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In the early 1890's, black performer Bob Cole turned blackface minstrelsy on its head with his nationally recognized whiteface creation, a character he called Willie Wayside. Just over a century later, hiphop star Busta Rhymes performed a whiteface supercop in his hit music video ""Dangerous."" In this sweeping work, Marvin McAllister explores the enduring tradition of ""whiting up,"" in which African American actors, comics, musicians, and even everyday people have studied and assumed white racial identities. Not to be confused with racial ""passing"" or derogatory notions of ""acting...

African Americans in the performing arts --- Minstrel shows --- Afro-Americans in the performing arts --- Negroes in the performing arts --- Performing arts --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- Revues --- Vaudeville --- Blackface entertainers --- History. --- American minstrelsy --- Minstrelsy --- Minstrelsy, American

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For over two centuries, America has celebrated the same African-American 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 appropriated black dialect, music, and dance; at once applauded and lampooned black culture; and, ironically, contributed 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 t

Minstrel shows --- Working class --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Revues --- Vaudeville --- Blackface entertainers --- History. --- United States --- Southern States --- Confederate States of America --- Race relations. --- History --- Race question --- Lost Cause mythology --- Racism against Black people --- Blackface --- Impersonation --- Anti-Black racism --- Antiblack racism --- Racism against Blacks --- Black people --- American minstrelsy --- Minstrelsy --- Minstrelsy, American --- Racism against Black people. --- Blackface.

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The Peculiar Afterlife of Slavery explores how antiblack racism lived on through the figure of the Chinese worker in US literature after emancipation. Drawing out the connections between this liminal figure and the formal aesthetics of blackface minstrelsy in literature of the Reconstruction and post-Reconstruction eras, Caroline H. Yang reveals the ways antiblackness structured US cultural production during a crucial moment of reconstructing and re-narrating US empire after the Civil War. Examining texts by major American writers in the late nineteenth and early twentieth centuries—including Harriet Beecher Stowe, Bret Harte, Mark Twain, Ambrose Bierce, Sui Sin Far, and Charles Chesnutt—Yang traces the intertwined histories of blackface minstrelsy and Chinese labor. Her bold rereading of these authors' contradictory positions on race and labor sees the figure of the Chinese worker as both hiding and making visible the legacy of slavery and antiblackness. Ultimately, The Peculiar Afterlife of Slavery shows how the Chinese worker manifests the inextricable links between US literature, slavery, and empire, as well as the indispensable role of antiblackness as a cultural form in the United States.

Race in literature. --- American Literature. --- Antiblackness. --- Blackface Minstrelsy. --- Chinese Exclusion. --- Chinese Labor. --- Comparative Racialization. --- Empire. --- Nineteenth-Century American Literature. --- Reconstruction. --- Slavery. --- American literature --- Foreign workers, Chinese, in literature. --- Minstrel shows. --- Racism in literature. --- History and criticism. --- West (U.S.) --- In literature. --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Revues --- Vaudeville --- Blackface entertainers --- American minstrelsy --- Minstrelsy --- Minstrelsy, American

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"Before Sophie Tucker "corked up" to entertain her audiences with ragtime songs in Negro dialect, and before Fanny Brice stumbled into the footlights in her rendition of the "Dying Swan," May Irwin (1862-1938) was the reigning queen of comedy and "coon" songs on the American stage. This project, the first serious study of May Irwin, traces the comedic performer's colorful and successful career and also examines the strategies that Irwin employed to maintain both popularity and power while stepping far outside traditionally defined boundaries of late nineteenth-century womanhood. Ammen considers the content and style of Irwin's comedy; her repertoire and status as a "coon shouter"; her position as a celebrated cook and homemaker; and her social and political activities. Irwin's career began as a singing act with her younger sister, Flora, when May was 12. The Irwin Sisters achieved enough success over the next few years to gain a regular spot at Tony Pastor's popular theatre in New York City. After six years with Pastor, May, then 21, struck out on her own and went to work for Augustin Daly's stock company, where she developed her comedic and improvisational skills. By the 1890s she was established as a star on the vaudeville circuit as well as the legitimate stage and a few films. In addition to her theatrical work, both onstage and as a manager, Irwin was also known as an accomplished homemaker and loving mother; a political activist; a real estate tycoon; a prolific composer of songs; and the writer of many articles as well as a popular cookbook"--

SOCIAL SCIENCE / Ethnic Studies / African American Studies. --- PERFORMING ARTS / Theater / History & Criticism. --- MUSIC / History & Criticism. --- Minstrel music --- Minstrel shows --- American minstrelsy --- Blackface minstrelsy --- Ethiopian operas (Minstrel music) --- Ethiopian songs (Minstrel music) --- Minstrel songs --- Minstrelsy, American --- Minstrelsy, Blackface --- Operas, Ethiopian (Minstrel music) --- Songs, Ethiopian (Minstrel music) --- Popular music --- Revues --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Vaudeville --- Blackface entertainers --- History and criticism. --- History. --- Irwin, May, --- Campbell, Georgina May, --- Eisfeldt, Kurt, --- Criticism and interpretation. --- Minstrelsy --- American minstrel music --- Minstrel show songs

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Blackface entertainers --- Minstrel music --- Minstrel shows --- African American minstrel shows --- Blackfaced minstrel shows --- Negro minstrel shows --- African Americans in the performing arts --- Revues --- Vaudeville --- American minstrelsy --- Blackface minstrelsy --- Ethiopian operas (Minstrel music) --- Ethiopian songs (Minstrel music) --- Minstrel songs --- Minstrelsy, American --- Minstrelsy, Blackface --- Operas, Ethiopian (Minstrel music) --- Songs, Ethiopian (Minstrel music) --- Popular music --- Black-face entertainers --- Entertainers, Blackface --- Entertainers --- History and criticism --- History --- Dixon, George Washington, --- Dixon, G. W. --- United States --- Race relations. --- Social conditions --- Race question --- Race relations --- Dixon, George Washington --- 19th century --- Minstrels (Blackface entertainers) --- Minstrelsy --- American minstrel music --- Minstrel show songs --- Blackfaced entertainers --- Blackface minstrel shows --- MINSTREL SHOWS --- MINSTREL MUSIC --- BLACKFACE ENTERTAINERS --- DIXON (GEORGE WASHINGTON), 1808-1861 --- U.S. --- RACE RELATIONS --- HISTORY --- SOCIAL CONDITIONS --- 19th CENTURY