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Minstrel shows --- Blackface entertainers --- Minstrel music. --- United States

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Sociology of minorities --- Music --- United States --- Blackface entertainers --- Minstrel music. --- Minstrel shows --- History. --- Minstrel music --- History --- Biography --- Race relations --- United States of America --- MINSTREL SHOWS --- MINSTREL MUSIC --- BLACKFACE ENTERTAINERS --- RACE RELATIONS --- U.S.

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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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"As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in Blackface Nation, this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast's most popular middle-class singing group during the mid-nineteenth century, is perhaps the best example of the first strain of music. The group's songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women's rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America's consumer culture while the Hutchinsons' songs were increasingly regarded as old-fashioned. Blackface Nation elucidates the central irony in America's musical history: much of the music that has been interpreted as black, authentic, and expressive was invented, performed, and enjoyed by people who believed strongly in white superiority. At the same time, the music often depicted as white, repressed, and boringly bourgeois was often socially and racially inclusive, committed to reform, and devoted to challenging the immoralities at the heart of America's capitalist order."--

African Americans --- African Americans --- Ethnische Identität. --- Minstrel music --- Minstrel music. --- Mittelstand. --- Music and race --- Music and race. --- Nationalismus. --- Popular music --- Popular music --- Popular music. --- Schwarze. --- Unterhaltungsmusik. --- Music --- History and criticism. --- Music. --- History and criticism --- History --- History and criticism --- History and criticism --- 1800-1999. --- USA. --- United States.

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As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in Blackface Nation, this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast's most popular middle-class singing group during the mid-nineteenth century, is perhaps the best example of the first strain of music. The group's songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women's rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America's consumer culture while the Hutchinsons' songs were increasingly regarded as old-fashioned. Blackface Nation elucidates the central irony in America's musical history: much of the music that has been interpreted as black, authentic, and expressive was invented, performed, and enjoyed by people who believed strongly in white superiority. At the same time, the music often depicted as white, repressed, and boringly bourgeois was often socially and racially inclusive, committed to reform, and devoted to challenging the immoralities at the heart of America's capitalist order.

African Americans --- Popular music --- Minstrel music --- Music and race --- Music --- History and criticism. --- History. --- African Americans. --- Hutchinson Family Singers. --- Nineteenth Century. --- United States History. --- abolitionism. --- blackface mMinstrelsy. --- national identity. --- patriotism. --- popular culture. --- popular music. --- racism.