Awesome Blackface Album and Music Offers

For over two centuries, America has celebrated the very black culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear--a dialectic of "love and theft"--the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery..
Price: $36.51 [Notify me when price goes down.]

Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson's analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema..
Price: $22.50 [Notify me when price goes down.]

A refreshingly clearheaded and taboo-breaking look at race relations reveals that American culture is neither Black nor White nor Other, but a mix-a mongrel

Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Black Like You shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak.

Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and vision:

- American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel. - No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in "whiteface"-can be seen all around us today..
Price: $0.63 [Notify me when price goes down.]

Nick Tosches spent 20 years searching for facts about Emmett Miller, the yodeling blackface performer whose songs prefigured jazz, country, blues, and much of the popular music of the twentieth century. Starting with a handful of 78 rpm records and ending at a graveyard in Macon, Georgia, Tosches chronicles a remarkable journey of discovery that illuminates Millers life, his legacy, and the world of American popular music. Long celebrated as one of Americas leading writers on music and popular culture, Nick Tosches is increasingly recognized as one of the most original writers at work in America today. In the tradition of Nicholas Dawidoffs bestselling The Catcher Was a Spy and Peter Guralnicks hugely successful Searching for Robert Johnson, Toschess Where Dead Voices Gather brings a little-known figure into our collective consciousness..
Price: $3.75 [Notify me when price goes down.]

A refreshingly clearheaded and taboo-breaking look at race in America reveals our culture as neither Black nor White nor Other, but a mix-a mongrel

Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is the author's ability to tackle blackface--a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Strausbaugh shows that, nevertheless, its impact has been deep and longlasting. The influence of blackface can be seen in rock and roll and hip-hop; in vaudeville, Broadway, and drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and Hollywood's 2004 White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak.

With remarkable common sense and clarity, Strausbaugh candidly illuminates truths about race rarely discussed in public, including:

- American culture neither conforms to knee-jerk racism nor to political correctness. It is neither Black nor White nor Other, but a mix-a mongrel.
- No history is best forgotten-however uncomfortable it may be to remember. The power of blackface to enrage and mortify Americans to this day is reason enough to examine what it still tells us about our culture and ourselves.
- Blackface is still alive. Its impact and derivations- including Black performers in "whiteface"-can be seen all around us..
Price: $3.41 [Notify me when price goes down.]

The songs, dances, jokes, parodies, spoofs, and skits of blackface groups such as the Virginia Minstrels and Buckley's Serenaders became wildly popular in antebellum America. Behind the Burnt Cork Mask not only explores the racist practices of these entertainers but considers their performances as troubled representations of ethnicity, class, gender, and culture in the nineteenth century. William J. Mahar's unprecedented archival study of playbills, newspapers, sketches, monologues, and music engages new sources previously not considered in twentieth-century scholarship. More than any other study of its kind, Behind the Burnt Cork Mask investigates the relationships between blackface comedy and other Western genres and traditions; between the music of minstrel shows and its European sources; and between "popular" and "elite" constructions of culture. By locating minstrel performances within their complex sites of production, Mahar offers a significant reassessment of the historiography of the field. Behind the Burnt Cork Mask promises to redefine the study of blackface minstrelsy, charting new directions for future inquiries by scholars in American studies, popular culture, and musicology..
Price: $21.96 [Notify me when price goes down.]

The Last "Darky" establishes the late-nineteenth and early-twentieth-century comedian Bert Williams as central to the development of a global black modernism centered in Harlem’s Renaissance. Before integrating Broadway in 1910 via a controversial stint with the Ziegfeld Follies, Williams was already an international icon. Yet his name has faded into near obscurity, his extraordinary accomplishments forgotten largely because he performed in blackface. Louis Chude-Sokei contends that Williams’s blackface was not a display of internalized racism nor a submission to the expectations of the moment. It was an appropriation and exploration of the contradictory and potentially liberating power of racial stereotypes.

Crucially, Chude-Sokei argues that Williams’s minstrelsy negotiated the place of black immigrants in the cultural hotbed of New York City and was replicated throughout the African Diaspora, from the Caribbean to Africa itself. Williams was born in the Bahamas. When performing the "darky," he was actually masquerading as an African American. This black-on-black minstrelsy thus challenged emergent racial constructions equating "black" with African American and marginalizing the many diasporic blacks in New York. It also dramatized the practice of passing for African American common among non-American blacks in an African American dominated Harlem. Exploring the thought of figures including Booker T. Washington, W. E. B. Du Bois, Marcus Garvey, and Claude McKay, Chude-Sokei situates black-on-black minstrelsy at the center of burgeoning modernist discourses of assimilation, separatism, race-militancy, carnival, and internationalism. While these discourses were engaged with the question of representing the "Negro" in the context of white racism, through black-on-black minstrelsy, they were also deployed against the growing international dominance of African American culture and politics in the twentieth century..
Price: $19.62 [Notify me when price goes down.]

A sourcebook of contemporary and historical commentary on America's first popular mass entertainment..
Price: $23.35 [Notify me when price goes down.]

Unearthing a wealth of long-buried plays and songs, rethinking materials often deemed too troubling or lowly to consider, and overturning cherished ideas about classics from Uncle Tom's Cabin to Benito Cereno to The Jazz Singer, W. T. Lhamon Jr. sets out a startlingly original history of blackface as a cultural ritual that, for all its racist elements, was ultimately liberating..
Price: $20.25 [Notify me when price goes down.]