Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté. Image fixe : sans médiation
Auteur(s) : Taylor, Yuval
Austen, Jake
Titre(s) : Darkest America [Texte imprimé] : black minstrelsy from slavery to hip-hop / Yuval Taylor and Jake Austen
Édition : 1st ed
Publication : New York : W. W. Norton, 2012
Description matérielle : 1 vol. (XVI-364 p.) : ill. ; 22 cm
Comprend : Racial pixies : how Dave Chappelle got bamboozled by the Black minstrel tradition
; Darkest America : how nineteenth-century Black minstrelsy made blackface black
; Of cannibals and kings : how New Orleans' Zulu Krewe survived one hundred years
of blackface ; Nobody : how Bert Williams dignified blackface ; I'se regusted :
how Stepin Fetchit, Amos, Andy, and company brought Black minstrelsy to the twentieth-century
screen ; Dyn-o-mite : how Cosby blew up the minstrel tradition, and J.J. put it back
together ; That's why darkies were born : how Black popular singers kept minstrelsy's
musical legacy alive ; Eazy duz it : how Black minstrelsy bum-rushed hip-hop ; We
just love to dramatize : how Zora Neale Hurston let her Black minstrel roots show
; New millennium minstrel show : how Spike Lee and Tyler Perry brought the Black minstrelsy
debate to the twenty-first century.
Note(s) : Includes bibliographical references (p. [309]-331) and index
Yuval Taylor and Jake Austen investigate the complex history of black minstrelsy,
adopted in the mid-nineteenth century by African American performers who played the
grinning blackface fool to entertain black and white audiences. We now consider minstrelsy
an embarrassing relic, but once blacks and whites alike saw it as a black art form--and
embraced it as such. And, as the authors reveal, black minstrelsy remains deeply relevant
to popular black entertainment, particularly in the work of contemporary artists like
Dave Chappelle, Flavor Flav, Spike Lee, and Lil Wayne. Darkest America explores the
origins, heyday, and present-day manifestations of this tradition, exploding the myth
that it was a form of entertainment that whites foisted on blacks, and shining a sure-to-be
controversial light on how these incendiary performances can be not only demeaning
but also, paradoxically, liberating
Sujet(s) : Minstrel shows -- États-Unis -- Histoire
Hip-hop -- États-Unis -- Histoire
Noirs américains dans les arts du spectacle -- États-Unis -- Histoire
Identifiants, prix et caractéristiques : ISBN 978-0-393-07098-9 (rel.)
Identifiant de la notice : ark:/12148/cb43745734c
Notice n° :
FRBNF43745734
(notice reprise d'un réservoir extérieur)
