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Blackface Nation: Race, Reform, And Identity In American Popular Music, 1812-1925

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Blackface Nation: Race, Reform, and Identity in American Popular Music, 1812-1925

by Brian Roberts

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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.

 

 

 

 

 

 

 

 

 

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Visit amazon Related Items Ethnomusicology No Related Items Found New Ethnomusicology Oliver Mtukudzi: Living Tuku Music in Zimbabwe (African Expressive Cultures)Necessary Noise: Music, Film, and Charitable Imperialism in the East of CongoThe Tango Machine: Musical Culture in the Age of Expediency (Chicago Studies in Ethnomusicology)Jews, Music and the American West: Portraits of PioneersPunk Ethnography: Artists & Scholars Listen to Sublime Frequencies (Music/Culture)Everyday Creativity: Singing Goddesses in the Himalayan Foothills (Big Issues in Music)Issues in African American Music: Power, Gender, Race, RepresentationKeys to Play: Music as a Ludic Medium from Apollo to NintendoHow Music WorksBlackface Nation: Race, Reform, and Identity in American Popular Music, 1812-1925 Top 10 Selling Ethnomusicology Just around Midnight: Rock and Roll and the Racial ImaginationHow Music WorksOliver Mtukudzi: Living Tuku Music in Zimbabwe (African Expressive Cultures)Guitar:Guitar Music Book For Beginners, Guide How To Play Guitar Within 24 Hours (Guitar lessons, Guitar Book for Beginners, Fretboard, Notes, Chords,)How Music WorksBlues People: Negro Music in White AmericaJust Vibrations: The Purpose of Sounding GoodWayfaring Strangers: The Musical Voyage from Scotland and Ulster to AppalachiaTheorizing the Local: Music, Practice, and Experience in South Asia and BeyondMusic as Social Life: The Politics of Participation (Chicago Studies in Ethnomusicology) Reviews Race Matters by Cornel West Reviews, Discussion .Race Matters has 7,146 ratings and 235 reviewsTable of Contents Contents Review Quotes Contents AcknowledgmentsIntroduction 1 Carnival 2 The Vulgar Republic 3 Jim Crow’s Genuine Audience 4 Black Song 5 Meet the Hutchinsons 6 Love Crimes 7 The Middle-Class Moment 8 Culture Wars 9 Black America 10 Conclusion: Musical without EndNotes Index Review Quotes David Roediger, University of Kansas “It is no easy thing to produce a strikingly original book covering blackface minstrelsy, a topic on which longstanding, cross-disciplinary, and voluminous scholarship existsAs 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 minstrelsyAll services provided under terms schema:about > ; # Popular music--United States--19th century--History and criticism schema:about > ; # Musique populaire--tats-Unis--20e sicle--Histoire et critique schema:author > ; # Brian Roberts schema:bookFormat bgn:PrintBook ; schema:copyrightYear "2017" ; schema:datePublished "2017" ; schema:description "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 AmericanMusique noire americaine -- Etats-Unis -- Histoire et critiqueEnglish 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 Vulgar RepublicDOI: 10.7208/chicago/9780226451787.003.0002[patriotism;republicanism;broadside ballads;popular culture;cmmunalism;Psalms;American Revolution;War of 1812;Nathaniel Coverly Jr.;female trickster]This chapter further explores the origin of ideals associated with American identity and the development of national ideals of patriotism through broadside ballads in the early nineteenth centuryBy 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-fashionedThe groups songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, womens rights, and socialismTHIS CONTENT IS PROVIDED 'AS IS' AND IS SUBJECT TO CHANGE OR REMOVAL AT ANY TIMESubject(s):60th Street Chicago, IL 60637 USA Voice: 773.702.7700 Fax: 773.702.9756 Privacy Policies Site Map Bibliovault Chicago Manual of Style Turabian Scientific Style and Format University of Chicago 520 8 a 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 AmericanMiddle class white men, however, were not willing to cede all masculinity and authenticity to the working classOutside the USA, see our international sales information

 

Format:Chicago : The University of Chicago Press, 2017Bibliographic references:Summary note:The Hutchinson Family Singers, the Northeast's most popular middle-class singing group during the mid-nineteenth century, are perhaps the best example of the first strain of music

 

9780226451503, 022645150X, 9780226451640, 022645164X, 9780226451787News National News - ABC NewsSections; Top Stories; Video; Election; U.SAt 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 orderBlackface 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 superiority596 a 12 999 a ML3479 .R63 2017 w LC i X031761282 l STACKS m MUSIC t BOOK650 0 a Minstrel music z United States x History and criticismPopular music -- United States -- 19th century -- History and criticismHistory 2ffeafca65

 

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