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02985aam a2200397 i 4500 001 40909380475911E7B35354A3DAD10320 003 SILO 005 20170602010157 008 160909t20172017ilua b 001 0 eng c 010 $a 2016041541 020 $a 022645164X 020 $a 9780226451640 020 $a 022645150X 020 $a 9780226451503 035 $a (OCoLC)958779970 040 $a ICU/DLC $b eng $e rda $c CGU $d DLC $d YDX $d OCLCO $d BDX $d OCLCF $d OCLCQ $d ERASA $d YDX $d OCLCO $d SILO 042 $a pcc 043 $a n-us--- 050 00 $a ML3479 R63 2017 100 1 $a Roberts, Brian, $d 1957- $e author. 245 10 $a Blackface nation : $b race, reform, and identity in American popular music, 1812-1925 / $c Brian Roberts. 264 1 $a Chicago : $b The University of Chicago Press, $c 2017. 300 $a x, 360 pages ; $c 23 cm 504 $a Includes bibliographical references and index. 520 8 $a As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in 'Blackface Nation', this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast's most popular middle-class singing group during the mid-nineteenth century, are perhaps the best example of the first strain of music. The group's songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women's rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America's consumer culture while the Hutchinsons' songs were increasingly regarded as old-fashioned. 650 0 $a African Americans $x History and criticism. $x History and criticism. 650 0 $a Popular music $z United States $y 19th century $x History and criticism. 650 0 $a Popular music $z United States $y 20th century $x History and criticism. 650 0 $a Minstrel music $z United States $x History and criticism. 650 0 $a Music and race $z United States $x History. 941 $a 3 952 $l PLAX964 $d 20230718092832.0 952 $l PMAX975 $d 20191119044735.0 952 $l USUX851 $d 20170907010633.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=40909380475911E7B35354A3DAD10320 994 $a C0 $b IWAInitiate Another SILO Locator Search