Sign in or register
for additional privileges

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

Nicholas Sammond, Author
Space, page 13 of 36

 

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.

Space, Page 163

An example of "black vaudeville" on film, the Vitaphone short Pie, Pie Blackbird (1932) teamed jazz singer Nina Mae McKinney with composer/bandleader Eubie Blake and child tap dancing wizards the Nicholas Brothers. This routine has McKinney playing Mammy to the brothers, singing to them about "Massah" while Blake and his band, dressed as chefs, emerge from a giant pie.

Major African American stars of the early sound era who crossed from vaudeville, Broadway, and the club circuit onto the screen were often forced to play minstreleque roles in order to gain exposure, as segregation extended to film production, distribution and exhibition. 

Comment on this page
 

Discussion of "Space, Page 163"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Space, page 13 of 36 Next page on path

Related:  Race, Page 235Conclusion, Page 302Race, Page 252Race, Page 229Introduction, Page 14Race, Page 231Conclusion, Page 296Labor, Page 119Labor, Page 123Race, Page 219Space, Page 178Performance, Page 60Race, Page 213Space, Page 141Introduction, Page 2Conclusion, Page 289Conclusion, Page 284Space, Page 181Conclusion, Page 298Performance, Page 41Introduction, Page 4Race, Page 225Race, Page 224Performance, Page 72Space, Page 182Race, Page 232Space, Page 170Space, Page 150Conclusion, Page 278Race, Page 248Introduction, Page 16Performance, Page 44Introduction, Page 29Performance, Page 43Space, Page 191Performance, Page 84Conclusion, Page 303Race, Page 261Conclusion, Page 304Race, Page 220Space, Page 162Introduction, Page 30Conclusion, Page 300Performance, Page 54Performance, Page 46Conclusion, Page 290Space, Page 184Conclusion, Page 286Space, Page 197Performance, Page 34Performance, Page 42Race, Page 251Space, Page 187Space, Page 183Space, Page 148Space, Page 189Race, Page 221Space, Page 165Performance, Page 35Introduction, Page 23Labor, Page 131Race, Page 247Introduction, Page 1Space, Page 137Space, Page 155Space, Page 175Space, Page 172Performance, Page 77Labor, Page 109Space, Page 177Labor, Page 98Space, Page 193Conclusion, Page 291Race, Page 239Introduction, Page 6Labor, Page 122Space, Page 138Performance, Page 45Labor, Page 133Conclusion, Page 292Space, Page 190Labor, Page 110Race, Page 230Space, Page 171Space, Page 188Performance, Page 52Labor, Page 132Introduction, Page 21Space, Page 194Conclusion, Page 275Race, Page 254Conclusion, Page 273Space, Page 146Performance, Page 74Introduction, Page 15Space, Page 195Race, Page 206Labor, Page 128Performance, Page 82Race, Page 204Space, Page 143Labor, Page 113Labor, Page 88Performance, Page 50Race, Page 258Labor, Page 112Performance, Page 47Race, Page 253Space, Page 152