410 Sentences With "minstrelsy" | Random Sentence Generator

Some viewers saw this as a racist reference to minstrelsy.

Satire, allegory, minstrelsy and speculative fiction all come into it.

He advocated for the 13th Amendment and also promoted blackface minstrelsy.

To my wife, this smacks uncomfortably of minstrelsy, which, yes, it does.

Racial themes, often borrowed from minstrelsy, are pervasive in early twentieth-century cartoons.

But what they ended up doing was creating a new kind of minstrelsy.

By the time you get to the 20th century, minstrelsy is still with us.

Blackface minstrelsy, in fact, could be said to be part of Disney's origin story.

Should Mr. Northam have known the history and legacy of blackface minstrelsy in 1984?

There's the obvious ridicule and minstrelsy, like the clownish roles on Two Broke Girls or Dads.

Jess approaches the phenomenon of minstrelsy in most ways you could imagine, and some you couldn't.

The Opry House reveals how inextricably linked vaudeville performance and blackface minstrelsy were to early animation.

As Kondabolu argues in a conversation with Whoopi Goldberg, there's an undeniable element of minstrelsy in Apu.

Whoopi Goldberg makes an appearance, speaking on how the stereotyped representation of Apu has parallels with minstrelsy.

Not only black Dutch citizens now find this type of minstrelsy, invented in the 19th century, offensive.

The film, Something Good–Negro Kiss, subverts the corrupt racism imbued in the history of American minstrelsy.

There's a fine line between taking on a genre from outside your country, and slipping into imitative minstrelsy.

"There are lots of instances in blackface minstrelsy that are lighthearted and funny — and also offensive," she said.

"That guy on the right looks like he might have been researching minstrelsy before the game," one post read.

But to attract the biggest audiences, these productions combined Stowe's story with the era's other hugely popular entertainment: minstrelsy.

These tokens of minstrelsy are loud and disruptive, caricatures of the kind of blackness that Patterson has sought to escape.

It was not until the mid-1940s that popular culture began to abandon once-popular minstrelsy tropes, Mr. Carson said.

The recreation's title, Something Good–Negro Kiss, is deliberately subverting the corrupt racism imbued in the history of American minstrelsy.

He performs a minstrelsy of "hood" Blackness and parades around his Black wife in a way that clearly makes Nola uncomfortable.

And so blackface songs and minstrelsy were a part of an onslaught of racial stereotyping that went on at the time.

There was lanky Banjo Pete Ellis, who gave up minstrelsy to star instead as a bank burglar and all-around sneak.

Eliot and Pound apparently liked writing to each other in the dialect used in "Remus," in a kind of literary minstrelsy.

The Elvis of early minstrelsy, Thomas Dartmouth Rice, was a son of Irish immigrants from the neighborhood's infamous Five Points slum.

Blackface has a nasty history that includes minstrelsy, stereotypes, and the exploitation of Black people on screen that is still too fresh.

Dark as that sounds, the show's revuelike format allows the authors to vary the palette with mad scenes, melodrama, minstrelsy and vaudeville.

The club has its own Ministers of Agriculture, Minstrelsy, Science, Siege Warfare, and Transportation, each with is own lyrical, and often dramatic stories.

This portrait of the artist as a shadow of his former self looks like something out of minstrelsy, a white actor in blackface.

Worse, the team must perform, as part of each game, a kind of minstrelsy called "cooning" to allay white fears of their prowess.

The same attitudes that rationalized blackface minstrelsy rationalized poll taxes, lynchings, and segregation — issues that have shaped black life in America to this day.

According to Eater, both chef Kwame Onwuachi and hospitality activist Ashtin Berry criticized Haasnoot for the "black caricature," and accusing him of glorifying minstrelsy.

By the late nineteenth century, race-based entertainment, from blackface minstrelsy to ethnic joke books, had long been a profitable mainstay of American popular culture.

The photograph illuminates a nearly subliminal moment of antiblackness masquerading as minstrelsy, masquerading as carefree (careless) communal play-acting, masquerading as jubilation under duress (a.k.a.

And is black skin a mask that dictates behavior or does the mask free one to engage with the minstrelsy at the heart of American blackness?

It's great that Jon Favreau's 2016 "Jungle Book" ditches the coded minstrelsy of King Louie, the orangutan nuisance modeled after Louis Armstrong, in the 1967 animated film.

Just so he doesn't drown us, sink us, minstrelsy us, mug us on some urban dark corner, station very, very, overbearingly loud, filling the car so impossible to think.

The afterlife of minstrelsy and blackface continued long after slavery, popularized by hundreds of "coon" songs which were based on racist stereotypes and were enjoyed by white audiences. Gov.

This was the beginning of a horrific period of minstrelsy where Black people were depicted by whites as lazy and unintelligent, solely capable of shucking, jiving, and singing mindless songs.

The most popular form of entertainment in 19th-century America, which continued well into the 20th, blackface minstrelsy was defined by its caricature of and gross hostility toward black Americans.

But by the time Smith made her recordings, attitudes toward the songs, which derive from a tradition of blackface minstrelsy that began in the 19th century, had started to shift.

He considers the intersection of musicianship and morality from the early days of "blackface minstrelsy"—in which white performers insultingly darkened their faces—through to the birth of ragtime and jazz.

But NMAAHC is clear on this: "Minstrelsy, comedic performances of 'blackness' by whites in exaggerated costumes and makeup, cannot be separated fully from the racial derision and stereotyping at its core."

If, for some perverse reason, you feel the need to see female minstrelsy at work, by all means check out "Three Tall Women" (in revival at the Golden, directed by Joe Mantello).

Yiannopoulis has been accused of a form of "gay minstrelsy" in which he performs parts of stereotypical gayness in such a way that he shores up the beliefs of the hard American right.

You see, the whole Kelly blackface controversy hinges on a couple of facts: a lot of Americans don't know the literal definition of blackface, and even fewer understand the super racist history behind minstrelsy.

While admitting that "what was troubling was that her desire to be the black man on the street superseded the unsettling history," he ascribes it to her innocence of the "historical baggage" of minstrelsy.

For the cultural critic Lauren Michele Jackson, the fact that black people appear in such a disproportionate number of reaction GIFs—especially those deployed by white people—makes sense: It's minstrelsy in digital form.

They also learn the ways that minstrelsy and blackface were used by whites in the decades following slavery to perpetuate negative stereotypes about blacks, strip black people of their humanity and uphold white supremacist ideology.

In doing so, she displayed little awareness that blackface minstrelsy, a popular form of entertainment in the 1800s that later seeped into Hollywood productions, promoted a racist caricature and presented a distorted view of slavery.

Until I encountered his potent brew of minstrelsy and melodrama I hadn't known it was possible — except perhaps in plays like "Bootycandy," by Mr. O'Hara — to cringe and laugh and blush at the same time.

But despite the erotic charge, Mac seems more interested in promoting Whitman as a humanistic alternative (who happened to be gay) to the carnage of the war and to the fatuous minstrelsy of Stephen Foster.

The use of blackface dates back to the mid-1800s, when minstrelsy was a growing form of entertainment, Dr. Dwandalyn Reece, a curator at the National Museum of African American History and Culture, told VICE News.

The prequels are a gumbo soup of misplaced reverence (Jar Jar's minstrelsy, "the origins of x," podracing) and violent newness (midichlorians, CGI clusterfucks, "Yarael Poof") and exemplify just how cooked things can get when you whiff the balancing act.

Even if these characters' shared name is accidental, it speaks to a larger point: Disney has long evoked minstrelsy for its topsy-turvy entertainments — a nanny blacking up, chimney sweeps mocking the upper classes, grinning lamplighters turning work into song.

Du Bois mentions minstrelsy, no doubt imagining the stages from coast to coast on which black musical forms were perversely absorbed into the ideological architecture of racial control and oppression — a process usually enacted by white performers, but not always.

As I watched a white actress and two hulking brothers dripping in baby oil get it on, the white director told me the film's target audience was mainly white Southerners, a demographic whom he said actually begged his studio for more degradation and sexual minstrelsy.

Kardashian's response to the fresh controversy was to defend Star, calling his past actions "negative" (that's one way to put Black minstrelsy), implying that critiques of those actions are "petty," reminding fans that he did indeed apologize, and insisting that they essentially get over it.

Often called the "Mother of the Blues," she was the first entertainer to successfully bridge the divide between vaudeville — the cabaret-style shows that developed out of minstrelsy in the mid-1800s, and catered largely to white audiences — and authentic black Southern folk expression.

" Eric Lott, an expert on blackface minstrelsy and a cultural historian at the Graduate Center of the City University of New York, who is white, called the practice "indefensible," given its roots in dehumanizing attitudes "rooted in the traffic in black bodies and slavery.

In a related Opinion piece, "Blackface Is the Tip of the Iceberg," Jamelle Bouie writes: The most popular form of entertainment in 19th century America, which continued well into the 20th, blackface minstrelsy was defined by its caricature of and gross hostility toward black Americans.

White Supremacy's Minstrel Face The grinning stereotype that shuffled across the minstrel stage owes much to the itinerant actor and New Yorker Thomas Dartmouth Rice, the "father of American minstrelsy," who put on black makeup around 1830 to sing and dance as a character known as Jim Crow.

As Eric Lott and other cultural historians have documented, there was an important connection between blackface performance and American and British working-class audiences; minstrelsy offered both a chance to define their whiteness in opposition to black caricature and to thumb their noses at employers through the minstrels' antics.

And the place that minstrelsy took hold was in the North — places like Philadelphia and New York and Boston, where you'd have these theaters dedicated to minstrel acts, where minstrel acts would just move into a theater and do their act night after night after night after night after night.

Rhiannon Giddens, the singer, songwriter, banjo player and musical polymath, will be featured in a Perspectives series in which she will trace the connections between popular and classical songs, team up with other banjo players to explore the experience of African-American women and delve into the complicated history of minstrelsy.

For all that minstrels went on about plantation life and their old Kentucky home, minstrelsy was in fact largely a northern, urban phenomenon that came out of neighborhoods like the Lower East Side, where poor whites and poor blacks lived crowded together and borrowed bits of each other's music and dance.

It wasn't that he knew because someone more historically aware and actually black filled him in on the long, objectionable tradition of American blackface minstrelsy — an art form in which, initially, white people dressed as black ones as entertainment, on one hand, and as proslavery propaganda on the other (actually, both hands tended to be clasped for that).

The governor wasn't arguing that his young self came to see that blackface was wrong because he had learned how minstrelsy wasn't some cultural niche but was once America's popular culture and how that popularity helped cement the nation's perception of black people as hideous and stupid and freakish and dumb and lusty and unworthy of more than torture, exploitation, derision, oppression, neglect and extermination.

In early rock criticism this meant mainly blues and country, but for me it came to encompass all pop music including jazz and African and, well, blackface minstrelsy and the waltz and Provencal troubadours and Dionysus: music that precedes not just the dawn of electrical recording in 1925, a reasonable cutoff, but any sound recording whatsoever, including genres we know solely through words and pictures because they weren't even notated.

The book presents several possible explanations for their falling-out: Hurston's jealousy (whether romantic or platonic remains unclear) of the relationship between Hughes and Thompson, the beautiful, young aspiring writer hired by Mason to be their secretary; disagreements over the authorship of "Mule Bone" (Taylor, a book editor and the author of "Darkest America: Black Minstrelsy From Slavery to Hip Hop" and "Faking It: The Quest for Authenticity in Popular Music," sides with Hurston, who claimed to be the play's principal author); and miscommunication caused by delays in correspondence.

So after almost 230½ hours and two centuries' worth of singing, dancing, and jiggling; after all 224 of us had been asked to re-enact everything from the Civil War and the Oklahoma land rush to white flight to the suburbs; after a narcotically swampy rendition of "Amazing Grace" and a production of "The Mikado" that glowed in the dark because its minstrelsy might make sense if it was set on Mars; after visionary drag-queen costumes that called to mind descriptions like geisha Andrews Sister and Tiki apocalypse; after we'd stood in lines for small portions of bread and split pea soup at 18463 a.m.

Haverly's methods sparked a revolution in minstrelsy as other troupes scrambled to compete. As the costs of minstrelsy increased, many troupes went out of business.

Lori Harrison-Kahan, The White Negress: Literature, Minstrelsy, and the Black-Jewish Imaginary (Rutgers University Press 2011): 35.

The most prominent troupe named for him was the Ira Aldridge Troupe in Philadelphia, founded in 1863, some 35 years after Aldridge left the US for good.Shalom, Jack. "The Ira Aldridge Troupe: Early Black Minstrelsy in Philadelphia." African-American Review 28.4 (1994): 653–658 The Ira Aldridge Troupe was a minstrelsy group that caricatured Irish white men.

Day, Charles (1996). "Fun in Black". Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy. Hanover, New Hampshire: Wesleyan University Press.

Mahar, William J. (1999). Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. Chicago: University of Illinois Press.

Both the minstrelsy and vaudeville eras of female impersonation led to an association with music, dance, and comedy that still lasts today.

Minstrelsy became a central concern in English literature in the Romantic period and has remained so intermittently.See, for example, Maureen N. McLane: Balladeering, Minstrelsy, and the Making of British Romantic Poetry (Cambridge, UK: CUP, 2011). In poetry, The Lay of the Last Minstrel (1805) by Sir Walter Scott, Lalla Rookh (1817) by Thomas Moore, and The Village Minstrel (1821) by John Clare were three of many. Novels centring on minstrelsy have included Helen Craik's Henry of Northumberland (1800), Sydney Owenson's The Novice of St. Dominick's (a girl using a minstrel disguise, 1805), Christabel Rose Coleridge's Minstrel Dick (a choirboy turned minstrel becomes a courtier, 1891), Rhoda Power's Redcap Runs Away (a boy of ten joins wandering minstrels, 1952), and A. J. Cronin's The Minstrel Boy (priesthood to minstrelsy and back, 1975).

Fleischmann (1998), vol. 2, p. 1165, tune no. 6367. Other melodic versions exist in Alfred Moffat's The Minstrelsy of Ireland (London, 1897; p.

He continued to operate his secondary troupe until 1881, when he sold it to Charles and Gustave Frohman. Callender eventually got back into minstrelsy with new black troupes and stakes in others. He funded non-minstrel fare, such as a staging of Uncle Tom's Cabin starring Emma Hyer and Anna Hyer. Minstrelsy remained his main draw, and he owned troupes into the 1890s.

Hayes' predecessors as well-known African-American concert artists, though not recorded because their performances were not minstrelsy, include Sissieretta Jones and Marie Selika.

Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture by William J. Mahar. University of Illinois Press (1998). p. 9. .

She is currently working on her third book, titled Subterranean Blues: Black Women and Sound Subcultures- from Minstrelsy through the New Millennium (Harvard University Press).

Minstrelsy was America's first original contribution to the theater arts. It was popular from just before the American Civil War to the end of the 19th Century. Today minstrelsy and its attendant blackface is viewed as racist and anachronistic, however it was the preeminent entertainment in the United States during the life of Luke Schoolcraft, and he was one of the most well-known and successful performers.

Her ballads were, however, praised by Walter Scott.Walter Scott, "Essay on imitations of the ancient ballad," Minstrelsy of the Scottish Border (1830). Rev. and ed. T.F. Henderson.

In 2007, The Dance: The History of American Minstrelsy won an NAACP award for “Best Playwright” with the co-playwrights being Jason Christophe White and Aaron White.

Brower pioneered the role of the endman. After a successful tour in the British Isles, Brower returned to the United States and teamed with Emmett and other blackface performers for a time. In the 1850s, he left minstrelsy to work in the Tom shows based on Uncle Tom's Cabin. He returned to minstrelsy briefly as the decade closed and nostalgia for the old minstrel show came into fashion.

Minstrelsy was America's first original contribution to the theater arts. It was popular from just before the American Civil War to the end of the 19th century. Though minstrelsy and its attendant blackface is now viewed as racist and anachronistic, it was the preeminent entertainment in the United States during the life of George H. Coes, and he was one of the most well-known and successful performers.

Ballads developed out of minstrelsy from the fourteenth and fifteenth century.These were narrative poems that had combined with French courtly romances and Germanic legends that were popular at the King’s court, as well as in the halls of lords of the realm. By the seventeenth century, minstrelsy had evolved into ballads whose authors wrote on a variety of topics. The authors could then have their ballads printed and distributed.

This is a list of songs that either originated in blackface minstrelsy or are otherwise closely associated with that tradition. Songwriters and publication dates are given where known.

It was translated into French, Danish and Swedish, and individual ballads from it into Czech and Hungarian. There were two German translations of the Minstrelsy: one by Henriette Schubart, and another by , Willibald Alexis and Wilhelm von Lüdemann. Wilhelm Grimm rendered two of its ballads into German, Theodor Fontane another, and the Minstrelsy profoundly influenced Fontane's own ballads. Most importantly, perhaps, the publication of the Minstrelsy was the main impulse that led Clemens Brentano and Achim von Arnim to produce their famous collection of German folk-poems and legends, Des Knaben Wunderhorn, itself the inspiration for the collections of other folklorists and the source of musical settings by some of the greatest composers of the 19th century.

The Clipper reporter referred to the performance as a "truly laughable affair, the 'Irish nagur' mixing up a rich Irish brogue promiscuously with the sweet nigger accent". Perhaps the Aldridge Troupe's audience got its biggest satisfaction, however, from the role reversal inherent in the piece: since the beginning of minstrelsy, minstrels of Irish heritage, such as Dan Bryant and Richard Hooley, had been caricaturing Black men—now it was the turn of Black men to caricature the Irish. The history of minstrelsy also shows the cross- cultural influences, with Whites adopting elements of Black culture. The Ira Aldridge Troupe tried to pirate that piracy, and, in collaboration with its audience, turn minstrelsy to its own ends.

These were further divided into sub- archetypes such as the mammy, her counterpart the old darky, the provocative mulatto wench, and the black soldier. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated. Spirituals (known as jubilees) entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy. Blackface minstrelsy was the first theatrical form that was distinctly American.

The ballad of Christie's Will, published by Sir Walter Scott in Minstrelsy of the Scottish Border is, according to Scott, not to be regarded as of genuine and unmixed antiquity.

Poster for Haverly's United Mastodon Minstrels Minstrelsy lost popularity during the war. New entertainments such as variety shows, musical comedies and vaudeville appeared in the North, backed by master promoters like P. T. Barnum who wooed audiences away. Blackface troupes responded by traveling farther and farther afield, with their primary base now in the South and Midwest. Those minstrels who stayed in New York and similar cities followed Barnum's lead by advertising relentlessly and emphasizing the spectacle of minstrelsy.

Ch. 21 The Chieftain's Sister: The narrator provides a sketch of Fergus's sister Flora. Ch. 22 Highland Minstrelsy: Flora explains Highland minstrelsy to Edward and sings a song to a harp by a waterfall. Ch. 23 Waverley Continues at Glennaquoich: Flora expresses to Edward her view of Bradwardine and Rose. Volume Two Ch. 1 (24) A Stag-Hunting and its Consequences: Edward is injured during a stag-hunt and recuperates for a week before returning to Glennaquoich.

John Stokoe was a 19th-century Tyneside (and maybe South Shields) author and historian. He co-operated with the author John Collingwood Bruce in compiling the hugely important “Northumbrian Minstrelsy” published in 1882.

In 2007, White shared an NAACP award for “Best Playwright” with Aaron White for The Dance: The History of American Minstrelsy. The production has garnered the support of Harry Belafonte, KCET and others.

It also furnished him with abundant subject-matter, and indeed Lockhart claimed that "In the text and notes of this early publication, we can now trace the primary incident, or broad outline of almost every romance, whether in verse or in prose" of his career as a creative writer. It has been shown that his novel Old Mortality, for example, derives its setting and much of its action, personnel and motivation from two Minstrelsy ballads, The Battle of Loudon Hill and The Battle of Bothwell Bridge. As the scholar H. J. C. Grierson wrote, the Minstrelsy was "the tap-root of Scott's later work as a poet and novelist". With the publication of the Minstrelsy, the ballad finally became a fashionable and respectable form, increasingly displacing the Burnsian type of lyric poem in literary favour.

George Primrose and William H. West adopted Hague's idea and sparked a new trend in minstrelsy. The twice- married Hague died January 7, 1901 at home in Liverpool, leaving a wife and adopted daughter.

Versions were printed in more songsters and performed in more minstrel shows than any other popular song in the antebellum period. In blackface minstrelsy, the name Lucy came to signify any sexually promiscuous woman.

Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993. . p. 211. "The Virginny Cupids" was an operatic olio and the most popular of the time.

Random House (New York), 2009. and of the slave's having contributed to it through deliberate negligenceLott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class, pp. 199–200. Oxford University Press (Oxford), 1993. .

