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|a 923498551
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|z (OCoLC)923498551
|z (OCoLC)1030017645
|z (OCoLC)1175643496
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|a 792.09773/11
|2 23
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|a UAMI
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|a Bauman, Thomas,
|d 1948-
|e author.
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|a The Pekin :
|b the rise and fall of Chicago's first black-owned theater /
|c Thomas Bauman.
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|a Urbana :
|b University of Illinois Press,
|c [2014]
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|a 1 online resource (xxii, 232 pages)
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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|a The new black studies series
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|a Includes bibliographical references (pages 211-223) and index.
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|a The temple of music -- The New Pekin -- Tacking to the wind -- Holding the stroll -- Motts's last years -- From pillar to post -- Epilogue: diaspora.
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|a Print version record and CIP data provided by publisher; resource not viewed.
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|a "In 1904, political operator and gambling boss Robert T. Motts opened the Pekin Theater in Chicago. Dubbed the "Temple of Music," the Pekin became one of the country's most prestigious African American cultural institutions, renowned for its all-black stock company and school for actors, an orchestra able to play ragtime and opera with equal brilliance, and a repertoire of original musical comedies. A missing chapter in African American theatrical history, Bauman's saga presents how Motts used his entrepreneurial acumen to create a successful black-owned enterprise. Concentrating on institutional history, Bauman explores the Pekin's philosophy of hiring only African American staff, its embrace of multi-racial upper class audiences, and its ready assumption of roles as diverse as community center, social club, and fundraising instrument. The Pekin's prestige and profitability faltered after Motts' death in 1911 as his heirs lacked his savvy, and African American elites turned away from pure entertainment in favor of spiritual uplift. But, as Bauman shows, the theater had already opened the door to a new dynamic of both intra- and inter-racial theater-going and showed the ways a success, like the Pekin, had a positive economic and social impact on the surrounding community."--Publisher's description
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|a JSTOR
|b Books at JSTOR Evidence Based Acquisitions
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|a JSTOR
|b Books at JSTOR All Purchased
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|a JSTOR
|b Books at JSTOR Demand Driven Acquisitions (DDA)
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|a Pekin (Organization : Chicago, Ill.)
|x History.
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|a Pekin (Organization : Chicago, Ill.)
|2 fast
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|a Fürstliches Schauspielhaus
|g Bad Pyrmont
|2 gnd
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|a Schwarze, ...
|2 gnd
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|a African American theater
|z Illinois
|z Chicago
|x History
|y 20th century.
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|a Theater
|z Illinois
|z Chicago
|x History
|y 20th century.
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650 |
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|a African Americans in the performing arts
|z Illinois
|z Chicago
|x History
|y 20th century.
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650 |
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|a Théâtre noir américain
|z Illinois
|z Chicago
|x Histoire
|y 20e siècle.
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650 |
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|a Théâtre
|z Illinois
|z Chicago
|x Histoire
|y 20e siècle.
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650 |
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|a Noirs américains dans les arts du spectacle
|z Illinois
|z Chicago
|x Histoire
|y 20e siècle.
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|a PERFORMING ARTS
|x Theater
|x General.
|2 bisacsh
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|a HISTORY
|z United States
|y 20th Century.
|2 bisacsh
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|a African American theater
|2 fast
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|a African Americans in the performing arts
|2 fast
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|a Theater
|2 fast
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|a Illinois
|z Chicago
|2 fast
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|a Chicago, Ill.
|2 gnd
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|a 1900-1999
|2 fast
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|a Electronic books.
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|a History
|2 fast
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|i Print version:
|t Pekin.
|d Urbana : University of Illinois Press, [2014]
|z 9780252038365
|w (DLC) 2013045695
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830 |
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0 |
|a New Black studies series.
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856 |
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|u https://jstor.uam.elogim.com/stable/10.5406/j.ctt6wr57k
|z Texto completo
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|a EBL - Ebook Library
|b EBLB
|n EBL3414343
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|a ebrary
|b EBRY
|n ebr10860488
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|a EBSCOhost
|b EBSC
|n 760293
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|a Project MUSE
|b MUSE
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|a YBP Library Services
|b YANK
|n 11779368
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|a 92
|b IZTAP
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