the minstrell show

furries=clowns: a thesis
  • the ancestor of the furry, the funny animal, is directly based off the blackface “clowns” of the minstrel shows. much like their live counterparts, funny animals like felix the cat, mickey mouse, etc. slowly ceased being racial stereotypes. and its not that long a leap from disney animation to the furry fandom. here is the direct link between furries and clowns.
  • what are the other similarities between furries and clowns? first of all, they’re both deviations from humanity who are used as a vehicle for social commentary, for entertainment, and for… other things.
  • “why is this?” you may ask. ludwig feuerbach, young hegelian philosopher and influence and contemporary of karl marx, postulated in the essence of christianity that G😍d, more specifically the christian g🍔d, is a projection of human characteristics onto an imagined entity. this alienation of humanity requires that the entity is the most perfect form of humanity, and that we must punish ourselves for failing to live up to it. while i am religious myself, this is a pretty concise thesis for certain situations.
  • furries and clowns represent an opposite form of alienation. we, the creators/consumers of buffoonery/furry content, create a dividing line beyond which humanity is forsaken to some degree. modern western clowns represent an abstracted, caricatured form of the archtypical alcoholic lumpenproletarian that wandered the united states for over a century. furries are humans with a predetermined number of bestial features added (or thr other way around). both allow the object of the media to be separated from nation, from status, from ideology as much as the creators desire. clowns were the only courtiers allowed to critique/make fun of the monarch unconditionally in medeival europe. all because its a joke. works like night in the woods, Maus, and uh??? Zootopia.. are especially effective due to how they obfuscate or alter their work’s message through the alienation from humanity brought on by use of furry characters

anonymous asked:

May I ask why you can't get over the fact that a lot of kpop groups (or koreans for that matter) do blackface ort think black people act in a certain way? It not only makes us look bad because, they get the impression we complain too much. But it's also ignorant to assume they are racist for doing or thinking these things. If anything you should take blackface as a form of compliment, as they say imitation is the sincerest form of flattery, look up the history of minstrel shows.

Originally posted by pennylessproud

…..I think…..you got your facts backwards and trust me when I say I’m thoroughly educated in minstrel shows………..I……

Blackface is racist anon. Even without the racist intent.

-Admin Kim 

2

Black history month day 24: dancer and entertainer Bill ‘Bojangles’ Robinson.

Bill Robinson was born Luther Robinson on May 25th, 1878. His parents died when he was eight and he was raised by his grandmother. From the age of five, Robinson begin dancing for spare change and was eventually chosen as a pickaninny for a local minstrel show (pickaninnies were cute black children who were basically extras and background characters in minstrel shows).

At age 13 Robinson ran off to Washington DC and did a series of odd jobs. Later he joined the Army as a rifleman during the Spanish American war. By 1900 Robinson became active full-time in a career of vaudeville performance, starring in dance troupes, comedy duos, and even blackface and minstrel performances.

At times Robinson came under some heavy criticism for his participation in and tacit acceptance of racial stereotypes of the era, with critics calling him an Uncle Tom figure. However, he did do many things to help improve the situation of blacks, including persuading the Dallas police department to hire its first African American policemen and lobbying President Roosevelt during World War II for more equitable treatment of African American soldiers.

Robinson was the best known and most highly paid African American entertainer in the first half of the twentieth century. He was especially well-known for his collaborations with child star Shirley Temple, and the two of them made the first interracial dance team in Hollywood film history. Robinson also starred with Lena Horne and Cab Calloway in “Stormy Weather”, a film loosely based on Robinson’s life.

Even the black supermodels we mentioned still get passed over for the same skinny white girls they’ve been fighting all of their careers. In 2012, Claudia Schiffer and Karl Lagerfeld worked on an ad campaign for Dom Perignon which featured Schiffer wearing clothes from different cultures around the world. Which isn’t necessarily a problem in itself, but then they decided to take it a step further and go full minstrel show.

That’s the very white and very blonde Schiffer sporting an afro, darkened skin, and the exact expression that millions of people wore upon seeing the ads.

