocalists and Broadway glamour girls, Asare locates black women of the musical stage in the context of historical voice pedagogy. She invites readers not only to study these singers, but to study with them—taking seriously what they and their contemporaries have taught about the voice. Ultimately, Asare speaks to the need to feel and hear the racial history in contemporary musical theatre.

"Blues Mamas and Broadway Belters examines racialized embodied singing techniques and their transmission, dwelling with the ways that black women singers theorized the voice in US musical theater performances from 1900 to 1970. Approaching voice from a performance studies perspective, Masi Asare sketches biographies of singers such as Ma Rainey, Bessie Smith, Ethel Waters, Lena Horne, Eartha Kitt, and others, focusing on the different types of training each performer received. Asare draws on her own experience as a composer, lyricist, playwright, and voice teacher to engage readers in a comprehensive singing lesson and practice of listening, offering analysis of vocal performances, critical theorization of voice pedagogy, and a series of creative voice exercises. As a black feminist voice study, Blues Mamas and Broadway Belters serves as a project to write black women and racially marginalized groups into the history of Broadway and musical theater"--

You ain't nothing but a "Hound Dog" ... with these words shouted into the microphone she will always be remembered: Big Mama Thornton. Who is this woman who sang the megahit "Hound Dog" before Elvis Presley and who wrote "Ball & Chain," the song that catapulted Janis Joplin to sudden fame? The story begins with her first musical attempts in the Hot Harlem Revue as a girl of 14. Then the book follows her journey into the Mecca of Texas Blues, Houston, where Big Mama Thornton met Johnny Otis, with whom she recorded her greatest success--"Hound Dog." With the slowdown of the blues in the early sixties this book follows Big Mama Thornton's way to California, discusses her struggle to survive and celebrates her impressive musical comeback in the course of the blues revival and the hippie movement. With the end of the sixties, facing a declining interest in the old school blues, the book shows how Big Mama Thornton found her niche in clubs and festivals in the U.S. and Europe. The book then follows Big Mama Thornton through the seventies and eighties until her untimely death.

Whenever you hear the prevalent wailing blues harmonica in commercials, film soundtracks or at a blues club, you are experiencing the legacy of the master harmonica player, Little Walter. Immensely popular in his lifetime, Little Walter had fourteen Top 10 hits on the R&B charts, and he was also the first Chicago blues musician to play at the Apollo. Ray Charles and B.B. King, great blues artists in their own right, were honored to sit in with his band. However, at the age of 37, he lay in a pauper's grave in Chicago. This book will tell the story of a man whose music, life and struggles continue to resonate to this day.

It is 1932, Silesia, Germany, and the eve of Antonia's 12th birthday. Hitler's Brownshirts and Red Front Marxists are fighting each other in the streets. Antonia doesn't care about the political unrest but it's all her family argue about. Then Hitler is made Chancellor and order is restored across the country, but not in Antonia's family. The longer the National Socialists stay in power, the more divided the family becomes with devastating consequences. Unpleasant truths are revealed and terrible lies uncovered. Antonia thinks life can't get much worse - and then it does. Partly based on a true-life story, Antonia's gripping diary takes the reader inside the head of an ordinary teenage girl growing up. Her journey into adulthood, however, is anything but ordinary.

This reference volume is intended for both the casual and the most avid blues fan. It is divided into five separately introduced sections and covers 50 artists with names like Muddy, Gatemouth and Hound Dog who helped shape 20th-century American music. Beginning with the pioneering Mississippi Delta bluesmen, the book then follows the spread of the genre to the city, in the section on the Chicago Blues School. The third segment covers the Texas blues tradition; the fourth, the great blueswomen; and the fifth, the genre's development outside its main schools. The styles covered range from Virginia-Piedmont to Bentonia and from barrelhouse to boogie-woogie. The main text is augmented by substantial discographies and a lengthy bibliography.

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