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Longer titles found: The Minstrel Show (film) (view)

searching for The Minstrel Show 128 found (228 total)

alternate case: the Minstrel Show

Virginia Minstrels (1,085 words) [view diff] case mismatch in snippet view article find links to article

American entertainers who helped invent the entertainment form known as the minstrel show. Led by Dan Emmett, the original lineup consisted of Emmett, Billy

circumstances. The minstrel show also provided American burlesque and other variety forms with a prototypical three-part format. The minstrel show began with

Buffalo, New York. They were instrumental in the solidification of the minstrel show into a fixed three-act form. The troupe also invented or popularized

minstrel performer who could sing and play challenging roles such as the minstrel-show interlocutor or endmen. However, he was most interested in the business

decades saw the mockery genre explode in popularity with the rise of the minstrel show. "Abolitionists on both sides of the Atlantic seized upon this new

participated. The walkaround often served as the finale to the first half of the minstrel show, the opening semicircle. Minstrels also wrote songs called "walkarounds"

United States. "Miss Lucy Long" became the standard closing number for the minstrel show, where it was regularly expanded into a comic skit complete with dialogue

Ching-a-Ring, or Ching-a-Ring Shaw) is a song from the early days of the minstrel show tradition. A rewritten version frequently performed in modern times

includes white actors wearing blackface makeup, mimicking the format of the minstrel show form of American theater. A young boy finds himself in a home for

audience. Early in the 20th century, blackface branched off from the minstrel show and became a form of entertainment in its own right, including Tom

predecessor, and it quickly faded into obscurity. The song's lyrics follow the minstrel show scenario of the freed slave longing to return to his master in the

Post-War History.) One of the most popular programs heard on 3DB was The Minstrel Show, which commenced in 1931 and continued into the 1960s. This was an

International Video Dance Festival, 1990 Bessie Award, 1992, for The Minstrel Show Emerging Dance Award, Metropolitan Life Foundation Byrd was born July

known as Klopse, borrowed the painted faces and bright consumes of the minstrel show style of New Orleans and combined this with African and European music

in Jolson's stage gun. Since Jolson pretends to shoot Sherman in the minstrel show act, Lewis knows that this will result in Sherman's death and that

was a member of the San Francisco Mime Troupe and wrote the play "The Minstrel Show." At that time he was also working as a film distributor. Landau donated

the clothing all the more quaint, the music less religious. Like the minstrel show, says Steinberg (1973), the Old Folks Concerts began to lampoon an

Crook (1866), became popular around the same time. The influence of the minstrel show soon followed; one of the first American burlesque troupes was the

Wesson Oil. And when they choose the right material and go light on the minstrel-show theatrics, they're fine—next to 'Maggie May,' 'Joy to the World' is

White." White himself remained in the film as "Tiny," featured in the minstrel-show sequence. Production resumed after the scheduling conflicts of cast

Hep Cats (Economics) - Hep Cats A Hotel Room This Is The Life - Sam The Minstrel Show Here I'll Stay (Reprise) - Interlocutor We're Sellin' Sunshine - Interlocutor

her father's command that she has nothing to do with entertainers. The minstrel show is booked into a small town near Mary's, however, and Billy runs away

Armstrong's Reign As King Zulu". OffBeat. Sweet, Frank W. A History of the Minstrel Show, p25. "Ant and Dec apologise for Saturday Night Takeaway sketches

Band The West Maryland Highballers Lonesome Robin Before They Close The Minstrel Show Son of Child Fox Hollow Folk Festival LP compilation, You Got Magic

director, was indignant. 'Mr. Berlin,' he said, 'I know the heritage of the minstrel show. Those days are gone. People don't do that anymore.' 'No, no, that's

"Dixie" to its blackface origins, as these comedic programs are, like the minstrel show, "inelegant, parodic [and] dialect-ridden." On the other hand, Poole

Harlem Renaissance. A popular form of theater during this time was the minstrel show, which featured white (and sometimes, especially after the Civil War

minstrels arrive ("Minstrel March"). The Interlocutor, the host of the Minstrel Show, introduces the players in the troupe, including Mr. Bones and Mr