However, beginning in the 1850s, many Irishmen joined minstrelsy, and Irish theatergoers probably came to represent a significant part of the audience, so this negative image was muted. Germans, on the other hand, were portrayed favorably from their introduction to minstrelsy in the 1860s. They were responsible and sensible, though still portrayed as humorous for their large size, hearty appetites, and heavy "Dutch" accents.. Part of this positive portrayal no doubt came about because some of the actors portraying German characters were German themselves..

Principal group members included L.V.H. Crosby;Edward Le Roy Rice. Monarchs of minstrelsy, from "Daddy" Rice to date. Kenny publishing company, 1911. Marshall S. Pike (1818-1901);Appletons' annual cyclopaedia and register of important events. 1902.

The song was the first wench role in minstrelsy. The Virginia Minstrels performed it as their closing number from their earliest performances. Dan Gardner introduced what would become the standard Lucy Long costume, skirts and pantalettes.Nathan 39.

1881 caricature in Punch, the caption reads: "O.W.", "Oh, I eel just as happy as a bright sunflower, Lays of Christy Minstrelsy, "Æsthete of Æsthetes!/What's in a name!/The Poet is Wilde/But his poetry's tame.

This is thought to have been the home of Helen of Kirconnel, the subject of the ballad published by Walter Scott, in Minstrelsy of the Scottish Border. It may have been a mansion of the Irving family.

When George Primrose and Billy West broke with Haverly's Mastodons in 1877, they did away with blackface for all but the endmen and dressed themselves in lavish finery and powdered wigs. They decorated the stage with elaborate backdrops and performed no slapstick whatsoever. Their brand of minstrelsy differed from other entertainments only in name.. Social commentary continued to dominate most performances, with plantation material constituting only a small part of the repertoire. This effect was amplified as minstrelsy featuring black performers took off in its own right and stressed its connection to the old plantations.

James Hogg's mother Margaret was outraged by the Minstrelsy, and is said to have told him that the ballads she had recited for him "war made for singing an' no for reading; but ye hae broken the charm now, an' they'll never be sung mair". But others saw the book very differently. Scott received congratulatory letters from delighted literary figures such as George Ellis, Anna Seward, and George Chalmers, and even from the notoriously prickly antiquaries John Pinkerton and Joseph Ritson. Reviews of the Minstrelsy were also in general enthusiastic.

The adoption of Christianity had its influence upon Armenian minstrelsy, gradually altering its ethical and ideological orientation. The center of gusans was Goghtn gavar - a region in the Vaspurakan province of Greater Armenia and bordered with province of Syunik.

There are numerous versions of the ballad. Child recorded at least 19, the earliest of which was taken from Walter Scott's Minstrelsy of the Scottish Border (1803).Francis James Child: The English and Scottish Popular Ballads; Vol. IV, p.

This new minstrelsy maintained an emphasis on refined music. Most troupes added jubilees, or spirituals, to their repertoire in the 1870s. These were fairly authentic religious slave songs borrowed from traveling black singing groups. Other troupes drifted further from minstrelsy's roots.

Sand dancing was a staple of minstrelsy, variety and vaudeville, and was kept alive in later decades largely by African-American tap dancers, including John Bubbles, Bill "Bojangles" Robinson, Sammy Davis, Jr., Harriet Browne and, most prominently, Howard "Sandman" Sims.

"It is indeed one place minstrelsy ends up; where 19th-century white guys imitated what they thought of as slave culture and Elvis took from R & B performers, the impersonators copy the copy, if you will—it's minstrelsy once-removed."Gadfly Online: David McNair and Jayson Whitehead, "Love and Theft." In her paper, "Women Who 'Do Elvis'", Case Western Reserve University researcher Francesca Brittan deals with female Elvis Presley impersonators and finds them to be "campy, cheeky, and often disturbingly convincing."Francesca Brittan, "Women Who 'Do Elvis': Authenticity, Masculinity and Masquerade", published in the Journal of Popular Music Studies, Vol.

Henry Wood was a 19th-century New York City minstrel show manager, known for creating Wood's Minstrels.Monarchs of minstrelsy, from "Daddy" Rice to date, p. 74-75 (1911) The group performed at Mechanics' Hall (New York City), among other locales.(21 January 1878).

In short, Winter "made [Juba] > significant". When Winter wrote her article, there was little scholarship in > African American studies, dance history, or minstrelsy studies. Winter based > her article on, at most, six sources. Nonetheless, later writers have > largely accepted and echoed her thesis.

" North interprets such triumph that Hurston imbues in the cry as what she intended to do with the play. North also points out the historical background of the cakewalk, highlighting its minstrelsy origins; he writes "the cakewalk [is] a cliché of black life.

"Nigger Minstrelsy", Living Age, p. 398. Quoted in Toll 40. The troupe's performances represented "the high point of minstrelsy's success in early Victorian Britain". However, in their absence abroad, rivals such as the Christy Minstrels gained a following in the United States.

Black Manhattan, p. 90. Quoted in Toll 218. Despite his beginnings in minstrelsy, he was vocal about liberating himself from the minstrel profession, and was the only composer of spirituals of his time to present them consistently within the context of jubilee concerts.

He was partial to refrain rhyming and coblas capfinidas. Elias' vida survives in three manuscripts with a variant in a fourth designed to refute the other three.Egan, 31. According to his biographer he was gold- and silversmith and an armourer who turned to minstrelsy.

Francis Leon in his female persona Francis Leon (born Francis Patrick Glassey; 21 Nov 1844 – after 1883) was a blackface minstrel performer best known for his work as a female impersonator. He was largely responsible for making the prima donna a fixture of blackface minstrelsy.

Louise Linden (10 September 1862 – 22 August 1934) was a nineteenth-century American saxophone virtuoso. From 1877–1881, when female woodwind and brass players were rare, Linden performed throughout the eastern United States as a soloist in regional theatrical circuits, female minstrelsy, and vaudeville.

J. H. Haverly, in turn, purchased Callender's troupe in 1878 and applied his strategy of enlarging troupe size and embellishing sets. When this company went to Europe, Gustave and Charles Frohman took the opportunity to promote their Callender's Consolidated Colored Minstrels. Their success was such that the Frohmans bought Haverly's group and merged it with theirs, creating a virtual monopoly on the market. The company split in three to better canvas the nation and dominated black minstrelsy throughout the 1880s.. Individual black performers like Billy Kersands, James A. Bland, Sam Lucas, Martin Francis and Wallace King grew as famous as any featured white performer.. Racism made black minstrelsy a difficult profession.

The melody was printed in Bruce and Stokoe's Northumbrian Minstrelsy in 1882, which also mentioned its publication in 1821 and noted that the contributor of the song was Thomas Doubleday (1790-1870), who put it to a melody ("My Love is Newly Listed") learned from a Newcastle street singer.Bruce and Stokoe's Northumbrian Minstrelsy (1882), page 97 Thomas Doubleday was a radical agitator who often contributed to Blackwood's.Sleeve notes by A. L. Lloyd to the original recording by Anne Briggs, 1971 The singer Anne Briggs first popularized the song in the 1960s and recorded it in 1971. It was later learned by Archie Fisher who passed it on to Dick Gaughan.

Less happily, > Juba reinforced the racist caricature of the naturally musical black among > white audiences.Winter 230. While the name Juba passed into dance history, > for many decades the man himself did not. William Henry Lane is considered > to be at the forefront of blackface minstrelsy entertainment.

Nichols never identified the dancer as Juba, but later writers concluded that the boy was that performer.Southern, "Black Musicians and Early Ethiopian Minstrelsy", 49. Historian Eric Lott has identified the irony of this arrangement: a black man imitating a white man imitating a black man.Lott 113.

Winans 147–8. Mahar's research found that "Miss Lucy Long" is the second most frequent song in popular songsters from this period, behind only "Mary Blane". The song enjoyed a resurgence in popularity from 1855–60, when minstrelsy entered a nostalgic phase under some companies.Mahar 36.

The Minstrelsy began with a substantial general introduction with several appendices of documentary material, followed by the editions of the various ballads; each of these has an explanatory headnote which puts the ballad into its historical context, then the text of the ballad itself, and finally a set of explanatory notes. Originally Scott wanted to restrict himself to those ballads that celebrated the Border raids of the past, but he was drawn into including romantic ballads telling entirely unhistorical stories, and also modern imitations of the traditional ballads written by Scott and Leyden, and in later editions by Matthew Lewis, Charles Kirkpatrick Sharpe, Anna Seward and others. These three categories of ballad were clearly demarcated from each other in the Minstrelsy. For some while Scott intended to include the Middle English romance Sir Tristrem among the romantic ballads, convinced as he was that it was a Scottish production, but it proved so difficult and time-consuming to edit that he had to publish it separately in 1804, two years after the Minstrelsy had appeared.

Likewise, one of his imitations of the ancient ballads expanded to such a length as he wrote it that it outgrew its intended place in the Minstrelsy and was instead published as The Lay of the Last Minstrel, laying the foundation of Scott's tremendous fame as an original poet.

In March 1809, Walter Scott requested Southey to send him some excerpts from the work. Southey complied and the lines were sent for Scott's collection, English Minstrelsy. The poem was finished by 1810 and,Bernhardt-Kabisch 1977 p. 95 by 1811, Kehama was selling more copies than Thalaba sold.

Knapp 54, 68. Programs regularly ended with the note that "The concert will conclude with the Boston Favorite Extravaganza of LUCY LONG."Mahar 307, 405 note 50, quoting several playbills. The name Lucy came to signify a woman who was "sexy, somewhat grotesque, and of suspect virtue" in minstrelsy.

Morritt, on Scott's invitation, became an occasional contributor to the Quarterly Review, and his poem "The Curse of Moy, a Highland Tale" appeared in the Minstrelsy of the Scottish Border (5th edit. iii. 451). Rokeby Venus, c. 1647–51. 122cm x 177 cm (48in x 49.7in). National Gallery, London.

Carlin, Bob. The Birth of the Banjo: Joel Walker Sweeney and Early Minstrelsy, (2007): 153. Sam Sweeney and his banjo playing came to the attention of the famed cavalry general J.E.B. Stuart. Stuart had Sweeney attached to his staff, which became one of Stuart's best-known personal quirks.

Version C is Sir Walter Scott's own version printed in Minstrelsy of the Scottish Border (1803), which Child deduced was a composite of four redactions with other insertions. The Corries sang a truncated version, consisting of the first eight verses down to the fall of Percy, with the title "Lammas Tide".

Minstrelsy of the Scottish Border (Vol. 4). Robert Cadell, Edinburgh. pp. 235–257. Scott states that the Redcap is a class of spirits that haunts old castles, and that every ruined tower in the south of Scotland was supposed to have one of these spirits residing within.Scott 1849, p. 243.

Fadden Learning to Waltz',Sheet music for 'Mc.Fadden Learning to Waltz' sung by Johnny Danvers - Victoria and Albert Museum Collection 'I've Got the Ooperzootic' and 'Hist! Here Comes the Bogeyman.Michael Pickering, ;;Blackface Minstrelsy in Britain, Ashgate Publishing (2008) - Google Books He rose through the ranks of the troupe and became 'Mr.

"Bonny at Morn" was collected in the 19th century and published in 1882 in the Northumbrian Minstrelsy. "John Dead" is a sea shanty from the Windward Islands, collected by Roger D. Abrahams. The album also includes an acclaimed cover version, sung by Becky Unthank, of Nick Drake's song "River Man".

Haverly's United Mastodon Minstrels saw great success, and the impact on minstrelsy was profound. Other troupe owners rushed to compete, mimicking the Mastodons' elaborate sets and large number of players. Ultimately, many smaller companies folded or were forced to travel further from the established minstrel circuits in order to survive.

"Flaying Dutchman: Masochism, Minstrelsy, and the Gender Politics of Amiri Baraka's Dutchman", Callaloo 26.3, Gale Group, Summer 2003, accessed April 19, 2011. Lula boards the train eating an apple, an allusion to the Biblical Eve. The characters engage in a long, flirtatious conversation throughout the train ride. Lula sits down next to Clay.

Dilward was around three feet tall. He quickly developed talents to entertain people because this was the most promising plan to support himself. He could sing, dance, act, and play violin. Dilward went on to perform in blackface minstrelsy, which was considered a low form of entertainment, even in the mid-19th century.

He brought out, in 1854, a collection of lyrics called The Minstrelsy of War. Medea (1868) by Frederick Sandys. In 1869 Richards published Medea, a poetic rhapsody on the picture by Frederick Sandys. In 1871 his only novel So very Human was published, with a title suggested by a phrase from Charles Dickens.

It was published by Walter Scott in Volume 2 of Minstrelsy of the Scottish Border. An early version was also published by John Mayne. It is also known as "Kirkconnel Lea" and "Fair Helen". Here is one explanation of the story behind the ballad: It was published by Scott as "Fair Helen of Kirconnell".

"My Sincere Apologies", Chicago Sun-Times, November 18, 1988. Blackface and minstrelsy serve as the theme of Spike Lee's film Bamboozled (2000). It tells of a disgruntled black television executive who reintroduces the old blackface style in a series concept in an attempt to get himself fired, and is instead horrified by its success.

This "browning", à la Richard Rodriguez, of American and world popular culture began with blackface minstrelsy. It is a continuum of pervasive African- American influence which has many prominent manifestations today, among them the ubiquity of the cool aestheticSouthgate, Nick."Coolhunting, account planning and the ancient cool of Aristotle." Marketing Intelligence and Planning, Vol.

Many Border ballads were collected by Sir Walter Scott in his Minstrelsy of the Scottish Border. Scott also portrayed the social history, folklore and traditions of the Southern Uplands in several of his prose and verse works (such as The Lay of the Last Minstrel), as did James Hogg, known as the Ettrick Shepherd.

In the United States spoons as instrument are associated with American folk music, minstrelsy, and jug and spasm bands. These musical genres make use of other everyday objects as instruments, such as the washboard and the jug. In addition to common tableware, spoons that are joined at the handle are available from musical instrument suppliers.

1874 Advertisement The hall became known for its continuous production of blackface minstrelsy from 1862 until 1904.According to The Encyclopædia Britannica, eleventh edition, Vol. XXI, p. 726, the Christy Minstrels played at the theatre beginning in 1862 and later evolved into the Moore and Burgess Minstrels, which continued at the hall through 1904.

Charles Barney Hicks (? – 1902) was an American advance man, manager, performer, and owner of blackface minstrel troupes composed of African- American performers. Hicks himself was a minstrel performer who could sing and play challenging roles such as the minstrel-show interlocutor or endmen. However, he was most interested in the business side of minstrelsy.

Dixon performed one on 24 September 1829 under the title Love in a Cloud at the Bowery Theatre. Thomas D. Rice did other dramatitizations under the titles Long-Island Juba; or, Love in a Bushel and Oh Hush!; or The Virginny Cupids. The latter version became one of the most popular farces of antebellum minstrelsy.

It is centered on a song "Coal Black Rose", which predated the playlet. Rice played Cuff, boss of the bootblacks, and he wins the girl, Rose, away from the black dandy Sambo Johnson, a former bootblack who made money by winning a lottery.Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class.

14, 1991. Green was thus, besides his reputation as a piper, a link between the piping tradition of the 18th century, and the antiquarians who sought to keep the tradition alive in the mid-19th. Their work eventually led to the publication of The Northumbrian Minstrelsy, a substantial part of which concerned Northumbrian pipe music.

The basic narrative remains intact. On the surface, the song is a black slave's lament over his white master's death in a horseriding accident. The song, however, is also interpreted as having a subtext of celebration about that deathMahar, William J. Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture, pp. 234 ff.

Irving Sayles was born in Quincy, Illinois, to Melinda (née Wilson) and Josephus Sayles. He reported his year of birth as 1872. He became a member of Haverly's United Mastodon Minstrels at a young age. In 1888 he traveled to Australia as part of the Hicks-Sawyer Minstrels, the second company that minstrelsy manager Charles Hicks brought to Australia.

"Mary Blane", also known as "Mary Blain" and other variants, is an American song that was popularized in the blackface minstrel show. Several different versions are known, but all feature a male protagonist singing of his lover Mary Blane, her abduction, and eventual death. "Mary Blane" was by far the most popular female captivity song in antebellum minstrelsy.

Brower briefly returned to minstrelsy in the late 1850s when several companies introduced a nostalgic program derived from minstrelsy's early years.Mahar 37. For example, in January 1859, he joined Sanford's Opera Company in Philadelphia for a two-week engagement during which he did his "original Tom Dance and Reel". The Sanfords gave him a benefit in October 1855.

Hans Nathan: Dan Emmett and the Rise of Early Negro Minstrelsy (University of Oklahoma Press, 1962), footnote 8, page 34.H. Earle Johnson, Musical Interludes in Boston (New York, 1943), pp 176-77. In 1801, with fellow musicians Philip Trajetta and François Mallet, he founded a music academy in Boston, called the American Conservatorio of Boston.

Grace Sweetman was married and widowed twice, and had one daughter. Her first husband was Robert J. Filkins, a theatrical manager; she was widowed when he died in 1886.E. LeRoy Rice, Monarchs of minstrelsy, from "Daddy" Rice to date (Kenny Publishing 1911): 182. Her second husband was Adolph Marix, a naval officer; they married in 1896.

The tradition of mass dances in Congo Square continued sporadically, though it came to have more in common with minstrelsy than with authentic African traditions. Caribbean dances known to have been imported to Louisiana include the calinda, congo, counjai and bamboula. The Congo had also been known earlier, mentioned as a social dance in colonial Richmond, Virginia.

Monarchs of minstrelsy, from "Daddy" Rice to date, p. 270 (1911) One of his early stage successes was in the play The Planter's Wife playing opposite Maude Granger in 1883, and later Emily Rigl.The Marie Burroughs Art Portfolio of Stage Celebrities (1894) His wife Katherine Crittendon, whom he married around 1881, died in New York on May 9, 1907.

In Japanese hip hop, a subculture of hip-hoppers subscribe to the burapan style, and are referred to as blackfacers."Black-Face Minstrelsy". virginia.edu. Retrieved on November 26, 2015. The appearance of these blackfacers is evidence of the popularity of the hip-hop movement in Japan despite what is described as racist tendencies in the culture.

Ordway Hall (est.1852) was a theatre in Boston, Massachusetts located off Washington Street in the former Province House. John P. Ordway established and managed the hall, which specialized in "negro minstrelsy,"Edwin Monroe Bacon. Washington Street, old and new: a history in narrative form of the changes which this ancient street has undergone since the settlement of Boston.

Robin Hood, Volume 1, p. 40 Sir Walter Scott, who admired his industry and accuracy in spite of his temper, was almost the only man who could get on with him. According to Scott, Ritson was "a man of acute observation, profound research, and great labour".Sir Walter Scott, Minstrelsy of the Scottish border, 1821, p. 42.

Kersands began performing with traveling minstrel troupes in the early 1860s. As black minstrelsy gained popularity, Kersands became its biggest star. In 1879, he earned about $15 a week, but by 1882, he was reportedly earning $80, only slightly less than a featured white minstrel. He was known to have earned $250 a week during European Minstrel Tours.

Many versions of the lyric exist. The general format is that the narrator is a rebel who has left Ireland for exile and meets a public figure, who asks for news from Ireland, and is told that those wearing green are being persecuted. Halliday Sparling's Irish Minstrelsy (1888) includes the anonymous "Green upon the Cape", dated to 1798.Sparling 1888, p.

Comedy has been both helpful in advancing the careers of African Americans as well as harmful by mocking their demeanor or appearance. In the American tradition of minstrelsy white men colored their faces and falsely portrayed African American culture. "Black people and black life was the joke".McCluskey, Audrey T., ["Imaging Blackness: Race and Racial Representation in Film Poster Art"] pg.

The oldest and best-known Irish text definitely associated with the tune is a love-poem addressed to a fair-haired girl (chúilfhionn); this is attributed to a poet called Muiris O Duagain or Maurice O'Dugan of Benburb and said to have been written in around 1641.Hardiman, James. Irish minstrelsy, or Bardic remains of Ireland, v.1, 1831, p.

These then, together with the collected papers of its committee members, were the main sources of Northumbrian Minstrelsy, but works from other similar compilations were considered and used. There appears to have been relatively little collecting in the field. When John Stokoe joined the team on the committee, the work moved forward. The various sources and manuscripts were sifted, collated and ordered.

He mentioned to a customer (Charles H. Gibbons, editor of the Victoria Daily Colonist) that he wrote verses, with the result that six poems by "R.S." on the Boer Wars had appeared in the Colonist by July 1900Peter J. Mitham, Introduction to "Mossback Minstrelsy: The British Columbia Verse of Robert W. Service," Canadian Poetry No. 39, UWO, Web, Apr. 5, 2011.

