re: a mammy tale

I want to yell so loud that Baby Girl can hear me that dirty ain’t a color, disease ain’t the Negro side a town.  I want to stop that moment from coming-and it come in ever white child’s life- when they start to think that colored folks ain’t as good as whites.- The Help

old photo of baby Ralph in an elaborate lace christening dress held proudly by a large black woman

"Black man with white child and dog." http://www.flickr.com/photos/george_eastman_house/2720789660/

“Black man with white child and dog.” via a “Manny”

"White-capped nurse holding infant." http://www.flickr.com/photos/floridamemory/3248110220/

“White-capped nurse holding infant.” via
"Negro domestic servant, Atlanta, GA, May 1939." http://www.flickr.com/photos/nypl/3110575890/“Negro domestic servant, Atlanta, GA, May 1939.” via

"Child and nurse." http://www.flickr.com/photos/george_eastman_house/2678243048/

“Child and nurse.” via

…the dichotomy of love and disdain living side-by-side is what surprises me- The Help

Mammy & Child-1850

some photos found @ postpostracial

a mammy tale

The following essay is reblogged from Southern-Style.  A real life modern-ish mammy story!  I’ve long been interested in the dynamic between black women and other people’s white children.  When I was in college studying African-American history for the first time, I stumbled upon the thought that Mammies had raised our nation and yet black women generally are not revered (to say the least).  When I was a nanny myself, I thought a lot about mammy.  And, back in January, when I devoured The Help I pondered her some more.  If you haven’t read it yet, please do yourself a favor and put Kathryn Stockett’s The Help on your summer reading list.  It’s one of the greatest books I’ve ever read.  Right up there with The Girl Who Fell From the Sky, Caucasia, The Curious Incident of the Dog in the Nighttime, Memoirs of a Geisha, and Life of Pi.  i.e. the rest of your summer reading list.

I Remember Mammy:
Mattie Lee Martin (“Mammy”)
By one who loved her, Sharman Burson Ramsey

Thirteen year old Mattie Lee Martin took her mentally challenged older sister by the hand and led her down the rutted, red clay country road. Neither looked back. Mattie was determined her sister would not be abused again in their grandparent’s home. She’d finally accepted that her parents would never come back to get them. The road led to the town of Dothan, Alabama, and a life, Mattie Lee hoped, that would be better than the one they’d known on that god-forsaken farm.

Mrs. Bender stood at the door of her variety store, broom in hand, and watched the two girls walk toward her down the sidewalk. Mattie, the spokesperson for the two, stepped forward and boldly asked, “I need work and a place where me and my sister can stay. Do you know of anything?” She looked up at Mrs. Bender quite seriously.  Her black eyes were wide.  Anxiety was written all over her round black face that now dripped in sweat in the hot summer day after her long walk. Mrs. Bender read in that expression that she’d gotten this far, but now the little girl was in a quandary as to what should she do now? She looked at the tight grip she had on her much larger, but obviously more dependent, sister.

Mrs. Bender sized them up and in her gentle voice said, “I hear they are hiring maids across the street at the Wadlington Hotel, but come in here and let me help you with something to wear to your interview. Your sister can rest here while you go and inquire. Tell them I sent you.”

Mattie stood straight and said, “I don’t take no charity. I’ll pay you back.” Mrs. Bender nodded.

That Jewish lady remained a dear friend to Mattie the rest of her life.

Mattie Lee Martin later became highly regarded for her cooking skills. She cooked at the restaurant of the Houston Hotel for awhile and then took a job as the private cook for Dr. Moody, founder of Moody Hospital in Dothan. When the Moodys moved into their big house on Main Street from the house across from the hospital, Mattie for some reason was not going with them. Dr. Moody recommended Mattie to Dr. E. G. Burson, my father. The Moodys gave her a house as a parting gift.

When Mattie Lee Martin interviewed with my mother, she told my mother, “I don’t work with children.”

Yet as the pictures reveal, Mattie Lee Martin became as dear to us as our grandmothers and so she deserved just as endearing a name. Thus she came to be called “Mammy.”

