MLA's "Best First Book" (1994), Outstanding Book on the Subject of Human Rights by the Gustavus Myers Center for the Study of Human Rights (1994), Avery O. Craven Award from the Organization of American Historians (1994)
Lott received his Ph.D. in 1991 from Columbia University. His book about the origins,evolution,and cultural significance of blackfaceminstrelsy,Love and Theft:Blackface Minstrelsy and the American Working Class (1993),received the 1994 Avery O. Craven Award from the Organization of American Historians and the first annual Modern Language Association's "Best First Book" prize,and the 1994 Outstanding Book on the Subject of Human Rights by the Gustavus Myers Center for the Study of Human Rights.[3]
Love and Theft extensively documents the racism and cultural appropriation inherent in blackface performance;Lott also argues that it demonstrates a current of homosexual desire for Black men's bodies;[4] he also argues that "mixed in with vicious parodies and lopsided appropriation,minstrelsy involved a real love of African American culture."[5]
Bob Dylan is widely reported to have taken the title of his album Love and Theft from that of Lott's book;Lott,in turn,considered his own title "a riff on" Leslie Fiedler's Love and Death in the American Novel.[6]
Lott's latest book,Black Mirror, extends his views on the contradictions of American racism to more contemporary themes,including the presidency of Barack Obama,Elvis impersonation,and Dylan's Love and Theft. The analysis in the book is heavily driven by Marxist analysis regarding "surplus value," which is extended to an analysis of the "symbolic capital" of cultural appropriation.[8]
Books
The Disappearing Liberal Intellectual (2006)
Love and Theft:Blackface Minstrelsy and the American Working Class (1993;2nd ed.,2013)
Black Mirror:The Cultural Contradictions of American Racism (2017)
"Love and Theft" is the thirty-first studio album by American singer-songwriter Bob Dylan, released on September 11, 2001, by Columbia Records. It featured backing by his touring band of the time, with keyboardist Augie Meyers added for the sessions. It peaked at No. 5 on the Billboard 200, and has been certified Gold by the RIAA. A limited edition release included two bonus tracks on a separate disc recorded in the early 1960s, and two years later, on September 16, 2003, this album was remixed into 5.1 surround sound and became one of 15 Dylan titles reissued and remastered for SACD playback.
Blackface is the practice of non-black performers using burnt cork or theatrical makeup to portray a caricature of black people on stage or in entertainment.
Thomas Dartmouth Rice was an American performer and playwright who performed in blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time. He is considered the "father of American minstrelsy". His act drew on aspects of African American culture and popularized them with a national, and later international, audience.
The minstrel show, also called minstrelsy, was an American form of theater developed in the early 19th century. The shows were performed by mostly white actors wearing blackface makeup for the purpose of comically portraying racial stereotypes of African Americans. There were also some African-American performers and black-only minstrel groups that formed and toured. Minstrel shows stereotyped blacks as dimwitted, lazy, buffoonish, cowardly, superstitious, and happy-go-lucky. Each show consisted of comic skits, variety acts, dancing, and music performances that depicted people specifically of African descent.
The Virginia Minstrels or Virginia Serenaders was a group of 19th-century American entertainers who helped invent the entertainment form known as the minstrel show. Led by Dan Emmett, the original lineup consisted of Emmett, Billy Whitlock, Dick Pelham, and Frank Brower.
Christy's Minstrels, sometimes referred to as the Christy Minstrels, were a blackface group formed by Edwin Pearce Christy, a well-known ballad singer, in 1843, in 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 "the line", the structured grouping that constituted the first act of the standardized three-act minstrel show, with the interlocutor in the middle and "Mr. Tambo" and "Mr. Bones" on the ends.
Shingle dancing is a form of solo dancing akin to tap dancing, of African American origin, usually associated with old-time music. A shingle dancer dances on a small wooden platform, sometimes equipped with a bell or a loose piece of metal to allow additional percussive effects.
George N. Christy was one of the leading blackface performers during the early years of the blackface minstrel show in the 1840s.
