Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture

Total Page:16

File Type:pdf, Size:1020Kb

Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Jack HARBORD School of Arts and Media University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, June 2015 Table of Contents List of Figures iii Acknowledgements vii Abstract viii Introduction 1 1. Literature Review of Minstrelsy Studies 7 2. Terminology and Key Concepts 20 3. Source Materials 27 4. Methodology 39 5. Showing Blackface 5.1. Introduction 58 5. 2. Change the Joke: Blackface in Satire, Parody, and Irony 59 5. 3. Killing Blackface: Violence, Death, and Injury 95 5. 4. Showing Process: Burnt Cork Ritual, Application, and Removal 106 5. 5. Framing Blackface: Mise-en-Abyme and Critical Distance 134 5. 6. When Private goes Public: Blackface in Social Contexts 144 6. Talking Blackface 6. 1. Introduction 158 6. 2. The Discourse of Blackface Equivalency 161 6. 3. A Case Study in Blackface Equivalency: Iggy Azalea 187 6. 4. Blackface Equivalency in Non-African American Cultural Contexts 194 6. 5. Minstrel Show Rap: Three Case Studies 207 i Conclusions: Findings in Contemporary Context 230 References 242 ii List of Figures Figure 1 – Downey Jr. playing Lazarus playing Osiris 30 Figure 2 – Blackface characters in Mantan: The New Millennium Minstrel Show 64 Figure 3 – Mantan: Cotton plantation/watermelon patch 64 Figure 4 – Mantan: chicken coup 64 Figure 5 – Pierre Delacroix surrounded by African American caricature memorabilia 65 Figure 6 – Silverman and Eugene on return to café in ‘Face Wars’ 71 Figure 7 – Blackface crowd outside the police station in ‘Face Wars’ 73 Figure 8 – Smith family in blackface in ‘An Apocalypse to Remember’ 75 Figure 9 – Chris Griffin in blackface as Bill Cosby in ‘Halloween on Spooner Street’ 77 Figure 10 – Token Black wears whiteface in ‘Free Willzyx’ 79 Figure 11 – Eric Cartman/Mitch Connor in blackface in ‘201’ 80 Figure 12 – Cartman approaches the home of George Zimmerman wearing hooded top and blackface in ‘World War Zimmerman’ 81 Figure 13 – Law enforcement official removes blackface from Cartman in ‘World War Zimmerman’ 82 Figure 14 – Tracy Jordon in whiteface in ‘Believe in the Stars’ 85 Figure 15 – Jenna Maroney in blackface in ‘Believe in the Stars’ 86 Figure 16 – Maroney and L'Astname as ‘two black swans’ in ‘Christmas Attack Zone’ 87 Figure 17 – Jon Hamm as Abner in ‘Live from Studio 6H’ 89 Figure 18 – Dave Chappelle as ‘Racial Pixie’ in Chappelle's Show 91 Figure 19 – Animated Manray dances at the end of a shotgun in Bamboozled 96 iii Figure 20 – Manray’s assassins wear the blackface merchandise masks of Mantan in Bamboozled 97 Figure 21 – Triangle of Sloane, Delacroix, and blackface film in Bamboozled 98 Figure 22 – Delacroix in blackface lies dying on his office floor in Bamboozled 99 Figure 23 – Ace Boon Coon is shot on the set of ‘Black and Ugly as Ever’ in ‘The Wu-Tang Candidate’ 101 Figure 24 – Silverman is shot on the steps of the police station in ‘Face Wars’ 104 Figure 25 – Collected images of burnt cork ritual in Bamboozled 108 Figure 26 – Lighting of match in Bitch Bad 110 Figure 27 – Pink wig on mannequin in Bitch Bad 110 Figure 28 – Corks in tin dish in Bitch Bad 110 Figure 29 – Burning corks in Bitch Bad 110 Figure 30 – Burning corks with ‘grills’ in Bitch Bad 110 Figure 31 – ‘Christy’s Melodies’ shows absent blackface 113 Figure 32 – Virginia Serenaders shows absent blackface 113 Figure 33 – W. H. West’s Big Minstrel Jubilee 113 Figure 34 – Al. G. Field Greater Minstrels 114 Figure 35 – Womack tentitively applies blackface 116 Figure 36 – Manray applies blackface for first time 116 Figure 37 – Womack applies blackface aggressively 116 Figure 38 – Manray appears passive and resigned in blackface 116 Figure 39 – Womack cries as he faces his blackface mask 117 iv Figure 40 – Male performer applies bandana in Bitch Bad 118 Figure 41 – Male performer displays grillz in Bitch Bad 118 Figure 42 – Female performer measures-up breast enhancers in Bitch Bad 118 Figure 43 – Female performer puts on wig in Bitch Bad 118 Figure 44 – Blackface in shoe polish tin in Bitch Bad 119 Figure 45 – Female performer first applies blackface in Bitch Bad 119 Figure 46 – Male performer applies blackface in Bitch Bad 119 Figure 47 – Female performer applies blackface in Bitch Bad 119 Figure 48 – Male performer applying red lip-stick in Bitch Bad 119 Figure 49 – Female performer puts on