Likewise, in 2006, the British newspaper The Independent ran a special edition (edited by Bono) featuring stories about AIDS in Africa, and the front page (designed by Giorgio Armani) pictured Kate Moss wearing a ton of black body paint and nothing else.

But it’s not like there was a black model who was a member of an elite group of models called “The Big Six,” which included Schiffer and Moss, so what were they to do?

6 Jobs That Are Super Racist (And Nobody Seems To Care)

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On this day in music history: June 4, 1906 - “Nobody” by Bert Williams is released. Written by Bert Williams and Alex Rogers, it is the signature song for the legendary actor, comedian and singer. One of the most successful and popular African American performers of the late 19th and early 20th century, actor and comedian Bert Williams was a pioneer in many ways. The first black actor to perform on Broadway, and the first featured black actor in the famed Ziegfield Follies, Williams managed to transcend the institutionalized racism of the day through his intelligence, profound talent, humor and drive to succeed. Born Egbert Austin Williams in The Bahamas on November 12, 1874, at the age of 11, his family immigrates to Florida before settling in Southern California. Williams becomes a minstrel performer in medicine shows while still a teenager, meeting his first performing partner George Walker in San Francisco, CA. With very limited opportunities for African American actors in the late 19th century, many performers including Williams and Walker are forced to play stereotypical Vaudevillian roles in black face. In spite of this, the pair were able to subtly subvert the genre while rising to stardom. Bert and George popularized the famed dance “the cakewalk”, captured on film by Thomas Edison’s studio, and were one of the first African American artists to record for the Victor Talking Machine Company in 1901. In 1905, Williams writes the musical “Abyssinia” with songwriters Alex Rogers, Will Marion Cook and Jesse A. Shipp. Titling the show after the original name of the African nation of Ethiopia, the musical makes its debut at the landmark Majestic Theater on February 20, 1906. Bert Williams stops the show nightly with “Nobody”, a half spoken, half sung song in which the protagonist laments his treatment by society, defiantly vowing never to do anything for anyone else. The songs popularity is such, that Williams receives an offer from Columbia Records to commit it to wax. Recorded in May of 1906 at Columbia’s New York City Studio, the single is released a month later, and is an immediate hit. “Nobody” becomes Bert Williams’ signature song, selling 150,000 copies, an unprecedented number for an African American artist to sell. Its sales are so brisk, that the original 1906 recording, is worn out from frequent duplication, and Williams re-records the song in 1913 for Columbia. “Nobody” is inducted into the Grammy Hall Of Fame in 1981, becoming one of the first pre-1920 recordings to receive that honor. Over the years, “Nobody” is recorded and performed by numerous artists, including Red Foley, Bing Crosby, Nina Simone, Carol Burnett, Merle Travis, Ry Cooder, and Johnny Cash. Bert Williams passes away on March 4, 1922 at the age of only forty seven. Though virtually forgotten by many in the near century since his death, his contributions as an entertainment business trailblazer and pioneer should not be.

anonymous asked:

Do you think Mickey Mouse was based off of blackface?

Short answer: Yes

Long media studies answer: Yes, and it’s not really a matter of opinion so much as fact, lol. 

As many cultural historians have pointed out, the classic American animated cartoons emerged from the same milieu that produced blackface performances (like the Amos and Andy show) and minstrel music. Many of the great early animated characters — Felix the Cat, Mickey Mouse, Bosko — had more than a touch of blackface and the minstrel show to them.

Source <- (a good 101 read on the subject)

To some degree, most introductory cartoons from the 1920s/30s drew from vaudeville -Blackface and minstrel aesthetic included- when it came to both character design and content. And by most, I mean Disney, Warner Brothers (Merrie Melodies and Looney Tunes), MGM, and R.K.O. 

The influence lasted well into the 1950’s for most, too. 

Although Disney was still hitting us with that Jungle Book/King Louie/I wanna be like you racism well into the 1960’s, but I digress. 

((If you’re looking for a 1920s cartoon character/mascot that was most definitely hella omgwtf based on Vaudvillian blackface acts, check out the original design for Warner Brothers’ character Bosko. 
Not the cute retcon’d Tiny Toons version; the original— 

The image doesn’t do Bosko and Honey justice though. You can watch The Talk Ink Kid for animated confirmation. There’s even a really racist Asian-stereotype moment! Wowzers.))

