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.

Rap music empowered people during its heyday. However, some elements within hip-hop music date back to slavery. The formation of baggy pants, gangs, glorification of prisons, objectification of women, pimping, celebration of the ghetto, and odes to marijuana have become consistent themes within hip hop that aides in psychologically affecting youths' perceptions about Black life around the world. These stereotypic images of Blacks were perpetuated in the minstrel show by Whites-in blackface in the 1800s-as a means of entertaining other Whites. Today, some Black male hip hop artists perpetuate such false stereotypic portrayals of Black life for the entertainment of a mostly-suburbanite audience. These portrayals perpetuate the legacy of slavery while the Black male hip-hop artist is making pennies compared to the big bucks the recording and distribution companies are earning off the backs of any willing Black male hip-hop artist who will degrade himself and his race in great stereotypic proportions. This stance goes against what our Black, White, gay, and Jewish ancestors fought against during slavery and the Civil Rights Movement. Raphael Heaggans is an Assistant Professor of Teacher Education at Niagara University. His educational background is in Multicultural Education. He is a former college administrator and 7th and 8th grade language arts teacher. He is a member of Kappa Delta Pi and is a member of the Alpha Phi Alpha Fraternity.

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.

A sourcebook of contemporary and historical commentary on America's first popular mass entertainment.

Investigates the origin and heyday of black minstrelsy, which in modern times is considered an embarrassment, and discusses whether or not the art form is actually still alive in the work of contemporary performers--from Dave Chappelle and Flavor Flav to Spike Lee.

A study of blackface minstrels in the first half of the nineteenth century.

Contents The Minstrel Show Will Never Die Jim Crow and Tom Thumb Irishness of it All Irving Berlin Titillates Gershwin´s Racial Profiling Jews in Blackface Jolson the Shlemiel Strutting to Redemption Endnotes -------------------------------- How New York City, the Birthplace of Blackface, Defined Humor and Race for 100 Years (MIB: 12-17) Jim Crow, a blackface stage character, lends his name to the pernicious practice of racial segregation. Native New Yorker Tom Rice performed "Jim Crow" at the Bowery Theatre in 1832. (MIB: 22-24) Edwin P. Christy established the first permanent minstrel hall at 472 Broadway in New York City in 1847. Christy created the stylized format which endured for 10 decades. Why Irish Americans Wore Blackface (MIB: 18-19) Dan Emmet´s "Dixie", written as a minstrel tune, became the Confederate anthem. In an earlier minstrel song, Emmett romanticized slavery: "I´ll dance all night an´ work all day." (MIB: 46-48) Ned Harrigan, the grandfather of the Broadway musical, pitted on stage the Irish Mulligan Guard in 1879 against the black (white actors in blackface) Skidmore Guard--"Ten platoons of dandy coons." The Blackface Burden of Jewishness (MIB: 73-78) Irving Berlin, son of a cantor, penned his first "coon song" in 1909, and added eight more to his "coon song" cycle. Berlin staged blackface minstrel shows for the Army in both World War I and World War II. His 1942 film, "Holiday Inn", introduced "White Christmas" and Bing Crosby in blackface. (MIB: 101-138) Al Jolson in blackface made the first talking motion picture in 1927. In each of his eight Hollywood films over two decades, Jolson weaved the theme of Jewishness into the blackface minstrel show. He is the worldwide icon of blackface.

A sword-swinging page-turner infused with a heady mix of Japanese etiquette, American ideals, and Machiavellian philosophy, written by a PEN/Faulkner Award winner.

Beginning in the 1830s and continuing for more than a century, blackface minstrelsy--stage performances that claimed to represent the culture of black Americans--remained arguably the most popular entertainment in North America. A renewed scholarly interest in this contentious form of entertainment has produced studies treating a range of issues: its contradictory depictions of class, race, and gender; its role in the development of racial stereotyping; and its legacy in humor, dance, and music, and in live performance, film, and television. The style and substance of minstrelsy persist in popular music, tap and hip-hop dance, the language of the standup comic, and everyday rituals of contemporary culture. The blackface makeup all but disappeared for a time, though its influence never diminished--and recently, even the makeup has been making a comeback. This collection of original essays brings together a group of prominent scholars of blackface performance to reflect on this complex and troublesome tradition. Essays consider the early relationship of the blackface performer with American politics and the antislavery movement; the relationship of minstrels to the commonplace compromises of the touring "show" business and to the mechanization of the industrial revolution; the exploration and exploitation of blackface in the mass media, by D. W. Griffith and Spike Lee, in early sound animation, and in reality television; and the recent reappropriation of the form at home and abroad. In addition to the editor, contributors include Dale Cockrell, Catherine Cole, Louis Chude-Sokei, W. T. Lhamon, Alice Maurice, Nicholas Sammond, and Linda Williams.