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Public relation tips for Al Jolson's Mammy (1930) suggest staging a parade of minstrels, bridging the racial formations of minstrelsy from the screen to the street. A parade for Mammy in Boston featured a motorcycle escort, hinting at state support for the public performance of racial masquerade. These public performances reinforced the color bar, extending segregation from the real spaces of the street and the theatre to the imaginary spaces of the screen.
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