gloves in Bitch Bad 119 Figure 50 – Images of distress and sadness in Bitch Bad 120 Figure 51 – Pepitone applies Silverman’s blackface in ‘Face Wars’ 121 Figure 52 – Pepitone take things seriously in ‘Face Wars’ 121 Figure 53 – Make-up paraphernalia litters the make-up table in ‘Face Wars’ 122 Figure 54 – Silverman shocked at the transformation in ‘Face Wars’ 122 Figure 55 – Silverman overjoyed with the transformation in ‘Face Wars’ 122 Figure 56 – Pigmentation alteration paraphernalia in Tropic Thunder 124 Figure 57 – Lazarus’s ‘dramatic reveal’ in Tropic Thunder 124 Figure 58 – Lazarus overjoyed with the transformation in Tropic Thunder 125 Figure 59 – Lazarus’s stages of blackface removal in Tropic Thunder 127 Figure 60 – Sarah Silverman with smudged blackface in ‘Face Wars’ 128 Figure 61 – From blackface to Hitler Moustache in ‘Face Wars’ 128 v Figure 62 – Images of woman removing blackface in Bitch Bad 130 Figure 63 – Images of man removing blackface in Bitch Bad 131 Figure 64 – Black and white theatre in Bitch Bad 141 Figure 65 – White over black labour in Bitch Bad 141 Figure 66 – Theatre now in colour in Bitch Bad 141 Figure 67 – Lupe Fiasco and the staged images 142 Figure 68 – Whitney Isleib wears blackface make-up to a fancy dress party 147 Figure 69 – Coaches Brian Basteyns and Harold Seeley attend a fancy dress party dressed as members of the Jamaican bobsled team 148 Figure 70 – Waverly High School students re-enacted assault on Rihanna by Chris Brown 149 Figure 71 – Lambda Theta Delta fraternity members perform ‘Suit and Tie’ 153 Figure 72 – Greg Cimeno and William Filene masquerading as Trayvon Martin and George Zimmerman 154 Figure 73 – From the Plantation to the Penitentiary album artwork 172 Figure 74 – ‘Boz’s Juba’ 223 Figure 75 – ‘Jube in Dance’ 223 Figure 76 – ‘Juba in Charles Dickens’s American Notes’ 224 Figure 77 – Slaps of the foot in ‘Chicken Noodle Soup’ 224 Figure 78 – Market step in ‘Chicken Noodle Soup’ 227 vi To my parents David and Moira. I am immeasurably grateful for your unwavering patience and support, without which this work and all of my achievements would not have been possible. vii Abstract Blackface minstrelsy just ain’t what it used to be. This statement should not be understood as a call for the return of the minstrel show. Quite literally, minstrelsy and its central feature blackface manifest themselves in divergent ways from their nineteenth and twentieth century manifestations, convey a range of meanings, and serve a number of social and artistic functions in the twenty-first century. Through the analysis of a variety of texts and practices from across cultural fields including music, television, film, journalism, social media, and academic discourses of minstrelsy this thesis identifies how blackface and minstrelsy are manifested, their function in critical, artistic, and social contexts, and the effects of their appearance in popular culture. To achieve this, discussion utilises the analytical methodologies of semiotics and discourse analysis to identify the themes and tropes and consistencies and inconsistencies that form the image and concept of blackface minstrelsy in the twenty-first century. Initial conclusions point to a number of contrasting functions and effects: the notion of equivalency with cultural and industrial practices; use as a discursive and iconographic signifier of racism, exploitation, and marginalisation in cultural criticism; application in comedic, dramatic, and artistic contexts as a tool of satire, parody, and irony; and public displays of blackface, seemingly ignorant of its problematic signification. In conclusion, the thesis locates its findings within wider discourses of race, appropriation, and marginalisation in American society. Moreover, this is positioned in the light of recent tensions between African American communities and the police, the fiftieth anniversary of the ‘Bloody Sunday’ confrontation on the Edmund Pettus Bridge in Selma, Alabama, and the proposal of post-racialism following the election of Barack Obama as United States President in 2008. viii Introduction The blackface minstrel show occupies a special and particularly problematic place in American culture and history. Performed initially by white European descendants in North American cities, the minstrel show developed in popularity, commercial appeal, and cultural influence, and spread across the United States and the wider