Setting forth on a royal progress to view his eastern provinces, Zal at every stage held court and called for wine, harp, and minstrelsy. In Kabul, Mehrab, a vassal king descended from the evil Zahhak, paid homage with gifts of horses and slaves. Learning of Rudabeh, Mehrab's beautiful daughter, Zal lost his heart in love. But the affair was to progress slowly.

On 6 December 1930, Walker recorded for Columbia Records in Atlanta, Georgia. This session produced his only known titles, including "South Carolina Rag", later recorded by John Jackson. Walker played in an exceptionally fast style, and his "clear, minstrelsy vocals complemented his delicate yet strongly structured guitar lines." He specialized in playing in the key of C."Blind Willie Walker", Sooze Blues & Jazz.

Following his retirement from his professorship of art at Dartmouth College, illustrator and artist Ashley Bryan retired to Islesford. The Ashley Bryan Center is located there. Folklorist Mary Winslow Smyth summered in Islesford, and used the town as her base for the fieldwork which produced Minstrelsy of Maine: Folk-songs and Ballads of the Woods and the Coast and British Ballads from Maine.

Buildings of New York City's Tin Pan Alley music publishing district in 1910. In the 19th century, the music industry was dominated by sheet music publishers. In the United States, the sheet music industry rose in tandem with blackface minstrelsy. The group of New York City- based music publishers, songwriters and composers dominating the industry was known as "Tin Pan Alley".

Quoted in Toll 154. Still, traditional blackface entertainers disliked the new approach. Lew Dockstader remarked that Primrose and West > had refined all the fun out of it. Minstrelsy in silk stockings, set in > square cuts and bag wigs is about as palatable as an amusement as a salad of > pine shavings and sawdust with a little salmon, lobster, or chicken.

How performers navigated through these waters varied from artist to artist. High and low culture had yet to converge as mainstream or popular culture. The convergence of performance styles, from different races that minstrelsy and by extension hokum represented, helped to define a central, ongoing tension in American culture. The cycle of rejection, accommodation, appropriation and authentication was set in motion.

Advertisement Tuxedo is a vaudeville with minstrelsy in which the song "Ta-ra- ra Boom-de-ay" was interpolated. Actor and songwriter Edward Marble wrote and produced Tuxedo for George Thatcher and his minstrel troupe known as Thatcher's Minstrels.Rice, p. 187Obituary of Edward Marble, The New York Times, August 12, 1900, Page 12 The show debuted in Lincoln, Nebraska, on July 23, 1891.

Emmett Miller (February 2, 1900 – March 29, 1962) was an American minstrel show performer and recording artist known for his falsetto, yodel-like voice. Miller was a major influence on many country music singers, including Hank Williams, Jimmie Rodgers, Bob Wills, Milton Brown, Tommy Duncan, and Merle Haggard. His music provides a link among old-time Southern music, minstrelsy, jazz, and Western swing.

In 1801 Hogg was recruited to collect ballads for Walter Scott's collection Minstrelsy of the Scottish Border. He met Scott himself the following year and began working for the Edinburgh Magazine.Batho (1927) pp. 18–22 In the summer of 1802 he embarked on the first of three tours of the Highlands with a view to securing a farm of his own.

Sharpe contributed ballads to the second volume of Walter Scott's Border Minstrelsy. In 1807 he also published at Oxford Metrical Legends and other Poems. In 1823 he published his Ballad Book, which in 1880 was re-edited by David Laing, with additions from Sharpe's manuscripts. To Laing's edition of William Stenhouse's notes to James Johnson's Scots Musical Museum (1853), he made some contributions.

P. D. Garside (Edinburgh, 1993), 125–28. For the historical background Scott was particularly indebted to two books: Memoirs Concerning the Affairs of Scotland by George Lockhart of Carnwath (1714), and The History of the Late Rebellion by Robert Patten (1717). He also drew extensively on the ballads he had edited in Minstrelsy of the Scottish Border (1802–03).Ibid., 200–02.

In reality, William de Soulis was imprisoned in Dumbarton Castle and died there, following his confessed complicity in the conspiracy against Robert the Bruce in 1320. Sir Walter Scott in Minstrelsy of the Scottish Border records a ballad written by John Leyden entitled "Lord Soulis" in which Redcap has granted his master safety against weapons and lives in a chest secured by three strong padlocks.Scott, Walter (1849).

Jason Christophe White is an NAACP Theater Award-winning American playwright, his one produced play being The Dance: The History of American Minstrelsy, which he co-wrote and co-directed with Aaron White (no relation). Jason White is also the co-owner of In Tha Cut Productions. He is a graduate of The California Institute of the Arts, where he received a BFA in Acting in 2004.

The work of stunt doubles in American TV and film productions is overwhelmingly taken by white men. When they are made up to look like a woman, the practice is called "wigging". When they are made up to look like another race, the practice is called a "paint down". Stunt performers Janeshia Adams-Ginyard and Sharon Schaffer have equated it in 2018 with blackface minstrelsy.

Also in 2016, he appeared as a fictionalized version of himself in the Comedy Central web series White Flight. Kondabolu is the star, creator, and executive director of The Problem with Apu, a documentary about Apu from The Simpsons that premiered in November 2017 on TruTV. The film contextualizes Apu within minstrelsy and other tropes in American pop culture history that have historically stereotyped minorities.

Leon was trained as a boy soprano by Rev. Dr. Cummings in Fordham, NY. He performed the first soprano part in Mozart's Twelfth Mass at St. Stephen's church in New York City at age 8. Leon entered minstrelsy in 1858. Only 14 at the time, he quickly rose to fame by specializing in portraying female prima donna characters, mulatto coquettes in yellow makeup and elaborate costumes.

It was certainly Dixon who popularized the song when he put on three blackface performances at the Bowery Theatre, the Chatham Garden Theatre, and the Park Theatre in late July 1829. These shows also propelled Dixon to stardom.Cockrell 96. During the height of its popularity, the general assumption was that Dixon's performances of "Coal Black Rose" in 1829 were the birth of blackface minstrelsy.

Trade journals and theatergoers came to regard them as in the same category as successful all-white companies, and "Georgia" came to signify "Colored" when used in the title of a minstrel troupe. Perhaps most significantly, the success of the Georgia Minstrels spawned many imitators. Other black troupes found greater success and acceptance, and black minstrelsy took off as a genre in its own right.

Frohman was born to a Jewish family in Sandusky, Ohio. He saw his greatest success in blackface minstrelsy. In 1881, he and his brother bought Callender's Consolidated Colored Minstrels, a small African-American troupe, from Charles Callender. They kept the valuable Callender's name but focused on ornamenting their sets and costumes; the troupe eventually became the most lavishly produced black troupe in the world.

He was born 19 November 1780, at Blackhouse, Selkirkshire, where his father was a sheep-farmer. After receiving an elementary education at Peebles he assisted his father for a time. James Hogg, whose mother was his distant cousin, was employed at Blackhouse for ten years, and formed a lasting friendship with Laidlaw. In 1801, Hogg and Laidlaw helped Scott with materials for the Border Minstrelsy.

Stephen Johnson, Burnt Cork: Traditions and Legacies of Blackface Minstrelsy, University of Massachusetts Press, 2012, pp.82-90Gilbert W. Pell, Biographical Overview, The JUBA Project. Retrieved 6 October 2020 George Warren White (1816-1886) performed with various minstrel troupes in the U.S., including Bryant's Minstrels until at least 1868, as well as in opera companies; he also composed melodies. He died in Somerville, Massachusetts.

Bob Davenport sang The Border Widow's Lament in 1964 on the album Northumbrian Minstrelsy. The Ian Campbell Folk Group sang Highland Widow's Lament in 1966 on their Transatlantic EP Four Highland Songs. The Clutha sang The Border Widow's Lament in 1971 on their Argo album Scotia!. The High Level Ranters sang The Border Widow's Lament in 1973 on their Trailer album A Mile to Ride.

Poster showing a part of the Colored Minstrels performance. In the summer of 1881, Haverly’s Genuine Colored Minstrels performed in London at Her Majesty’s Theatre. The newspaper advertised that these would not be men in blackface, as the Mastodon Minstrels had been the year before. Meanwhile, Haverly entered the market of black minstrelsy and bought Charles Callender's Original Georgia Minstrels in 1878, renaming them Haverly's Colored Minstrels.

The romantic movement was well under way and along with it developed the splintering of fiction writing into genres and the rise of speculative fiction. There was a romantic tendency toward the exploration of folk traditions and old legends. In 1802 Sir Walter Scott published Minstrelsy of the Scottish Border. Amelia Opie, another romantic, was publishing poetry in the early 19th century and was an active anti-war campaigner.

Female characters ranged from the sexually provocative to the laughable. These roles were almost always played by men in drag (most famously George Christy, Francis Leon and Barney Williams), even though American theater outside minstrelsy was filled with actresses at this time. Mammy or the old auntie was the old darky's counterpart. She often went by the name of Aunt Dinah Roh after the song of that title.

As vaudeville become more popular the competition for “the most flashy” act increased. As minstrelsy became less popular other types of movement were created and carried on to the Vaudeville stage. A performer named Benjamin Franklin had an act that was described by his minstrel troupe leader, “waltzes with a pail of water on his head and plays the French horn at the same time.”Emery, Lynne Fauley.

Scott published “Glenfinlas” first of all in Tales of Wonder, as Lewis's project was finally called. Though the date 1801 appears on this book's imprint it was actually issued on 27 November 1800. Several other of his early poems appeared in the same collection, including “The Eve of St. John”. “Glenfinlas” was next included in Scott's Minstrelsy of the Scottish Border (1802), a collection of traditional ballads alongside some modern imitations.

"Clare de Kitchen" is an American song from the blackface minstrel tradition. It dates to 1832, when blackface performers such as George Nichols, Thomas D. Rice, and George Washington Dixon began to sing it. These performers and American writers such as T. Allston Brown traced the song's origins to black riverboatsmen.Brown, T. Allson, "The Origin of Negro Minstrelsy", in Charles H. Day, Fun in Black, New York, 1874.

James Hardiman (1782–1855), also known as Séamus Ó hArgadáin, was a librarian at Queen's College, Galway. Hardiman is best remembered for his History of the Town and County of Galway (1820) and Irish Minstrelsy (1831), one of the first published collections of Irish poetry and songs. The National University of Ireland, Galway (formerly Queen's College Galway) library now bears his name. Hardiman Road in Drumcondra, Dublin is named after him.

Progressive country is a subgenre of country music developed in the early 1970s.Cosmic Cowboys and New Hicks: The Countercultural Sounds of Austin's Progressive Country Music Scene, Stimeling, Travis David. In the late 1960s and early 1970s, mainstream country music was dominated by the slick Nashville sound and the rock-influenced Bakersfield sound of artists like Merle Haggard.American Popular Music: From Minstrelsy to MP3, Starr, Larry and Waterman, Christopher.

62Ewen attributes "New Coon in Town" to Paul Allen, though Clarke attributes it to J. S. Putnam – both agree on the year, 1883 # Clarke, pg. 95 Clarke dates the golden age as c. 1914–50 # Clarke, pgs. 56–57 Coon songs came out of minstrelsy, and were already established in vaudeville, when all this culminted in ragtime... ragtime may have begun with attempts to imitate the banjo on the keyboard.

In contrast to Kirstein's analytical or polemical approach to history, Winter was more of an archivist. One of Summer's most influential works is "Juba and American Minstrelsy", published in 1947. The article sketches the life of Master Juba, a black American dancer active in the mid-19th century. Winter argues that Juba introduced African elements to American dance forms and, in the process, created a new, distinctly American style.

A popular form of theater during the 19th century was the minstrelsy show. These shows featured white actors dressed in blackface and playing up racial stereotypes. Burlesque became a popular form of entertainment in the middle of the 19th century. Originally a form of farce in which females in male roles mocked the politics and culture of the day, burlesque was condemned by opinion makers for its sexuality and outspokenness.

300px George H. Primrose and Billy West Program for Thacher, Primrose & West's Minstrels, late 1800s. Primrose and West was an American blackface song-and- dance team made up of partners George Primrose and William H. "Billy" West. They later went into the business of minstrel troupe ownership with a refined, high-class approach that signaled the final stage in the development of minstrelsy as a distinct form of entertainment.Toll 155.

In a general sense, hokum was a style of comedic farce, spoken, sung and spoofed, while masked in both risqué innuendo and "tomfoolery". It is one of the many legacies and techniques of 19th century blackface minstrelsy. Like so many other elements of the minstrel show, stereotypes of racial, ethnic and sexual fools were the stock in trade of hokum. Hokum was stagecraft, gags and routines for embracing farce.

Henry Robson was born c. 1770 at Benwell, near Newcastle, Northumberland,The Northumbrian Minstrelsy, published 1882 and was still residing in Newcastle in 1812 according to John Bell in his notes in "Rhymes of Northern Bards"). He worked as a printer for Mackenzie and Dent (who also printed the works of Bell) and also had his own small business, working at home, where he had a small press.

The issue came to public attention for its racial implications, and most of the performers who had left eventually returned to Callender. The company stayed at the top of black minstrelsy through the mid-1870s. In 1874 or 1875, Callender organized a second troupe of black minstrels that would tour secondary circuits, such as the Midwest. After a bad year in 1877, he sold his main troupe to J. H. Haverly.

The group's 2013 performance aroused controversy when their theme for the year alluded to blackface minstrelsy in a performance entitled "Ferko's Bringin’ Back the Minstrel Days". The performance celebrated the music of Al Jolson and his contributions to early American music and theater. This performance was criticized by some, for the portrayal of performers within a vaudeville act, including the University of Pennsylvania professor of Africana Studies Guthrie Ramsey, among others.

There were at least three different sets of "Old Aunt Jemima" lyrics by 1889. Often, "Old Aunt Jemima" was sung while a man in drag, playing the part of Aunt Jemima, performed on stage. It was not uncommon for the Aunt Jemima character to be played by a white man in blackface. Other minstrels incorporated Aunt Jemima into their acts, so Aunt Jemima became a common figure in minstrelsy.

The first published description of the shanty is found in an account of an 1839 whaling voyage out of New London, Connecticut to the Pacific Ocean.Hugill, Stan. 1961. Shanties from the Seven Seas. London. It was used as an example of a song that was "performed with very good effect when there is a long line of men hauling together". The tune was noted, along with these lyrics: Although this is the earliest discovered published mention, there is some indication that the shanty is at least as old as the 1820s. In Eckstorm and Smyth's collection Minstrelsy of Maine (published 1927), the editors note that one of their grandmothers, who sang the song, claimed to have heard it used during the task of tacking on the Penobscot River "probably [by the time of the editor's reportage] considerably over a hundred years ago".Eckstorm, Fannie Hardy and Mary Winslow Smyth. 1927. Minstrelsy of Maine: Folk-songs and Ballads of the Woods and the Coast.

By 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience.Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture by William J. Mahar, University of Illinois Press (1998) p. 9 . By the turn of the 20th century, the minstrel show enjoyed but a shadow of its former popularity, having been replaced for the most part by vaudeville.

Ultimately, the girlie show emerged as a form in its own right. Mainstream minstrelsy continued to emphasize its propriety, but traditional troupes adopted some of these elements in the guise of the female impersonator. A well-played wench character became critical to success in the postwar period.. Many later minstrel troupes, such as this one in 1910, tried to project an image of refinement. Note that only the endmen are in blackface.

Northumbrian Minstrelsy is a book of 18th and 19th century North East of England folk songs and pipe music, intended to be a lasting historical record. The book was edited by John Stokoe and the Rev John Collingwood Bruce LL.D., F.S.A., and published by and on behalf of the Society of Antiquaries of Newcastle upon Tyne in 1882. It was reprinted in 1965 by Folklore Associates, Hatboro, Pennsyslvania, with a foreword by A. L. Lloyd.

Where Dead Voices Gather is a book by Nick Tosches. It is, in part, a biography of Emmett Miller, one of the last minstrel singers. Just as importantly, it depicts Tosches' search for information about Miller, about whom he initially wrote in his book Country: The Twisted Roots of Rock and Roll. It is also a study of minstrelsy and its connection to American folk music, country music, the blues and ultimately, rock and roll.

Penumbra chose to actively produce plays that dealt with the implications and practices of minstrelsy in an effort to further investigate the history of African-American theatre. Bellamy soon left Mixed Blood theatre as cultural arts director at Hallie Q. Brown Community Center. Penumbra initially identified itself as a multiracial company. While the company’s members, staff, and audience has always been ethnically diverse, their leadership and productions have a distinguishable dominance of African-American culture.

The musical numbers in the movie contain elements of minstrelsy. The performance of a cakewalk for example, features flower headdresses reminiscent of the Little Black Sambo figures used in historical misrepresentations of Black American males. Stormy Weather and other musicals of the 1940s opened new roles for blacks in Hollywood, breaking through old stereotypes and far surpassing limited roles previously available in race films produced for all-black audiences.Frank N. Magill, ed.

Blackface minstrelsy was the conduit through which African-American and African-American-influenced music, comedy, and dance first reached the white American mainstream. It played a seminal role in the introduction of African- American culture to world audiences. Many of country's earliest stars, such as Jimmie Rodgers and Bob Wills, were veterans of blackface performance.Nolan Porterfield, Jimmie Rodgers: The Life and Times of America's Blue Yodeler (1979), University of Indiana Press, p.

Additionally, the medieval church also found use for the fabliau form. Noting its popularity, the church turned to their own form of minstrelsy similar to the fabliau that espoused "worthy thoughts" rather than the "ribaldry" a more typical fabliau would couch its moral in. When the fabliau gradually disappeared, at the beginning of the 16th century, it was replaced by the prose short story, which was greatly influenced by its predecessor.Balachov 30.

"Assimilationist minstrelsy as racial uplift ideology: James D. Corrothers's literary quest for black leadership." American Quarterly (1993): 341"The Looking Glass," The Crisis, April 1917 p. 287 Corrothers was born in Michigan and grew up in a small town of anti-slavery activists who settled before the war. He attended Northwestern University in Chicago but left to work as a newspaper reporter. He met Frederick Douglass at the 1893 World Columbian Exposition.

His career began in blackface minstrelsy, but he later became one of the first African Americans to branch out into more serious drama, with roles in seminal works such as The Creole Show and A Trip to Coontown. He was the first black man to portray the role of Uncle Tom on both stage and screen. James Weldon Johnson described him as the "Grand Old Man of the Negro Stage".Johnson (1968).

"Jimmy Crack Corn" or "Blue Tail Fly" is an American song which first became popular during the rise of blackface minstrelsy in the 1840s through performances by the Virginia Minstrels. It regained currency as a folk song in the 1940s at the beginning of the American folk music revival and has since become a popular children's song. Over the years, several variants have appeared. Most versions include some idiomatic African English, although sanitized General American versions now predominate.

Women's rights was another serious subject that appeared with some regularity in antebellum minstrelsy, almost always to ridicule the notion. The women's rights lecture became common in stump speeches. When one character joked, "Jim, I tink de ladies oughter vote", another replied, "No, Mr. Johnson, ladies am supposed to care berry little about polytick, and yet de majority ob em am strongly tached to parties.". Minstrel humor was simple and relied heavily on slapstick and wordplay.

These black companies often featured female minstrels. Plantation scenarios were common in black minstrelsy, as shown here in this post-1875 poster for Callender's Colored Minstrels One or two African-American troupes dominated the scene for much of the late 1860s and 1870s. The first of these was Brooker and Clayton's Georgia Minstrels, who played the Northeast around 1865. Sam Hague's Slave Troupe of Georgia Minstrels formed shortly thereafter and toured England to great success beginning in 1866.

The song was played at the dedication of Confederate monuments like Confederate Private Monument in Centennial Park, Nashville, Tennessee, on June 19, 1909. As African Americans entered minstrelsy, they exploited the song's popularity in the South by playing "Dixie" as they first arrived in a Southern town. According to Tom Fletcher, a black minstrel of the time, it tended to please those who might otherwise be antagonistic to the arrival of a group of black men.Watkins 101.

The name of F. C. Germon (or German) appears in credits as well.Mahar 405 note 37. Regardless of who originally wrote or composed it, "Mary Blane" was by far the most popular song in the lost-lover genre in antebellum blackface minstrelsy. Research by musicologist William J. Mahar's has found versions of the song in more songsters published between 1843 and 1860 than any other number, edging out such hits as "Miss Lucy Long" and "Old Dan Tucker".

