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Black Like You: Blackface, Whiteface, Insult & Imitation in American Popular Culture
A refreshingly clearheaded and taboo-breaking look at race relations reveals that American culture is neither Black nor White nor Other, but a mix-a mongrel.
Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Black Like You shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak.
Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and
- American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel.
- No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in "whiteface"-can be seen all around us today.
Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Black Like You shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak.
Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and
- American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel.
- No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in "whiteface"-can be seen all around us today.
384 pages, Paperback
First published June 8, 2006
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Displaying 1 - 18 of 18 reviews
December 21, 2008
Incredibly fascinating book about The African slave and Black American influence on American white culture and how the two cultures are intertwined. At first I was angry because of the racist aspect of how White America embraced Black Culture but then I got over it and realized that Blacks took as much from White culture as They did from Blacks. It reminds me of when I was a little girl and a Black soul singer did a cover of Hey Jude. When I heard the Beatles' version, I was highly indignant that a white group stole a black man's song. I was so embarrassed when I found out that the Beatles' version was the original. It's also telling that I don't remember who the black person who covered that song is anymore and that I love the Beatles and know all their music now. I am a product of White American culture as much as I'm a product of Black American culture. This book gracefully explains most of the hows and whys of how it began and where is it going.
January 9, 2008
In short, this book is an exceptional history of what blackface and minstrelsy mean in relation to whether or not they are a racist attack or a genuine expression of love toward black people and our culture. It’s a complicated issue, and author John Strausbaugh sets the record straight with a cornucopia of verifiable facts and general info. No joke, this is the best history book I have read since I don’t don’t know when.
August 30, 2008
During the late 1800's and early 1900's minstrel shows mocking black life in the South were well attended and received rave reviews. Politicians, clergymen, and scholars filled the theaters each night to watch “darkies” make fools of themselves. Sometimes the most talented African American performers would appear in the shows, hoping to make a name for themselves. Dancing along with Caucasian men in Blackface, a style of makeup that made white people appear black and mocked black culture, they supported the myths surround their culture. Many people that attended these shows had grown up in a plantation setting, and had never had exposure to “real, live darkies.” The damage these minstrel films did to black culture can still be felt throughout the nation. The characters created, such as “The Mammy,” the lazy negro, and the Coon have been forever immersed into popular culture. It is a shameful legacy of cruel entertainment, but unfortunately there was a huge market for racism in entertainment. The book Black Like You by John Strasubaugh documents the stories of African Americans that participated in black minstrely, and presents the damaging symbolic effect of their acts. Strausbaugh also presents the history of the white man in Blackface, and the power of his role as an oppressor.
John Strausbaugh is a regular contributor to The New York Times. He is a critical observer of pop culture, and sometimes works as a music journalist. He lives in Brooklyn, New York which adds to his perspective on the various theaters in Harlem and how they were damaged by Blackface. He is still alive, and is currently doing research on a book about '50's rock and rebellion. His other books include E: Reflections on the Birth of the Elvis Faith and Rock Til You Drop. Being both an active consumer of pop culture and a historian Strausbaugh is well qualified to write on this subject. Of course, some may judge him for being a white man writing about a black problem, but every author faces criticism. It is important to add that this analysis of the author's credibility is entirely original, though it was tempting to copy the jacket blurb. Strausbaugh presents his interpretation of culture in a precise and unemotional manner, making his book an easy and informative read.
Black Like You begins by painting a picture of Blackface in the 21st century, and traces back the history of the racist tradition all the way back to European colonists mocking powerful Zulu warriors. The book mostly brings to light events or decisions that has made such an offensive, obvious, and humiliating stage show possible. He also exposes popular entertainers such as Bing Crosby as an active participant in Blackface, starring in the show Dixie. Judy Garland, Spencer Williams, and Shirley Temple are all household names and beloved stars from the “good old days,” but they “blackened up” more often than not. This book also exposes the hierarchy of Hollywood as a group of white men that attempt to humiliate whichever minority is least popular at the time. Sadly, African American and Hispanics are almost exclusively portrayed as criminals in the media. The theme of the willingness of societies to mistake entertainment as truth is found in all of the stories told. Society attempts to recreate the ideals portrayed on the silver screen, giving Hollywood and celebrities the power to shape our concept of normal. Is it natural to assume that black women sit on porches and eat watermelon? How many young Southern Belles had actually visited the home of a black woman in 1937? Few, but movies showing blacks as uneducated barbarians were being created and received by an audience eager to understand a mysterious culture. The misconception stuck, and many whites still have a feeling of superiority over blacks that can be contributed to the damage done by Blackface.
