Blackface minstrelsy, the nineteenth-century performance practice in which ideas and images of blackness were constructed and theatricalized by and for whites, continues to permeate contemporary popular music and its audience. Harriet J. Manning argues that this legacy is nowhere more evident than with Michael Jackson in whom minstrelsy’s gestures and tropes are embedded. During the nineteenth century, blackface minstrelsy held together a multitude of meanings and when black entertainers took to the stage this complexity was compounded: minstrelsy became an arena in which black stereotypes were at once enforced and critiqued. This body of contradiction behind the blackface mask provides an effective approach to try and understand Jackson, a cultural figure about whom more questions than answers have been generated. Symbolized by his own whiteface mask, Jackson was at once ’raced’ and raceless and this ambiguity allowed him to serve a whole host of others’ needs - a function of the mask that has run long and deep through its tortuous history. Indeed, Manning argues that minstrelsy’s assumptions and uses have been fundamental to the troubles and controversies with which Jackson was beset.
A Yankee Book Peddler UK Core Title for 2013 A Baker & Taylor Academic Essentials Title in Area/Ethnic Studies: Multicultural Studies ’Even if you have read a significant volume of works about Michael Jackson, you probably owe it to yourself to explore the fresh�, compelling and interesting concepts that are skilfully presented in Michael Jackson and the Blackface Mask. A scholarly work to be sure. Kudos to Harriet Manning!’ Karen Moriarty, author of Defending a King: His Life & Legacy ’One cannot underestimate the import of Manning's scholarship in reinforcing Michael Jackson as a subject worthy of serious academic study and cultural discourse … Michael Jackson and the Blackface Mask is not inaccessible to the casual reader. It will, no doubt, ï¬�nd a special place on the bookshelves of various and sundry readers worldwide who experience a deep respect for Jackson and his art … After this book, readers will not likely see this artist in quite the same way again, but through layers of enhanced perception.’ Constance Pierce, Artist and Professor of Art (retired), Bonaventure University, New York, USA. ’This is a truly fascinating and engaging book, one that opened my eyes to a new way of seeing Michael Jackson. I highly recommend it.’ Willa Stillwater, author of M Poetica: Michael Jackson's Art of Connection and Defiance 'Manning shows how minstrelsy resonates in a number of Jackson's performances and does so aesthetically and ideologically … she salutes Jackson's achievements, musical legacy and tragically conflicted personality. The valediction is all the more authentic thanks to her lightly coded confession of the emotional cost involved in writing in depth about so extraordinarily compelling an artist.' International Journal of Jungian Studies, John Izod, University of Stirling.
Contents: Introduction; Conflict and contradiction: 19th-century blackface minstrelsy; ’Black or white’: from Jim Crow to Michael Jackson; The continuum of blackface minstrelsy; Ghosts: racial fantasy and the lost Black self; Turnaround: love and theft; Just using it: Eminem, the mask and a fight for authenticity; The burden of ambiguity; This is it; Bibliography; Index.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.