world as cultural export. Its essential premise—and the feature for which it is mostly remembered—is its portrayal of African American life and culture through masquerade. Performers wore blackface make-up and costumes and used this performance medium to depict a range of characters, scenarios, and performance practices that chimed with their audience’s social, political, and cultural desires and expectations. Its formation in the early 1800s represents ‘the first formal public acknowledgement by whites of black culture’ (Lott, 1995, p. 4) and would develop into the United States’ first definable native popular culture, kick-starting a commercial industry ‘at a time when [it] lacked a definable national culture’ (Mahar, 1999, p. 9). However, the minstrel show primarily relied upon the depiction of slave and African American life, the appropriation of African American cultural practice, the normalisation and mythology of slavery, and the use of archetypal and caricatured representations of figures in American society (mostly, but not exclusively African American). The minstrel show is now widely regarded as a force of racist hegemony in a society built on slave labour.
Recommended publications
  • SNC Day: a September Tradition
    St. Norbert Times Volume 90 Issue 2 Article 1 9-19-2018 SNC Day: A September Tradition Follow this and additional works at: https://digitalcommons.snc.edu/snctimes Part of the Christian Denominations and Sects Commons, Christianity Commons, Creative Writing Commons, Digital Humanities Commons, English Language and Literature Commons, History Commons, Journalism Studies Commons, Music Commons, Other Arts and Humanities Commons, Photography Commons, Religious Thought, Theology and Philosophy of Religion Commons, Technical and Professional Writing Commons, and the Television Commons Recommended Citation (2018) "SNC Day: A September Tradition," St. Norbert Times: Vol. 90 : Iss. 2 , Article 1. Available at: https://digitalcommons.snc.edu/snctimes/vol90/iss2/1 This Full Issue is brought to you for free and open access by the English at Digital Commons @ St. Norbert College. It has been accepted for inclusion in St. Norbert Times by an authorized editor of Digital Commons @ St. Norbert College. For more information, please contact [email protected]. September 19, 2018 Volume 90 | Issue 2 | Serving our Community without Fear or Favor since 1929 INDEX: NEWS: CVC Goes GREEN SNC Day: A September Tradition SAMANTHA DYSON | NEWS EDITOR SEE PAGE 2 > OPINION: Importance of Arguments SEE PAGE 5 > FEATURES: Ruth’s Marketplace SEE PAGE 7 > ENTERTAINMENT: Where is Hip-Hop Going? SEE PAGE 10 > SPORTS: SNC Swim Team SEE PAGE 15 > Fresh Start The “Times” congruatu- lates all students on sur- Participants line up for 5K Run at SNC Day 2017 | SNC Facebook Page
    [Show full text]
  • Aster Marketing Thesi
    ERASMUS SCHOOL OF ECONOMICS DEPARTMENT OF BUSINESS ECONOMICS - MARKETING MASTER THESIS It's All in the Lyrics: The Predictive Power of Lyrics Date : August, 2014 Name : Maarten de Vos Student ID : 331082 Supervisor : Dr. F. Deutzmann Abstract: This research focuses on whether it is possible to determine popularity of a specific song based on its lyrics. The songs which were considered were in the US Billboard Top 40 Singles Chart between 2006 and 2011. From this point forward, k-means clustering in RapidMiner has been used to determine the content that was present in the songs. Furthermore, data from Last.FM was used to determine the popularity of a song. This resulted in the conclusion that up to a certain extent, it is possible to determine popularity of songs. This is mostly applicable to the love theme, but only in the specific niches of it. Keywords: Content analysis, RapidMiner, Lyric analysis, Last.FM, K-means clustering, US Billboard Top 40 Singles Chart, Popularity 1 Table of Contents 1. Introduction ..................................................................................................................................... 4 2. Motivation ........................................................................................................................................ 5 2.1. Academic contribution .............................................................................................................. 5 2.2. Managerial contribution ..........................................................................................................