The thesis of the book is repeated at least once per chapter, but is most eloquently expressed with the quote “The so-called black and so-called white people of the United States resemble nobody else in the world so much as they resemble each other.” White culture and black culture, the author explains, is defined by fighting the labels the opposite assigns. Black people do not want to be seen as passive victims, so they create violent hip-hop as a reaction to oppression. White people feel threatened by the idea of a black community with black leaders so they first created Blackface to portray the black man in a way that was easy to ridicule. Then, they attempt to label hip-hop and other “mysterious black inventions” as low-culture. If that does not take all of the power away from the black man, whom has so far proven to be a strong-willed creature, white people attempt to make rap themselves. This is funny to the rest of the world, but at least whites feel good about themselves for a few minutes. Of course, the author purposely exaggerates, but he does have a valid point. If every culture would just relax and focus on individuality rather than group identity we would have a much more peaceful society. Utopia does not seem possible in the picture of the world Strausbaugh presents. Sadly, his analysis of a culture of oppression is accurate.
Obviously a well informed writer, the notes and bibliography section of this book is impressive. However, the points made by people that lived during the 1930's and '40's are the most convincing supports of the main thesis. Personal interviews and dialog excerpts from films best portray the blatant racism that originated in the south. Directors admitting to promising black actors parts and then humiliating them, housewives remarking that the darkies were and are out of control, and Al Johnson saying he can make a million dollars by “acting like a dumb nigger” are some highlights of the interviews. Statistics also play a vital role in convincing the reader that the amount of hatred targeted at blacks is unnatural. It may be natural to be weary of other cultures, but the measures independent white entertainers have taken to preserve white culture has been extreme.
To support the powerful interviews magazine articles, reviews from minstrel shows, and information from other books is used. Darius James, author of Negrophobia, and Afircan-American historian contributes to the book and wrote the afteword. This book is a goldmine of unbelievable documents. “Darkies Day at the Fair,” an image that appear in 1893 in Puck magazine is a favorite. It shows what looks like an entire African tribe lining up the streets of Chicago and making fools of themselves. It is incredibly offensive, but it helps the reader understand the mindset most whites had at the time. They were shown these images everyday, they were encouraged to create these images, this was powerful propaganda. With images like this in circulation, Blackface seems less deviant, and though still terribly cruel it seems less unbelievable.
This book can be enjoyed by any reader. The chapters on music and hip-hop would appeal to most students. The analysis of racial tension is unique and in-depth enough for a casual reader or a serious historian to appreciate. The general public seems oddly fascinated with Blackface and other such traditions of humiliation, and this book has sold well. Even if a racist white person picked up the book, it has some information about Whiteface that would appeal to even David Duke. This book is essentially about culture, and it is a very accessible read. It is rarely wordy, very sarcastic, makes new and interesting points, is well researched, gives several different interpretations of situations, and is revealing. Who knew Shirely Temple enjoyed “blackening up?” Pictures of Judy Garland in Blackface are alarming, but insightful.
I loved this book. I was pressed for time to read it, but somehow managed to devour it in a few days. I got a few looks when I carried it around in the Dr.'s office, but I was able to recommend it to a lot of people. Since John Strausbaugh has experience as a columnist and music journalist he knows what it takes to hold a reader's attention and still present the facts. I like books that are easy to read, and a lot of history books are very much over my head. This book easy read, hoorah! It has made a great addition to my library, and I am glad it caught my eye in the bookstore. Though, as the author points out, you can't judge a book by its cover.
