A new edition of the biography of Dallas' own Deep Ellum. Just outside of downtown Dallas lies a section of the city called Deep Ellum, where graffiti and murals decorate the walls of trendy shops, loft apartments, restaurants, nightclubs, art galleries, and tattoo studios. The area has been home to a remarkable array of businesses, creatives, and artistic practices since its birth 150 years ago as a Black center of business. Because of the area’s long association with blues and jazz musicians, Deep Ellum has been shrouded in myth and misconceptions which obscure its actual history. Alan Govenar and Jay Brakefield—using oral histories, old newspapers and photographs, city directories and maps, as well as more traditional public records and secondary sources—reveal another side of Deep Ellum which includes Central Track (formerly called Central Avenue), an area lined with Black-owned businesses which served both Black and white patrons during its heyday in the 1920s and 30s. In the Deep Ellum and Central Track areas, African Americans and whites, primarily Eastern European Jews, operated businesses from the late 19th to the mid-20th centuries, creating a unique social climate where cultural interaction took place. Much of the information in the book is presented through the stories of remarkable individuals, including professionals, pawnbrokers and other merchants, police officers, criminals, and the blues and jazz musicians who had a lasting impact on American popular music.
For much of the 20th century, Dallas was home to a wide range of vital popular music. By the 1920s, the streets, dance halls, and vaudeville houses of Deep Ellum rang with blues and jazz. Blind Lemon Jefferson was discovered singing the blues on the streets of Deep Ellum but never recorded in Dallas. Beginning in the 1930s, however, artists from Western swing pioneer Bob Wills to blues legend Robert Johnson recorded in a three-story zigzag moderne building at 508 Park Avenue. And from the late 1940s to the mid-1960s, a wrestling arena called the Sportatorium was home to a Saturday night country and rock-and-roll extravaganza called the Big "D" Jamboree.
Texas Blues allows artists to speak in their own words, revealing the dynamics of blues, from its beginnings in cotton fields and shotgun shacks to its migration across boundaries of age and race to seize the musical imagination of the entire world. Fully illustrated with 495 dramatic, high-quality color and black-and-white photographs—many never before published—Texas Blues provides comprehensive and authoritative documentation of a musical tradition that has changed contemporary music. Award-winning documentary filmmaker and author Alan Govenar here builds on his previous groundbreaking work documenting these musicians and their style with the stories of 110 of the most influential artists and their times. From Blind Lemon Jefferson and Aaron “T-Bone” Walker of Dallas, to Delbert McClinton in Fort Worth, Sam “Lightnin’” Hopkins in East Texas, Baldemar (Freddie Fender) Huerta in South Texas, and Stevie Ray Vaughan in Austin, Texas Blues shows the who, what, where, and how of blues in the Lone Star State.
For much of the 20th century, Dallas was home to a wide range of vital popular music. By the 1920s, the streets, dance halls, and vaudeville houses of Deep Ellum rang with blues and jazz. Blind Lemon Jefferson was discovered singing the blues on the streets of Deep Ellum but never recorded in Dallas. Beginning in the 1930s, however, artists from Western swing pioneer Bob Wills to blues legend Robert Johnson recorded in a three-story zigzag moderne building at 508 Park Avenue. And from the late 1940s to the mid-1960s, a wrestling arena called the Sportatorium was home to a Saturday night country and rock-and-roll extravaganza called the Big "D" Jamboree.
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