University Press. ISBN 0-8195-6300-5. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Jersey. Quoted in Toll 147. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

their child, Bert O'Dell Swor, Jr. (1895-1931). He performed with the minstrel show of Al G. Fields from 1911 to 1931. In 1931 he was in Brass Ankle,

generations of European immigrants initiated into the rituals of the minstrel show." Lisa Silberman Brenner contradicts this view. She returns to the

Sound and Sway of James Reese Europe's Society Orchestra (2018) At the Minstrel Show: Minstrel Routines From the Studio, 1894-1926 (2020) The Missing Link:

Ideas". Quoted in Toll 154-5. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

compose music expressing racist themes and imagery on a smaller scale. The minstrel show (also known as minstrelsy) was a predominantly American form of racist

Partly Cloudy (as Marvin Tate's D-Settlement) (1997, Urban Collision) The Minstrel Show (as Marvin Tate's D-Settlement) (1999, Urban Collision) American Icons

reviewed by the IBW. Wynter wrote that her intention was to explore the Minstrel show as the first Native North American theater—and why Amerika distorted

troupes with which he toured, as evidenced by the roles he played in the minstrel show presented by Pell's Ethiopian Serenaders. Juba did three dances in

Daily attracted enough notice to be signed for two feature films: the minstrel-show revue Yes Sir, Mr. Bones and the musical Rhythm Inn (in which Daily

Burlesque, 45-6. Quoted in Toll 138. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Exception and the Rule 1965: Candelaio 1965: Chronicles of Hell * 1965: The Minstrel Show or Civil Rights in a Cracker Barrel 1965: Jim Crow in a Cracker Barrel

appetite for watermelons. For the B-side, Browne chose to record the minstrel show favorite "Old Dan Tucker", marking the tune's first commercial appearance

Reader" – 4:05 "Home" – 4:27 "Myopic Books" – 3:31 "America Loves the Minstrel Show" – 4:21 "The Horseshoe Wreath in Bloom" – 4:40 "Song of the Rats Leaving

Library. Retrieved May 28, 2018. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

1843 the Virginia Minstrels became the first group to popularize the minstrel show format, and by 1850 minstrel shows had spread across the entire United

the Mime Troupe. Coyote directed the first cross-country tour of The Minstrel Show, Civil Rights in a Cracker Barrel, a controversial play closed by

Press. p. 9. ISBN 0-252-06696-0. Sweet, Frank W. (2000). A History of the Minstrel Show. Boxes & Arrows. p. 25. ISBN 9780939479214. Reinhartz, Adele, ed.

Promo) J Records (2005) Never Been In Love (12") Geffen Records (2005) The Minstrel Show (Album) Atlantic (2005) 4:21 ... The Day After (Album) Def Jam Recordings

theatre manager George Kunkel was the first to adapt Stowe's novel into the minstrel show format; portraying the role of Uncle Tom in its first minstrel show

media related to Francis Leon. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

African-American dancing of the 19th century, and later incorporated into the minstrel show) is said to be "resonant" with the douga. Esonwanne, Uzo (1993). "The

hadozee in this way". Chase Carter, for Dicebreaker, highlighted the minstrel show nature of the Hadozee artwork and stated that "the original text provided

which catered to those with a taste for the risqué. In the 1840s, the minstrel show, another type of variety performance, and "the first emanation of

country version of Laugh-In, Hee Haw, which borrowed heavily from the minstrel show tradition. Thanks to his Heyeah come da judge routine, which originally

Stewart's Banjo and Guitar Journal. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Clipper. Quoted in Watkins 121. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Oklahoma Press. ISBN 0-8061-0540-2. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Minstrelsy. Norman: University of Oklahoma Press. Scheytt, Jochen. "The Minstrel Show". Accessed 10 November 2005. Sussman, Charlotte (24 August 2000).

Ted and Danny search for Linda, but Jim convinces Linda to play the minstrel show number "Abraham" in blackface together to foil them. While applying

repartee, and a successful performer in broad burlesque". According to the minstrel show producer and historian Edward Le Roy Rice: "[He] was one of those

Hampshire: Wesleyan University Press. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-Century America. New York: Oxford University Press.

