In every major city, there exists a complex exchange between urban space and the institution of the theatre. City Stages is an interdisciplinary and materialist analysis of this relationship as it has existed in Toronto since 1967. Locating theatre companies – their sites and practices – in Toronto’s urban environment, Michael McKinnie focuses on the ways in which the theatre has adapted to changes in civic ideology, environment, and economy. Over the past four decades, theatre in Toronto has been increasingly implicated in the civic self-fashioning of the city and preoccupied with the consequences of the changing urban political economy. City Stages investigates a number of key questions that relate to this pattern. How has theatre been used to justify certain forms of urban development in Toronto? How have local real estate markets influenced the ways in which theatre companies acquire and use performance space? How does the analysis of theatre as an urban phenomenon complicate Canadian theatre historiography? McKinnie uses the St. Lawrence Centre for the Arts and the Toronto Centre for the Performing Arts as case studies and considers theatrical companies such as Theatre Passe Muraille, Toronto Workshop Productions, Buddies in Bad Times, and Necessary Angel in his analysis. City Stages combines primary archival research with the scholarly literature emerging from both the humanities and social sciences. The result is a comprehensive and empirical examination of the relationship between the theatrical arts and the urban spaces that house them.

"This first monograph by Matthew Pillsbury offers a paean to the craft and visionary potential of large-format, black-and-white photography as well as to the vibrancy of the cultural landscape at a transitional moment - a moment in which our very relationship to that landscape is increasingly mediated by omnipresent screens. Over the past decade, Pillsbury has built several extensive bodies of work - Screen Lives, Hours, and City Stages - that deal with different facets of contemporary metropolitan life and the passage of time. Working with black-and-white 8-by-10 film and long exposures, Pillsbury captures a range of psychologically charged experiences in the urban environment, from isolation - tuned into the omnipresent screens of our tablets, laptops, televisions, and phones - to crowded museums, parades, cathedrals, and even protests. Working primarily in New York the precise and concrete rendering of cityscapes, iconic landmarks, and interior spaces in his images provides a stage-like setting for the performance of human activity."--Publisher's website.

Why do some cities grow and expand, while others dwindle and decline? Why is Milwaukee a town of the past, while Minneapolis-St. Paul seems reborn and infused with future dynamism? And what do Milwaukee and the Twin Cities have to tell us about other cities' prospects, the trials and destinies of industrial Cleveland and post-industrial Austin? Anthony Orum's new book tells the story of these cities and, at the same time, of all cities. Here the urban past, present, and future are woven into one compelling tale. Orum traces the shift in the sources of urban growth from entrepreneurs to institutions and highlights the emergence of local government as a prominent force—indeed, as an institution—in shaping the trajectory of the urban industrial heartland. This complex trajectory includes all aspects of urban boom and bust: population trends, economic prosperity, politics and culture, as well as hard-to-pin-down qualities like a city's collective hope and vision. Interspersing social theory, historical ethnography, and comparative analysis to help explain the fates of different cities, Orum lucidly portrays factory openings, labor strikes, elections, evictions, urban blight, white flight, recession, and rejuvenation to show the core histories—and future shape—of cities beyond the particulars presented in these pages. The reader will discover the key people and politics of cities along with the forces that direct them. With a rich variety of sources including newspapers, diaries, census materials, maps, photo essays, and, perhaps most captivating, original oral histories, City-Building in America is ideal for anyone interested in urban transformation and for courses in urban sociology, urban politics, industrial sociology, social change, and social mobility.

Pittsburgh has a rich and diverse theatrical tradition, from early frontier performances by officers stationed at Fort Pitt through experimental theater at the end of the twentieth century. Pittsburgh in Stages offers the first comprehensive history of theater in Pittsburgh, placing it within the context of cultural development in the city and the history of theater nationally.By the time the first permanent theater was built in 1812, Pittsburgh had already established itself as a serious patron of the theatrical arts. The city soon hosted New York and London-based traveling companies, and gained a national reputation as a proving ground for touring productions. By the early twentieth century, numerous theaters hosted 'popular-priced' productions of vaudeville and burlesque, and theater was brought to the masses. Soon after, Pittsburgh witnessed the emergence of myriad community-based theater groups and the formation of the Federation of Non-Commercial Theatres and the New Theater League, guilds designed to share resources among community producers. The rise of local theater was also instrumental to the growth of African American theatrical groups. Though victims of segregation, their art flourished, and was only later recognized and blended into Pittsburgh's theatrical melting pot.Pittsburgh in Stages relates the significant influence and interpretation of urban socioeconomic trends in the theatrical arts and the role of the theater as an agent of social change. Dividing Pittsburgh's theatrical history into distinct eras, Lynne Conner details the defining movements of each and analyzes how public tastes evolved over time. She offers a fascinating study of regional theatrical development and underscores the substantial contribution of regional theater in the history of American theatrical arts.

This exploration of rock ’n’ roll music and culture in Birmingham, Alabama, is based on the oral histories of musicians, their fans and professionals in the popular music industry. Collected over a twenty-year period, their stories describe the coming of rock ’n’ roll in the 1950s, the rise of the garage bands in the 1960s, of southern rock in the 1970s, and of alternative music in the 1980s and 1990s. Told in the words of the musicians themselves, Magic City Nights provides an insider’s view of the dramatic changes in the business and status of popular music from the era of the vacuum tube to twenty-first-century digital technology. These collective memories offer a unique perspective on the impact of a subversive and racially integrated music culture in one of the most conservative and racially divided cities in the country.

The first comprehensive history of theater in Pittsburgh is offered in this volume that relates the significant influence and interpretation of urban socioeconomic trends in the theatrical arts and the role of the theater as an agent of social change.