Stereotypes in Black Music: The African-American Crossover Compromise
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Stereotypes in Black Music: The African-American Crossover Compromise $8.65 Stereotypes have forever polluted the relationship between blacks and whites in America, and nowhere more conspicuously than in the entertainment field. Here, artists are often judged not only by the color of their skin but by the content of their caricature. In particular, the persistence of racially negative portrayals in African-American music, despite increasing control exercised by blacks, re… |
Stereotypes in Black Music: The African American Crossover Compromise
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Conjure in African American Society $19.95 From black sorcerers' client-based practices in the antebellum South to the postmodern revival of hoodoo and its tandem spiritual supply stores, the supernatural has long been a key component of the African American experience. What began as a mixture of African, European, and Native American influences within slave communities finds expression today in a multimillion dollar business. In Conjure in African American Society, Jeffrey E. Anderson unfolds a fascinating story as he traces the origins and evolution of conjuring practices across the centuries. Though some may see the study of conjure as a perpetuation of old stereotypes that depict blacks as bound to superstition, the truth, Anderson reveals, is far more complex. Drawing on folklore, fiction and nonfiction, music, art, and interviews, he explores various portrayals of the conjurer—backward buffoon, rebel against authority, and symbol of racial pride. He also examines the actual work performed by conjurers, including the use of pharmacologically active herbs to treat illness, psychology to ease mental ailments, fear to bring about the death of enemies and acquittals at trials, and advice to encourage clients to succeed on their own. By critically examining the many influences that have shaped conjure over time, Anderson effectively redefines magic as a cultural power, one that has profoundly touched the arts, black Christianity, and American society overall. |
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African American Actresses $23.75 Nine actresses, from Madame Sul-Te-Wan in Birth of a Nation (1915) to Ethel Waters in Member of the Wedding (1952), are profiled in African American Actresses. Charlene Regester poses questions about prevailing racial politics, on-screen and off-screen identities, and black stardom and white stardom. She reveals how these women fought for their roles as well as what they compromised (or didn’t compromise). Regester repositions these actresses to highlight their contributions to cinema in the first half of the 20th century, taking an informed theoretical, historical, and critical approach. |
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Interpersonal Violence in the African-American Community $99 Presents a foundation for understanding violence within the African-American community from the perspective of African Americans. This book challenges stereotypes of African Americans and offers advice on approaches that are, or might be, effective with African-American populations. |
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The Empire of Stereotypes $95 Places Germaine de Stael's influential novel, "Corrine, or Italy" in relation to preceding and subsequent stereotypes of Italy as seen in the works of Northern European and American travel writers since the Renaissance. |
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Native American Stereotypes Sports Baseball Jersey by CafePress $35.5 Our 100% cotton Baseball Jersey is a sporty hit with both men and women whether you’re in the game or just looking the part in great run-around casual-wear. Choose red, blue or black sleeves. 6.1 oz. 100% heavyweight cottonStandard f Sports Baseball Jersey Our 100% cotton Baseball Jersey is a sporty hit with both men and women whether you’re in the game or just looking the part in great run-around casual-wear. Choose red, blue or black sleeves. 6.1 oz. 100% heavyweight cotton. Standard f |
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Sourcebook on African-American Performance $46.95 The first volume to consider African-American performance between and beyond the Black Arts Movement of the 1960s and the New Black Renaissance of the 1990s. |
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The A to Z of African-American Television $33.99 From Amos ‘n’ Andy to The Jeffersons to Family Matters, this work covers it all. There are entries on all different genres and performers. Additionally, information can be found on general issues, ranging from African American audiences and stereotypes through the related networks and organizations. This book has hundreds of entries, from A to Z, in the dictionary and a list of acronyms with their corresponding definitions. |
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Encyclopedia of African American History $295 Encyclopedia of African American History introduces readers to the significant peopoe, events, sociopolitical movements, and ideas that have shaped African American life from earliest contact between African peoples and Europeans through the late 20th century. The encyclopedia places the African American experience in the context of the entire African diaspora, with entries organized in sections on African/European cnontact and enslavement, culture, resistance and identity during enslavement, political activism from the Revolutionary War to Southern emancipation, political activism from Reconstruction to the modern Civil Rights movement, black nationalism and urbanization, and Pan-Africanism and contemporary black America. Based on the latest scolarship and engagingly written, there is no better go-to reference for exploring the history of African Americans and their distinctive impact on American society, politics, business, literature, art, food, clothing, music, language, and technology. |
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No Compromise $4.99 No Compromise |
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September 10th, 2011 at 10:40 am
Your lovin’ don’t pay my bills. Give me money!,
“Pornographic filth.” What generation of teenagers hasn’t heard their favorite musical genre described in those words (or something close) by their parents? From jazz, bebop, swing, rock, protest, political and now rap music, artists, their producers, managers, and marketers have all had to deal with the trade off between talent and the demands of the marketplace. According to Alan Kurtz, author of Stereotypes in Black Music: The African-American Crossover Compromise, “showmanship trumped musicianship”.
Kurtz’s erudite inspection of a trend he has identified and now details in his first book is not his first foray into writing. He has written for years about music, particularly jazz, and proven himself to be, depending on the reader’s point of view, either a provocateur, an instigator, or a rabble rouser. Regardless of how the reader perceives his topics, his delivery, and his opinion, Kurtz can certainly provide the match for the proverbial powder keg.
The Dutch introduced slavery into Jamestown in 1619 and Long Island in 1626 and it didn’t take long for stereotypes to arise. Mr. Kurtz opines that perpetuation of these stereotypes sustains a racial underclass. Then he asks why 20th-century black musical performers would continue to cultivate white racism. Is it simply opportunism and market savvy? Or is it something deeper?
Answers are elusive and attempts to clarify what might be answers will inspire engaging conversation and perhaps heated debate. Our journey to enlightenment begins in Egypt’s 18th dynasty and progresses (musically) through the era of black-face minstrels, jazz, bebop, and rock. We enjoy the benefits of thorough research and learn about the evolution of each of these musical genres and the associated stereotypes. It’s on the stage of Harlem’s Cotton Club, courtesy of none other than Duke of Ellington, that we first meet the archetypal concept of the “jungle savage.” The chronology continues from rock through protest and politically charged genres and concludes with gangsta rap.
Readers who have open minds and the ability to follow metaphors and similes will appreciate Kurtz’s style and humor. This reviewer was continually caught off guard with what should have been obvious set-ups for a clever punch line. Gross exaggerations and blatant satire were occasional blind-sides. Perhaps my own ability to embellish stories made me susceptible. A charming occasional use of lyrics as prose was a pleasing feature and adds to the readability of what could have been a boring scholarly thesis.
Stereotypes in Black Music: The African-American Crossover Compromise is not so much a stroll down memory lane as it is an excursion through the dark alleys of the evolution of popular music, and of course, numerous examples of how African Americans have assisted in the constant debasement of their own culture. Along the way we meet numerous examples of the jungle savage in the personage of Louis Armstrong, Cab Calloway, Little Richard, Screamin’ Jay Hawkins, Jimi Hendrix, Prince, and even [gasp], Michael Jackson.
In her stirring and somewhat successful campaign against gangsta rap, C. Delores Tucker said, “You can’t listen to all that language and filth without it affecting you.” At least one generation of [now deceased] rappers disagreed and went on to careers that seem to document Kurtz’s thesis once again. In the end, we still ponder the original question: Why do contemporary black musical performers continue to cultivate white racism? Perhaps with the assistance gained from Stereotypes in Black Music: The African-American Crossover Compromise, we can come to more informed conclusions, if not generally, at least with respect to specific artists.
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