Michigan

Detroit has always been at the forefront of American popular music development, and the ragtime years and jazz age are no exception. The city's long history of diversity has served the region well, providing a fertile environment for creating and nurturing some of America's most distinctly indigenous music. With a focus on the people and places that made Detroit a major contributor to America's rich musical heritage, Detroit: Ragtime and the Jazz Age provides a unique photo journal of a period stretching from the Civil War to the diminishing years of the big bands in the early 1940s.

From the 1940s through the early 1960s, a new form of popular music was born in the United States-one that would take the world by storm. Detroit disc jockey Alan Freed, among the very first to play and promote new music, christened it "Rock 'n Roll" from an old blues lyric. Detroit, like New York, Philadelphia, Chicago, Los Angeles, and Memphis, contributed its own distinctive regional character to the music and became a hub of industry activity. An epicenter of American music by the mid-1950s, Detroit built its reputation upon a wealth of talented singers and musicians, the vast amount of clubs and theaters available to them, and a multitude of enthusiastic industry professionals who helped bring their unique sound to the world. Many record labels, including Fortune and Fox, also thrived in the metro Detroit area in the days before Berry Gordy's Motown Records gained international recognition. This book documents the extraordinary style of music that took shape in Detroit well before Motown was a gleam in Gordy's eye. The Birth of the Detroit Sound chronicles great talents like John Lee Hooker, Hank Ballard & the Midnighters, Jackie Wilson, Jack Scott, Andre Williams, and Nolan Strong. Featuring a rare collection of vintage photographs, the book also spotlights record industry personalities, deejays, and long-forgotten venues where the giants of Detroit music once performed.

The spokelike grid of wide grand avenues radiating out from downtown Detroit allowed for a concentration of theaters initially along Monroe Street near Campus Martius and, after the second decade of the 20th century, clustered around Grand Circus Park, all easily accessible by a vast network of streetcars. In its heyday, Grand Circus Park boasted a dozen palatial movie palaces containing an astonishing total of 26,000 seats. Of these theaters, five remain today, fully restored and operational for live entertainment. Detroit, more so than any other North American city, illustrates how demographic and economic forces dramatically changed the landscape of film exhibition in an urban setting.

Meadow Brook Theatre (MBT) began in 1966 as part of a strategy to associate professional music and theatre with Oakland University's academic programs. The theater became a reality when John Fernald, an internationally acclaimed director and head of London's Royal Academy of Dramatic Art, accepted Chancellor D.B. Varner's invitation to establish a resident professional theatre company on the university's campus. In January 1967, the curtain rose; nearly five decades later, MBT remains a key element of Oakland County's cultural fabric. Many famous actors--including William Hurt, Curtis Armstrong, and Cindy Williams--have appeared on its stage.