In 1833, following Scott's death, Lockhart produced another edition which included the music of nine of the ballads, making it the first collection to do such a thing. In 1837 he reported that there had been numerous American editions.Lockhart p. 103 T. F. Henderson's edition, first published in 1902, remained the reference edition of this work until the appearance in 2017 of Edinburgh University Press's three-volume Minstrelsy of the Scottish Border, edited by Sigrid Rieuwerts.

On 20 June 1902 Brambach died in his home in Bonn. His funeral was accompanied by singers from all over Germany. With great sympathy of the German minstrelsy, two years after his death a memorial designed by the architect Karl Senff was built on his grave at the cemetery in Bonn-Poppelsdorf. The relief on his donated, well elaborate tomb is signed by the Bad Honnef sculptor Charles Menser (1872–1929) and bears the inscription "Dedicated to German singers".

M. (1983) The Holladay Family. The records show that, in addition to Walter, two other Hallidays were royal minstrels in the first half of the 15th century : William and Thomas. As William appears to have been older than the other two, it's possible that Walter and Thomas were brothers and William was their father. The recurrence of surnames in the lists of royal minstrels over the years strongly suggests "that minstrelsy could be a family business".

They included "self-same", "hue", "minstrelsy", "murky", "carol", and "chaunt". Among Milton's naturalized Latin words were "humid", "orient", "hostil", "facil", "fervid", "jubilant", "ire", "bland", "reluctant", "palpable", "fragil", and "ornate". Peck 1740 pp. 110–11. The "Miltonian dialect", as it was called, was emulated by later poets; Pope used the diction of Paradise Lost in his Homer translation, while the lyric poetry of Gray and Collins was frequently criticised for their use of "obsolete words out of Spenser and Milton".

In 1805 he published his first long narrative poem, The Lay of the Last Minstrel, which proved to be such a sensational success with both readers and critics that its publisher, Longman, followed it up with a volume of Scott's original poems from the Minstrelsy together with some of his translations and lyric poems. These Ballads and Lyrical Pieces appeared on 20 September 1806, and proved to be a success in their own right, with 7000 copies being sold.

Due to this song's popularity, the black riverboatsman (usually named "Gumbo Chaff") became a popular character in minstrelsy for a time. Blackface singers would often perform "Gumbo Chaff" with a mock flatboat on stage. The song's melody seems to be at least partially based on an older English song called "Bow Wow Wow". "De Wild Goose-Nation", a blackface song written by Dan Emmett in 1844, adapted the tune to "Gumbo Chaff", possibly with parodic intent.

They were denied use of courtesy titles, such as "mistress" and "mister". A character named "Aunt Jemima" appeared on the stage in Washington, D.C., as early as 1864. Rutt's inspiration for Aunt Jemima was Billy Kersands' American-style minstrelsy/vaudeville song "Old Aunt Jemima", written in 1875. Rutt reportedly saw a minstrel show featuring the "Old Aunt Jemima" song in the fall of 1889, presented by blackface performers identified by Arthur F. Marquette as "Baker & Farrell".

The first verse reflects this relationship to mumming: :In old Kentuck in de arternoon, :We sweep de floor wid a bran new broom, :And dis de song dat we do sing, :Oh! Clare de kitchen old folks young folks :Clare de kitchen old folks young folks :Old Virginny never tire.Quoted in Cockrell 50. The line "I wish I was back in old Kentuck" is one of the earliest examples of "I wish I was in" from blackface minstrelsy.

The gusans were both criticized and praised, particularly in medieval Armenia. The adoption of Christianity had its influence upon Armenian minstrelsy, gradually altering its ethical and ideological orientation. The center of the gusans was the Goghtn gavar (canton), a region in the Vaspurakan province of Greater Armenia that bordered the province of Syunik. During the late Middle Ages, gusans were succeeded by popular, semi-professional musicians called ashughs (), who played instruments like the kamancha and saz.

The form was hounded off the "legitimate stage" and found itself relegated to saloons and barrooms, and its content mostly raunchy jokes. Vaudeville is a style of variety entertainment predominant in America in the late 19th century and early 20th century. Developing from many sources including shows in saloons, minstrelsy, British pantomimes, and other popular entertainments, vaudeville became one of the most popular types of entertainment in America. Part of this entertainment was usually one or more comedians.

Hogan's big hit was called "All Coons Look Alike to Me", and the stage show that he and Jordan cooked up was "Rufus Rastus". Another example of the prevalent racial thematic was "Dandy Coon", created by Chauvin and Patterson in 1903. Jordan stage-managed and directed the music for this bit of minstrelsy, which toured with a cast of thirty including a "beautiful octoroon chorus". When the show disbanded in Des Moines, Iowa, Jordan left for Chicago.

Kevin Gaines "Assimilationist minstrelsy as Racial Uplift Ideology: James D. Corrothers's Literary Quest for Black Leadership." American Quarterly (1993) Corrothers thought that poetry in "standard English" was more appropriate for the twentieth century. In his autobiography, In Spite of the Handicap, Corrothers claimed credit for bringing the work of another poet, Paul Laurence Dunbar, to the attention of William Dean Howells.James D. Corrothers, In Spite of the Handicap (New York: George H. Doran Company) 1916, p. 143-144.

The Ornithological Combat of Kings, or the Condor of the Andes (1847); The Minstrelsy of Nature in the Wilds of North America; The Wild Wood Spirits' Chant (ca. 1842); The Treaty of William Penn with the Indians (1834; a rare 19th century concerto grosso). Shortly after his arrival in Kentucky in 1817, he conducted a performance of Beethoven's First Symphony—only the second time a Beethoven symphony had been performed in the United States.Gibbons, "The Musical Audubon," 465 n5.

Cain bairns or kain bairns were infants who, according to Scottish superstition, were seized by warlocks and witches, and paid as a tax or tithe to the Devil. Càin is a Gaelic word for a tribute, tax or tithe, and is the origin of the Lowland Scots term, while "bairn" means a child. The word was in use along the Scottish Borders, according to Walter Scott's Minstrelsy of the Scottish Border. It is unconnected with Cain in the Bible.

Madame Rentz's Female Minstrels was a blackface minstrel troupe composed completely of women. M. B. Leavitt founded the company in 1870. Unlike mainstream minstrelsy at the time, Leavitt's cast was entirely made up of women, whose primary role was to showcase their scantily clad bodies and tights, not the traditional role of comedy routines or song and dance numbers. The women still performed a basic minstrel show, but they added new pieces that titillated the audience.

Over time, the Callender name came to signify "black minstrelsy",Toll 203. and when rival troupes tried to appropriate it, Callender persuaded The Clipper to refrain from writing about them. Despite the revenues brought in by his star performers, including such talents as Bob Height, Billy Kersands, and Pete Devonear, Callender ignored their demands for more pay and better recognition. Some of them quit to form their own company, an action Callender claimed was tantamount to theft.

This coincided with the rise of groups struggling for workingman's nativism and pro-Southern causes, and faux black performances came to confirm pre-existing racist concepts and to establish new ones. Following a pattern that had been pioneered by Rice, minstrelsy united workers and "class superiors" against a common black enemy, symbolized especially by the character of the black dandy.. In this same period, the class-conscious but racially inclusive rhetoric of "wage slavery" was largely supplanted by a racist one of "white slavery". This suggested that the abuses against northern factory workers were a graver ill than the treatment of black slaves—or by a less class-conscious rhetoric of "productive" versus "unproductive" elements of society.. On the other hand, views on slavery were fairly evenly presented in minstrelsy,, note 111. and some songs even suggested the creation of a coalition of working blacks and whites to end the institution.. Among the appeals and racial stereotypes of early blackface performance were the pleasure of the grotesque and its infantilization of blacks.

The Scots Magazine said that it would "attract the attention of men of literature, not only in Scotland, but in every country which has preserved a taste for poetical antiquities, and popular poetry". It admired the notes, and ranked the work alongside Percy's Reliques. The British Critic praised the "taste and learning" displayed in this "elegant collection". The Edinburgh Review thought the Minstrelsy "highly interesting and important to literature", and found much to praise in Scott's notes, not to mention Ballantyne's printing.

Bruce's main interest was in the history of Britain, in particular North East England and more specifically Roman Britain and Hadrian's Wall. His books used a numbering system for the structures of the Wall, and by about 1930 it had become standard, using the milecastle located to the east. Examples are T33a or Turret 26B (Brunton): (see Numbering system and naming. His interest in music was largely historical, and in editing the Northumbrian Minstrelsy he co-operated with John Stokoe .

The Ira Aldridge Troupe appearing during the American Civil War made it "unique in the annals of minstrelsy." The Clipper (New York City) thought it was important enough to review; and it performed before a mixed audience, at a time when often white and black audiences were separated. Third, it was a black troupe presenting a program designed to appeal to their black audience. The Ira Aldridge Troupe performances eschewed the southern genre of old "darkies" longing for the plantation.

As recently as 1997, musicologist > Dale Cockrell wrote that "[t]he best treatment of Juba, though it is shot > through with errors, is still Winter 1948". Winter's view that Juba was the > "most influential single performer of nineteenth-century American dance" is > now the consensus. His career shows that black and white people actually did > collaborate to an extent in blackface minstrelsy. Scholars in recent decades > have repeatedly pointed to Juba as the progenitor of tap dancing and, by > extension, step dancing.

His biographer Barry Anthony considered the performance to be "more or less, the last gasp of black-face minstrelsy in Britain". Between 1901 and 1903, Leno recorded more than twenty- five songs and monologues on the Gramophone and Typewriter Company label.Brandreth, pp. 96–97 He also made 14 short films towards the end of his life, in which he portrayed a bumbling buffoon who struggles to carry out everyday tasks, such as riding a bicycle or opening a bottle of champagne.

This troupe was allegedly the largest minstrel company to travel America's entertainment circuit in the 19th century, featuring 105 performers on parade with 88 in the regular company. In the following years, Fagan performed with various companies, including Thatcher, Primrose and West; Barlow, Wilson and Rankin's; and Cleveland's Minstrels, where Fagan performed opposite to Luke Schoolcraft. Outside of minstrelsy, Fagan appeared in Blackface in such plays as Paradise Alley, and, in 1890, appeared in High Roller, a production of his own company.

Given the lax copyright laws of the time, stage plays based on Uncle Tom's Cabin—"Tom shows"—began to appear while the novel was still being serialized. Stowe refused to authorize dramatization of her work because of her distrust of drama (although she did eventually go to see George L. Aiken's version and, according to Francis Underwood, was "delighted" by Caroline Howard's portrayal of Topsy).Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993. .

Gamzatov was born on 8 September 1923 in the Avar village of Tsada in the north-east Caucasus. His father, Gamzat Tsadasa, was a well-known bard, heir to the ancient tradition of minstrelsy still thriving in the mountains. He was eleven when he wrote his first verse about a group of local boys who ran down to the clearing where an airplane had landed for the first time. His father was the teacher who taught him the art of writing poetry.

The site of the Saylis at Wentbridge The Gest makes a specific reference to the Saylis at Wentbridge. Credit is due to the nineteenth-century antiquarian Joseph Hunter, who correctly identified the site of the Saylis.Joseph Hunter, "The Great Hero of the Ancient Minstrelsy of England", Critical and Historical Tracts, 4 (1852) (pp. 15–16). From this location it was once possible to look out over the Went Valley and observe the traffic that passed along the Great North Road.

Perry has been accused of minstrelsy and playing into black stereotypes with the Madea character, most notably by fellow black director Spike Lee. Perry's argument with Lee dates back to a 2009 interview in which Lee referred to Perry's films as "coonery buffoonery". Lee equated the Madea movies with the old-time minstrel shows which lampooned black people as dim-witted, lazy, buffoonish, superstitious and happy-go- lucky,The Coon Character, Jim Crow Museum of Racist Memorabilia, Ferris State University. Retrieved .

Nineteenth century commentators claimed that the walkaround descended from the communal dances of African plantation slaves, dances which themselves hearkened back to religious West African dances. Modern scholars still hold this to be mostly true, claiming that the walkaround was a parody of the ring shout, a religious slave dance. The popularity of walkarounds in minstrelsy allowed the style to influence later dances, as well. In later years, the cakewalk became integrated into the walkaround, and over time the two terms became interchangeable.

Some critics, including Charles Norman and Robert E. Maurer, believe the character of Him is representative of Cummings himself. Act two, scene four is a parody of Eugene O'Neill's The Great God Brown. Act two, scene five is a bawdy parody of the Frankie and Johnny song and is also inspired by minstrelsy. Act two, scene eight shares many resonances with Cummings' 1926 Vanity Fair article "How I Do Not Love Italy" in which Cummings compares Benito Mussolini to both Caesar and Napoleon.

He described Stanton as 'an amateur performer on the smallpipes, and an ardent lover of their music'. In the Minstrelsy, and in this article, Stokoe printed the tune "Follow her over the Border", taken from these manuscripts.Newcastle Courant, 3 June 1881, article "Northumbrian Pipe and Ballad Music", retrieved from British Newspaper Archive. Stanton had an unusual, perhaps unique, set of smallpipes made, with 6 drones rather than 4 or 5, which was assembled by James Reid, using parts made by his father Robert.

Reflecting on this play, writer Benjamin Griffith Brawley wrote that it was a drama that aimed to "get away from the minstrelsy and burlesque" that predominated the early African American theater scene "and honestly present Negro characters face to face with all the problems that test the race in the crucible of American civilization". Writer James Weldon Johnson said the play "demanded the serious attention of the critics and the general public." Clough's participation in this production was widely publicized.Brawley, Benjamin Griffith.

Ed Harrigan Edward Harrigan (October 26, 1844June 6, 1911), sometimes called Ned Harrigan, was an Irish-American actor, singer, dancer, playwright, lyricist and theater producer who, together with Tony Hart (as Harrigan & Hart), formed one of the most celebrated theatrical partnerships of the 19th century. His career began in minstrelsy and variety but progressed to the production of multi-act plays full of singing, dancing and physical comedy, making Harrigan one of the founding fathers of modern American musical theatre.

Countless lyrical variants of "Dixie" exist, but the version attributed to Dan Emmett and its variations are the most popular. Emmett's lyrics as they were originally intended reflect the mood of the United States in the late 1850s toward growing abolitionist sentiment. The song presented the point of view, common to minstrelsy at the time, that slavery was overall a positive institution. The pining slave had been used in minstrel tunes since the early 1850s, including Emmett's "I Ain't Got Time to Tarry" and "Johnny Roach".

On November 24, 1849, Williams married actress Maria Pray (1828–1911), the widow of actor Charles Mestayer who died the previous year. She was the daughter of William Pray, an actor who perished in a New York theatre fire, and a sister of Malvina Florence, actress wife of the well-known actor William J. Florence.Mrs. Barney Williams Dead-The New York Times, May 7, 1911, p. 11 Maria and Barney Williams NYPL Digital Gallery After marrying, Barney shed his roles in the negro minstrelsy genre.

Aldridge was born in New York City to Reverend Daniel and Luranah (also spelled Lurona) Aldridge on July 24, 1807. At the age of 13, Aldridge went to the African Free School in New York City, established by the New York Manumission Society for the children of free black people and slaves. They were given a classical education, with the study of English grammar, writing, mathematics, geography, and astronomy.Nicholas M. Evans, "Ira Aldridge, Shakespeare and Minstrelsy", The American Transcendental Quarterly, 1 September 2002, carried at Goliath.

Moses Selden, who died in 1889, was buried elsewhere in the same cemetery. Within nineteenth-century minstrelsy, there were white minstrels who used "burnt cork," but there were also African- American minstrels such as Henry Hart. As already noted, in 1874, Hart organized his own minstrel troupe and performed in four states. Here is what a reviewer wrote for The Kokomo Democrat: > Henry Hart's original colored minstrels gave the best entertainment of the > kind last Friday night ever put on the boards in this city.

Aaron White (born 1980) is an American actor and director, his most notable work for The Dance: The History of American Minstrelsy, which he co-wrote and co-directed with Jason Christophe White (no relation). He is also an independent music producer, and the owner and founder of Slingshot Media. He graduated from St. Bernard High School, in Playa Del Rey, CA, in 1998, and is a graduate of The California Institute of the Arts, where he received a Bachelor of Fine Arts in Theater in 2003.

The influence of African Americans on mainstream American music began in the 19th century, with the advent of blackface minstrelsy. The banjo, of African origin, became a popular instrument, and its African-derived rhythms were incorporated into popular songs by Stephen Foster and other songwriters. In the 1830s, the Second Great Awakening led to a rise in Christian revivals and pietism, especially among African Americans. Drawing on traditional work songs, enslaved African Americans originated and began performing a wide variety of Spirituals and other Christian music.

Some minstrel shows, particularly when performing outside the South, also managed subtly to poke fun at the racist attitudes and double standards of white society or champion the abolitionist cause. It was through blackface performers, white and black, that the richness and exuberance of African-American music, humor, and dance first reached mainstream, white audiences in the U.S. and abroad. It was through blackface minstrelsy that African American performers first entered the mainstream of American show business. Black performers used blackface performance to satirize white behavior.

Minstrelsy remains a controversial issue; some see it as a racist, while others see it as tradition. It is a form of entertainment prevalent for more than one hundred years, and still exists in world culture today. Films such as Spike Lee's Bamboozled (2000), about a black television executive who decides to make a minstrel show and is appalled by its success, still convey the same stereotypes that Foster was trying to convey nearly one hundred years earlier. Foster tried to break down these stereotypes.

Two of Stanton's tunes in Fenwick, "Little wot ye wha's coming" and "Blackett of Wylam" were explicitly attributed by him to Peacock, although they are not in Peacock's printed tunebook. These tunes appear in the manuscripts of Peacock's pupil Robert Bewick, so the attribution is very credible.Bewick's Pipe Tunes, ed. Matt Seattle, Northumbrian Pipers' Society, 2010, In 1881, John Stokoe, one of the editors of the Northumbrian Minstrelsy, referred to some of Stanton's manuscripts, then in the possession of the piper T. Errington Thompson, of Sewing Shields.

Billy Kersands from a poster for Callender's (Georgia) Minstrels, early 1870s Billy Kersands (c. 1842 in Baton Rouge Louisiana, –1915 in Artesia New Mexico) was an African-American comedian and dancer. He was the most popular black comedian of his day, best known for his work in blackface minstrelsy. In addition to his skillful acrobatics, dancing, singing, and instrument playing, Kersands was renowned for his comic routines involving his large mouth, which he could contort comically or fill with objects such as billiard balls or saucers.

The transmission of ballads comprises a key stage in their re-composition. In romantic terms this process is often dramatized as a narrative of degeneration away from the pure 'folk memory' or 'immemorial tradition'.Ruth Finnegan, Oral Poetry: Its Nature, Significance and Social Context (Cambridge University Press, 1977), p. 140. In the introduction to Minstrelsy of the Scottish Border (1802) the romantic poet and historical novelist Walter Scott argued a need to 'remove obvious corruptions' in order to attempt to restore a supposed original.

Although Orbeliani's earliest writings are in prose dating to 1824, his prose pieces have fallen into oblivion. Most of his poetry is noted for patriotic motifs and extravagant praise of wine and women. Like his contemporary Georgian romanticists, Orbeliani's lyrics are pervaded with laments over the lost past and the fall of the Georgian monarchy. What distinguishes him, however, is his love for the street poetry and the ashug minstrelsy to which he himself added with such lyrics as Mukhambazi (მუხამბაზი).Rayfield, p. 144.

Douglass considered photography very important in ending slavery and racism, and believed that the camera would not lie, even in the hands of a racist white, as photographs were an excellent counter to the many racist caricatures, particularly in blackface minstrelsy. He was the most photographed American of the 19th century, self- consciously using photography to advance his political views. He never smiled, specifically so as not to play into the racist caricature of a happy slave. He tended to look directly into the camera to confront the viewer, with a stern look.

Richard Martin Hooley (April 13, 1822 – September 8, 1893) was an American theatre manager, minstrelsy manager, and one of the earliest theatre managers in Chicago. Hooley was born in Ballina, County Mayo, Ireland, and educated in Manchester before first coming to the United States in 1844. After being associated for two years with Christy's Minstrels, he organized a blackface minstrel company and toured England, returning to the United States by 1853. In 1855 he traveled to California and took over the management of Maguire's Opera House in San Francisco.

Minstrels caricatured them by their strange language ("ching chang chung"), odd eating habits (dogs and cats), and propensity for wearing pigtails. Parodies of Japanese became popular when a Japanese acrobat troupe toured the U.S. beginning in 1865. A run of Gilbert and Sullivan's The Mikado in the mid-1880s inspired another wave of Asian characterizations.. The few white characters in minstrelsy were stereotypes of immigrant groups like the Irish and Germans. Irish characters first appeared in the 1840s, portrayed as hotheaded, odious drunkards who spoke in a thick brogue.

