Search results
Results From The WOW.Com Content Network
Theaters like the Pekin Theater in Chicago and the Lafayette Theater in New York City were created and managed by Black entrepreneurs for black performers and audiences. The dominant black Vaudeville theater circuit of the day was the Theater Owners Booking Association (TOBA), known among performers of the time as “Tough On Black Actors”. [53]
Current events; Random article ... This category is for performers for whom blackface acts ... Pages in category "Blackface minstrel performers" The following 135 ...
Before the late 1890s, the image portrayed of African Americans on Broadway was a "secondhand vision of black life created by European-American performers." Stereotyped "coon songs" were popular, and blackface was common. Minstrel shows were often performed in early history and were inspired by black music.
Eddie “Peg” or “Peg Leg” Lightfoot was born Edward Rodgers on January 14, 1895, in Memphis, Tennessee to a Victoria Dickerson (b.1878) and an unnamed father. . Victoria married a Burl Lightfoot (b.1868) sometime prior to 1900 and Burl appears to have adopted Edward between 1900 and 1910 as his legal name changed to “Eddie Lightfoot” in that year's census (which also states an ...
This article may need to be rewritten to comply with Wikipedia's quality standards. You can help. The talk page may contain suggestions. (July 2023) Detail from cover of The Celebrated Negro Melodies, as Sung by the Virginia Minstrels, 1843 The minstrel show, also called minstrelsy, was an American form of theater developed in the early 19th century. The shows were performed by mostly white ...
This is a list of blackface minstrel troupes. Adams and Lee [1] Backus' Minstrels; Brooker and Clayton's Georgia Minstrels [2] Bryant's Minstrels [3] Buckley's Serenaders (a.k.a. Buckley's Congo Melodists, Buckley's New Orleans Serenaders, New Orleans Serenaders) [4] Callender's Georgia Minstrels [5] Campbell's Minstrels [4]
White minstrel shows featured white performers pretending to be black people, playing their versions of 'black music' and speaking ersatz black dialects. Minstrel shows dominated popular show business in the U.S. from that time through into the 1890s, also enjoying massive popularity in the UK and in other parts of Europe. [47]
Singing the New Nation: How Music Shaped the Confederacy, 1861-1865. Mechanicsburg, Pennsylvania: Stackpole Books. Cockrell, Dale (1997). Demons of Disorder: Early Blackface Minstrels and Their World. Cambridge University Press. Lott, Eric (1993). Love and Theft: Blackface Minstrelsy and the American Working Class. Oxford University Press.