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Prior to the 1960's, when African Americans had little access to formal political power, black popular culture emerged as a tool to forge community and effect political change. However, with the new avenues opened to African Americans in the post-Civil Rights era, many believe the influence of black popular culture on the political sphere began to diminish steadily. Yet as Richard Iton shows in this uniquely trenchant volume, despite the changes brought about by the Civil Rights movement--and contrary to the wishes of those committed to narrower conceptions of politics--black artists have...

African Americans --- African Americans in popular culture. --- Popular culture --- Political culture --- Politics and government --- Political aspects --- Race identity --- Political aspects. --- Intellectual life. --- United States --- Race relations --- African American intellectuals --- Afro-Americans --- Black Americans --- Colored people (United States) --- Negroes --- Africans --- Ethnology --- Blacks --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Afro-Americans in popular culture --- Black people

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Between the 1920s and the 1970s, American economic culture began to emphasize the value of consumption over production. At the same time, the rise of new mass media such as radio and television facilitated the advertising and sales of consumer goods on an unprecedented scale. In Style and Status: Selling Beauty to African American Women, 1920--1975, Susannah Walker analyzes an often-overlooked facet of twentieth-century consumer society as she explores the political, social, and racial implications of the business devoted to producing and marketing beauty products for African American women. Walker examines African American beauty culture as a significant component of twentieth-century consumerism, and she links both subjects to the complex racial politics of the era. The efforts of black entrepreneurs to participate in the American economy and to achieve self-determination of black beauty standards often caused conflict within the African American community. Additionally, a prevalence of white-owned firms in the African American beauty industry sparked widespread resentment, even among advocates of full integration in other areas of the American economy and culture. Concerned African Americans argued that whites had too much influence over black beauty culture and were invading the market, complicating matters of physical appearance with questions of race and power. Based on a wide variety of documentary and archival evidence, Walker concludes that African American beauty standards were shaped within black society as much as they were formed in reaction to, let alone imposed by, the majority culture. Style and Status challenges the notion that the civil rights and black power movements of the 1950s through the 1970s represents the first period in which African Americans wielded considerable influence over standards of appearance and beauty. Walker explores how beauty culture affected black women's racial and feminine identities, the role of black-owned businesses in African American communities, differences between black-owned and white-owned manufacturers of beauty products, and the concept of racial progress in the post--World War II era. Through the story of the development of black beauty culture, Walker examines the interplay of race, class, and gender in twentieth-century America.

African Americans in popular culture --- Popular culture --- Beauty culture --- Beauty, Personal --- African American women --- Afro-Americans in popular culture --- Cosmetology --- Beauty shops --- Cosmetics --- Beauty --- Complexion --- Grooming, Personal --- Grooming for women --- Personal beauty --- Personal grooming --- Toilet (Grooming) --- Hygiene --- Afro-American women --- Women, African American --- Women, Negro --- Women --- History --- Economic aspects --- Social aspects --- Race identity. --- Social conditions --- United States --- Race relations

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When the actor Ted Danson appeared in blackface at a 1993 Friars Club roast, he ignited a firestorm of protest that landed him on the front pages of the newspapers, rebuked by everyone from talk show host Montel Williams to New York City's then mayor, David Dinkins. Danson's use of blackface was shocking, but was the furious pitch of the response a triumphant indication of how far society has progressed since the days when blackface performers were the toast of vaudeville, or was it also an uncomfortable reminder of how deep the chasm still is separating black and white America?

African Americans in popular culture. --- Blackface --- Arts, American --- Arts, Modern --- Algonquin Round Table --- Catharctic Circle (Group of artists) --- Afro-Americans in popular culture --- Popular culture --- Impersonation --- History --- Blackface entertainers --- Black-face entertainers --- Entertainers, Blackface --- Minstrels (Blackface entertainers) --- Entertainers --- Minstrel shows --- Blackfaced entertainers --- Blackface minstrel shows

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African Americans --- African Americans in popular culture. --- African Americans in art. --- Human body --- Body image --- Anthropometry --- Skeletal remains --- Physical anthropology --- Body size --- Negritude --- Afro-Americans in popular culture --- Popular culture --- Afro-Americans in art --- Negroes in art --- Race identity. --- Social aspects. --- Ethnic identity

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A consideration of the performance of Blackness and race in general, in relation to sexuality and critiques of authenticity.

African Americans --- African Americans in popular culture. --- Authenticity (Philosophy) --- Performing arts --- Show business --- Arts --- Performance art --- Philosophy --- Afro-Americans in popular culture --- Popular culture --- African American intellectuals --- Negritude --- Race identity. --- Intellectual life. --- Political aspects --- Social aspects --- Ethnic identity --- United States --- Race relations. --- Race question