John Strausbaugh is a regular contributor to The New York Times. He is a critical observer of pop culture, and sometimes works as a music journalist. He lives in Brooklyn, New York which adds to his perspective on the various theaters in Harlem and how they were damaged by Blackface. He is still alive, and is currently doing research on a book about '50's rock and rebellion. His other books include E: Reflections on the Birth of the Elvis Faith and Rock Til You Drop. Being both an active consumer of pop culture and a historian Strausbaugh is well qualified to write on this subject. Of course, some may judge him for being a white man writing about a black problem, but every author faces criticism. It is important to add that this analysis of the author's credibility is entirely original, though it was tempting to copy the jacket blurb. Strausbaugh presents his interpretation of culture in a precise and unemotional manner, making his book an easy and informative read.
Black Like You begins by painting a picture of Blackface in the 21st century, and traces back the history of the racist tradition all the way back to European colonists mocking powerful Zulu warriors. The book mostly brings to light events or decisions that has made such an offensive, obvious, and humiliating stage show possible. He also exposes popular entertainers such as Bing Crosby as an active participant in Blackface, starring in the show Dixie. Judy Garland, Spencer Williams, and Shirley Temple are all household names and beloved stars from the “good old days,” but they “blackened up” more often than not. This book also exposes the hierarchy of Hollywood as a group of white men that attempt to humiliate whichever minority is least popular at the time. Sadly, African American and Hispanics are almost exclusively portrayed as criminals in the media. The theme of the willingness of societies to mistake entertainment as truth is found in all of the stories told. Society attempts to recreate the ideals portrayed on the silver screen, giving Hollywood and celebrities the power to shape our concept of normal. Is it natural to assume that black women sit on porches and eat watermelon? How many young Southern Belles had actually visited the home of a black woman in 1937? Few, but movies showing blacks as uneducated barbarians were being created and received by an audience eager to understand a mysterious culture. The misconception stuck, and many whites still have a feeling of superiority over blacks that can be contributed to the damage done by Blackface.
The thesis of the book is repeated at least once per chapter, but is most eloquently expressed with the quote “The so-called black and so-called white people of the United States resemble nobody else in the world so much as they resemble each other.” White culture and black culture, the author explains, is defined by fighting the labels the opposite assigns. Black people do not want to be seen as passive victims, so they create violent hip-hop as a reaction to oppression. White people feel threatened by the idea of a black community with black leaders so they first created Blackface to portray the black man in a way that was easy to ridicule. Then, they attempt to label hip-hop and other “mysterious black inventions” as low-culture. If that does not take all of the power away from the black man, whom has so far proven to be a strong-willed creature, white people attempt to make rap themselves. This is funny to the rest of the world, but at least whites feel good about themselves for a few minutes. Of course, the author purposely exaggerates, but he does have a valid point. If every culture would just relax and focus on individuality rather than group identity we would have a much more peaceful society. Utopia does not seem possible in the picture of the world Strausbaugh presents. Sadly, his analysis of a culture of oppression is accurate.
Obviously a well informed writer, the notes and bibliography section of this book is impressive. However, the points made by people that lived during the 1930's and '40's are the most convincing supports of the main thesis. Personal interviews and dialog excerpts from films best portray the blatant racism that originated in the south. Directors admitting to promising black actors parts and then humiliating them, housewives remarking that the darkies were and are out of control, and Al Johnson saying he can make a million dollars by “acting like a dumb nigger” are some highlights of the interviews. Statistics also play a vital role in convincing the reader that the amount of hatred targeted at blacks is unnatural. It may be natural to be weary of other cultures, but the measures independent white entertainers have taken to preserve white culture has been extreme.
To support the powerful interviews magazine articles, reviews from minstrel shows, and information from other books is used. Darius James, author of Negrophobia, and Afircan-American historian contributes to the book and wrote the afteword. This book is a goldmine of unbelievable documents. “Darkies Day at the Fair,” an image that appear in 1893 in Puck magazine is a favorite. It shows what looks like an entire African tribe lining up the streets of Chicago and making fools of themselves. It is incredibly offensive, but it helps the reader understand the mindset most whites had at the time. They were shown these images everyday, they were encouraged to create these images, this was powerful propaganda. With images like this in circulation, Blackface seems less deviant, and though still terribly cruel it seems less unbelievable.