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Dj Issue Can’T Explain Just What Attracts Me to This Dirty Game
    MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS E-40, TURF TALK OZONE MAGAZINE MAGAZINE OZONE FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME ME TO ATTRACTS JUST WHAT MIMS PIMP C BIG BOI LIL FLIP THREE 6 MAFIA RICK ROSS & CAROL CITY CARTEL SLICK PULLA SLIM THUG’s YOUNG JEEZY BOSS HOGG OUTLAWZ & BLOODRAW: B.G.’s CHOPPER CITY BOYZ & MORE APRIL 2007 USDAUSDAUSDA * SCANDALOUS SIDEKICK HACKING * RAPQUEST: THE ULTIMATE* GANGSTA RAP GRILLZ ROADTRIP &WISHLIST MORE GUIDE MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS REAL, RAW, & UNCENSORED SOUTHERN RAP E-40, TURF TALK FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE MIMS PIMP C LIL FLIP THREE 6 MAFIA & THE SLIM THUG’s BOSS HOGG OUTLAWZ BIG BOI & PURPLE RIBBON RICK ROSS B.G.’s CHOPPER CITY BOYZ YOUNG JEEZY’s USDA CAROL CITY & MORE CARTEL* RAPQUEST: THE* SCANDALOUS ULTIMATE RAP SIDEKICK ROADTRIP& HACKING MORE GUIDE * GANGSTA GRILLZ WISHLIST OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul MARKETING DIRECTOR // David Muhammad LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Destine Cajuste ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Alexander Cannon, Bogan, Carlton Wade, Charlamagne the God, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica INTERVIEWS Koslow, J Lash, Jason Cordes, Jo Jo, Joey Columbo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, Kenneth Brewer, K.G.
    [Show full text]
  • Passing for Black: Coon Songs and the Performance of Race Patricia R
    Ursinus College Digital Commons @ Ursinus College English Faculty Publications English Department 6-9-2010 Passing for Black: Coon Songs and the Performance of Race Patricia R. Schroeder Ursinus College Follow this and additional works at: https://digitalcommons.ursinus.edu/english_fac Part of the African American Studies Commons, American Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Schroeder, Patricia R., "Passing for Black: Coon Songs and the Performance of Race" (2010). English Faculty Publications. 4. https://digitalcommons.ursinus.edu/english_fac/4 This Article is brought to you for free and open access by the English Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 Passing for Black: Coon Songs and the Performance of Race Until recently, scholars exploring blackface minstrelsy or the accompanying “coon song craze” of the 1890s have felt the need to apologize, either for the demeaning stereotypes of African Americans embedded in the art forms or for their own interest in studying the phenomena. Robert Toll, one of the first critics to examine minstrelsy seriously, was so appalled by its inherent racism that he focused his 1974 work primarily on debunking the stereotypes; Sam Dennison, another pioneer, did likewise with coon songs. Richard Martin and David Wondrich claim of minstrelsy that “the roots of every strain of American music—ragtime, jazz, the blues, country music, soul, rock and roll, even hip-hop—reach down through its reeking soil” (5).