"Minstrelsy evolved from several different American entertainment traditions; the traveling circus, medicine shows, shivaree, Irish dance and music with African syncopated rhythms, musical halls and traveling theatre." Music and dance were the heart of the minstrel show and a large reason for its popularity. Around the time of the 1830s there was a lot of national conflict as to how people viewed African Americans. Because of that interest in the Negro people, these songs granted the listener new knowledge about African Americans, who were different from themselves, even if the information was prejudiced.

The Lomaxes note that fugitive slaves found refuge beyond the Saint John's River in Florida among the unconquered Seminole Indians. See also Robbie Dawson, "On Whose Way: Thoughts on Jumpin' Judy". John A. Lomax and his colleague Harold Spivacke made another Library of Congress audio field recording on June 14, 1936, of "Take This Hammer", performed by Jimmie Strothers, a blind prisoner at the State Farm (Virginia State Penitentiary), at Lynn, Virginia, performing with finger-picked banjo accompaniment.Lornell, Virginia and the Piedmont, Minstrelsy, Work Songs, and Blues CD liner notes.

In 1914, the University of St Andrews awarded him an honorary LL.D. He was an editor for several anthologies of poetry, including the works of Robert Burns. His work with Burns was praised by The Times, which noted, "For the first time Burns was edited with the care usually reserved for editions of the ancient classics." Henderson was also an editor of later editions of The History of England from the Accession of James the Second, considered the foremost historic work of its era, and Minstrelsy of the Scottish Border.

In February, 2014 Marah released Mountain Minstrelsy of Pennsylvania based on an obscure 1931 book with the same title. The book consists of a collection of song lyrics gathered in the mountains of Pennsylvania by folklorist Henry W. Shoemaker. Dave Bielanko and Christine Smith used the lyrics in Shoemaker's book as the basis for the songs on the album. Working in their studio in an old church in Millheim, Pennsylvania, the record was made on a Studer 8 track tape machine and mastered directly to a vinyl lathe.

The stump speech was a comic monologue from blackface minstrelsy (which is an American entertainment consisting of racist comic skits, variety acts, dancing, and music, performed by white people in blackface). A typical stump speech consisted of malapropisms (the substitution of a word for a word with a similar sound), nonsense sentences, and puns delivered in a parodied version of Black Vernacular English. The stump speaker wore blackface makeup and moved about like a clown. Topics varied from pure nonsense to parodies of politics, science, and social issues.

The 19th-century antiquary Joseph Hunter (a Yorkshireman by birth) identified its likely site: a small tenancy, of one- tenth of a knight's fee (i.e. a knight's annual income), located on high ground 500 yards (457.2 metres) to the east of the village of Wentbridge in the manor of Pontefract.Joseph Hunter, "The Great Hero of the Ancient Minstrelsy of England", Critical and Historical Tracts 4 (1852 pp. 15-16). The high ground which overlooks the area – 120 feet (36.576 metres) above the flat terrain - was then known as Sayles Plantation.

The Ira Aldridge Troupe is unique in annals of minstrelsy; it was named for a Black actor who had left his homeland some 35 years before and achieved fame in Europe. Unlike most, later, Black minstrel companies, the Aldridge Troupe apparently did not do plantation material, although they were billed as a 'contraband troupe'—that is, fugitive slaves. Perhaps because of their substantially Black audience, the troupe felt no need to "put on the mask." Although much of the material the group performed was standard fare, several of the company's acts were downright subversive.

It has been suggested that the song may have originally arisen out of American minstrelsy. The earliest printing of the song is from 1852, when the lyrics were published with similar lyrics to those used today, but with a very different tune. It was reprinted again two years later with the same lyrics and another tune. The modern tune was first recorded with the lyrics in 1881, mentioning Eliphalet Oram Lyte in The Franklin Square Song Collection but not making it clear whether he was the composer or adapter.

Many other groups soon followed, usually using a banjo, violin, castanets and tambourine. Thomas Rice and other blackface entertainers adapted to minstrelsy; Rice wrote operas like Bone Squash Diavolo before his popularity declined in the 1850s. Another minstrel opera group was the Kneass Opera Troupe, which did blackface parodies of Rossini's La Cenerentola, Balfe's The Bohemian Girl and Auber's Fra Diavolo. These parodies were given titles like Son-Am-Bull-Ole for a parody of Bellini's La somnambula, the invented title being a humorous reference to the violinist Ole Bull.

Joseph Wright of Derby - William and Margaret from Percy's 'Reliques of Ancient English Poetry', c. 1785 Ballad collections had appeared before but Percy's Reliques seemed to capture the public imagination like no other. Not only would it inspire poets such as Samuel Taylor Coleridge and William Wordsworth to compose their own ballads in imitation, it also made the collecting and study of ballads a popular pastime. Sir Walter Scott was another writer inspired by reading the Reliques in his youth, and he published some of the ballads he collected in Minstrelsy of the Scottish Border.

Blackface's appropriation,Inside the minstrel mask: Readings in nineteenth-century blackface minstrelsy by Bean, Annemarie, James V. Hatch, and Brooks McNamara. 1996. Middletown, CT: Wesleyan University Press. exploitation, and assimilation of African-American culture – as well as the inter-ethnic artistic collaborations that stemmed from it – were but a prologue to the lucrative packaging, marketing, and dissemination of African- American cultural expression and its myriad derivative forms in today's world popular culture.Jason Rodriquez, "Color-Blind Ideology and the Cultural Appropriation of Hip-Hop", Journal of Contemporary Ethnography, Vol.

Bert Williams was the only black member of the Ziegfeld Follies when he joined them in 1910. Shown here in blackface, he was the highest-paid African American entertainer of his day. By 1840, black performers also were performing in blackface makeup. Frederick Douglass generally abhorred blackface and was one of the first people to write against the institution of blackface minstrelsy, condemning it as racist in nature, with inauthentic, northern, white origins.Granville Ganter, "He made us laugh some": Frederick Douglass's humor, originally published in African American Review, December 22, 2003.

His doctoral thesis was about the poetry work Der Ackermann aus Böhmen. In 1972, he accepted a visiting professorship at the University of Salzburg. In 1973, he was appointed to the University of Regensburg, where he thenceforth until his retirement worked as a professor of Early German Literature until 1999. His research interests are the literature of the late Middle Ages and the early modern period, the literature of the Reformation (especially of Martin Luther), spiritual and ecclesiastical songs from the beginning to the present, minstrelsy, and epigrammatic poetry (especially Walther von der Vogelweide).

Billy Murray, Edison Amberol cylinder, 1911 Irving Berlin (born Israel Beilin; ; May 11, 1888 – September 22, 1989) was an American composer and lyricist, widely considered one of the greatest songwriters in American history. His music forms a great part of the Great American Songbook. Born in Imperial Russia, Berlin arrived in the United States at the age of five. He published his first song, "Marie from Sunny Italy", in 1907, receiving 33 cents for the publishing rights,Starr, Larry and Waterman, Christopher, American Popular Music: From Minstrelsy to MP3, Oxford University Press, 2009, pg.

Types of acts have included popular and classical musicians, singers, dancers, comedians, trained animals, magicians, ventriloquists, strongmen, female and male impersonators, acrobats, clowns, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies. A vaudeville performer is often referred to as a "vaudevillian". Vaudeville developed from many sources, also including the concert saloon, minstrelsy, freak shows, dime museums, and literary American burlesque. Called "the heart of American show business", vaudeville was one of the most popular types of entertainment in North America for several decades.

This racist postcard from the 1900s shows the casual denigration of black women. It states "I know you're not particular to a fault / Though I'm not sure you'll never be sued for assault / You're so fond of women that even a wench / Attracts your gross fancy despite her strong stench" Media Popular culture (songs, theater) for European American audiences in the 19th century created and perpetuated negative stereotypes of African Americans. One key symbol of racism against African Americans was the use of blackface. Directly related to this was the institution of minstrelsy.

Da Capo. . One of the hit songs of early blackface minstrelsy was banjo player Joel Walker Sweeney's "Vine Twist". One of the early black dance crazes of the early twentieth century was the "Mess Around", described by songwriter Perry Bradford in his 1912 hit "Messin' Around" as: "Now anybody can learn the knack, put your hands on your hips and bend your back; stand in one spot nice and tight, and twist around, twist around with all of your might". But the twist at this point was basically grinding the hips.

Higher wages brought higher standards of living for working-class citizens, which provided them both social mobility and the ability to indulge in entertainment. As Bowery B'hoys and similar characters made up a significant portion of theater audiences, theaters such as the Bowery Theater and the Chatham Theatre created their playbills to suit the audience's interests. Plays were done alongside other acts, such as popular songs and dances, Minstrelsy, and other sketches or demonstrations. Even Shakespeare's works, which gained popularity at the time, were altered to include colloquial language and popular music.

Joe Morgenstern of The Wall Street Journal described the character as a "Rastafarian Stepin Fetchit on platform hoofs, crossed annoyingly with Butterfly McQueen." Patricia J. Williams suggested that many aspects of Jar Jar's character are highly reminiscent of the archetypes portrayed in blackface minstrelsy,Patricia J. Williams: while others have suggested the character is a "laid-back clown character" representing a black Caribbean stereotype. George Lucas has denied any racist implications. Ahmed Best also rejected the allegations, saying that "Jar Jar has nothing to do with the Caribbean".

There are also several university studies, for instance, Eric Lott's critical essay, "All the King's Men: Elvis Impersonators and White Working- Class Masculinity," published in Harry Stecopoulos and Michael Uebel, eds., Race and the Subject of Masculinities (Duke University Press, 1997). The author, professor of American Studies at the University of Virginia, has also written a long piece on Elvis impersonators and the EPIIA (Elvis Presley Impersonators International Association) to be published in his next book. For this paper, he interviewed many impersonators and draws parallels with minstrelsy.

Disappointed, Sordello then gives up the plan of becoming a "man of action", and devotes himself to minstrelsy, but quickly becomes bored and slapdash; he tries reinventing his language to express his visions more directly, but encounters public incomprehension and personal fatigue. Sordello is deeply divided between his conceptions of poet as profession and poet as destiny. The lady Adelaide dies suddenly; then the news comes that Ecelin II has resolved to retire to a monastery. Taurello confronts his lord on horseback, but is unable to make him change his mind.

Thomas Dartmouth Rice (May 20, 1808 - September 19, 1860), known professionally as Daddy Rice, was an American performer and playwright who performed blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time. He is considered the "father of American minstrelsy". His act drew on aspects of African American culture and popularized them with a national, and later international, audience. Rice's "Jim Crow" persona was an ethnic depiction in accordance with contemporary Caucasian ideas of Africans and their culture.

Bimbo is walking down the street when he suddenly disappears down an open manhole, and is subsequently locked down there by a mouse who resembles Mickey Mouse.Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation byNicholas Sammond He lands in the underground clubhouse of a secret society. The leader asks Bimbo if he would like to be a member, but Bimbo refuses and is sent through a series of dangerous events. He is repeatedly asked by the leader to join their society, but keeps refusing.

The images on this work are people from Greenfield's own family; however, the artist describes the message as a broader one: "My genealogical research made me realize that all human families have a lot in common. In every family there is someone we are ashamed of, someone we are proud of, someone who is a failure and someone who is a great success." In 2000, Greenfield dedicated himself to another important project, that of working through the history and cultural remnants of blackface minstrelsy. The point of this he said was to provoke dialogue.

She was an associate professor at Elmira College, 1922–1924. Smyths mother was from old-line Bangor stock, and she spent summers in the insular coastal hamlet of Islesford, Maine. She began collecting folksongs independently, but soon began working with fellow folklorist Fannie Hardy Eckstorm Smyth, with Fannie Eckstorm, created the 1927 book Minstrelsy of Maine: Folk-songs and Ballads of the Woods and the Coast. Smyth gathered folk songs from coastal areas, which constitute about half the book (Eckstorm concentrated on songs of lumberjacks and other inland people).

Haverly's success in minstrelsy allowed him to finance other ventures. At the height of his fortune, he owned and managed three minstrel troupes and four comic theater groups, in addition to three theaters in New York and one in each of Brooklyn, Chicago, and San Francisco, three mining and milling companies, as well as stock in many others. Haverly's stock investments did not perform as he had wished, and by the end of 1877, he was in debt by as much as $104,000. However, he tried to skirt bankruptcy with another gamble.

Minstrels could begin leaping about at the introduction and coda, beginning the full music at the vocal section. Performers probably included instrumental versions of the chorus while they played, a rare practice in early minstrelsy. Musicologist Dale Cockrell argues that "Old Dan Tucker" represents a bridge between the percussive blackface songs of the 1830s and the more refined compositions of songwriters such as Stephen Foster. Cockrell says that, unlike previous minstrel songs, "Old Dan Tucker" is meant for more than just dancing; its tune is developed enough to stand on its own.

Meanwhile, he found ways to integrate his African-American roots into the mostly white form; for instance, his tune "Carve Dat Possum" borrowed its melody from a black religious song. As black minstrelsy grew popular with the general public, Lucas became one of its first celebrities, particularly known for his portrayals of pitiable, comic characters. His fame allowed him to choose his engagements, and over the span of his career, he performed with some of the best black minstrel troupes. He never led a troupe of his own, however.

Meanwhile, Lucas attempted to branch out into non-minstrel material. In 1875, for instance, he performed alongside Emma and Anna Hyer in Out of Bondage, a musical drama about a freed slave who is made over to fit into upper-class, white society. He followed this by another stint in black minstrelsy, and in 1876, he was playing with Sprague's Georgia Minstrels, alongside both James A. Bland and Billy Kersands. In 1878, Charles and Gustave Frohman needed an advertising gimmick to help rescue a poorly performing comedy troupe.

Nevertheless, by 1830, opposition from whites in New Orleans and an influx of blacks elsewhere in the U.S. caused the decline of Congo Square's prominence. The tradition of mass dances in Congo Square continued sporadically, though it came to have more in common with minstrelsy than with authentic African traditions. Caribbean dances known to have been imported to Louisiana include the calenda, Congo, counjai, and bamboula. Louis Gottschalk was an early 19th-century White Creole pianist and composer from New Orleans, the first American musician/composer to become famous in Europe.

Walter Scott's Minstrelsy of the Scottish Border. Scholars of ballads have been divided into "communalists", such as Johann Gottfried Herder (1744–1803) and the Brothers Grimm, who argue that ballads are originally communal compositions, and "individualists" such as Cecil Sharp, who assert that there was one single original author. Communalists tend to see more recent, particularly printed, broadside ballads of known authorship as a debased form of the genre, while individualists see variants as corruptions of an original text.M. Hawkins- Dady, Reader's Guide to Literature in English (Taylor & Francis, 1996), p. 54.

Written heavily in the Scots language, "The Twa Corbies" probably dates from the 18th century and was first published in Walter Scott's Minstrelsy in 1812. Child (I, 253) quotes a letter from Charles Kirkpatrick Sharpe to Walter Scott (August 8, 1802): "The song of 'The Twa Corbies' was given to me by Miss Erskine of Alva (now Mrs Kerr), who, I think, said that she had written it down from the recitation of an old woman at Alva.".See Malcolm Douglas's post in the mudcat.org thread on the subject, which gives more detailed references.

The late 19th century in Northumberland was a period of growing interest in Northumbrian music in general, and the music of the Northumbrian smallpipes in particular. In the 1850s, the Society of Antiquaries had started to collect tune and song manuscripts, and their Ancient Melodies Committee continued its work over the subsequent years. In the 1870s, that Society organised annual piping competitions, both to encourage pipers, and to reward the ablest among them. In 1882, the Northumbrian Minstrelsy was published, placing some of their researches before a wider public, and the second part of this book was devoted specifically to smallpipe tunes.

Brownies have traditionally been regarded as distinct and different from fairies. In 1777, a vicar of Beetham wrote in his notes on local folklore, "A Browny is not a fairey, but a tawny color'd Being which will do a great deal of work for a Family, if used well." The writer Walter Scott agreed in his Minstrelsy of the Scottish Border, in which he states, "The Brownie formed a class of beings distinct in habit and disposition from the freakish and mischievous elves." Modern scholars, however, categorize brownies as household spirits, which is usually treated as a subcategorization of fairy.

Northumbrian MinstrelsyFull title – "Northumbrian Minstrelsy – A collection of the ballads, melodies and small pipe tunes of Northumbria – Edited by the Rev. John Collingwood Bruce LL.D, D.C.L., F.S.A. and John Stokoe – Published by the Society of Antiquaries of Newcastle-upon-Tyne – 1882" is a book of Border ballads, Northumbrian and Tyneside folk songs and Northumbrian pipe music consisting of over 200 pages. It contains 132 song lyrics and over 100 pieces of music, and was published in 1882. It is divided into the two sections; the first song lyrics, the second pipe music where only a handful of pieces have lyrics.

Armstrong in 1955 By the 1950s, Armstrong was a widely beloved American icon and cultural ambassador who commanded an international fanbase. However, a growing generation gap became apparent between him and the young jazz musicians who emerged in the postwar era such as Charlie Parker, Miles Davis, and Sonny Rollins. The postwar generation regarded their music as abstract art and considered Armstrong's vaudevillian style, half-musician and half-stage entertainer, outmoded and Uncle Tomism, "... he seemed a link to minstrelsy that we were ashamed of." He called bebop "Chinese music". While touring Australia, 1954, he was asked if he could play bebop.

There is a story of Gibson being kidnapped by the Earl of Traquair, who thought him unfavourable in a cause before the court, and kept him for three months in a dark room in the country. After the case was decided, he was returned to the place where he had been seized. It forms the subject of Walter Scott's ballad of Christie's Will (see William Armstrong) in Minstrelsy of the Scottish Border. Patrick Fraser Tytler, in the appendix to his Life of Sir Thomas Craig, mentioned another version of the kidnapping of Durie in 1604, when he was a clerk of session.

The story as a ballad, appears as "An Old Song Called Outlaw Murray" in the Glenriddel Manuscripts (XI, 61) published in 1791. It also appears in Minstrelsy of the Scottish Border, a collection of ballads compiled by Walter Scott (1803). Aytoun's Ballads of Scotland (1859) in a note appended to the ballad mentions an earlier manuscript: "written between the years 1689 and 1702" which contains the song. While the latter manuscript is presumed lost, "it is clear that the ballad was known before 1700; how much earlier it is to be put we can neither ascertain nor safely conjecture".

The original edition was published in 1784, this edition appeared in 1792 in a slightly corrected and expanded form, and a further reprint was published in 1809. Other books in Ritson's Garland series were The Yorkshire Garland, The Northumberland Garland, and The North-Country Chorister. A compilation of the whole series, entitled The Northern Garland was published in 1810. The “Garland” series were important, not only as important document in their own right, but as one of the main sources of similar successor publications such as John Bell's Rhymes of Northern Bards and Bruce and Stokoe's Northumbrian Minstrelsy.

Juba's dance may have been an amalgamation of > African and European precedents. Dickens's piece on the New York dancer, > describing leg movements only, points to the Irish jig, but he also refers > to Juba performing the single and double shuffle, which are black-derived > steps. Historians Shane and Graham White have argued that black people of > this period performed European steps in a different style from whites. > Historian Robert Toll has written that Juba "had learned a European dance, > blended it with African tradition, and produced a new form, an Afro-American > dance that had a great impact on minstrelsy".

In 1947, > dance and popular culture historian Marian Hannah Winter began the > resurrection of Juba's reputation with her article "Juba and American > Minstrelsy". Juba, according to Winter, surmounted the hurdles of race and > class to succeed as a professional dancer. Winter was the first to write of > Juba as a man who introduced elements of African dance to the Western > lexicon and thus fostered the creation of a distinct American dance idiom. > In so doing, Juba, according to Winter, reclaimed for African Americans > elements that had been stolen in the racist culture of 19th-century America > and, in the process, invented tap dancing.

Playbill for Pell's > Serenaders, with whom Boz's Juba was playing in 1848 In 1848, a dancer > billed as "Boz's Juba" performed in London, England. He was a member of the > Ethiopian Serenaders, a blackface minstrel troupe under the leadership of > Gilbert W. Pell (or Pelham). The company had performed in England two years > prior, when they had made minstrelsy palatable to middle-class British > audiences by adopting refinements such as formal wear. With Boz's Juba as > its newest member, the company toured middle-class theaters and lecture > halls in the British Isles for the next 18 months.