Ally Sloper's Half Holiday. He performed as bass-baritone singer in the minstrel show White Coons. In 1905, Hemsley started acting in the music hall stage

Company. Retrieved 6 October 2020 Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

remember Sam, but he was famous then, and a very valuable man in the minstrel show. He had a heavy bass voice, and his imitation of a clap of indignant

performed for many years. Toll 203. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Canemaker that both he and Sullivan drew Felix based on models from the minstrel show tradition and the pickaninny caricature: Pat Sullivan... started off

distinct dramatic forms in the Tom Shows, the showboat theater and the minstrel show. The central hub of the American theater scene is Manhattan, with

Press. ISBN 978-0-8139-1811-2. Toll, Robert (1977). Blacking Up: The Minstrel Show in Nineteenth Century America. Oxford University Press. ISBN 0-19-502172-X

$150,000 (equivalent to $2,562,313 in 2023) and he requested that the minstrel show continue to be operated. Many printed advertisements for his shows

[citation needed] Toll 203. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

unstructured. The spread of these ideologies began during the rise of the Minstrel show. The performers and producers would create books and songs in the

Oklahoma Press. Stark, Seymour (2001). Men in Blackface: True Stories of the Minstrel Show. Xilibris Corporation. Tosches, Nick (2001). Where Dead Voices Gather

Raymond's line "Ooh, I feel you comin' down now." The song quotes the minstrel show tune "Dixie". During the final verse, there is a lyrical reference

Atlantic City; he tried getting work at the various clubs and at the minstrel show at Steel Pier but was unsuccessful at getting hired for any entertainment

Quarterly. Vol. 30: 228-9. Quoted in Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-Century America. New York: Oxford University Press.

From 1932 until the 1960s, Melbourne radio station 3DB broadcast The Minstrel Show every Thursday evening, and it was relayed to Major Broadcasting Network

became the first distinctively American form of music expression. The minstrel show was an indigenous form of American entertainment consisting of comic

circumstances. The minstrel show also provided American burlesque and other variety forms with a prototypical three-part format. The minstrel show began with

17, 2019. Retrieved June 13, 2017. Holt, Patricia (May 21, 1996). "The Minstrel Show Never Faded Away". San Francisco Chronicle. Archived from the original

travelling around the U.S., and returning to Britain to perform with the minstrel show. Described as the minstrels' prima donna, she performed a mixture

magician, Selig conferred the title "Colonel" upon himself while touring the minstrel show circuit. It was while in Dallas that Selig first saw Thomas Edison's

England. July 31, 1881. p. 4. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

October 2020. Toll 211. Toll 212. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

University Press. ISBN 0-19-507832-2. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-Century America. New York: Oxford University Press.

the 3rd Ward of New Orleans, he found early musical inspiration in the minstrel show tunes sung by his grandfather and a number of aunts, uncles, sister

of American Popular Culture in the Nineteenth Century: The Case of the Minstrel Show". Australasian Journal of American Studies. 4 (1): 1–11. JSTOR 41053377

Zealand Mail". April 29, 1903. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

in a long list of virtuoso black male dance artists who rejected the minstrel show stereotypes of the grinning-and-dancing clowns ... lazy, incompetent

Quoted in Toll 259. Watkins 113. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Brown's Orchestra, where Brown named him Little Richard. Performing in the minstrel show circuit, Richard, in and out of drag, appeared for vaudeville acts

Bob Mehr Dead Man's Pop  · Warner The Replacements Tim Brooks – At the Minstrel Show: Minstrel Routines from the Studio, 1894-1926 (Various Artists) (Archeophone)

Dead Man's Pop Bob Mehr, album notes writer (The Replacements) At The Minstrel Show: Minstrel Routines From The Studio, 1894–1926 Tim Brooks, album notes

called "minstrel show rap", because the chorus's melody is taken from the minstrel show song "Turkey in the Straw". Jibbs claims he didn't know the origins

entertainers at the beginning of the 20th century, having its origin in the minstrel show. According to film historian Eric Lott: For the white minstrel man

dramatic forms were created in the Tom Shows, the showboat theater and the minstrel show. Among the best plays of the period are James Nelson Barker's Superstition;

important part of Tin Pan Alley, derived from the watered-down songs of the minstrel show with the "verve and electricity" brought by the "assimilation of the

