A History Of The Minstrel Show
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The Blackface Minstrel Show in Mass Media
Author | : Tim Brooks |
Publsiher | : McFarland |
Total Pages | : 291 |
Release | : 2019-11-15 |
Genre | : Social Science |
ISBN | : 9781476676760 |
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The minstrel show occupies a complex and controversial space in the history of American popular culture. Today considered a shameful relic of America's racist past, it nonetheless offered many black performers of the 19th and early 20th centuries their only opportunity to succeed in a white-dominated entertainment world, where white performers in blackface had by the 1830s established minstrelsy as an enduringly popular national art form. This book traces the often overlooked history of the "modern" minstrel show through the advent of 20th century mass media--when stars like Al Jolson, Bing Crosby and Mickey Rooney continued a long tradition of affecting black music, dance and theatrical styles for mainly white audiences--to its abrupt end in the 1950s. A companion two-CD reissue of recordings discussed in the book is available from Archeophone Records at www.archeophone.com.
A History of the Minstrel Show
Author | : Frank W. Sweet |
Publsiher | : Backintyme |
Total Pages | : 36 |
Release | : 2000-09-01 |
Genre | : Performing Arts |
ISBN | : 0939479214 |
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Blacking Up
Author | : Robert C. Toll |
Publsiher | : New York : Oxford University Press |
Total Pages | : 324 |
Release | : 1974 |
Genre | : Blackface |
ISBN | : UOM:39015039149755 |
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From the Peter Neil Isaacs collection.
Anthems and Minstrel Shows
Author | : Brian Christopher Thompson |
Publsiher | : McGill-Queen's Press - MQUP |
Total Pages | : 551 |
Release | : 2015-05 |
Genre | : Biography & Autobiography |
ISBN | : 9780773584150 |
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Calixa Lavallée, the composer of “O Canada,” was the first Canadian-born musician to achieve an international reputation. While primarily remembered for the national anthem, Lavallée and his work extended well beyond Canada, and he played a multitude of roles in North American music as a composer, conductor, administrator, instrumentalist, educator, and critic. In Anthems and Minstrel Shows, Brian Thompson analyzes Lavallée’s music, letters, and published writings, as well as newspapers and music magazines of the time, to provide a detailed account of musical life in nineteenth-century North America and the relationship between music and nation. Leaving Quebec at age sixteen, Lavallée travelled widely for a decade as musical director of a minstrel troupe, and spent a year as a bandsman in the Union Army. Later, as a performer and conductor, he built a repertoire that prepared audiences for the intellectually challenging music of European composers and new music by his US contemporaries. His own music extended from national songs to comic operas, and instrumental music, as he shifted between the worlds of classical and popular music. Previously portrayed as a humble French Canadian forced into exile by ignorance and injustice, Lavallée emerges here as ambitious, radical, bohemian, and fully engaged with the musical, social, and political currents of his time. While nationalism and nation-building are central to this story, Anthems and Minstrel Shows asks to which nation – or nations – Lavallée and “O Canada” really belong.
Minstrel Shows and Songs
Author | : Anonim |
Publsiher | : Unknown |
Total Pages | : 468 |
Release | : 2019 |
Genre | : Electronic Book |
ISBN | : OCLC:1141409918 |
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Birth of an Industry
Author | : Nicholas Sammond |
Publsiher | : Duke University Press |
Total Pages | : 400 |
Release | : 2015-08-27 |
Genre | : Performing Arts |
ISBN | : 9780822375784 |
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In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life.
Inside the Minstrel Mask
Author | : Annemarie Bean,James V. Hatch,Brooks McNamara |
Publsiher | : Wesleyan University Press |
Total Pages | : 332 |
Release | : 1996-11-29 |
Genre | : History |
ISBN | : 0819563005 |
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A sourcebook of contemporary and historical commentary on America's first popular mass entertainment.
Darkest America Black Minstrelsy from Slavery to Hip Hop
Author | : Yuval Taylor,Jake Austen |
Publsiher | : W. W. Norton & Company |
Total Pages | : 368 |
Release | : 2012-08-27 |
Genre | : Social Science |
ISBN | : 9780393083903 |
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An exploration and celebration of a controversial tradition that, contrary to popular opinion, is alive and active after more than 150 years. Yuval Taylor and Jake Austen investigate the complex history of black minstrelsy, adopted in the mid-nineteenth century by African American performers who played the grinning blackface fool to entertain black and white audiences. We now consider minstrelsy an embarrassing relic, but once blacks and whites alike saw it as a black art form—and embraced it as such. And, as the authors reveal, black minstrelsy remains deeply relevant to popular black entertainment, particularly in the work of contemporary artists like Dave Chappelle, Flavor Flav, Spike Lee, and Lil Wayne. Darkest America explores the origins, heyday, and present-day manifestations of this tradition, exploding the myth that it was a form of entertainment that whites foisted on blacks, and shining a sure-to-be controversial light on how these incendiary performances can be not only demeaning but also, paradoxically, liberating.