Mammy came to work every morning before seven, except Sunday, either by bus or by taxi and stayed until after five.  Even after our overweight dog, Sir Bow Wow, went blind, he would meet Mammy at the bottom of the hill where she got off the bus every morning and together they would plod their way to the house.  She cooked, cleaned, and loved us. I remember seeing one of her paychecks in the amount of $27.00. I also remember the days we’d take Mammy home and she’d ask Mother to stop by the grocery store several blocks away. Then she’d put some money in my hand and I’d run into the grocery store and plunk the money down saying, “Bit o Dental Snuff, please.”

Mammy ordered the groceries to cook for lunch from Murphy’s Market downtown first thing in the morning and a boy on a bicycle delivered them in time for her to cook. Dinner was served at exactly 12:00 noon. (In the South we eat breakfast, dinner and supper.) The meat went on a platter before “the doctor”. The table was set precisely with forks on the left of the plate (with the napkin) and the knife (facing inward) on the right. The glass was placed above the knife. She trained us well.

…Mammy had worked for the aristocracy of the town, Dr. and Mrs. Earl Moody. While she often locked horns with my mother (whose own father had been killed when logs rolled off a log truck when she was 13 leaving her mother to struggle raising five children) she refused to give up on us. “Yo mama, she be mean. But I be mean too, so we get along.” Mother had been awarded campaign ribbon for service in World War II as a nurse at the Battle of the Bulge. She could curse a blue streak and did so on occasion when things did not go to suit her. Sometimes those disagreements would get so heated that Mother would fire Mammy, but we’d cry and carry on so, she’d have to go and ask her to come back. My father was a doctor and his father was a doctor and that made us worth Mammy’s time and effort. My mother might not know what was “proper” but Mammy did, and she was determined to turn us out well.

…Mammy did have her own family…a daughter Lucy Mae Dixon who was my Mother’s age. Mammy had very little education herself and the lists she made could barely be read, so she valued a good education. Mammy skrimped and saved and sent her to college in the North. It must have been a Catholic college because Lucy Mae converted to Catholicism. Mammy was a dedicated member of the Cherry Street AME Church. Lucy earned her Masters and came home to teach. Mammy bought her items of silver “on time” as birthday gifts. The mahogany furniture in their living areas was always covered in plastic to “save” it.

…I guess Mammy told my brother and sister the same thing she drilled into me. “Yo daddy be somebody. You gotta be somebody.” My sister is a cardiologist in New Orleans (Dr. Sylvia Burson Rushing) and my brother (Elkanah George Burson III ) has just started a pharmaceutical company (Burel Pharmaceuticals). Me? After you’ve got a man it’s all right “to rune yo hands” with Ajax, I learned. I wash a mean bathtub and have stayed married to the same man, an attorney of whom she approved (whose family once owned the Houston Hotel where she had worked) for forty years doing a little teaching and writing. This humble generous woman whom I never saw wear a single piece of jewelry gave me a pearl and gold bracelet for graduation from high school.  She who worked from can to can’t all of her life gave me a silver goblet when I got married.  I wonder if she ever knew how much they mean to me and that I realize the sacrifice and love those gifts demonstrated.

…Mammy was a proud person who made the most of her situation and, selflessly, with hard work and determination earned respect and made a good life for herself and her family. She raised us, her white family, to believe we could do whatever we chose to do and that we should make our parents proud. She drilled into us values of honesty, integrity, and a sense of responsibility.  Because we had been given so much; much was expected.  Because we loved her, it was Mammy we wanted to make proud.

Read more HERE

yay, shakespeare in the park

I’m thrilled to know that The Public Theater is once again “putting this mosaic out into the world.”  And that Ruben Santiago-Hudson has biracial kids.  And that he speaks openly about it.  Actually that’s not extraordinary, but I didn’t know that about him before.  I love The Winter’s Tale.  My favorite monologue is in it.  If I weren’t too persnickety to wait in line for hours for tickets, I would be sure to see this.  However, it’s not gonna happen.  My loss, I’m sure.  Just for clarification, the “yay” is for depicting a “non-traditional” marriage/family.  Not for Hudson marrying a Swede and having mixed kids.  Although I like that a lot too.

santiagohudson

Actor Ruben Santiago-Hudson and his twins Trey and Lily attended the “Magic & Bird: A Courtship of Rivals” film premiere on February 17, 2010 in Westwood, California.

Ruben Santiago-Hudson Tells the Tale

The actor discusses starring in the Shakespeare in the Park production of The Winter’s Tale.

