Tracey wm (8 resultados)

Soft cover. Condición: Good. No Jacket. First Edition. Red and green pictorial cover with a picture of Sadie Helf. Cover partially split at spine edge and original store stamp. Scarce sheet music.

Soft cover. Condición: Very Good. No Jacket. First Edition. Nice condition with small owner name/add. on cover & bottom corner crease. Scarce sheet music.

Soft cover. Condición: Very Good. No Jacket. First Edition. Nice cover illustrations of Granny sewing. Clean cover & pages with bottom spine edge water mark. About 12 x 9 with 3 pages.

Soft cover. Condición: Near Fine. Standard format sheet music, words and music by African American composing team. Exceptionally nice copy, one very tiny tear on left edge otherwise fine.

Soft cover. Condición: Good. Large format sheet music, five pages. Cover art by Pfeiffer. Good condition, a few short edge tears on right side, bottom right corner crease.

No Binding. Condición: Good. Sheet music. General wear to cover edges/corners. Seam is intact. Prev. owner's name written on the bottom corner, front cover. Front cover illustration is by Politzer. 5 pages.

Sheet music. Condición: Good. Pictorial sheet music, small tears to front edge. Music.

Softcover. Condición: Good. First edition. Folio. Single bifolium with a single sheet insert making six pages. The bifolium is neatly separated along the fold but both leaves are present, the insert and the back cover are clipped at the bottom corner, and rubbing to the exterior, a complete but good only copy. For voice and piano. Plate imprint, "Play that barber shop chord = 3." Features samples of "My Love is Greater Than the World" by Arthur J. Lamb and J. Fred Helf, and "When a Boy From Old New Hampshire Loves a Girl from Tennessee" By Wm. Cahalin, Robert F. Roden, and J. Fred Helf. The front cover states, "Prominently featured by Bert Williams." Bert Williams was a Bahaman-born American singer and performer, and was one of the best selling black recording artists prior to 1920. Williams is pictured in the center of the cover in blackface (this is the assessment of the National Museum of African American History and Culture, which holds a copy of this piece). A Black performer wearing blackface was not an uncommon sight at the time, in an article on the subject for *JSTOR Daily*, Dorothy Berry cites historian James Dormon explaining that these performers, "were 'Blacks playing whites playing Blacks,' but that the performer's racial identity convinced audiences and critics that they represented the reality of Blackness, and that the reality was the 'c**n,'" a complication that illustrates the proverbial tightrope Black performers were forced to navigate when trying to sell entertainment to white audiences while also portraying their unique experiences. *OCLC* locates six physical holdings.…