Edwin Pearce Christy was an American composer, singer, actor and stage producer. He is more commonly known as E. P. Christy, and was the founder of the blackface minstrel group Christy's Minstrels.
Dick & Fitzgerald was a 19th-century United States publisher, founded by William Brisbane Dick (1827–1901) and Lawrence R. Fitzgerald (1826-1881), based in New York City. Their address at one time was 18 Ann Street. Dick and Fitzgerald was a publisher of popular books, including music books.
"Old Dan Tucker," also known as "Ole Dan Tucker," "Dan Tucker," and other variants, is an American popular song. Its origins remain obscure; the tune may have come from oral tradition, and the words may have been written by songwriter and performer Dan Emmett. The blackface troupe the Virginia Minstrels popularized "Old Dan Tucker" in 1843, and it quickly became a minstrel hit, behind only "Miss Lucy Long" and "Mary Blane" in popularity during the antebellum period. "Old Dan Tucker" entered the folk vernacular around the same time. Today it is a bluegrass and country music standard. It is no. 390 in the Roud Folk Song Index.
"Coal Black Rose" is a folk song, one of the earliest songs to be sung by a man in blackface. The man dressed as an overweight and overdressed black woman, who was found unattractive and masculine-looking. The song was first performed in the United States in the late 1820s, possibly by George Washington Dixon. It was certainly Dixon who popularized the song when he put on three blackface performances at the Bowery Theatre, the Chatham Garden Theatre, and the Park Theatre in late July 1829. These shows also propelled Dixon to stardom.
"Clare de Kitchen" is an American song from the blackface minstrel tradition. It dates to 1832, when blackface performers such as George Nichols, Thomas D. Rice, and George Washington Dixon began to sing it. These performers and American writers such as T. Allston Brown traced the song's origins to black riverboatsmen. "Clare de Kitchen" became very popular, and performers sometimes sang the lyrics of "Blue Tail Fly" to its tune.
Francis Marion Brower was an American blackface performer active in the mid-19th century. Brower began performing blackface song-and-dance acts in circuses and variety shows when he was 13. He eventually introduced the bones to his act, helping to popularize it as a blackface instrument. Brower teamed with various other performers, forming his longest association with banjoist Dan Emmett beginning in 1841. Brower earned a reputation as a gifted dancer. In 1842, Brower and Emmett moved to New York City. They were out of work by January 1843, when they teamed up with Billy Whitlock and Richard Pelham to form the Virginia Minstrels. The group was the first to perform a full minstrel show as a complete evening's entertainment. Brower pioneered the role of the endman.
Tom show is a general term for any play or musical based on the 1852 novel Uncle Tom's Cabin by Harriet Beecher Stowe. The novel attempts to depict the harsh reality of slavery. Due to the weak copyright laws at the time, a number of unauthorized plays based on the novel were staged for decades, many of them mocking the novel's social message, and leading to the pejorative term "Uncle Tom".
"Summer Days" is an uptempo twelve-bar blues/rockabilly song written and performed by American singer-songwriter Bob Dylan that appears as the third song on his 2001 album Love and Theft. It was anthologized on the compilation album The Best of Bob Dylan in 2005. Like most of Dylan's 21st century output, he produced the song himself under the pseudonym Jack Frost.
The Futures of American Studies is a weeklong academic summer institute dedicated to presenting new work and critiquing the field of American Studies held at Dartmouth College in Hanover, New Hampshire. The first Futures of American Studies Institute was held in the summer of 1997. Donald E. Pease, Professor of English at Dartmouth College, founded, organizes, and directs the annual Institute.
Steven M. Cahn is an American philosopher and academic administrator who served as Provost and Acting President of the Graduate Center of the City University of New York.
Digital blackface is a term used to describe the phenomenon of non-Black individuals using digital media, such as GIFs, memes, or audio clips featuring Black individuals, to express emotions or convey ideas. This behavior has sparked debate and criticism due to concerns about cultural appropriation and the perpetuation of stereotypes. Digital blackface has been described as "one of the most insidious forms of contemporary racism" and has been compared to historical minstrelsy, while others have dismissed the concept in its entirety.
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