    [Show full text]
  • WNSC Graduate List Includes Cromwell, Ligonier Wawaka High Schools
    WNSC Graduate List includes Cromwell, Ligonier Wawaka High Schools Last Name First Name Middle Name Grad Yr Misc Information School Abbott Rebecca 1993 West Noble High School Abbott William Dale 1999 West Noble High School Abdill Edward E 1879 Ligonier Abdill Zulu M 1881 Ligonier Abdullah Salah Ahmed 1999 West Noble High School Abner Brandie Shantelle 2009 West Noble High School Abner Michele Loraine 1994 West Noble High School Abner Tracy 1992 West Noble High School Abrams Delores 1929 Cromwell Abud Tulio Batista 2000 West Noble High School Ackerman Alfred 1921 Ligonier Ackerman Isaac 1883 Ligonier Ackerman Jennie 1888 Ligonier Ackerman Jerry Michael 1993 West Noble High School Ackerman Kevin 1984 West Noble High School Ackerman Shonda 1988 West Noble High School Acosta Angel Clyde 2007 West Noble High School Acosta Ruby Ann 2000 West Noble High School Acosta Zusy Renee 2008 West Noble High School Acton Carrie Anna 1993 West Noble High School Acton James R 1998 West Noble High School Acton Michael Dane 1991 West Noble High School Adair Alice 1967 Cromwell Adair Angela 1983 West Noble High School Adair Beau GJ 2001 West Noble High School Adair Bill 1960 Cromwell Adair Donald 1937 Cromwell Adair Jerod S 1996 West Noble High School Adair Jerry 1964 Wawaka Adair Judy 1961 Cromwell Adair Larry 1964 Wawaka Adair Linda 1964 Cromwell Adair Lois Ellen 1944 Ligonier Adair Matt 1988 West Noble High School Adair Michelle Renee' 1986 West Noble High School Adair Mike 1984 West Noble High School Adair Pam 1984 West Noble High School Adair Patricia
    [Show full text]
  • Brian Regan Live! at the Bandshell Rescheduled to Thursday, June 24Th
    For Immediate Release: Contact: Todd Rossi, [email protected] Brian Regan Live! At the Bandshell Rescheduled th to Thursday, June 24 (Daytona Beach, Fl- January 18, 2021) The LIVE at the Bandshell engagement with comedian BRIAN REGAN, originally scheduled for December 12, 2020 has been rescheduled to June 24, 2021. Patrons are encouraged to keep their same tickets which will be honored on the new rescheduled date. Refunds available at point of purchase. For more information or questions, please email the Peabody Auditorium at [email protected]. Critics, fans and fellow comedians agree: Brian Regan is one of the most respected comedians in the country with Vanity Fair calling Brian, "The funniest stand-up alive," and Entertainment Weekly calling him, "Your favorite comedian's favorite comedian." Having built his 30-plus year career on the strength of his material alone, Brian's non-stop theater fills the most beautiful venues across North America, visiting close to 100 cities each year. Brian starred in his own Netflix series, Stand Up And Away! With Brian Regan, which premiered on Christmas Eve 2018. Brian and Jerry Seinfeld Executive Produced the four- episode original half-hour series that combined sketch comedy and stand-up. Brian premiered his seventh hour of comedy, the Netflix special, Brian Regan: Nunchucks And Flamethrowers, in 2017, the first special in a two-special deal with Netflix, joining Brian with Dave Chappelle, Chris Rock, Jerry Seinfeld and others in multi-special deals with the channel. Brian's second Netflix special is planned for release in 2021. The Live! At the Bandshell Series features nationally known musicians and comedians performing to hundreds of socially distanced fans at the Daytona Beach Bandshell.
