Blackface minstrelsy, the nineteenth-century performance practice in which ideas and images of blackness were constructed and theatricalized by and for whites, continues to permeate contemporary popular music and its audience. Harriet J. Manning argues that this legacy is nowhere more evident than with Michael Jackson in whom minstrelsy’s gestures and tropes are embedded. During the nineteenth century, blackface minstrelsy held together a multitude of meanings and when black entertainers took to the stage this complexity was compounded: minstrelsy became an arena in which black stereotypes were at once enforced and critiqued. This body of contradiction behind the blackface mask provides an effective approach to try and understand Jackson, a cultural figure about whom more questions than answers have been generated. Symbolized by his own whiteface mask, Jackson was at once ’raced’ and raceless and this ambiguity allowed him to serve a whole host of others’ needs - a function of the mask that has run long and deep through its tortuous history. Indeed, Manning argues that minstrelsy’s assumptions and uses have been fundamental to the troubles and controversies with which Jackson was beset.
Blackface minstrelsy, the nineteenth-century performance practice in which ideas and images of blackness were constructed and theatricalized by and for whites, continues to permeate contemporary popular music and its audience. Harriet J. Manning argues that this legacy is nowhere more evident than with Michael Jackson in whom minstrelsy’s gestures and tropes are embedded. During the nineteenth century, blackface minstrelsy held together a multitude of meanings and when black entertainers took to the stage this complexity was compounded: minstrelsy became an arena in which black stereotypes were at once enforced and critiqued. This body of contradiction behind the blackface mask provides an effective approach to try and understand Jackson, a cultural figure about whom more questions than answers have been generated. Symbolized by his own whiteface mask, Jackson was at once ’raced’ and raceless and this ambiguity allowed him to serve a whole host of others’ needs - a function of the mask that has run long and deep through its tortuous history. Indeed, Manning argues that minstrelsy’s assumptions and uses have been fundamental to the troubles and controversies with which Jackson was beset.
A good ghost story can make your hair stand on end, your palms sweat, and your heart race. The bone-chilling collection Tales of Kentucky Ghosts presents more than 250 stories that do just that. In his new book, William Lynwood Montell has assembled an entertaining and diverse array of tales from across the commonwealth that will keep you checking under the bed every night. The first-person accounts in this collection showcase folklore that Montell has drawn from archives, family stories, and oral traditions throughout Kentucky. The stories include that of the ghost bride of Laurel County, who appears each year on the anniversary of her wedding day; the tale of the murdered worker who haunts the Simpson County home of his killer and former employer; and the account of the lost mandolin that plays itself in a house in Graves County. These and many other chilling stories haunt the pages of Tales of Kentucky Ghosts. In the tradition of MontellÕs previous Kentucky ghost books (Ghosts across Kentucky and Haunted Houses and Family Ghosts of Kentucky), Tales of Kentucky Ghosts brings together a variety of terrifying narratives that not only entertain and frighten but also serve as a unique record of KentuckyÕs rich heritage of storytelling.
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