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• I. Allegro
• II. Adagio
• III. Allegro.

• Acknowledgments
• Introductions
• The blues is a sad music
• They didn't give me no rattler, they gave me a harp
• That boy's gonna play that harp someday
• I wasn't cut out for most jobs
• The world's pet
• A gold mine walking around on earth
• them songs
• We got their best harp player
• Had some good times together
• The Black and the White
• all wanted to hear the same tune
• They turned me loose to root hog or die
• I knowed I could make it on my own
• We got to meet Jesus someday
• Just playing to four walls and to God
• You have to learn to live with old age
• Appendix : musical selections performed by Bailey
• Sources
• Discography
• Index.

Bailey is largely forgotten today, a victim of the recording industry's emphasis on the blues during the 1920s--a decision which segregated forever "black" folk music from "white" folk music. Bailey was from an African American mountain culture that shared much of its musical heritage with its Anglo-Saxon neighbors, producing a unique hybrid which Bailey called "black hillbilly." A virtuoso on the harmonica, guitar, and banjo, Bailey became one of the Grand Old Opry's earliest stars during the 1920s, only to be fired from the Opry in 1941 during one of the Opry's more repressive eras. Bailey's story is told mainly in his own words through interviews conducted by his longtime friend Morton, with Wolfe (English and folklore, Middle Tennessee State Univ.) providing cultural and historical background. The authors' stated goal was to write a book of universal appeal, and indeed the work is a fascinating cultural history. -- Library Journal

• The Precursors to Hip-Hop, 1970s
• Rock Steady Old School Hip-Hop, 1980s to 1990s
• It's the New School : Authenticity Debates and Crossover Hits, 1990s to 2000s
• Will the "Real" Hip-Hop Please Stand Up?, 2000s-2020s?
• I Am Hip-Hop
• Liner Notes-Conclusion.

"Hip-hop culture's explosive arrival on the art scene of New York in the boroughs of Queens and the Bronx in the 1970s began to influence all aspects of musical theatre from singing to scenic design. Hip-Hop in Musical Theatre takes an intersectional standpoint to explore hip-hop's influence on musical theatre practice and aesthetics by giving the reader a comprehensive map of musical theatre productions that have been impacted by hip-hop music and culture. Offering insightful briefs on musical theater productions that contain aesthetic, musical and embodied references to the global phenomenon of Hip-hop culture, this volume takes the reader through a virtual tour of hip-hop' s influence on American musical theatre. From early traces of hip-hop's rap scene in the late 1970s that appeared in musicals such as Micki Grant's Tony Award nominated Don't Bother Me I Can't Cope (1973) and Broadway smash hits such as The Wiz (1978) to international juggernauts such as Lin-Manuel Miranda's Hamilton (2015), this introductory book decodes the sights and sounds of Hip-hop culture within the socio-cultural context in which the musicals are produced. Published in the Topics in Musical Theatre series this volume presents fact-filled and insightful summaries of musicals that give the reader a snapshot of the musical and narrative content while highlighting which aspect of the music and culture of Hip-hop informs acting, dancing, singing, design and music in the selected musical while offering insightful analysis on the ways that hip-hop styles and politics have changed the shape of musical theatre practice."-- Provided by publisher.

• no 9. Trio sonata in E minor
• no 10. Trio sonata in D major.

David Bowie retired Ziggy Stardust, his most famous alter-ego, in front of 5,000 stunned fans at London's Hammersmith Odeon. Now, the fully restored film and soundtrack will be released for the first time for the 50th anniversary of the show. "Of all the shows on this tour, this particular show will remain with us the longest, because not only is it the last show of the tour, but it's the last show that we'll ever do.₄ David Bowie, 1973 ₃A truly great star knows not only how to make a grand entrance, but a grand exit.₄ Charles Shaar Murray 2023 On July 3rd, 1973, David Bowie retired Ziggy Stardust, his most famous alter-ego, in front of 5000 stunned fans at London's Hammersmith Odeon. Now, the fully restored film and soundtrack will be released for the first time for the 50th anniversary of the show. Renowned filmmaker D.A. Pennebaker (Monterey Pop, Bob Dylan - Don't Look Back, Depeche Mode - 101) captured the momentous event by filming Bowie and The Spiders From Mars backstage and onstage.