...Radzikowski US History 2A 08/05/2016 American Blackface Minstrelsy of the 1800’s The Minstrel Show offers us an abnormal, intriguing and dreadful marvel. Minstrel shows rose up out of preindustrial European conventions of concealing and festival. Be that as it may, in the US they started in the 1830s, with average white working men taking on the appearance of plantation slaves. These men mocked black music and dance, joining brutal parody of black Americans with bona fide affection for African American social structures. By the Common War the minstrel show had gotten to be world popular and respectable. Late in his life Mark Twain affectionately recalled the "outdated nigger appear" with its vivid comic blacks and its stirring tunes and moves.(Lott 68) By the 1840s, the minstrel show had ended up one of the focal occasions in the way of life of the Democratic political party. Of course every beginning has its end, but by 1890 minstrelsy had shaped a little part of American excitement. Blackface minstrelsy was the first particularly US showy structure. In the 1830s and 1840s, it was at the ascent's center of a US music industry, and for a very long while it gave the lens through which the white US saw the clack people of the US. From one perspective, it had solid views; on the other, it managed white Americans a particular and wide attention to what a few whites considered huge parts of dark American society to be. Minstrel shows where massively popular before slavery was...
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...Blackface Chic: High Fashion, Racechange and Cultural Tourism Race, Identity, and Public Culture Popular cultural representations, in particular those in the fashion industry, have recently reinvented a historically loaded image in their performances: blackface.1 In the past several years, blackface and other images of physical transformations of race have appeared in a number of high and popular fashion contexts including a “yellowface” fashion show in Shanghai sponsored by Karl Lagerfeld, supermodel Heidi Klum photographed wearing only chocolate syrup, an issue of French Vogue featuring a white model in black body paint and elaborate “African-inspired” costuming, a photograph in V Magazine of two models, one in blackface and one white, wrestling, two episodes of America’s Next Top Model involving racial and biracial transformation, and an editorial naming American Apparel and showing a woman in blackface. Blackface, though in a contemporary form more accurately described by the term “racechange,” or the performance of one race by another (Gubar 2000), far from being taboo have become an aesthetic in the fashion industry. Though popular magazines and newspapers such as Essence and a number of fashion blogs have responded to particular instances of racial transformation, there is relatively little scholarly work on the rise of racechange in contemporary fashion. This essay attempts to fill that gap in scholarship by examining racial transformation through...
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...Blues vs Country music According to Etta James in an interview with American Chronicle: "The Blues and country are first cousins ... What I look for in a song is for the story to be for real. I like a blood and guts kind of thing. That's what you find in the lyrics of country music." Blues and country music both developed in the 19th century in the Southern United States. They share a similar history. For this reason, they share many of the same musical and lyrical characteristics. Read more: How to Compare Blues & Country Music | eHow.com http://www.ehow.com/how_5888119_compare-blues-country-music.htInstructions 1. * 1 Learn the history behind blues and country music. They are both forms of American folk music influenced by earlier styles brought overseas. Blues music grew out of field hollers and chants sung by African slaves. Irish and Scottish balladeers borrowed the guitar and banjo of blues and thus created "country". According to Reebee Garofalo in "Rockin' Out: Popular Music in the USA", "Terms like country and blues are only used to separate the same kind of music made by blacks and whites ... designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources." Country is an offshoot of blues. They are essentially the same thing. In the PBS special, "Rhythm, Country and Blues," country is referred to as "white man's blues." * 2 Listen to...
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...OUTLINE OF U.S. HISTORY OUTLINE OF OUTLINE OF U.S. HISTORY C O N T E N T S CHAPTER 1 Early America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 CHAPTER 2 The Colonial Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 CHAPTER 3 The Road to Independence . . . . . . . . . . . . . . . . . . . . . . . . . . 50 CHAPTER 4 The Formation of a National Government . . . . . . . . . . . . 66 CHAPTER 5 Westward Expansion and Regional Differences . . . . . . . 110 CHAPTER 6 Sectional Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 CHAPTER 7 The Civil War and Reconstruction . . . . . . . . . . . . . . . . . . 140 CHAPTER 8 Growth and Transformation . . . . . . . . . . . . . . . . . . . . . . . 154 CHAPTER 9 Discontent and Reform . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 CHAPTER 10 War, Prosperity, and Depression . . . . . . . . . . . . . . . . . . . . 202 CHAPTER 11 The New Deal and World War I . . . . . . . . . . . . . . . . . . . . . 212 CHAPTER 12 Postwar America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 CHAPTER 13 Decades of Change: 1960-1980 . . . . . . . . . . . . . . . . . . . . . 274 CHAPTER 14 The New Conservatism and a New World Order . . . . . . 304 CHAPTER 15 Bridge to the 21st Century . . . . . . . . . . . . . . . . . . . . . . . . . 320 PICTURE PROFILES Becoming a Nation . . . . . . . . . . . . . ....
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