    [Show full text]
  • (FCC) Complaints About Saturday Night Live (SNL), 2019-2021 and Dave Chappelle, 11/1/2020-12/10/2020
    Description of document: Federal Communications Commission (FCC) Complaints about Saturday Night Live (SNL), 2019-2021 and Dave Chappelle, 11/1/2020-12/10/2020 Requested date: 2021 Release date: 21-December-2021 Posted date: 12-July-2021 Source of document: Freedom of Information Act Request Federal Communications Commission Office of Inspector General 45 L Street NE Washington, D.C. 20554 FOIAonline The governmentattic.org web site (“the site”) is a First Amendment free speech web site and is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. Federal Communications Commission Consumer & Governmental Affairs Bureau Washington, D.C. 20554 December 21, 2021 VIA ELECTRONIC MAIL FOIA Nos.
    [Show full text]
  • There Are Eight Million Stories in My Albums. This Is One of Them... Coon Chicken Inn Was an American Chain of Four Restaurants
    There are eight million stories in my albums. This is one of them... Coon Chicken Inn was an American chain of four restaurants founded by Maxon Lester Graham and Adelaide Burt in 1925, which prospered until the late 1950s. The restaurant's name uses an ethnic slur, and the trademarks and entrances of the restaurants were designed to look like a smiling blackface caricature of an African-American porter. The smiling capped porter head also appeared on menus, dishes, and promotional items. African Americans opposed this blatant display of racism. In 1930, the Seattle branch of the National Association for the Advancement for Colored People (NAACP) and Seattle’s African American newspaper The Northwest Enterprise protested the opening of the local Coon Chicken Inn by threatening Graham with a lawsuit for libel and defamation of race. In response, Graham agreed to change the style of advertising by removing the word ‘Coon’ from the restaurant’s delivery car, repainting the ‘Coon head’ entrance to the restaurant, and canceling an order of 1,000 automobile tire covers. This small stride, however, was not enough to fully erase the image of the caricature from Seattle. Graham violated his agreement with the NAACP but managed to evade the lawsuit by changing the color of the Coon logo from black to blue. The first Coon Chicken Inn was opened in suburban Salt Lake City, Utah in 1925. In 1929, another restaurant was opened in then-suburban Lake City, Seattle, and a third was opened in the Hollywood District of Portland, Oregon, in 1931. A fourth location was advertised but never opened in Spokane, Washington.
    [Show full text]
  • Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
    Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R.
    [Show full text]
  • 8123 Songs, 21 Days, 63.83 GB
    Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat.
    [Show full text]
  • On Whiteness As Property and Racial Performance As Political Speech
    PASSING AND TRESPASSING IN THE ACADEMY: ON WHITENESS AS PROPERTY AND RACIAL PERFORMANCE AS POLITICAL SPEECH Charles R. Lawrence IIl* 1. INTRODUCING OUR GRANDMOTHERS Cheryl Harris begins her canonical piece, Whiteness as Property, by in­ troducing her grandmother Alma. Fair skinned with straight hair and aquiline features, Alma "passes" so that she can feed herself and her two daughters. Harris speaks of Alma's daily illegal border crossing into this land reserved for whites. After a day's work, Alma returns home each evening, tired and worn, laying aside her mask and reentering herself.! "No longer immediately identifiable as 'Lula's daughter,' Alma could enter the white world, albeit on a false passport, not merely passing, but trespassing. "2 In this powerful metaphorical narrative of borders and trespass, of masking and unmasking, of leaving home and returning to reenter one­ self, we feel the central truths of Harris's theory. She asserts that white­ ness and property share the premise and conceptual nucleus of a right to exclude,3 that the rhetorical move from slave and free to black and white was central to the construction of race,4 that property rights include intan­ gible interests,s that their existence is a matter of legal definition, that the * Professor of Law, William S. Richardson School of Law, University of Hawaii. B.A. 1965, Haverford College; J.D. 1969 Yale Law School. The author thanks the William S. Richardson School of Law, University of Hawaii at Manoa, the UCLA Law School Critical Race Studies Program and the I, Too, am Harvard Blacktavism Conference 2014 where earlier versions of this paper were presented.
    [Show full text]