This book can be enjoyed by any reader. The chapters on music and hip-hop would appeal to most students. The analysis of racial tension is unique and in-depth enough for a casual reader or a serious historian to appreciate. The general public seems oddly fascinated with Blackface and other such traditions of humiliation, and this book has sold well. Even if a racist white person picked up the book, it has some information about Whiteface that would appeal to even David Duke. This book is essentially about culture, and it is a very accessible read. It is rarely wordy, very sarcastic, makes new and interesting points, is well researched, gives several different interpretations of situations, and is revealing. Who knew Shirely Temple enjoyed “blackening up?” Pictures of Judy Garland in Blackface are alarming, but insightful.
I loved this book. I was pressed for time to read it, but somehow managed to devour it in a few days. I got a few looks when I carried it around in the Dr.'s office, but I was able to recommend it to a lot of people. Since John Strausbaugh has experience as a columnist and music journalist he knows what it takes to hold a reader's attention and still present the facts. I like books that are easy to read, and a lot of history books are very much over my head. This book easy read, hoorah! It has made a great addition to my library, and I am glad it caught my eye in the bookstore. Though, as the author points out, you can't judge a book by its cover.
Want to Read
February 4, 2021From Follett: A refreshingly clearheaded and taboo-breaking look at race relations reveals that American culture is neither Black nor White nor Other, but a mix-a mongrel. "Black Like You" is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, "Black Like You" shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak. Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and vision: - American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel. - No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in "whiteface"-can be seen all around us today.
June 1, 2024
Interesting history of black entertainment in America.
September 16, 2012
This is what I wrote about the book back when I read it, in classic no-capitals style:
this book was actually rather a disappointment. it is definitely information-rich, but at a certain point it becomes very clear that strausbaugh's conclusion is twofold: that creole culture is inherently superior to the cultures that the creole draws from, mainly due to being more interesting and more fun, and that humor through offensive caricature, despite the problems, is fine, fine, fine.
the problem with both of these premises is that they ignore the critical issue of balance. creole cultures need the original cultures they draw from—not just as a source of ideas, but as a constant critique, a reminder of the roots of those ideas and a questioning of what is being done with them. the critique will not always be accurate or even worthwhile, but it needs to be there. the original cultures also provide a point to cling to in the creole mess. for better or for worse, it can let a person know who their family is, who they are, and a person can from there decide bad and good, their own bad and good, and how to grow and change from there. culture offers grounding, and i think that creole culture without original culture's critique is to swampy and chaotic and prone to change that as soon as you get a hold onto something, it's gone. (see fad culture, where something's out of style as soon as it's affordable to the masses.)
meanwhile, with humor through offensive caricature—this is interesting, because i agree with strausburgh's final conclusion, essentially that this humor will pop up in one form or another until the circumstances of this society leave no place for such humor. however, he also says 'therefore, quit worrying about it, it's natural,' which is a bit like ignoring a suntan. he seems to forget that 'until society changes' means that there's another option, and that tans tend to become burns if allowed to.
it's still a fine resource/starting point for looking at a lot of these issues as focused on spread through the media, even if that's mainly due to pointing the way towards a lot of potentially great stuff for lack of great conclusions of his own (although his footnote method sucks; rather than superscripted numbers or anything like that, at the end of the book the footnotes are each preceded by a snippet of the text they refer to, with no note in the text itself as to whether something is a reference or not).
this book was actually rather a disappointment. it is definitely information-rich, but at a certain point it becomes very clear that strausbaugh's conclusion is twofold: that creole culture is inherently superior to the cultures that the creole draws from, mainly due to being more interesting and more fun, and that humor through offensive caricature, despite the problems, is fine, fine, fine.