The Georgia Minstrels toured the United States and abroad and later became Haverly's Colored Minstrels. From the mid-1870s, as white blackface minstrelsy became increasingly lavish and moved away from "Negro subjects", black troupes took the opposite tack. The popularity of the Fisk Jubilee Singers and other jubilee singers had demonstrated northern white interest in white religious music as sung by black people, especially spirituals. Some jubilee troupes pitched themselves as quasi-minstrels and even incorporated minstrel songs; meanwhile, blackface troupes began to adopt first jubilee material and then a broader range of southern black religious material.

Although, exteriorly, Cole appeared to be a carefree showman whose only purpose was to be famous in black minstrelsy and vaudeville plays, he organized his shows very meticulously and placed much thought in every detail and aspect of his productions. For example, he considered the exact timing of his songs, including the right execution of each part of the performance. Several of the songs composed by the adjoining Cole-Johnson team were incorporated into larger shows by Klaw and Erlanger. Klaw and Erlanger’s shows appealed the white audiences, allowing the black composers’ songs to be known throughout the white community.

Hugh William Williams, View of Thebes (1819) Williams was active since the early 1790s with the earliest recorded work dated 1792. In 1802 an engraving after a painting by him of Hermitage Castle, Roxburghshire, as the frontispiece for Sir Walter Scott's "Minstrelsy of the Scottish Border" was published by Kelso.The life and Works of Hugh William Williams, by J Rock 1996 Vol 1 p7 and Vol 2 catalogue of works after the artist P7. Accessed 1 Nov 2018 In 1811–12 Williams published six large engravings of scenes in the north, while many of his early topographical drawings appeared in the Scots Magazine.

Diarmuid O'Ríain (Darby Ryan) was born at Ashgrove, Bansha in 1777 and was a poet and patriot, his most famous composition was undoubtedly The Peeler and the Goat, a ballad or satire which was popularly sung across Ireland and was taken worldwide by emigrants. Copies of his Tipperary Minstrelsy are to be found in The British Museum and at The Royal Irish Academy. Ryan died in 1855 and is buried in the old graveyard in Bansha where his grave is marked, unusually, by a carved stone cross depicting a rope and anchor, suggestive of a maritime connection of which there was none.

Early references to "Who Dat?" can be found in the 19th Century in the poetry of Paul Laurence Dunbar, first in his poem "When Malindy Sings" and later in his lyrics to the song "Who Dat Say Chicken in dis Crowd,"Hollis Robbins, "The Origin of 'Who Dat?' It goes back to minstrelsy, but it's OK to say it now." The Root, February 9, 2010.Libretto - Who Dat Say Chicken In dis Crowd, 1898Dave Walker, "'Who dat?' popularized by New Orleans Saints fans when 'everybody was looking for the sign'", Times-Picayune, January 12, 2010, pp.

There is no reason to doubt that Jimmie Rodgers, who could not > resist a show, was exposed to and influenced by the black yodeler-blues > singer tradition. Its practitioners were thoroughly entrenched in minstrelsy > and vaudeville, and accessible to all races of people. Perhaps Jimmie even > saw Charles Anderson himself perform, or heard some of Anderson's > crystalline blues and yodeling 78s, before rising to immortality on his own > great 'Blue Yodel' recordings. At any rate, the Freeman references strongly > suggest that Charles Anderson and his generation of black professional > yodelers had introduced the blue yodel in African-American entertainment > before Jimmie Rodgers recorded.

In 1769 he published his first compilation of nearly 60 'heroic ballads' and 300 songs as Ancient Scottish Songs, Heroic Ballads, etc. Later enlarged editions appeared in 1776 and 1791. He was a member and Sovereign (president) of the Edinburgh Cape Club, a tavern based convivial society with members including the painters Alexander Nasmyth, Henry Raeburn, Alexander Runciman, a close friend of Herd's, John Wotherspoon the printer of his book, and Deacon William Brodie. He was also friendly with Sir Walter Scott who made use of his manuscript collections in his collection of ballads, the Minstrelsy of the Scottish Border.

In Love's Labour's Lost, Armado asks his page Moth, "Is there not a ballad, boy, of 'The King and the Beggar'?", to which Moth responds, "The world was very guilty of such a ballad some three ages since, but I think now 'tis not to be found; or, if it were, it would neither serve for the writing nor the tune."Edmondstoune Duncan (1907), The Story of Minstrelsy (London: Walter Scott Publishing), pp. 246–47. Ben Jonson also makes reference to the ballad in his play Every Man in His Humour (1598) and William Davenant in The Wits (1634).Chappell (1842), p. 83.

""Notes of the Stage," The New York Times, October 4, 1891, p. 13 Just a week later, a Times critic wrote: > The combination of minstrelsy and farce at the Park Theatre called Tuxedo > has made the hit of the season at that house, which is rapidly becoming > established as the chosen home of this light style of entertainment in New- > York. George Thatcher and Hughey Dougherty are the two leading people in the > entertainment, and to see Hughey in a white face is of itself enough to > crowd the house.""Notes of the Stage," The New York Times, October 11, 1891, > p.

The group was formed in Boston, Massachusetts, becoming the first in the city to play "concerted negro music", "Obituary, not Eulogistic", Dwight's Journal of Music, 10 July 1858. Retrieved 6 October 2020 before performing at the Chatham Theatre in New York City. Under Dumbolton's management, the original line-up included Francis Carr Germon, Moody G. Stanwood, Anthony Fannen (Tony) Winnemore, E. J. Quinn, J. Baker, and G. Wilson. Charles White, "Negro Minstrelsy: Its Starting Place Traced Back Over Sixty Years, Arranged and Compiled from the Best Authorities", New York Clipper, April 28, 1860, reprinted at BanjoFactory.com.

The song remained popular in amateur blackface minstrel shows through at least the first half of the twentieth century. While some of the shows (especially melodrama) in which "My Old Kentucky Home" depicted slavery as wrong and the enslaved people sympathetically, many of these shows hewed to the common demeaning traditions and tropes of blackface minstrelsy. The song held popularity for over a decade and throughout the American Civil War. The song's reach throughout the United States and popularity has been attributed to soldiers of the war, who passed the tune from location to location during the war's tenure.

A decline in the popularity of coffeehouses in Iran, and with new forms of entertainment, has resulted in diminishing interest in Naqqāli performance. The aging of master performers, (who are called morsheds) and the decreasing popularity among younger generations have caused a steep drop in the number of skilled Naqqāls, threatening the survival of this dramatic art. Naqqāli was included in 2011 to the UNESCO's Representative List of the Intangible Cultural Heritage of Humanity in need of urgent safeguarding. Other similar Iranian story-telling and performance traditions include Naghali, Pardeh-dari, Pardeh-khaani, Ghavali (minstrelsy), Shahnameh-khaani, Ta'zieh.

Barlow was born on June 29, 1843, at Lexington, Kentucky.Monarchs of Minstrelsy from 'Daddy Rice' to Date (1911) by Edward Le Roy Rice He was the son of James Madison and Elizabeth Susan (née Barlow) Barlow.Barlow Genealogy (Susan Barlow Holmes webmaster) He was probably raised in the household of an uncle in Harrison County, Kentucky, after his parents divorced and his father, a silversmith, relocated to Salt Lake City.worthpoint.com At the age of twelve Barlow began working as a printer's devil for a newspaper in Cynthiana, the county seat of Harrison County some thirty miles north of Lexington.

Scott then persuaded James to publish books as well as newspapers. That same year, James secretly printed An Apology for Tales of Terror and The Eve of St. John', which gave a start to Scott's writing career. This was the beginning of a partnership that would continue until Scott's death in 1832. Impressed with the typographical excellence of the first two published pamphlets, Scott offered James the rights to publish a collection of Border ballads that he had begun collecting. This collection was printed in 1802 as the Minstrelsy of the Scottish Border, which garnered great acclaim across England.

Blackface performance had been inconsistent on this subject; some slaves were happy, others victims of a cruel and inhuman institution.. However, in the 1850s, minstrelsy became decidedly mean-spirited and pro-slavery as race replaced class as its main focus.. Most minstrels projected a greatly romanticized and exaggerated image of black life with cheerful, simple slaves always ready to sing and dance and to please their masters. (Less frequently, the masters cruelly split up black lovers or sexually assaulted black women.). The lyrics and dialogue were generally racist, satiric, and largely white in origin. Songs about slaves yearning to return to their masters were plentiful.

Troupes ballooned; as many as 19 performers could be on stage at once, and J. H. Haverly's United Mastodon Minstrels had over 100 members... Scenery grew lavish and expensive, and specialty acts like Japanese acrobats or circus freaks sometimes appeared. These changes made minstrelsy unprofitable for smaller troupes.. Other minstrel troupes tried to satisfy outlying tastes. Female acts had made a stir in variety shows, and Madame Rentz's Female Minstrels ran with the idea, first performing in 1870 in skimpy costumes and tights. Their success gave rise to at least 11 all-female troupes by 1871, one of which did away with blackface altogether.

349 English translations of this text have been written by Sir Samuel Ferguson (beginning "O have you seen the Coolun") and Thomas Furlong, amongst others. The latter was printed by James Hardiman, along with O Duagain's original text, in his collection Irish Minstrelsy (1831). A version of O Duagain of Benburb's poem was also printed, with translations, in Douglas Hyde's Love Songs of Connacht (1893), with the first line A's éirigh do shuidhe a bhuachaill a's gleus dam mo ghearrán ("And rise up lad, and get ready for me my nag"). Hyde omits two stanzas already printed by Hardiman, and describes this as a version collected in Connacht.

Also involved in the collection and publication of Scottish songs was Walter Scott (1771–1832), whose first literary effort was Minstrelsy of the Scottish Border, published in three volumes (1802–03). This collection first drew the attention of an international audience to his work, and some of his lyrics were set to music by Franz Schubert (1797–1828), who also created a setting of Ossian.A. E. Hull, Music; Classical, Romantic & Modern (Ayer Publishing, 1927), , p. 99. Hamish MacCunn From the mid-nineteenth century classical music began a revival in Scotland, aided by the visits of Frédéric Chopin (1810–49) and Felix Mendelssohn (1809–47) in the 1840s.

For Walter Scott, as his son-in-law J. G. Lockhart later wrote, compiling Minstrelsy of the Scottish Border was "a labour of love truly, if ever such there was". His passion for ballads went back to earliest childhood. While still an infant he had the ballad Hardiknute by heart, and would recite it at the top of his voice to the annoyance of all around him. As a ten-year-old he began collecting the broadsheet ballads that were still being sold on the streets, and his interest was further stimulated by his discovery, at the age of 13, of Percy's Reliques of Ancient English Poetry.

Though there were safe havens within Harlem, there were prominent voices such as that of Abyssinian Baptist Church's minister Adam Clayton who actively campaigned against homosexuality. The Harlem Renaissance gave birth to the idea of The New Negro. The New Negro movement was an effort to define what it meant to be African-American by African Americans rather than let the degrading stereotypes and caricatures found in black face minstrelsy practices to do so. There was also The Neo-New Negro movement, which not only challenged racial definitions and stereotypes, but also sought to challenge gender roles, normative sexuality, and sexism in America in general.

Her next book, The Penobscot Man, which was published in 1904, celebrates the lumbermen and river drivers that populated her childhood, and her 1907 book David Libbey: Penobscot Woodsman and River Driver creates an in-depth profile of one of those men. The following year Eckstorm founded Brewer's public library while continuing to publish articles and critiques, most notably a review of Thoreau's Maine Woods. She also contributed to Louis C. Hatch's Maine A History (1919), published Minstrelsy of Maine (1927) with Mary Winslow Smyth, and worked on British Ballads from Maine (1929) with Smyth and Phillips Barry. Eckstorm also wrote prolifically on the language and culture of Maine's Native Americans.

The historian Ian Gordon, author of Comic Strips and Consumer Culture, 1890-1945, argues that the need for comic strips to appeal to diverse national audiences in the USA meant that the outright racial caricatures of minstrelsy did not translate to the comic strips with any commercial success. Instead artists and writers developed "de-raciate" Black stereotypes in the form of funny animal characters the first of which Felix the Cat owed his existence directly to the racialized humor of a strip named "Sambo and His Funny Noises." Other examples of such characters include Krazy Kat, created by George Herriman who was biracial, and Mickey Mouse.Gordon, Ian.

Much of the information on Blind Willie comes from the book Northumbrian Minstrelsy. This book, edited by J. Collingwood Bruce and John Stokoe, is a collection of ballads, melodies and small-pipe tunes of Northumbria. It was first published by the Society of Antiquaries of Newcastle upon Tyne in 1882 and contains notes of the songs and tunes. This book quotes: Other references appear in the Newcastle Monthly Chronicle and an edition of Volume 2 (pages 517 and 518) of 1888 This gives an interesting description of Blind Willie as: There are mentions in two other articles in this same publication on Pages 80 and 517.

It first ran at Performance Space New York from June 24 to July 3 2010.Jones, Kenneth. "Playwright Branden Jacobs- Jenkins, whose minstrelsy-filled play Neighbors made a highly publicized debut at the Public Theater last winter, has now taken over as director of his latest work The Octoroon: An Adaptation Of The Octoroon Based On The Octoroon, which has delayed previews to June 19 at PS 122." Playbill, June 14, 2010 It then ran Off-Off-Broadway at the Soho Rep in April 2014 to June 2014 and then at the Polonsky Shakespeare Center, Brooklyn, New York, from February 2015 to March 29, 2015.

See also this article.Notes to "Ray Andrews Classic English Banjo," citing Reynolds, Harry: Minstrel Memories: The Story of Burnt Cork Minstrelsy in Great Britain 1836-1927 (London, 1928) Known as the Christy Minstrels and later the Moore and Burgess Minstrels, the Hall's resident minstrel troupe performed in one of the smaller halls located on the ground floor near the restaurant, below the main hall.Elkin 1946, 67. Gilbert and Sullivan's 1893 comic opera, Utopia, Limited, contains a joke in which the Court of St. James's is purposely confused with St. James's Hall and its minstrel shows, and a parody of a minstrel number is included in the same scene.

On June 11, 1859 Moore sailed to England, where minstrelsy had become widely popular, and there joined the Christy Minstrels before in 1864 founding a Christy Minstrels company of his own. He was a member of the St. James's Hall Minstrels and, in 1871, founded the Moore and Burgess Minstrels with his partner Frederick Burgess. In 1873 in London his daughter, the actress Martha Isabella 'Bella' Moore (1854-1913), married the actor and dancer Fred Vokes; the marriage proved to be a tumultuous one and she was petitioning for divorce at the time of her husband's death in 1888. He died in London, England on October 1, 1909.

According to an accusation of fellow troubadour Bernart Marti, Peire entered upon a religious life early, but quit Holy Orders for a life of itinerant minstrelsy. He may be the same person as the Petrus d'Alvengue and Petrus de Alvernia who appear in surviving documents from Montpellier dated to the year 1148. Peire appears to have cultivated the favour of the ruling family of the Crown of Aragon, and his poems contain allusions to the counts of Barcelona and Provence. Perhaps he was following the fashion of the lords of Montpellier of his time, who, though vassals of the Count of Toulouse, were partial to the Aragonese.

Many songs that originated in minstrelsy (such as "Camptown Races" and "Carry Me Back to Old Virginny") are now considered American classics. While it was originally performed by whites costumed in either fanciful "dandy" gear or pauper's rags with their faces covered in burnt cork, or blackface, the minstrels were joined in the 1850s by African- American performers. The dancer William Henry Lane (better known by his stage name Master Juba) and the fiddling dwarf Thomas Dilward were also "corking up" and performing alongside whites in such touring ensembles as the Virginia Minstrels, the Ethiopian Serenaders, and Christy's Minstrels. Minstrel troupes composed entirely of African Americans appeared in the same decade.

The short opens to an orchestral rendition of Stephen Foster's "Old Folks at Home", immediately setting the scene in the rural South of blackface minstrelsy. The setting is Lazy Town, perhaps the laziest place on earth. Neither the town's residents (all stereotypes of African-Americans) nor the animals can be bothered to leave their reclining positions to do anything at all. Their pastoral existence is interrupted by the arrival of a riverboat, carrying a svelte, sophisticated, light-skinned woman from Harlem (who bears a resemblance to Lena Horne), whose physical beauty inspires the entire populace of an all-black "Lazy Town" to spring into action.

B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford University Press, 2005), p. 45. In the eighteenth century there were several printed collections, including Thomas D'Urfey's Wit and Mirth: or, Pills to Purge Melancholy (1719–20), Bishop Thomas Percy's Reliques of Ancient English Poetry (1765), and Joseph Ritson's, The Bishopric Garland (1784). In Scotland similar work was undertaken by figures including Robert Burns and Walter Scott in Minstrelsy of the Scottish Border (1802–03). One of the largest collections was made by Sir Frederick Madden who collected some 30,000 songs now in the 'Madden Collection' in the Cambridge University Library Publisher’s Introduction: Madden Ballads From Cambridge University Library.

Early collections of English ballads were made by Samuel Pepys (1633–1703) and in the Roxburghe Ballads collected by Robert Harley, (1661-1724), which paralleled the work in Scotland by Walter Scott and Robert Burns. Inspired by his reading as a teenager of Reliques of Ancient English Poetry by Thomas Percy, Scott began collecting ballads while he attended Edinburgh University in the 1790s. He published his research from 1802 to 1803 in a three-volume work, Minstrelsy of the Scottish Border. Burns collaborated with James Johnson on the multi-volume Scots Musical Museum, a miscellany of folk songs and poetry with original work by Burns.

Thomas Dartmouth Rice's successful song-and-dance number, "Jump Jim Crow", brought blackface performance to a new level of prominence in the early 1830s. At the height of Rice's success, The Boston Post wrote, "The two most popular characters in the world at the present are [Queen] Victoria and Jim Crow.". As early as the 1820s, blackface performers called themselves "Ethiopian delineators"; from then into the early 1840s, unlike the later heyday of minstrelsy, they performed either solo or in small teams. Blackface soon found a home in the taverns of New York's less respectable precincts of Lower Broadway, the Bowery, and Chatham Street.. It also appeared on more respectable stages, most often as an entr'acte.

MDCCCII Licensed and entered according to Order ---- London: reprinted for Robert Triphook, 37, St. Jame's Street. By Harding and Wright, St. John's-square ---- 1809”) is a book of North Eastern folk songs consisting of 20 pages with 6 works, first published in 1802 and reprinted (this edition) in 1809. Other books in Ritson’s Garland series were Ritson's Bishopric Garland, The Yorkshire Garland and The Northumberland Garland. A compilation of the whole series, entitled The Northern Garland was published in 1810. The “Garland” series were important, not only as important document in their own right, but as one of the main sources of similar successor publications such as John Bell's Rhymes of Northern Bards and Bruce and Stokoe's Northumbrian Minstrelsy.

In 1827 he published a further instalment in Minstrelsy Ancient and Modern, prefaced by an excellent historical introduction. This work was to provide evidence of the work of notable women like Agnes Lyle.Mary Ellen Brown, ‘Lyle , Agnes (fl. 1825)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 accessed 4 April 2017> He contributed verses to newspapers and magazines, "Jeanie Morrison", "My Heid is like to rend, Willie", and "Wearies Cauld Well" being his best-known poems. He became editor of the Paisley Advertiser in 1828, and of the Glasgow Courier in 1830. A small volume of his poems was published in 1832, and a larger volume with a memoir in 1846, reissued, with additions, in 1848.

In the critical press the reception of Scott's early poems on their first appearance in print was, on the whole, encouraging. Though the reviews of Matthew Lewis's Tales of Wonder were largely unfriendly, he noted that “Amidst the general depreciation…my small share of the obnoxious publication was dismissed without censure, and in some cases obtained praise from the critics”; the Minstrelsy of the Scottish Border was ringingly applauded for both its traditional and original ballads. To the poet Anna Seward, who expressed her delight with “Glenfinlas”, Scott reported that “all Scotchmen prefer the 'Eve of St. John' to 'Glenfinlas', and most of my English friends entertain precisely an opposite opinion”. He himself took the Scottish view.

Quoted in Southern, "Black Musicians and Early > Ethiopian Minstrelsy", 49. Another announcement from the January 28, 1843, > New York Sporting Whip, quoted in Cockrell 138 and Knowles 89–90, reads, > >> We have not had a real, scientific, out-and-out trial of skill since between Dick Pelham and John Diamond at the Chatham; but it appears we are soon to have another of these refined and elevating exhibitions. A match has been made between John Diamond and a little negro called "Juba," by some of the sporting community, and is to come off in the course of a few weeks. The stake is large, and an unparalleled display will be the result.

Only a fortnight later, the band, at first subdued, broke out in a 'wild strain of brazen minstrelsy' during the final bars of the funeral march in the Eroica Symphony. After the movement was applauded a member of the audience began calling out that a complaint should be lodged, and won general approval, hear, hear, and people standing up to look at him.Shaw 1937, 305-306. On one occasion Lady Henschel and her daughter went to hear Joseph Joachim play at a Saturday 'Pop', but were so aware of the 'rhythmic gay sounds, thumping and shimmering away in a most enlivening manner', that they decided to go and hear Moore and Burgess instead.