Longer media studies answer with bonus content: 

So that’s in terms of design. 

 In terms of content, the studios of that time did some hella racist stuff–shoutout bugs bunny–and Disney/Mickey Mouse was no exception. 

Our dear mouse-pal has straight up appeared in blackface— 

Source: Mickey’s Mellerdrammer

Depicted extremely shitty caricatures of Africans— 

Source: Trader Mickey 
(note the cab calloway sounding music around that 4:40 mark~). 

And the Disney comic books are much of the same–

“Voodoo Hoodoo” - 1949

“Voodoo Hoodoo” - 1949

“Lost In the Andes” - 1949
(Images from Comic Book Resources

“Walt Disney’s Mickey Mouse Annual: A Black Outlook” -1932

“Walt Disney’s Mickey Mouse Annual: A Black Outlook” -1932
(Original images from Moments In Time).

So it was the whole shebang, really. 

Of course, over time the studios have delivered some major character design overhauls and mostly stepped away from those origins.

More reading on the subject: 

- jt

A post wherein film writer Kimberly Luperi explores how Bill Robinson danced brilliantly through life. 

During an interview Bill Robinson once remarked, “Why not dance through life?” Robinson certainly did, despite the adversity he faced as an African-American performer working in the late 19th century and first half of the 20th. Famous for his intricate yet precise steps and cheerful performances, Robinson is said to have brought tap “up on its toes” and is credited with injecting a new lightness into the style. From busking outside beer gardens and traveling with minstrel shows during his youth, Robinson eventually worked his way up to vaudeville, Broadway and finally Hollywood, where he enjoyed the pinnacle of his popularity.  

 In September 1935, Robinson signed a contract with 20th Century Fox that guaranteed him $6500 a week while filming and also permitted him to appear in theater and nightclub acts, an unusual contractual allowance. Unfortunately, despite the high esteem his talents earned him, the racial climate of 1930s Hollywood confined him to lowly, oftentimes undignified roles. Consider this irony: Robinson sported a ten carat diamond ring that he had to remove before filming, because the characters he was relegated to play could never afford a piece like that.

Robinson acted in a handful of films throughout the 30s, but his engaging dance sequences alongside one of the Depression’s most popular stars, Shirley Temple, are perhaps his most memorable. Aside from being a delight to watch, certain routines stand out for Robinson’s creativity and the coverage he received, both of which allowed him to modestly transcend some of the racial limitations of the day.

With a 50 year age difference between them, Robinson and Temple appeared in four pictures together and broke new ground as the first interracial dance team on-screen. The duo’s most famous performance was the staircase dance in THE LITTLE COLONEL (’35), a Southern-set story in which Robinson plays a butler who helps care for Temple. Robinson modified the routine’s complex steps to accommodate his young co-star, devising a plan to have Temple lightly kick each riser before moving on. In the end, Robinson adopted the same moves, so it looks like she learns from him. In another stroke of genius, Robinson also rigged each step to produce a different pitch as they go.

Robinson’s brilliant choreography of this piece displays an ingenuity that confirms his exceptional abilities; furthermore, the way in which he uses his charm and fancy footwork to accomplish a common task (in this case, usher Temple to sleep) stands in stark contrast to the methods of Temple’s strict grandfather (Lionel Barrymore). Historian John F. Kasson suggests these ideas signify an “improvisational flight of freedom” on Robinson’s part that help elevate him above his otherwise restricting butler role.

Robinson also garnered considerable praise for THE LITTLE COLONEL (’35). The Los Angeles Times highlighted him alongside Temple and Barrymore in an article titled “Noted Trio in New Film”; The Billboard deemed the staircase routine “worth the price of admission alone”; and Variety reported that Robinson “grabs standout attention” and “reads lines with the best of ‘em." 