the problem with both of these premises is that they ignore the critical issue of balance. creole cultures need the original cultures they draw from—not just as a source of ideas, but as a constant critique, a reminder of the roots of those ideas and a questioning of what is being done with them. the critique will not always be accurate or even worthwhile, but it needs to be there. the original cultures also provide a point to cling to in the creole mess. for better or for worse, it can let a person know who their family is, who they are, and a person can from there decide bad and good, their own bad and good, and how to grow and change from there. culture offers grounding, and i think that creole culture without original culture's critique is to swampy and chaotic and prone to change that as soon as you get a hold onto something, it's gone. (see fad culture, where something's out of style as soon as it's affordable to the masses.)
meanwhile, with humor through offensive caricature—this is interesting, because i agree with strausburgh's final conclusion, essentially that this humor will pop up in one form or another until the circumstances of this society leave no place for such humor. however, he also says 'therefore, quit worrying about it, it's natural,' which is a bit like ignoring a suntan. he seems to forget that 'until society changes' means that there's another option, and that tans tend to become burns if allowed to.
it's still a fine resource/starting point for looking at a lot of these issues as focused on spread through the media, even if that's mainly due to pointing the way towards a lot of potentially great stuff for lack of great conclusions of his own (although his footnote method sucks; rather than superscripted numbers or anything like that, at the end of the book the footnotes are each preceded by a snippet of the text they refer to, with no note in the text itself as to whether something is a reference or not).
February 21, 2021
I'm not sure why the publisher put "lighthearted" anywhere in the back cover copy for this book and thought that adding 'erudite' would some how make that better. This book is a very serious and much-needed examination of blackface minstrel shows, how they started in America (as early as the war of 1812, by some accounts), the TD Rice school of blackface minstrelsy from where we got iconography and illustrations of the 'Jim Crow' figure from the song 'Jump Jim Crow,' which then led to the naming of the apartheid and segregation era in the US being named the Jim Crow era. It's a book that talks about why and how blackface minstrel shows became so enduringly popular among white American audiences, at one point toward the middle and end of the 19th century as the most popular form of entertainment in the United States. It fundamentally explains how blackface went from the stages of minstrel shows to vaudeville, to silent film and "The Birth of a Nation," to Al Jolson, to "No, wait, I'm trying to post a 'tribute' to Black performers in this country, but instead of actually hiring Black performers themselves, I'll just go and do blackface and pretend to be a Black person!" (Jolson). It's an essential primer for people who want to know more about the topic and aren't sure where to start. It is also just that -- a starting point -- which should then be followed up by several books including Nicholas Sammond's text on blackface minstrelsy in cartoon animation (Mickey Mouse, Bugs Bunny, Felix the Cat, and many more). It's an important topic and this book is essential to real.
February 9, 2015
Every once in a while, I find myself carrying around a book you don't want to have to explain on public transportation... If you are reading this review, I have to guess you are either on my friend list, or you are trying to suss out minstrel theater's trajectory from most popular American art form to national shame and taboo -- and how could that have taken so long?
John Strausbaugh tries to answer questions like these, drawing a larger picture of theatrical "ethnic caricatures" of all types, including black folk in blackface, black folk in whiteface, what to do about "Birth of a Nation," and the horror of Mickey Rooney as Japanese... without losing his audience at every turn.
This is an extensive catalog of what the subtitle calls "Blackface, Whiteface, Insult, and Imitation in American Popular Culture." It's a lot to cover - through every age of theatre, popular song, radio/television/film, even taking on Ebonics. Strausbaugh's tone is scholarly, but approachable, and even challenging at times. Rhetorical logic is often applied to these topics (why can YOU say this, and WE can't say this... why is THIS ok, but not THAT...) and it fails here as it often does. You simply CAN'T, and it simply ISN'T. But keep telling me more about these lost pioneers of black cinema, because that is educational. I was excited to discover that works by George Pal and Oscar Micheaux, whom I had not known before, can be found on YouTube, and are lost treasures.
John Strausbaugh tries to answer questions like these, drawing a larger picture of theatrical "ethnic caricatures" of all types, including black folk in blackface, black folk in whiteface, what to do about "Birth of a Nation," and the horror of Mickey Rooney as Japanese... without losing his audience at every turn.