Press. ISBN 978-0-8070-5026-2. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

was famous as "America's only Colored Lady Yodler". By the 1880s, the minstrel show had been replaced by Vaudeville and American Burlesque. By around

Players' in 1946 she acquired the nickname "Hattie" after performing in the minstrel show Coal Black Mammies for Dixie. A member of the backstage staff compared

one's sense of harmony. Notably luxurious are 'The Spanish Frolic', the minstrel show, 'Harem Life', 'The Circus Ballet', 'A Syncopated Cocktail' and the

 559–92. Oxford University Press. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

such burlesques, and theatrical Tom shows integrated elements of the minstrel show and competed with it for a time. After the Civil War, the American

Fiddler Magazine, May 24, 2012. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

improvisational theatre, which involves taking suggestions from the audience. The minstrel show, though now widely recognized as racist and offensive, is also recognized

Fiddler Magazine, May 24, 2012. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Oklahoma Press. Stark, Seymour (2001). Men in Blackface: True Stories of the Minstrel Show. Xilibris Corporation. Wilmeth, Don B., and Miller, Tice L., eds.

26 (2): 172–184. doi:10.1177/002193479502600205. S2CID 143934823. "The Minstrel Show". chnm.gmu.edu. Archived from the original on 2017-11-28. Retrieved

26 (2): 172–184. doi:10.1177/002193479502600205. S2CID 143934823. "The Minstrel Show". chnm.gmu.edu. Archived from the original on November 28, 2017. Retrieved

delineator of negro humor." Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

almost all new choreography, revised narration and minimization of the minstrel show aspect. The world premiere of the work featured two guest artists

& Co. ISBN 978-0-786-41267-9 Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

the parks and a spirit of carnival. The ladies made costumes for the minstrel show at the carnival as well as an earlier show held at the Russell Theater

2022-07-21. Retrieved 2022-06-20. Toll, Robert C. (1974), Blacking Up: The Minstrel Show in Nineteenth-century America, New York: Oxford University Press Marino

Gone December's Child Sink The Cheerio My Monday Before They Close The Minstrel Show The Coal Town Road Lovell the Robber The Old Dun Cow For Rusty Reuben

entertainment – the ballad opera, the music extravaganza, the comic opera, the minstrel show, and the variety show – there is a plausible argument that previous

2018. Retrieved May 22, 2018. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

106–110, 246–248. Southern 43–44. Toll, Robert C. (1974). Blacking Up: The Minstrel Show in Nineteenth-century America. New York: Oxford University Press.

Black man playing a fiddle accompanies the visiting revelers, evoking the minstrel show stereotype of Black performers. Krimmel exaggerated the figures' physiognomy

"minstrel days", as a "blackface comedian and song and dance man." The minstrel show was a form of popular music for its day, and the banjo played a prominent

their knowledge and instructing another. The painting contradicts the minstrel show presentation of the banjo, by using the musical instrument for "thoughtful

Leavitt's hybrid burlesque form retained the three-part structure of the minstrel show, though with an expanded and more varied olio (second part). Linden

continued the American entertainment traditions of vaudeville and the minstrel show. Early sitcoms took the forms of recurring comedy sketches with running

Mid 1870s music trends Christian songs become a more prominent part of the minstrel show repertoire.

group of Black children that was then called a 'pickaninny band', in the minstrel show "Old Kentucky". When he got too old to be in the band, he quit show

the parks and a spirit of carnival. The ladies made costumes for the minstrel show at the carnival as well as an earlier show held at the Russell Theatre

Auditorium by the San Francisco Mime Troupe. The program was entitled "The Minstrel Show or Civil Rights in a Cracker Barrel." On the evening of the second

popular as they were picked up by other performers, black and white, on the minstrel show circuit. "Take Your Clothes and Go" sold 100,000 copies of sheet music

presented romances by popular singers, and also a new comic genre, the minstrel show, featuring French singers with blackened faces playing the banjo and