...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 Late in his life Mark Twain affectionately recalled the "outdated nigger appear" with its vivid comic blacks and its stirring tunes and moves.(Lott 68) By the 1840s, the minstrel show had ended up one of the focal occasions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 abolished...
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...Lecture 1 July 4, 2012 • Popular Music in the United States: o Lies in the African-American Population o West African music was brought into America and was thrown into a mixing pot that the slave population count themselves as Americans. o Blues is the beginning of Jazz, Rock and R&B • Congo Square –Passage from book: History of Jazz o An eligible black man sits with a large cylinder drum using his fingers and edge of his hand he jams repeatedly on the drum head which is around 14 diameters and probably made from animal skin. ____________________ with rapid sharp strokes. A second drummer holding his instrument between his knees joins in, playing with the same ______ attack. A third black man seated on the ground _________ instrument the body of which is rashly fashioned from the calabash. Another calabash which has been made into a drum and a woman beats at it with two short sticks. One voice then another voice, then other voices join in a dance of scene contradictions __________ give and take ___________ one handed performance spontaneous yet on closer inspection ritualize and precise is a dance of massive proportions, a dense crowded _________ performed in circular groups perhaps five or six hundred individuals moving in time to the pulsations of the music some swaying gently and others aggressively stumping their feet. A number of women in the group begin chanting. This scene could be Africa, in fact it is 19th century in New Orleans scattered first handed...
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...Spirituals were used among the time of the American Civil War and the Reconstruction period. Sojourner Truth and Harriet Tubman, two great civil war heroes, used them in their fight for slave freedom. Sojourner Truth used spirituals in help to convert black troops to join the Union Army. Harriet Tubman used them in her journeys of freeing slaves. Two of Harriets main songs were Swing Low, Sweet Chariot and Go Down, Moses. This was the characteristic of being the first spiritual published with music in the United States. During the early days of the civil war, Harriet Tubman and her friend would write articles and would spread the word about spirituals throughout the south. This became known as one of the most important point in African-American music. Not only did Sojourner Truth and Harriet Tubman use spirituals, but Abraham Lincoln also sang them in his time. He would sing...
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...Blackface minstrelsy was a popular form of entertainment for white audiences beginning in the 19th century. In the name of mocking black’s perceived physical and mental stereotypes, performers would dress in a makeup to represent a black person. Performers would achieve this “blackface” appearance by smothering their face in burnt cork or coca butter to create the black-face appearance. For additional effect, the actors would paint their lips and wear ridiculously overdone costume to enforce the stigma of blacks being poor, uneducated, and easily manipulated. To represent a variety of different types of characters, there were common “personalities” of black face that existed at most shows. The Zip Coon black face mocked free blacks by dressing elaborately but continuously making...
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...His first true break came around the year 1892, when he was hired for a small part in the show The South Before the War. Robinson was a member of the show for just over a year before having to leave his role due to his aging and growth. By 1898, Robinson had returned to Richmond and enlisted as a drummer for the American-Spanish war, but was in New York as an entertainer once again by 1900. Known for his singing, it wasn’t until he competed in a buck-and-wing dance contest that he gained popularity for the style. From that point, Robinson worked in a multitude of venues and with varying dance partners. When vaudeville greatly decreased in popularity, Robinson furthered his experience by dancing on Broadway. By 1930, Robinson introduced to Hollywood with roles in films. Although a greater advance than dancing on stage, blacks were still assigned to inferior roles, such as servants. While many took those roles and played them as instructed, others such as Robinson saw opportunity. While “some black actors neglected to individualize or take ownership of their roles,” Robinson imbued his assigned roles with his own unique personality, giving them a presence all their own (Fain 53). Most often in modern times he is remembered for his movies made with Shirley Temple, of which there were four, and more...
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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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...settlers of this nation, the Puritans set the mold for many common American ideologies. In the Puritan view white represented good and black represented evil, including Africans and their culture. After the war, Baldwin states that the former puritanical views of whites will be challenged. Musicians such as Elvis Presley were the first to issue this challenge to white society. Early rockers like Elvis would pave the way for social commentary in music that would add much fire to the Civil Rights Movement. To fully understand the explosion of popularity of Black music in the years following World War II, one must understand the social conditions in which Blacks and Whites lived in the South. An article entitled “Not Just the Same Old Show on my Radio” delves into the very issues behind racism. The article names three aspects necessary for social segregation to exist a stigmatism of the oppressed group; signs of “labeled interaction” between groups, and a hierarchy of discrimination. (Kloosterman, Quispel...