This is an extensive catalog of what the subtitle calls "Blackface, Whiteface, Insult, and Imitation in American Popular Culture." It's a lot to cover - through every age of theatre, popular song, radio/television/film, even taking on Ebonics. Strausbaugh's tone is scholarly, but approachable, and even challenging at times. Rhetorical logic is often applied to these topics (why can YOU say this, and WE can't say this... why is THIS ok, but not THAT...) and it fails here as it often does. You simply CAN'T, and it simply ISN'T. But keep telling me more about these lost pioneers of black cinema, because that is educational. I was excited to discover that works by George Pal and Oscar Micheaux, whom I had not known before, can be found on YouTube, and are lost treasures.
May 31, 2007
Overall it was good. Provided nice historical background for the minstrel show and cultural swapping in America. The author's argument is that the swapping of cultures is what makes American culture what it is. He also suggests that the minstrel show was the first form of pop culture in the United States and he subtley relates the early uses of minstrelsy to contemporary hip- hop. (Read for yourself I don't want to spoil it for you). He's goes a little too far by suggesting that because American culture is created out of the sharing of different cultures that there can be no such thing as stealing or usurping of another person's culture. He's sympathetic to the Elvis's of the world. He also goes way off the deep end by trying to make a case for ebonics and arguing that it is a real language with it's own grammar that should be respected and not ridiculed! Wow! Like I said overall it is a good book but he goes a little too far in trying to be pc. It's nice to read along side a viewing of "Bamboozled" by Spike Lee and in conjuction with another book: "Toms, Coons, Mammies, Mulattoes and Bucks: An interpretive history of Blacks in American films."
July 23, 2008
Came upon this at Powell's Books and it looked interesting
Update: O.K. I'm done with this little ditty and the intellectual dust still has not settled in my mind. At first I was offended at some gay white Jewish dude, (I’m thinking Jewish from his last name, not because he details a great history of "Black Face" culture. But because he basically calls all communities including the Black Community as being "politically correct", until I ended up agreeing with him for the most part. I still think he crosses the line with by not highlighting the power dynamic more than he does. But over all this is pretty progressive stuff, although clearly he tosses cultural bombs with glee, which is dangerous when dealing with an oppressed people, Yea I know this makes no sense, but hey it was a complicated read. Not sure if it’s worth while to “new comers”
Update: O.K. I'm done with this little ditty and the intellectual dust still has not settled in my mind. At first I was offended at some gay white Jewish dude, (I’m thinking Jewish from his last name, not because he details a great history of "Black Face" culture. But because he basically calls all communities including the Black Community as being "politically correct", until I ended up agreeing with him for the most part. I still think he crosses the line with by not highlighting the power dynamic more than he does. But over all this is pretty progressive stuff, although clearly he tosses cultural bombs with glee, which is dangerous when dealing with an oppressed people, Yea I know this makes no sense, but hey it was a complicated read. Not sure if it’s worth while to “new comers”
October 8, 2007
A collection of things about minstrelsy you already knew about: Stephen Foster, Jewish minstrels, an inescapable past, a culture's recessive gene. Still and all, not too bad.
Only serious problem for me was Strausbaugh's need to inject his "Ain't multi-culturalism the silliest?" political bent into everything. Gratuitous, Johnny!
Only serious problem for me was Strausbaugh's need to inject his "Ain't multi-culturalism the silliest?" political bent into everything. Gratuitous, Johnny!
Read
December 25, 2007Must be read with an anti-racist lens.
August 15, 2011
Everyone in America should read this book. I want to give it 6 stars but software prevents. Why are you still here? Go get this book.
January 22, 2014
this book was not very good.
Read
May 15, 2014Must read! Amazing look into the history of the U.S through the lens of entertainment.
Currently Reading
July 12, 2007will start it tonight...i will update after i'm done.
July 27, 2011
An excellent book. I've drawn extensively from it in discussing race and identity in my courses.
April 4, 2017
I really enjoyed this book. Thought this book was very informative. i would suggest this book to all to read. my kids are going to read it next. We had a great discussion on history & symbolism at book club meeting. A must read!!!!
Displaying 1 - 18 of 18 reviews