Certainly, Robinson and Temple’s chemistry contributed to the success of their musical collaborations, and off-screen the stars enjoyed a strong friendship that lasted until Robinson’s death in 1949. Years later, Temple remarked: "Bill Robinson treated me as an equal, which was very important to me. He didn’t talk down to me, like to a little girl. And I liked people like that. And Bill Robinson was the best of all.” If only Robinson had been treated as an equal during his lifetime, who knows what else he could have accomplished.

anonymous asked:

And another thing, racial/sexual stereotypes in media are bad because they reinforce bigoted beliefs, not because the make people bigots.

Yup. 

The issue with blackface and minstrel shows is that they were “depictions” of actual people. Yeah they were for entertainment because people enjoyed laughing at others as a result of their racist views. 

Yeah yeah yeah fiction doesn’t exist in a vacuum but seriously y’all read into the shit too much lmao. Drawing a character one shade lighter isn’t “erasure” because it doesn’t change what they canonly are. You can’t “take away” representation when it wasn’t there to start with. etc

Definition

the line has been crossed
the wall was erected
as soon as I transcended
words like
“transcendence”

and as I’m watching
the minstrel show
waiting for the punchline
just to criticize its potency
I’m wondering if I should have
kept squating in the old factory.

because
back when we tagged dicks
on cop cars
I felt I had a purpose.

now I’m drowning in
meaningless descriptions
and intellectual conceit.

give me back my
teddy bear
my dildo
and my pocket knife.

definition is adulthood is a trap.

4

Bosko, the Talk-Ink Kid

1 in 132 of Looney Tunes (1929-1939)
animated short film history
Release: May 1929
Country: USA
Director: Hugh Harman, Rudolf Ising

“Bosko, the Talk-Ink Kid was a short film produced to sell a series of Bosko cartoons. The film was never released to theaters, and therefore not seen by a wide audience until 2000.

Rudolf Ising is thinking of ideas for a new character, until he draws a blackfaced person, who comes to life. The new character introduces himself as Bosko, and he speaks, sings, dances and plays the piano before Ising sucks him into his ink pen and pours him back into the inkwell. Bosko pops out of the bottle and promises to return.

In 1927, Harman and Ising were still working for the Walt Disney Studios on the series Alice Comedies. Hugh Harman created Bosko in 1927 to capitalize on the new ‘talkie.’ Harman began thinking about making a sound cartoon with Bosko in 1927, before he even left Walt Disney. Hugh Harman made drawings of the new character and registered it with the copyright office in 1928. The character was registered as a ‘Negro boy’ under the name of Bosko.

After leaving Walt Disney in the spring of 1928, Harman and Ising went to work for Charles Mintz on Universal’s second-season Oswald the Lucky Rabbit cartoons. April 1929 found them moving on again, leaving Universal to market their new cartoon character. In May 1929, they produced a short pilot cartoon, Bosko, the Talk-Ink Kid, that showcased their ability to animate soundtrack-synchronized speech and dancing. Bosko became the star vehicle for the studio’s new Looney Tunes cartoon series.

 This short is a landmark in animation history as being the first cartoon to predominantly feature synchronized speech, though Fleischer Studios’ Song Car-Tune ‘My Old Kentucky Home’ was the first cartoon to contain animated dialogue a few years earlier. This cartoon set Harman and Ising ‘apart from early Disney sound cartoons because it emphasized not music but dialogue.’

In his book, Of Mice and Magic, Leonard Maltin states that this early version of Bosko, ‘was in fact a cartoonized version of a young black boy… he spoke in a Southern Negro dialect… in subsequent films this characterization was eschewed, or perhaps forgotten. This could be called sloppiness on the part of Harman and Ising, but it also indicates the uncertain nature of the character itself.’

Although Harman and Ising based Bosko’s looks on Felix the Cat, Bosko got his personality from the blackface characters of the minstreland vaudeville shows popular in the 1930s. In keeping with the stereotypes of the minstrel shows, Bosko is a natural at singing, dancing, and playing any instrument he encounters. In early cartoons, Bosko (voiced by Carman Maxwell) even speaks in an exaggerated version of black speech (however, this was only in the first cartoon. All later cartoons would give him a falsetto voice). Despite the parallels between Bosko and the blackface performers, Ising in later years would deny that the character was ever supposed to be a black caricature, and rather claim he was supposed to be ‘an inkspot kind of thing.’