Julian Eltinge as a female impersonator in the Fascinating Widow, early 1910s The broad comedic stylings of the minstrel shows helped develop the vaudeville shows of the late 1800s to the early 1900s. With this shift, the "wench players" became "prima donnas", and became more elegant and refined, while still retaining their comedic elements. While the "wenches" were purely American creations, the "prima donnas" were inspired by both America and European cross-dressing shows, like Shakespearean actors and castrati. With the United States shifting demographics, including the shift from farms to cities, Great Migration of African Americans, and an influx of immigrants, vaudeville's broad comedy and music expanded the audience from minstrelsy.

Early variety, burlesque, and minstrelsy halls were built along Broadway below Houston Street. As the city expanded north new theaters were constructed along the thoroughfare with family friendly vaudeville, developed by Tony Pastor, clustering around Union Square in the 1860s and 1870s, and larger opera houses, hippodromes, and theaters populating Broadway between Union Square and Times Square later in the century. Times Square became the epicenter for large scale theater productions between 1900 and the Great Depression. There is no standard date that is considered the beginning of Broadway-style theatre.Kaiser, DJ. The Evolution of Broadway Musical Entertainment, 1850–2009: Interlingual and Intermedial Interference. AllTheses and Dissertations (ETDs). 1076. 2013. pp. 6–7.

Joel Walker Sweeney The minstrel show began in Northern cities, primarily in New York's Five Points section, in the 1830s. Minstrelsy was a mélange of Scottish and Irish folk music forms fused with African rhythms and dance. It is difficult to tease out those strands, considering the mixed motives of the showmen who presented the minstrel show and the mixed audience who patronized it. It is said that T. D. Rice invented the buck and wing and the Jim Crow, by imitating the stumbling of an old lame black man, and added numerous steps and shuffles after watching an African American boy improvise a version of an Irish jig in a back alley.

The infantilized and grotesque enactments and racist and misogynistic content caused many better educated observers of the day to dismiss both the Minstrel Show and hokum as simply vulgar. Some of the white artists, whose contributions to minstrelsy are most valued today, struggled to rise above its cruder forms in their lifetimes. Stephen Foster composed for years in obscurity, while the minstrel troupe leader Edwin P. Christy claimed credit for his songs. By 1852, Foster still wanted the pride of authorship, but wrote to Christy, > I had the intention of omitting my name on my Ethiopian songs, owing to the > prejudice against them by some, which might injure my reputation as a writer > of another style of music.

Old Corn Meal, or Signor Cormeali, was an African-American street vendor in New Orleans, Louisiana who became famous in the late 1830s for singing and dancing while he sold his wares. He is one of the earliest known African Americans to have had a documented influence on the development of blackface minstrelsy specifically and American popular music in general. Old Corn Meal was known for walking through New Orleans singing and dancing while he led his horse and cart and sold Indian corn meal. "Fresh Corn Meal", which he composed, was his signature song; he also did popular material from blackface acts like "Old Rosin the Beau" and "My Long Tail Blue".

By 1838, the term "Jim Crow" was used as an offensive term towards black people through to the end of the 19th century before it became associated with Jim Crow laws. The "Jim Crow" character as portrayed by Rice popularized the perception of African-Americans as lazy, untrustworthy, dumb, and unworthy of integration. Rice's performances helped to popularize American minstrelsy, in which many performers imitated Rice's use of blackface and stereotypical depiction, touring around the United States. Those performers continued to spread the racist overtones and ideas manifested by the character to populations across the United States, contributing to white Americans developing a negative view of African- Americans in both their character and their work ethic.

He returned to Columbia in 1898 for an exclusive contract then began recording for Berliner Gramophone (disc) records in 1899 and continued with Victor and Columbia as discs became the dominant format in the early 1900s. He began performing with banjoist Vess L. Ossman in 1901 and with Ada Jones in 1905. He is best remembered today for his vaudeville-style comic sketches, such as the "Arkansaw Traveler", combining clever turns of phrase, ironic elocutionary delivery, sound effects and music to create colorful dialogues featuring itinerant Southerners, auctioneers, circus barkers, and Irish, Jewish or Black Americans. Len Spencer's career and legacy cannot be separated from the shameful history of Minstrel shows, Minstrelsy and Blackface.

In 1857 he had performed at Alnwick Castle, together with his son Tom and with James Reid, to provide musical illustrations for a report of the Ancient Melodies Committee of the Society of Antiquaries of Newcastle upon Tyne to the Duke. He was one of the Committee's main informants on the music and history of Northumbrian pipes and the Ducal pipers. A note in the minutes (17 November 1857) of this Committee quotes Green, as saying that Peacock was the best player he ever heard in his life, whereas "Jamie Allan was a wild player, he was neither first, second nor third." Quoted in A.L. Lloyd's introduction to The Northumbrian Minstrelsy, reprinted by Folklore Associates, Hatboro, Pennsyslvania, 1965.

Still, his introduction allowed for some return to themes of the breakup of the plantation family.. Non-black stereotypes played a significant role in minstrelsy, and although still performed in blackface, were distinguished by their lack of black dialect. American Indians before the Civil War were usually depicted as innocent symbols of the pre-industrial world or as pitiable victims whose peaceful existence had been shattered by the encroachment of the white man. However, as the United States turned its attentions West, American Indians became savage, pagan obstacles to progress. These characters were formidable scalpers to be feared, not ridiculed; any humor in such scenarios usually derived from a black character trying to act like one of the frightful savages.

Northumbrian Minstrelsy was written with the intention of providing a historical record of some of the North Country songs and music. "A book for the collection and preservation of the old music and poetry of the North of England" was what Algernon Percy, 4th Duke of Northumberland had suggested. The book is divided into two sections; the first giving the lyrics (with some music) of local, now historical songs, and the second part giving the music to many Northumbrian smallpipes tunes with very few lyrics. The book was edited by John Stokoe and the Rev John Collingwood Bruce, with the help of committee members, and published by and behalf, of the Ancient Melodies Committee of the Society of Antiquaries of Newcastle upon Tyne in 1882.

Minstrelsy of the Scottish Border exercised a powerful influence on both British and European literature, not least on Scott himself. His first efforts as a writer had been translations of German Sturm und Drang poems, together with one or two original pieces in the same lurid manner. His experience as a ballad-editor did a great deal towards purifying his taste and turning him towards a more simple and natural style. His experience of working with both the English and Scots languages, with narrative verse and critical and historiographical prose, and integrating them together, was to prove formative on his original works, steeped as they are both in the spirit of the Scottish oral tradition and in his own experience of antiquarian commentary on it.

In 1449, Henry VI therefore authorised William Langton (marshal of the minstrels), Walter Halliday, and five other royal minstrels to investigate these activities and to punish the impostors. Crewdson, R. (2000) Apollo's Swan and Lyre In 1456, Walter and three other minstrels were commissioned to recruit "suitable boys, instructed in the art of minstrelsy", to take the place of some royal minstrels who had died. Henry VI's reign ended in 1461, when his cousin, Edward of York, deposed him and seized the throne as King Edward IV. This does not appear to have affected the minstrels, as they retained their positions under the new king. By 1464, Walter had succeeded Langton as Marshal of the Minstrels and was now in charge of all the minstrels.

Skills of horsemanship are kept alive in the Borders: fording the River Tweed on Braw Lad's Day, Galashiels 2011 Reiver statue at Galashiels Long after they were gone, the reivers were romanticised by writers such as Sir Walter Scott (Minstrelsy of the Scottish Border), although he made mistakes; the term Moss-trooper, which he used, refers to one of the robbers that existed after the real Reivers had been put down. Nevertheless, Scott was a native of the borders, writing down histories which had been passed on in folk tradition or ballad. English poet William Wordsworth's verse play The Borderers features border reivers. The stories of legendary border reivers like Kinmont Willie Armstrong were often retold in folk-song as Border ballads.

This technique emphasized the racial stereotypes that existed and was most prominent starting in the mid-19th century. Minstrel shows showcased blackface actors at the expense of the African-American community. The shows made fun of blacks and impersonated them by making them look like buffoons and imbeciles, using stereotypical characters such as the mammy figure – a dark-skinned, large female who watched over the white children – Sambo, a young male who is lazy and always lounging around; and Uncle Tom, a docile and loved family member who works on the plantation. Early minstrelsy involved a white man painted with a blackface, but as time progressed and blacks became a part of the film world, blacks started to impersonate themselves with blackface.

Lockwood's dictionary of terms used in the practice of mechanical engineering by Joseph Gregory Horner (1892).For example, in the New York statutes on burglary it reads: "... having in his possession any pick-lock, key, crow, jack, bit, jimmy, nippers, pick, betty or other implement of burglary ..."John Ruskin in Flors Clavigera writes: "... this poor thief, with his crow-bar and jimmy" (1871). The folk concept of a dancing crow predates the Jump Jim Crow minstrelsy and has its origins in the old farmer's practice of soaking corn in whiskey and leaving it out for the crows. The crows eat the corn and become so drunk that they cannot fly, but wheel and jump helplessly near the ground, where the farmer can kill them with a club.

Describing the work as "unpretentious", he notes that the opera "is much more an amalgamation of the well-established American traditions of vaudeville, tab-show, melodrama, and minstrelsy, all held together by Joplin's marvelous music." He told the Wake Forest University newspaper that Joplin's "real dream was to give everyday people the opportunity, perhaps their only one, to experience opera on their own terms in the music halls and neighborhood theaters." In another interview, for the San Francisco Chronicle, Benjamin indicated that Joplin was probably himself barred from opera during his day because he was black, but expressed his belief that Joplin realized opera's ability to speak to the public. He has recently recorded the opera with new world records.

Engraving of an 1805 portrait of Walter Scott by James Saxon Minstrelsy of the Scottish Border is an anthology of Border ballads, together with some from north-east Scotland and a few modern literary ballads, edited by Walter Scott. It was first published in 1802, but was expanded in several later editions, reaching its final state in 1830, two years before Scott's death. It includes many of the most famous Scottish ballads, such as Sir Patrick Spens, The Young Tamlane, The Twa Corbies, The Douglas Tragedy, Clerk Saunders, Kempion, The Wife of Usher's Well, The Cruel Sister, The Dæmon Lover, and Thomas the Rhymer. Scott enlisted the help of several collaborators, notably John Leyden, and found his ballads both by field research of his own and by consulting the manuscript collections of others.

John Leyden, Scott's collaborator in the Minstrelsy Energetic as Scott's researches had been, he gained still more from the researches of other collectors he befriended or exchanged letters with. He gained access to several manuscript collections originating from the Borders and from north-east Scotland, notably those of Mrs Brown of Falkland, David Herd and Robert Riddell. He recruited assistants from widely different strata of society, including the wealthy and learned bibliophile Richard Heber, the lawyer Robert Shortreed, the literary antiquaries Robert Jamieson and Charles Kirkpatrick Sharpe, and later the farmer William Laidlaw and the shepherd-poet James Hogg. Of these the most invaluable, more a collaborator than an assistant, was John Leyden, a brilliant young linguist and poet who has been called "the project's workhorse and its architect".

The use of blackface in maracatu cearense reportedly stems from Fortaleza's mostly white and caboclo demographic, and its small black population (4.4%) (IGBE 2008), which effects a situation where mostly white and brown bodies end up performing a traditionally black expression of Brazilian Carnival. Blackface in this context is intended to pay homage to the African slaves' contribution to Brazilian civilization and is not viewed as a racist expression (compared, for instance, to the blackface minstrelsy of the United States, which parodied black speech and character). In fact, some maracatu cearense nations are actively involved in racial equality and black consciousness initiatives in Ceará. Among these is Nação Iracema, founded in 2002 by Lúcia Simão and William Augusto Pereira, heads of the first black family in Fortaleza to direct a maracatu nation (current ).

Civic wind groups in the United Kingdom can be traced back to medieval times. The father of English literature Geoffrey Chaucer wrote in his poem House of Fame: "Then I saw standing behind them, far away and all by themselves, many scores of thousands, who made loud minstrelsy with bagpipes and shawms and many other kinds of pipes, and skilfully played both them of clear and them of reedy sound, such as be played at feasts with the roast-meat, and many a flute and lilting-horn and pipes make of green stalks, such as these little shepherd-lads have who watch over beasts in the broom." Wind music flourished in the courts of Europe. Henry VIII celebrated his coronation in 1509, which included three days of entertainment, with performances from several wind groups.

It was at this time that Kool Kim changed his stage name to NYOIL and began working on solo projects of his own. In December of 2006, around the same time that Nas released his critically acclaimed album Hip Hop Is Dead, NYOIL put a video up on MySpace and YouTube for his song "Y'All Should All Get Lynched", which was produced by DJ Slice of The Cr8Kickers. The track calls for the lynching of a number of major-label rappers, and the video features pictures of current rap stars such as 50 Cent and Three 6 Mafia coupled with images of lynchings, slavery, and minstrelsy. The video was banned from YouTube after less than 48 hours, and attracted a large amount of media attention for its controversial content.

The album continued Dylan's artistic comeback following 1997's Time Out of Mind and was given an even more enthusiastic reception. The title of the album was apparently inspired by historian Eric Lott's book Love & Theft: Blackface Minstrelsy and the American Working Class, which was published in 1993. "Love and Theft becomes his Fables of the Reconstruction, to borrow an R.E.M. album title", writes Greg Kot in the Chicago Tribune (published September 11, 2001), "the myths, mysteries and folklore of the South as a backdrop for one of the finest roots rock albums ever made." The opening track, "Tweedle Dee & Tweedle Dum", includes many references to parades in Mardi Gras in New Orleans, where participants are masked, and "determined to go all the way" of the parade route, in spite of being intoxicated.

Songs about doing the Twist went back to nineteenth-century minstrelsy, including "Grape Vine Twist" from around 1844. In 1938 Jelly Roll Morton, in "Winin' Boy Blues", sang, "Mama, mama, look at sis, she's out on the levee doing the double twist"—a reference to both sex and dancing in those days. As for this particular song, "The Twist", Hank Ballard's guitarist, Midnighters member Cal Green, said they picked up the general idea from Brother Joe Wallace of the gospel group The Sensational Nightingales, whose position and its associated image concerns prevented him from recording the song himself. Many years later, in an interview with Tom Meros that is currently available online, Midnighters' member Lawson Smith recalled the authorship of "The Twist" differently, that The Sensational Nightingales' Nathaniel Bills wrote the song instead.

The Gest of Robyn Hode, Stanza 135 p.88 Significantly, the Gest of Robyn Hode makes a very specific reference to a location within Wentbridge known as 'the Saylis' and 'the Sayles', as in a four line stanza the outlaw chief instructs his Merry Men to, "Walk up to the Saylis And so to Watling Street And wait after some uncouth guest Upon Chance you may them meet" The 19th-century antiquarian Joseph Hunter identified the site of the Saylis: a small tenancy, of one-tenth of a knight's fee (i.e. a knight's annual income), located on high ground 500 yards (457.2 metres) to the east of the village of Wentbridge in the manor of Pontefract.Joseph Hunter, "The Great Hero of the Ancient Minstrelsy of England", Critical and Historical Tracts 4 (1852 pp. 15-16).

Todd can be tracked throughout his life through census records. He seems to be the same as the Thomas Todd who appears in 1841 in Longframlington, apparently aged 7; later census appearances are largely consistent with this, but with his being born in 1832, and there is a record of a Thomas Todd being baptised in Longframlington in 1832; later appearances show that he was a miner, living in pit villages in the Bedlington area, first Nedderton (sometimes called Netherton), later Bedlington itself, then Choppington Station, Northumberland. A vivid contemporary picture of the Choppington area is found online. William Cocks noted that he was a favourite piper of Dr J. Collingwood Bruce, one of the editors of The Northumbrian Minstrelsy, and that he played at Bruce’s lectures, for instance in 1888.

In 1897, Alfred Griffith Hatfield leased his Darkest America Company, a black musical drama, after its second season to Vogel, who took full control of it the following year. A review from an 1897 daily paper provides a summarial description of 1890s plantation minstrelsy through description of the show: > “In Darkest America” as presented... by Mr. John Vogel's large and in every > way meritorious company, was perhaps the best presentation of scenes > intended to be depicted, taking the performance in all its details, that > could be exhibited. The actors are in the main colored people, and from the > fidelity which the scenes of the plantation in slavery times are produced, > one would be justified in imagining that they had all served at least a > liberal apprenticeship among the slaves of the past.”.

Some tunes are local to Cumberland and the West Border region, indeed the first tune in the book is Canny Cummerlin. The slow 6/8 march Squire Dacre's, often called Noble Squire Dacre elsewhere, commemorates a local noble family; having 4 strains, rather than the two found in the Northumbrian Minstrelsy, it is the most elaborate version known, though similar to a three-strain version in Riddell's Scotch, Galwegian and Border Tunes, from Moffat, a little north of the Border. There is also an early version of John Peel, marked, unlike most tunes in the book, 'from memory'. As it is close in date to the tune's composition - Peel was still alive in 1840 - and somewhat different from the substantially reworked version published in 1866, this version is of interest.

When playing Southern towns, performers had to stay in character off stage, dressed in ragged "slave clothes" and perpetually smiling. Troupes left town quickly after each performance, and some had so much trouble securing lodging that they hired whole trains or had custom sleeping cars built, complete with hidden compartments to hide in should things turn ugly.. Even these were no haven, as whites sometimes used the cars for target practice. Their salaries, though higher than those of most blacks of the period, failed to reach levels earned by white performers; even superstars like Kersands earned slightly less than featured white minstrels.. Most black troupes did not last long.. In content, early black minstrelsy differed little from its white counterpart. As the white troupes drifted from plantation subjects in the mid-1870s however, black troupes placed a new emphasis on it.

The 2000 Spike Lee movie Bamboozled alleges that modern black entertainment exploits African-American culture much as the minstrel shows did a century ago, for example.. Meanwhile, African-American actors were limited to the same old minstrel-defined roles for years to come and by playing them, made them more believable to white audiences. On the other hand, these parts opened the entertainment industry to African-American performers and gave them their first opportunity to alter those stereotypes.. Many famous singers and actors gained their start in black minstrelsy, including W. C. Handy, Ida Cox, Ma Rainey, Bessie Smith, Ethel Waters, and Butterbeans and Susie. The Rabbit's Foot Company was a variety troupe, founded in 1900 by an African American, Pat Chappelle,. which drew on and developed the minstrel tradition while updating it and helping to develop and spread black musical styles.

Romantic portrait of Guy by François-Edouard Picot, c. 1843. Salles des Croisades, Versailles Guy appears as a main leading character in a tale of Decameron by Giovanni Boccaccio,Decameron, Giovanni Boccaccio (day 1, tale 9) where the censure of a Gascon lady converts the King of Cyprus from a churlish to an honourable temper. Sir Walter Scott, in Minstrelsy of the Scottish Border (1802–1803), recounts the legend of Melusina, a supernatural creature > who married Guy de Lusignan, Count of Poitou, under condition that he should > never attempt to intrude upon her privacy.... She bore the count many > children, and erected for him a magnificent castle by her magical art. Their > harmony was uninterrupted until the prying husband broke the conditions of > their union, by concealing himself to behold his wife make use of her > enchanted bath.

There have been criticisms of Scott for exploiting his helpers and for letting only his own name appear on the title-page, but all gave their help freely and were fully acknowledged in the body of the book. In the Minstrelsy Scott produced an eclectic edition, combining lines and stanzas from different versions of each ballad to produce what he thought the best version from a purely literary point of view. This approach would now be considered unscholarly, but Scott wanted his book to appeal to a general reading public which had little regard either for scholarship or for ballad texts in the raw state. In his later years he changed his mind on this point, and wrote that "I think I did wrong...and that, in many respects, if I improved the poetry, I spoiled the simplicity of the old song".

Music score to the ballad of "True Thomas", from Scott's Minstrelsy. The scene of Thomas's encounter with the elf-queen is "Huntly Bank" and the "Eildon Tree" (versions B, C, and E) or "Farnalie" (version D)Or at least "Farnalie" is given as the spot to where the queen returned Thomas in the final stanza of the D version. All these refer to the area of Eildon Hills, in the vicinity of Earlston: Huntly Bank was a slope on the hill and the tree stood there also, as Scott explained:"Huntley Bank, a place on the descent of the Eildon Hills," Emily B. Lyle was able to localize "farnalie" there as well.She identified it with farnileie on the Eildon Hills, which appears in a document of 1208 about a land dispute "between the monasteries of Melrose and Kelso".

