This book traces blackface types from ancient masks of grinning Africans and phallus-bearing Roman fools through to comedic medieval devils, the pan-European black-masked Titivillus and Harlequin, and racial impersonation via stereotypical ´black speech´ explored in the Renaissance by Lope de Vega and Shakespeare. Jim Crow and antebellum minstrelsy recycled Old World blackface stereotypes of irrationality, ignorance, pride, and immorality. Drawing upon biblical interpretations and philosophy, comic types from moral allegory originated supposedly modern racial stereotypes. Early blackface traditions thus spread damning race-belief that black people were less rational, hence less moral and less human. Such notions furthered the global Renaissance´s intertwined Atlantic slave and sugar trades and early nationalist movements. The latter featured overlapping definitions of race and nation, as well as of purity of blood, language, and religion in opposition to ´Strangers´. Ultimately, Old World beliefs still animate supposed ´biological racism´ and so-called ´white nationalism´ in the age of Trump.
According to Max Disher, an ambitious young black man in 1930s New York, someone of his race has only three alternatives: ´´Get out, get white, or get along.´´ Incapable of getting out and unhappy with getting along, Max leaps at the remaining possibility. Thanks to a certain Dr. Junius Crookman and his mysterious process, Max and other eager clients develop bleached skin that permits them to enter previously forbidden territory. What they discover in white society, however, gives them second thoughts. This humorous work of speculative fiction was written by an unsung hero of African American literature. George S. Schuyler (1895-1977) wrote for black America´s most influential newspaper, the Pittsburgh Courier, in addition to H. L. Mencken´s The American Mercury, The Nation, and other publications. His biting satire not only debunks the myths of white supremacy and racial purity but also lampoons prominent leaders of the NAACP and the Harlem Renaissance. More than a historical curiosity, Schuyler´s 1931 novel offers a hilarious take on the hypocrisy and demagoguery surrounding America´s obsession with skin color. 1. Language: English. Narrator: Sean Crisden. Audio sample: http://samples.audible.de/bk/tant/011394/bk_tant_011394_sample.mp3. Digital audiobook in aax.
From Harrisburg, Pennsylvania in the USA, a city mired in corruption and bankruptcy, plagued by racism, corruption, nepotism, oppressive Christianity, and a floundering Nazi legacy comes an African-American and Native-American hero to save the day! The studio of Bryan Thomas Molloy presents the HarrisProject! Showing the true history of this Central PA region as the oasis of tolerance, shelter from persecution, and center of global wealth and trade that it once was and may be again, the HarrisProject reintroduces these truths back into popular consciousness in glowing form with a re-creation of the most famous legend of the city´s founder, John Harris. Painted lavishly in oils in historic, genre-melding, technical virtuosity, and using custom-made costumes and local craftsman, the six-foot wide panoramic scene features an actual descendant of John Harris posing as John Harris himself, and a former Broadway Dancer as the heroic rescuing chief. Secret ancient historical information, celestial symbolism, and fantastic artistic technique are delivered within the compositional arrangements and careful selection of colors and elements - including the use of the Lost Angles Process and Renaissance Pattern Echoing. The research phase alone took over six years of pouring intensively through historical records in many universities and museums throughout the world, and formed the foundation for the project. The final painting itself took more than three years of meticulous patience and dedicated attention to detail and technique. The entire process of the HarrisProject spanned a triumph by the artist over multiple personal tragedies including family deaths, a nervous breakdown, hospitalization, and a near-death experience. Each instance being a terrifying threat to the completion of this elaborate work of art. 1. Language: English. Narrator: Andy Taylor. Audio sample: http://samples.audible.de/bk/acx0/057546/bk_acx0_057546_sample.mp3. Digital audiobook in aax.
(2000/Arpeggio) Migration has played a key role in the blues, as America´s black population moved to urban centres seeking employment, many blues legends came with them. But New Orleans born William Dupree ventured further than most, num-bering Indiana, Chicago and Detroit among his ports of call before emigrating to Europe in 1959. He wouldn´t return home until 1990, two years before his death, but by that time he´d been acclaimed as one of the last surviving barrelhouse style piano players in the Crescent City style. Dupree was born in 1909 and followed in the footsteps of the legendary Louis Armstrong with an upbringing in the New Orleans Colored Waifs Home for Boys after his parents died in a racially motivated arson attack. Music became a way for the enterprising orphan to hustle a dollar or two, and he picked up his pounding piano style from local greats Willie Hall and Don Bowers. But though he moved to Chicago at the start of the 1930´s, he failed to break out of the club scene there and, after a short spell as a café pianist in Detroit, dedi-cated the rest of the decade to a career in the boxing ring. Hands that had previously caressed the ivories proved remarkably adept at decking oppo-nents, and ´Champion Jack´ Dupree, as he was professionally tagged reached the dizzy heights of lightweight champion of Indiana in a career whose fights totalled three figures. His music, though now a part time profession, had meanwhile matured under the early influence of Leroy Carr, whose laid back singing style he favoured, and his talents were recognised by noted producer Lester Melrose who cut him in Chicago, an album ´Dunker Blues 1940-41´ preserved the results of some of these early sessions. The stage was set for a musical renaissance. But the outbreak of war saw him conscripted into the US Navy and a spell as a Japanese prisoner of war added yet another (albeit unwanted) geographical diversion to his travels. Dupree´s musical career restarted in earnest in New York, where the fast growing rhythm and blues scene ensured that labels like King and Savoy were more than happy to cut him. The breakthrough came in 1955 when ´Walking The Blues´, a duet with Teddy ´Mr Bear´ McRae revisited here, reached number 6 in the R&B charts. After many diversions, Champion Jack was back on track.... The same year saw him play a New York session in June with former child star Little Willie John, whose life would end tragically in 1968 when he died in prison of pneumonia after taking a manslaughter rap. Our compilation contains two of only three tracks Jack and Willie would cut together: one of the songs, Titus Turner´s ´All Around The World´, would prove to be a top 10 pop hit for Willie that year and features backing here from Willis Jackson (tenor sax), Mickey Baker (guitar), Ivan Rolle (bass) and Calvin Shields (drums). The Groove and Vik monikers were further labels to add to Champion Jack´s blues baggage before, tiring of the racism he encountered in American society, he determined to take his talents to Europe. Audiences there were delighted to have a legend in their midst, and musicians from the ranks of Free, Chicken Shack and the Rolling Stones flocked to play with him and enjoy authenticity by association. Mickey Baker — present on the Dupree/Willie John sessions back in 1955, a hitmaker the following year with ´Love Is Strange´ and now resident of Paris — would also often be found accompanying Jack as he toured Europe extensively, making his home in Switzerland, England, Sweden and finally Germany. All Around The World´ indeed.... Dupree´s triumphant return home to play the New Orleans Jazz and Heritage Festival in 1990 led to a live album and a repeated booking. But further acclaim was cut short by his death in January 1992 in Hanover, Germany. Fats Domino was just one New Orleans piano man to have benefited from Dupree´s trailblazing example — indeed, one of his earliest recordings was a version of ´Junkers Blues´.