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...[pic][pic][pic][pic][pic][pic][pic][pic][pic][pic] [pic][pic] Bottom of Form • Issues [pic] Reviews How Reality TV—And Its Criticism—Falls Flat Posted Friday, November 12, 2010 in Reviews by Erin Polgreen [pic][pic][pic] Top of Form [pic][pic][pic][pic][pic][pic][pic][pic][pic][pic] [pic] Bottom of Form [pic]Elimination-fueled competitions and make-over shows complete with product placement are everywhere these days. It seems reality television, sometimes called "unscripted" programming, is here to stay. The genre is redefining the way we interact with, understand, and socialize with our fellow Americans. It's not here for your approval and, to use a cliché commonly associated with the genre, it’s not here to make friends. Part of the reason for the resurgence in reality television is that it's the cheapest way to fill programming blocks. While we see much more of it today, reality TV is nothing new. It's been around since Candid Camera, which documented sneaky practical jokes on unsuspecting average joes, debuted in 1948. But things have changed since then. The genre hit its second stride in 2000 with Survivor, an elimination show in which “castaways” compete to win big by roughing it for the longest, and since then the genre has presented increasingly regressive caricatures of women, men, poor people, and people of color. In Reality Bites Back: The Troubling Truth about Guilty Pleasure TV, media critic and activist Jennifer Pozner takes on the much-maligned staple of cable and...
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...The Lake Poets The Rime of the Ancient Mariner Poem by Samuel Taylor Coleridge hone his craft. Troubled by debt, though, he left Cambridge in 1793 and enlisted in the 15th Dragoons, a British army regiment, under the alias Silas Tomkyn Comberbache. After being rescued by his brothers, Coleridge returned to Cambridge, but he left again, in 1794, without having earned a degree. That year, Coleridge met the author Robert Southey, and together they dreamed about establishing a utopian community in the Pennsylvania wilderness of America. Southey, however, backed out of the project, and their dream was never realized. notable quote “No man was ever yet a great poet, without being at the same time a profound philosopher.” fyi Did you know that Samuel Taylor Coleridge . . . • developed a fascination with the supernatural at age five? • was known as a brilliant and captivating conversationalist? • was the most influential literary critic of his day? • liked to write poetry while walking? Samuel Taylor Coleridge 1772–1834 Samuel Taylor Coleridge is famous for composing “Kubla Khan” and “The Rime of the Ancient Mariner,” considered two of the greatest English poems. As a critic and philosopher, he may have done more than any other writer to spread the ideas of the English romantic movement. Precocious Reader The youngest of ten For more on Samuel Taylor Coleridge, visit the Literature Center at ClassZone.com. children, Coleridge grew up feeling rejected by his...
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...The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and was published in 1798 in the first edition of Lyrical Ballads. Modern editions use a later revised version printed in 1817 that featured a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature. The Rime of the Ancient Mariner relates the experiences of a sailor who has returned from a long sea voyage. The Mariner stops a man who is on the way to a wedding ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from bemusement to impatience and fear to fascination as the Mariner's story progresses, as can be seen in the language style: for example, Coleridge uses narrative techniques such as personification and repetition to create either a sense of danger, of the supernatural or of serenity, depending on the mood of each of the different parts of the poem. The Mariner's tale begins with his ship departing on its journey. Despite initial good fortune, the ship is driven south off course by a storm and eventually reaches Antarctica. An albatross (symbolizing the Christian soul) appears and leads them out of the Antarctic but, even as the albatross is praised by the ship's crew, the Mariner shoots the bird ("with my cross-bow / I shot the albatross"). The crew is angry with the Mariner, believing the albatross...
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...“Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles I & Parliament followed by the 2nd civil war, 1641-1651. During these years...
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...these and other artists from the early years of rap through the late 1980’s including KRS-One, Public Enemy, Queen Latifah and LL Cool J, fast beats and socially relevant lyrics were among the primary components of the music. By the 1990’s a new face of rap music emerged. It began with Ice T and later gained popularity with artists such as NWA (Niggaz Wit Attitude) whose first album shocked and titillated the rap world with their obscene lyrical content and unabashed “gangsta” style, since then dubbed by the media as “gangsta rap.” Despite the growing acceptance of Hip-hop within white America and the middle class, Hip-hop is, at times understandable, also under siege. Comments made on rap or Hip-hop by Bill O'Reilly, popular talk show host on the Fox News Channel solidify that: Did you know that in 1999...
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...6/9/13 10 - A History of English Literature Classic Literature Read about A History of English Literature. More E-texts A History of English Literature 1918 by Robert Huntington Fletcher Education Share Preface | How to Study | Tabular View | Chapters: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Assignments Chapter X. Period VIII. The Romantic Triumph, 1798 To About 1830 The Great Writers of 1798-1830 | Samuel Taylor Coleridge | William Wordsworth | Robert Southey | Walter Scott | Last Group of Romantic Poets | Percy Bysshe Shelley | John Keats | Summary | Lesser Writers | THE GREAT WRITERS OF 1798-1830. THE CRITICAL REVIEWS. As we look back to-day over the literature of the last three quarters of the eighteenth century, here just surveyed, the progress of the Romantic Movement seems the most conspicuous general fact which it presents. But at the, death of Cowper in 1800 the movement still remained tentative and incomplete, and it was to arrive at full maturity only in the work of the great writers of the following quarter century, who were to create the finest body of literature which England had produced since the Elizabethan period. All the greatest of these writers were poets, wholly or in part, and they fall roughly into two groups: first, William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Walter Scott; and second, about twenty years younger, Lord Byron, Percy Bysshe Shelley, and John Keats. This period of Romantic Triumph, or of the...
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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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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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