In Minstrelsy, Walter Scott published a second part to the ballad out of Thomas's prophecies, and yet a third part describing Thomas's return to Elfland. The third part was based on the legend with which Scott claimed to be familiar, telling that "while Thomas was making merry with his friends in the Tower of Ercildoune," there came news that "a hart and hind... was parading the street of the village." Hearing this, Thomas got up and left, never to be seen again, leaving a popular belief that he had gone to Fairyland but was "one day expected to revisit earth". Murray cites Robert Chambers's suspicion that this may have been a mangled portrayal of a living local personage, and gives his own less marvellous traditional account of Thomas's disappearance, as he had received it from an informant.

This particularly manifested itself in the virulence of his many attacks on the poor scholarship of Percy, Pinkerton and Warton in a lengthy "Dissertation on Romance and Minstrelsy" with which he prefaced the work. In this Dissertation he addresses the problem of the origins of the romance form. He rejects not just Warton's theory that romance was a literary form that came to Europe from the Islamic world, but also the contentions of others that it came from the Celtic countries or from Scandinavia, concluding that its true point of origin was France. He proceeds first to a consideration of the state of the English language in the Middle Ages, which he thinks was at first too rude and undeveloped for French poets to have thought of borrowing romances from across the Channel, and then to a chronological survey of the English romances.

Like other popular comedians of his era, his comedy included jokes about "Pakis" and "coons". His reinforcement of his audience's prejudices and negative race stereotypes was perhaps a necessary product of the environment and time in which his career began, typified by a resurgent National Front, a minstrelsy variety show in the form of The Black and White Minstrel Show on the BBC, and the sitcom Love Thy Neighbour, in which he appeared as himself in one of the episodes, which were made by Thames Television for the National ITV network. Nevertheless, he was a role model for a new generation of British black comedians, such as Lenny Henry and Gary Wilmot, growing up in the 1970s, when almost all others were white. Broadcaster Dotun Adebayo wrote a 2012 play Skinteeth on the theme of Williams' comedy perpetuating 1970s stereotypes of black people.

A prolific writer, he produced more than 100 books and pamphlets and hundreds of articles. In addition to his books of legends such as Susquehanna Legends, In the Seven Mountains, Penn's Grandest Cavern, Tales of the Bald Eagle Mountains, Allegheny Episodes, Juniata Memories, North Mountain Mementos, South Mountain Sketches, Black Forest Souvenirs, for which he is best known, he published more ethnographic field collections of songs and ballads (Mountain Minstrelsy of Pennsylvania, 1931), folk speech (Scotch-Irish and English Proverbs and Sayings of the West Branch Valley of Central Pennsylvania, 1927), and crafts (Early Potters of Clinton County, 1916). He also wrote some of the earliest accounts of hunting and animal lore, such as Pennsylvania Deer and Their Horns (1915), Pennsylvania Lion or Panther (1914), Wolf Days in Pennsylvania (1914), and Stories of Great Pennsylvania Hunters (1913).

"It is my hope that the work might offer a glimpse into the origins of some conscious and subconscious contemporary thinking with regard to race, color, and gender. If you are discomforted by what you see, I invite you to examine those feelings, for out of this examination with come enlightenment...My work entreats the viewer to look at these images, while at the same time looking through them, to discover an alternative context." His minstrelsy characters instead of displaying looks of happiness often display looks of anger and rage. Greenfield was a 2016 Artist-in-Residence at the McColl Center for Art + Innovation in Charlotte, NC.20 years of Artists-In-Residence McColl Center After a residency in Brazil in 2014 the focus of his work is now turning towards the topic of contemporary eguns.

In 1924, Robert W. Gordon, who like John A. Lomax, had been a student of George Lyman Kittredge at Harvard, transcribed a fragment that went: :And it's roll on, buddy – what makes you roll so slow? :Your buddy is almost broke – Down in the K.N.O.See Norm Cohen, Long Steel Rail: The Railroad in American Folksong (Urbana and Chicago: University of Illinois Press [1981] 2000), p. 574. Numerous bluegrass bands and singers like Scott McGill and Mississippi John Hurt also recorded commercial versions of this song, nearly all of them containing verses about the legendary spike driver, John Henry; and even when they do not, writes folklorist Kip Lornell, "one feels his strong and valorous presence in the song".See Kip Lornell, liner notes to Virginia and the Piedmont, Minstrelsy, Work Songs, and Blues in the Blues Deep River of Song series, Rounder CD 1827-2 (2000).

She was the highest-paid African- American performer of her time, remaining the star of the Famous Troubadours for around two decades while they toured each season and established their popularity in the principal cities of the United States and Canada. The company Troubadours made an important statement about the capabilities of black performers to its predominantly white audiences showing that there were diverse artist genres and styles besides minstrelsy. Their eventual fame and international tours collected many audiences, and several members of the troupe, such as Bert Williams, went on to become famous. In April 1908, at the Avenue Theatre in Louisville, Kentucky where segregated seating was still prevalent, her rendition of "My Old Kentucky Home" was well-received by a primarily white audience, resulting in “the first time that a colored performer received a bouquet at the theatre in [the city of St. Louis].

The Harp of the North from The Lay of the Last Minstrel, Scott Monument, Edinburgh "This is my own, my native land" quoted from The Lay of the Last Minstrel on Walter Scott's stone slab at the Makars' Court outside The Writers' Museum in Edinburgh Towards the end of 1802 Scott planned to include a long original poem of his own in the second edition of his edited collection Minstrelsy of the Scottish Border: it would be 'a sort of Romance of Border Chivalry & inchantment'.The Letters of Sir Walter Scott: 1787‒1807, ed. H. J. C. Grierson (London, 1932), 166 (Scott to Anna Seward, 30 November 1802). He owed the distinctive irregular accentual four- beat metre to Coleridge's Christabel, which he had heard recited by John Stoddart (it was not to be published until 1816).Edgar Johnson, Sir Walter Scott: The Great Unknown, 2 vols (London, 1870), 1.197.

Foster did later contract with Christy (for $15 each) for "Old Folks at Home" and "Farewell my Lilly Dear". "Oh, Susanna" also led Foster to two New York publishers, Firth, Pond and Co. and F.D. Benson, who contracted with him to pay royalties at 2¢ per printed copy sold by them.Elizabeth C. Axford, Song Sheets to Software: A Guide to Print Music, Software, and Web Sites for Musicians, Scarecrow Press, 2004,, Minstrelsy slowly gave way to songs generated by the American Civil War, followed by the rise of Tin Pan Alley and Parlour music, both of which led to an explosion of sheet music, greatly aided by the emergence of the player piano. While the player piano made inroads deep into the 20th century, more music was reproduced through radio and the phonograph, leading to new forms of royalty payments, and leading to the decline of sheet music.

Minstrel shows toured the same circuits as opera companies, circuses, and European entertainers, with venues ranging from lavish opera houses to makeshift tavern stages. When the European Tyrolese Minstrels toured the United States for several years in the early 1840s and created an American craze for Alpine yodeling music, four unemployed white actors decided to stage an African-American style spoof of this group's concerts. Calling themselves Dan Emmett's Virginia Minstrels, the performance was wildly popular and most historians mark this production as the beginning of minstrelsy in the U.S. According to jazz historian Gary Giddins: > Though antebellum (minstrel) troupes were white, the form developed in a > form of racial collaboration, illustrating the axiom that defines – and > continues to define – American music as it developed over the next century > and a half: African American innovations metamorphose into American popular > culture when white performers learn to mimic black ones.

He made a suitably dark and brooding photograph of himself as Jerdanowitch, and submitted the work to the same group of critics as representative of the new school "Disumbrationism". He explained Exaltation as a symbol of "breaking the shackles of womanhood".Museum of Hoaxes, The Disumbrationist School of Art To his amusement, if not to his surprise, the Disumbrationist won praise from the critics who had belittled his wife's realistic painting. More Disumbrationist paintings followed: a composition of zig-zag lines and eyeballs he called Illumination; a garish picture of a black woman doing laundry that he called Aspiration, and which a critic praised as "a delightful jumble of Gauguin, Pop Hart and Negro minstrelsy, with a lot of Jerdanowitch individuality"; Gination, an ugly, lopsided portrait; and a painting named Adoration, of a woman worshipping an immense phallic idol, which was exhibited in 1927.

James Hogg was one of those who responded to this shifting of the market by trying to surpass the imitations of ancient ballads in its third volume. One of the consequences of Scott's use of the phrase Scottish Border in his title, in spite of the fact that many of his ballads came from north-east Scotland, was to popularize the still current fallacy that the Borders rather than the north-east were the richest source of Scottish ballads. Most ballad editors of the 19th century and later, such as William Motherwell and Francis James Child, practised strict fidelity to one source, but Scott's example of preferring collation was followed by some of his successors, and can be seen in William Allingham's Ballad Book, Arthur Quiller-Couch's Oxford Book of Ballads, and Robert Graves's The English Ballad and English and Scottish Ballads. Across Europe the publication of the Minstrelsy was an inspiration to literary nationalists.

A bogle, boggle, or bogill is a NorthumbrianRambles in Northumberland, and on the Scottish border ... by William Andrew Chatto, Chapman and Hall, 1835 and Scots term for a ghost or folkloric being,The local historian's table book, of remarkable occurrences, historical facts, traditions, legendary and descriptive ballads [&c.;] connected with the counties of Newcastle-upon-Tyne, Northumberland and Durham. by Moses Aaron Richardson, M. A. Richardson, 1843 used for a variety of related folkloric creatures including Shellycoats,Minstrelsy of the Scottish Border by Walter Scott, Sr. Barghests, Brags, the Hedley Kow and even giants such as those associated with Cobb's Causey (also known as "ettins", "yetuns" or "yotuns" in Northumberland and "Etenes", "Yttins" or "Ytenes" in the South and South West).Northumberland Words – A Glossary of Words Used in the County of Northumberland and on the Tyneside -, Volume 1 by Richard Oliver Heslop, Read Books, 2008, Legg, Penny "The Folklore of Hampshire" The History Press (15 Jun.

He moved to New York and began a career as a pianist/music director - primarily as music director to then Dreamgirl Loretta Devine. Loretta Devine with Loni Berry - New York Magazine 14 Oct 1985 Page 148 His concert and cabaret work with various Broadway actors piqued his interest which led to work at the Mirror Repertory Theatre and the American Place Theatre. He returned to Brown to study Performing Arts with George Houston Bass, John Emigh and Paula Vogel. His academic focus was American Minstrelsy and he directed the first college production of George C. Wolfe’s The Colored Museum which won him best director in the American College Theatre Festival and performances at the Kennedy Center in Washington, D.C. He began his work as a playwright with George Houston Bass, executor of the Langston Hughes estate, writing his first play …Love, Langston, A Slimmed `Love Langston' -- New Play Revives Words Of Langston Hughes, With Love a collage of Langston’s Hughes’ works set to original music.

Ragtime was a style of dance music based around the piano, using syncopated rhythms and chromaticisms; the genre's most well-known performer and composer was undoubtedly Scott Joplin. Donald Clarke considers ragtime the culmination of coon songs, used first in minstrel shows and then vaudeville, and the result of the rhythms of minstrelsy percolating into the mainstream; he also suggests that ragtime's distinctive sound may have come from an attempt to imitate the African American banjo using the keyboard. Due to the essentially African American nature of ragtime, it is most commonly considered the first style of American popular music to be truly black music; ragtime brought syncopation and a more authentic black sound to popular music. Popular ragtime songs were notated and sold as sheet music, but the general style was played more informally across the nation; these amateur performers played a more free-flowing form of ragtime that eventually became a major formative influence on jazz.

Among these had been a story about life in a medieval village, told from the standpoint of Simon, a serf who had fled from a nearby manor. This story may have suggested the framework for Redcap Runs Away. However, English literary concern with minstrelsy has been continual since the Romantic period: poems such as Sir Walter Scott's The Lay of the Last Minstrel (1805) and John Clare's The Village Minstrel (1821), and novels like Helen Craik's Henry of Northumberland (1800), Sydney Owenson's The Novice of St. Dominick (a girl flees disguised as a minstrel, 1805), and more recently, Christabel Rose Coleridge's Minstrel Dick (a boy minstrel becomes a courtier, 1891) and Howard Spring's Darkie and Co. (a boy runs away from an unhappy home to join a travelling show, 1932). The inclusion of so many minstrel stories in Redcap adds to the book's authenticity, but not all US critics at the time viewed this favourably.

Melusine legends are especially connected with the northern areas of France, Poitou and the Low Countries, as well as Cyprus, where the French Lusignan royal house that ruled the island from 1192 to 1489 claimed to be descended from Melusine. Oblique reference to this was made by Sir Walter Scott who told a Melusine tale in Minstrelsy of the Scottish Border (1802–1803) stating that Melusine by Ludwig Michael von Schwanthaler (1845) The Luxembourg family also claimed descent from Melusine through their ancestor Siegfried. When in 963 A.D. Count Siegfried of the Ardennes (Sigefroi in French; Sigfrid in Luxembourgish) bought the feudal rights to the territory on which he founded his capital city of Luxembourg, his name became connected with the local version of Melusine. This Melusina had essentially the same magic gifts as the ancestress of the Lusignans, magically making the Castle of Luxembourg on the Bock rock (the historical center point of Luxembourg City) appear the morning after their wedding.

George Washington Moore George Washington "Pony" Moore (February 22, 1820 – October 1, 1909) was a New York-born British music hall impresario. Moore was born in New York, February 22, 1820,BROWN, Col. T. Allston, Early Days of Negro MinstrelsyFebruary 22, 1819 according to his obituary in The Times: The Times,Saturday, Oct 02, 1909; pg. 13; Issue 39080; col C according to his own account the son of a bass drummer who had served under George Washington,The Times, Saturday, Oct 02, 1909; pg. 13; Issue 39080; col C for whom he was named. He allegedly acquired his nickname 'Pony' as a boy because of his small size; another source attributes it to his having been employed in several circuses as a driver, managing up to forty horses at one timeRICE, Edward L.,Monarchs of Minstrelsy,1910 Having first run away to the circus at age 16 he debuted in blackface in 1841 with Welch and Delevan at the Broadway Circus in New York.

The music video for "Dance Apocalyptic" illustrates many of Monáe's artistic ambitions. The centrality of dance to Monáe's aesthetic reportedly led to obsessing over "how the human body might respond to [her music]", so much so that her musical team "brought early versions of [The Electric Ladys] tracks to Atlanta's fabled strip clubs to see what the women there would dance to." According to Philadelphia Weekly's Kennedy Allen, Monáe's "Dance Apocalyptic" also takes the dance styles of minstrelsy, which featured "smiling, wide-eyed black performers in shiny livery, their talents on display in subordinate and subservient roles for the enjoyment of white audiences," and repurposes this Sambo imagery into an allegory to "alert a generation to the decaying infrastructure of the urban community." This repurposing fits within a larger history of African-American music and culture developing the art of "signifying, recontextualization, collective memory and resistance" by fashioning icons of opposition to harmful stereotypes and racial conceptions.

Charles Edward Ellis, An Authentic History of the Benevolent and Protective Order of Elks, Chicago, 1910, BROWN, Col. T. Allson, Early History of Negro Minstrelsy After Daddy Rice popularized blackface with his Jim Crow character White first incorporated some "negro act" with his accordion playing and then founded White's Kitchen Minstrels in New York in the early 1840s, opening at the Melodeon on the Bowery.New York Times, May 19, 1907:- 'The Lay of the Last of the Old Minstrels: Interesting Reminiscences of Isaac Odell, Who Was A Burnt Cork Artist Sixty Years Ago':“While we were drawing big crowds to the Palmer House on Chambers Street Charley White was making a great hit playing an accordion in Thalia Hall on Grand Street. In those days accordions were the real attraction to the public. Charley White did a negro act in connection with his accordion playing, but he decided finally to open up with a minstrel troupe, too, so he opened at the Melodeum’’ (sic)’’ on the Bowery with White’s Kitchen Minstrels.

This led to a long and sometimes ill-tempered correspondence in the journals between Warton, Ritson, and their respective supporters. Ritson kept up the attack in successive books through the rest of his life, culminating in the viciously personal "Dissertation on Romance and Minstrelsy" in 1802. By the time the dust had settled from this controversy everyone was aware that the History could not be implicitly trusted, but it continued to be loved by a new generation whose taste for the older English poetry Warton's book, along with Percy's Reliques, had formed. The influence of those two books on the growth of the Romantic spirit can be illustrated by Robert Southey, who wrote that they had confirmed in him a love of Middle English that had been formed by his discovery of Chaucer; and by Walter Scott's description of the History as "an immense commonplace book…from the perusal of which we rise, our fancy delighted with beautiful imagery and with the happy analysis of ancient tale and song".

A later ducal piper, William Green, recalled, writing to the Ancient Melodies Committee of the Newcastle Society of Antiquaries, that John Peacock had studied first with Old William Lamshaw, and later with Joseph Turnbull. He also wrote to them 'I never knew any other Pipes but the Northumberland small Pipes used in the Regiment. The late Mr. Cant who kept the Blue Bell publick house at Newcastle and a person whose name was Graham play'd the small Pipes in the American War, then in the French war one Lamshaw and myself whose nephew I succeeded as piper to his Grace's the old Duke of N.'Quoted by A.L. Lloyd, in introduction to Northumbrian Minstrelsy, 1965 edition If Green is referring to Old William Lamshaw here, his statement that Young William Lamshaw was his nephew is an error on his part. However, an alternative reading, consistent with the known facts, is that one of Old William's sons, an uncle of Young William, was also a piper, but there is no other record of this.

The inauthenticity of the music and the Irish and Scottish elements in it are explained by the fact that slaves were rarely allowed to play native African music and therefore had to adopt and adapt elements of European folk music.. Compounding the problem is the difficulty in ascertaining how much minstrel music was written by black composers, as the custom at the time was to sell all rights to a song to publishers or other performers.. Nevertheless, many troupes claimed to have carried out more serious "fieldwork".. Similar to American people who come from all over the world creating one big 'melting pot,' it is only fitting that some of the first forms of truly American music and drama are composed of elements from many different places. Early blackface songs often consisted of unrelated verses strung together by a common chorus. In this pre-Emmett minstrelsy, the music "jangled the nerves of those who believed in music that was proper, respectable, polished, and harmonic, with recognizable melodies.". It was thus a juxtaposition of "vigorous earth- slapping footwork of black dances … with the Irish lineaments of blackface jigs and reels.".

Thomas the Rhymer in Walter Scott's Minstrelsy of the Scottish Border From around the Late Middle Ages, the word elf began to be used in English as a term loosely synonymous with the French loan-word fairy; in elite art and literature, at least, it also became associated with diminutive supernatural beings like Puck, hobgoblins, Robin Goodfellow, the English and Scots brownie, and the Northumbrian English hob. However, in Scotland and parts of northern England near the Scottish border, beliefs in elves remained prominent into the nineteenth century. James VI of Scotland and Robert Kirk discussed elves seriously; elf beliefs are prominently attested in the Scottish witchcraft trials, particularly the trial of Issobel Gowdie; and related stories also appear in folktales, There is a significant corpus of ballads narrating stories about elves, such as Thomas the Rhymer, where a man meets a female elf; Tam Lin, The Elfin Knight, and Lady Isabel and the Elf- Knight, in which an Elf-Knight rapes, seduces, or abducts a woman; and The Queen of Elfland's Nourice, a woman is abducted to be a wet-nurse to the elf- queen's baby, but promised that she may return home once the child is weaned.

Characters such as Simon Legree sometimes disappeared, and the title was frequently changed to something more cheerful like "Happy Uncle Tom" or "Uncle Dad's Cabin". Uncle Tom himself was frequently portrayed as a harmless bootlicker to be ridiculed. Troupes known as Tommer companies specialized in such burlesques, and theatrical Tom shows integrated elements of the minstrel show and competed with it for a time.. Minstrelsy's racism (and sexism) could be rather vicious. There were comic songs in which blacks were "roasted, fished for, smoked like tobacco, peeled like potatoes, planted in the soil, or dried up and hung as advertisements", and there were multiple songs in which a black man accidentally put out a black woman's eyes.. On the other hand, the fact that the minstrel show broached the subjects of slavery and race at all is perhaps more significant than the racist manner in which it did so.. Despite these pro-plantation attitudes, minstrelsy was banned in many Southern cities.. Its association with the North was such that as secessionist attitudes grew stronger, minstrels on Southern tours became convenient targets of anti-Yankee sentiment.. Non-race-related humor came from lampoons of other subjects, including aristocratic whites such as politicians, doctors, and lawyers.