Sign in or register
for additional privileges

Birth of An Industry: Blackface Minstrelsy and the Rise of American Animation

Nicholas Sammond, Author
Race, page 2 of 25


You appear to be using an older verion of Internet Explorer. For the best experience please upgrade your IE version or switch to a another web browser.

Race, Page 206

In I'll Be Glad When You're Dead You Rascal You (1932), Louis Armstrong's joyous singing in the style of the dirty blues is transformed into the ravenous slavering of a cannibal. 

This short converts Armstrong's pleasure in singing into the voraciousness of a cannibal looking to eat the Fleischer minstrels Ko-Ko and Bimbo, thus bringing minstrelsy and racist caricature into conflict in a cartoon that expresses white ambivalence toward African American music and culture in the 1930s. An example of fantastic racialized violence, this cartoon casts Armstrong as an object of both fear and desire, which works to obscure Ko-Ko and Bimbo's status as vestigial blackface minstrels. 
Comment on this page

Discussion of "Race, Page 206"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Race, page 2 of 25 Next page on path

Related:  Performance, Page 54Performance, Page 47Space, Page 148Labor, Page 128Performance, Page 77Space, Page 193Race, Page 232Introduction, Page 21Space, Page 197Space, Page 150Introduction, Page 2Conclusion, Page 303Labor, Page 110Performance, Page 82Space, Page 187Labor, Page 88Race, Page 247Space, Page 165Space, Page 182Space, Page 172Labor, Page 132Space, Page 171Space, Page 177Space, Page 152Race, Page 224Conclusion, Page 290Space, Page 190Race, Page 230Race, Page 251Conclusion, Page 286Space, Page 175Race, Page 225Space, Page 188Introduction, Page 30Race, Page 239Space, Page 146Labor, Page 119Space, Page 191Space, Page 181Labor, Page 98Labor, Page 97Performance, Page 72Race, Page 261Performance, Page 44Performance, Page 34Race, Page 258Performance, Page 46Performance, Page 84Conclusion, Page 289Race, Page 231Performance, Page 35Labor, Page 123Space, Page 194Race, Page 220Conclusion, Page 298Race, Page 229Introduction, Page 6Race, Page 252Introduction, Page 1Performance, Page 52Labor, Page 131Conclusion, Page 291Labor, Page 113Space, Page 162Performance, Page 50Space, Page 189Performance, Page 42Performance, Page 45Conclusion, Page 302Introduction, Page 14Race, Page 254Space, Page 170Race, Page 221Labor, Page 133Race, Page 253Space, Page 137Space, Page 141Space, Page 143Performance, Page 74Space, Page 155Labor, Page 129Labor, Page 122Introduction, Page 29Space, Page 184Space, Page 138Race, Page 204Labor, Page 109Labor, Page 96Conclusion, Page 296Race, Page 248Performance, Page 60Conclusion, Page 278Space, Page 178Conclusion, Page 300Space, Page 183Performance, Page 43Space, Page 195Labor, Page 101Conclusion, Page 304Conclusion, Page 292Labor, Page 112Performance, Page 41Conclusion, Page 275Race, Page 213Introduction, Page 4Race, Page 219Introduction, Page 23Space, Page 163Race, Page 235Conclusion, Page 284Performance, Page 70Conclusion, Page 273Space, Page 156