According to Terry Lindvall and Ben Fraser, Bosko and Honey ‘were the most balanced portrayals of blacks in cartoons to that point.’

The short was considered lost for many decades, with only the film’s Vitaphone soundtrack still in existence.”

(source)
(source)

Bosko, the Talk-Ink Kid is available on YouTube.

Just a Thought

It’s real interesting how black people have been straight robbed of everything they have over the centuries. And how they’re still being robbed to this day.

Black people have:
-been taken from their homeland
-forced to work under harsh conditions
-been sold, bought, traded and treated as property
-had their features exaggerated for entertainment
-had a hate group formed ENTIRELY to put them down out of fear of their advancement in society
-been forced to use separate facilities that weren’t equal (even though the law said they should be equal)
-been lynched, beaten and targeted by police for decades
-been living at an economic, political, and social disadvantage since slavery was abolished

And in the homeland
-have had resources taken for production and sale in other countries
-had their country ruled by people from outside it
-forced to mingle with other ethnic groups that they might not have contact with otherwise (which has led to many conflicts and even genocide)
-portrayed as poor and dirty and pitiful to the rest of the world

So you know, when we try to promote ourselves in various ways, it’s not a blatant fuck you to everyone else. It’s just us trying to help ourselves because no one else has cared to.

I love how the white and ill-informed fans of Steven Universe are coming out of the woodwork to defend the blackface Garnet cosplay that’s being spread around.

Y’all need to fucking stop immediately because:

1. Blackface was created for entertainment purposes, and so is cosplay. You can’t divorce yourself from this concept when you’re emulating the exact same entertainment principles of Minstrel shows, only slightly more tame and with less red lipstick.

2. Being a white person and donning the features of a black person means you’re donning features that are usually demonized through colorism and racism, only you don’t have to deal with the systemic discrimination and mistreatment that goes along with those features.

3. Garnet has partially desaturated RED skin. She’s racially coded as black, has black features and has a black voice actress, but she’s still nonhuman and doesn’t have a human skin tone in the context of the show.

Any non-black cosplayer choosing to dress up as her could easily use her gem skin color and not be gross as hell.

This

is very fucking different than this

Especially when the cosplayer’s natural skin tone is this

TL;DR: Stop trying to say the Garnet cosplay isn’t blackface just because you think it’s only okay since they’re “showing appreciation”. 

Donning a race as a costume is shitty, full stop.

So in my imaginary alternative Avengers universe, Cap is black. Mainly because I think a black Captain America would A) be a better rebuttal to the Nazi ubermensch, but B) (much more importantly) would call the question on America’s own racism, past and present, in some very provocative and un-ignorable ways. To wit:

Think about the transformation scene in Doctor Erskine’s lab. With a black man on the table, that scene is no longer just about a daring volunteer patriot–now it carries echoes and resonances, calling up both the incredible heroism of the Tuskeegee Airmen… but also, underneath that, the Tuskeegee Syphilis studies conducted by the US government upon black bodies *at the same time*. Cap’s work selling war bonds is now not so much a let-down as an act of segregation, damn near a minstrel show–and his decision to go AWOL to rescue the Howling Commandos becomes a much more powerful and dangerous act of rebellion.

Essentially, I think a black Steve Rogers brings into much starker relief all the uncomfortable truths about all the ways America has failed to live up to its own ideals, and brought into the present time *would continue to do so*. And if I could cast him as anyone at all, it would be Anthony Mackie. I think he brings both strength and a wiry toughness that implies that he hasn’t always been strong. And that’s important.

I’m really excited to see him in Cap 2, and don’t get me wrong, Chris Evans is great. But in my head, they’ll secretly be switching roles.

anonymous asked:

stop that willy wonka post literally raised my heart rate and shortened my life i bet there is actually posts like that on this horrible shitstain of a website

its just super gross to me how no one is talking about the fact that the oompa loompas arent even real oompa loompas?? its literally just people in loompaface 🙄 and the way that they sing and dance is like…. ugh its basically a minstrel show i cannot believe any of you support this series if i see any of you posting it im blocking you.