000			03059cam a2200397Ii 4500
001			ocn979417534
003			OCoLC
005			20240726105036.0
008			170327s2017 ilu ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dNT
020			_a9780226451787 _q((electronic)l(electronic)ctronic)
043			_an-us---
050	0	4	_aML3479 _b.B533 2017
049			_aMAIN
100	1		_aRoberts, Brian, _d1957- _e1
245	1	0	_aBlackface nation : _brace, reform, and identity in American popular music, 1812-1925 / _cBrian Roberts.
260			_aChicago : _bThe University of Chicago Press, _c(c)2017.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
520	8		_aAs 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.
530			_a2 _ub
650		0	_aAfrican Americans _xMusic _xHistory and criticism.
650		0	_aPopular music _zUnited States _y19th century _xHistory and criticism.
650		0	_aPopular music _zUnited States _y20th century _xHistory and criticism.
650		0	_aMinstrel music _zUnited States _xHistory and criticism.
650		0	_aMusic and race _zUnited States _xHistory.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1463643&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hML _m2017 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c87032 _d87032
902			_a1 _bCynthia Snell _c1 _dCynthia Snell