The *Chitlin’ Circuit* was an informal network of performance venues throughout the United States where *African American musicians, comedians, dancers, and other entertainers* could safely perform during segregation (roughly from the 1920s to the 1960s and beyond).

The name comes from *chitterlings* (a soul food dish made from pig intestines), which became a metaphor for something made out of what others might discard—much like the venues and talent that rose from this system.
*Cultural Safe Haven*
It offered a *safe space* for Black artists to perform and make a living at a time when they were *excluded from white-owned venues* due to Jim Crow laws and racism. Some of the biggest legends in Black music and comedy came up through the Circuit:

– *James Brown* – *Aretha Franklin* – *Ray Charles* – *Little Richard* – *B.B. King* – *Richard Pryor* – *Moms Mabley*
They honed their craft, built audiences, and developed signature styles that later shaped *rock, soul, blues, funk, R&B, and stand-up comedy*. *Community Empowerment*
These venues were often *Black-owned* and located in Black neighborhoods—so the circuit also fed local economies and fostered *community pride and self-reliance*. *Cultural Legacy*
Even after integration, the *DIY spirit and raw authenticity* of the Chitlin’ Circuit shaped everything from hip-hop to modern stand-up comedy. It left a lasting stamp on American popular culture. Scope and Geography
The Chitlin’ Circuit stretched across the *South, Midwest, and East Coast*, with famous venues in:
– *The Apollo Theater* (Harlem, NY) – *Royal Peacock* (Atlanta, GA) – *Howard Theatre* (D.C.) – *Victory Grill* (Austin, TX) – *Club Paradise* (Memphis, TN) – *Regal Theater* (Chicago, IL)
There wasn’t a formal map—but artists and promoters knew the routes.