By: Brian Scott Lipton

VIA

Ruben Santiago-Hudson has been the epitome of excellence for over 30 years; winning a Tony Award for Seven Guitars, numerous honors for the HBO adaptation of his acclaimed solo play Lackawanna Blues, and plaudits for his direction of several shows including Things of Dry Hours and The First Breeze of Summer. This summer, he’s starring in the Public Theater’s Shakespeare in the Park production of The Winter’s Tale, and in the fall, he’ll be back co-starring on ABC’s hit crime drama Castle. TheaterMania recently spoke with Santiago-Hudson about these projects.

THEATERMANIA: What made you want to do The Winter’s Tale this summer rather than just take a nice breather between shooting Castle?
RUBEN SANTIAGO-HUDSON: I just love the challenge of doing Shakespeare. I am part of the Public Theater family and I got a call to look at the play, and before I could even finish it, I said I’d love to do it.

TM: Your character, Leontes, is considered one of the most difficult in the canon, since you accuse your wife and best friend of infidelity without any seeming cause. How do you justify that?
RSH: It is a challenge to make that action comprehensible to the audience. But I look at the text. Polixenses may be my friend, but he’s stayed with my family for nine months — and I think if anyone stayed that long at my house, I’d find fault with them. And I am sure over that time, Leontes has seen some glimpses of unusual behavior — perhaps wearing less clothing around each other or laughing too loud.

TM: Still, you cause your wife to kill herself and banish your infant daughter. How is the audience supposed to sympathize with that?
RSH: I hope the audience sees that I balance my cruelty with much love and that my actions came from defending my honor and that my rage is from jealousy and madness. It’s important that I am not just being the stereotypical angry black man. And when it all comes clear, I’m the most penitent person — I’m almost a saint by the end of the play.

TM: As is typical of many productions at the Public, the cast is completely multi-racial. For example, your wife, Hermoine, is being played by Linda Emond, who is white. What are your thoughts about this?
RSH: I think it reflects the mirror of modern society. When you look in the newspaper, you see Sandra Bullock with a black child. And this play reflects what my real family looks like — my wife is Swedish and our children are biracial — so it’s great to put out this mosaic to the world. And I think we should put the best artists we can on stage, and what I love about the Public Theater’s audience is they feel the same way. They don’t care if the king is black and the queen is white; they’re out there to see this play done well.

Linda Emond and Ruben Santiago-Hudson<br>in rehearsal for <I>The Winter's Tale</i><br> (© Nella Vera)

Linda Emond and Ruben Santiago-Hudson
in rehearsal for The Winter’s Tale
(© Nella Vera)

“kinds” of biracial

Fantastic commentary on something that I totally missed in the media.  I honestly don’t know who Drake is.  I’ll look him up in a sec…. Oh. I see.  Anyway, Whitney Teal makes such great points here (a fav being that one would never compare G.W. Bush to Eminem), and has me wanting to make a list of all the “kinds of biracial” that I can imagine.  And then I want to study the intricacies of the experiences that molded the various varieties of biracialness.  I love biracial.  It never gets old for me.  I suppose you can call me Captain Obvious for that statement.

Is One Mulatto the Same as the Next?

VIA

By Whitney Teal

Has the election of President Obama changed the way we think about biracial people in this country? I’d argue that it’s questionable. Especially when people are drawing comparisons between the prez — a half-white, half-Kenyan, Ivy League-educated lawyer — and Aubrey Graham, otherwise known as Drake, who is a half-Jewish and half-African-American entertainer from Canada. Yeah, I don’t see the similarities either.

Image of Thomas Chatterton Williams

thomas chatterton williams

But TheRoot.com contributor Thomas Chatterton Williams, who describes himself as the son of a black father and a white mother,” seems to think that the two mulattoes (his word, not mine) deserve a comparison. Yes, Williams thinks that it’s helpful to compare a Canadian rapper and the President (as he puts it, one of the “most visible mulattoes living and working today”). And he’s not alone, either. A few months back, a couple of my Twitter friends and I ripped Chester French band member David-Andrew ‘D.A.’ Wallach a new one for tweeting that he was discussing “all the similarities” between the two men. When I asked him to explain himself, he replied, “For one, I think they’re both extremely studied.” Womp, womp, cop-out. Lots of men are studied. President Obama and Drake are both, simply, biracial. And they’re not even the same “kind” biracial either, but that doesn’t seem to make a difference.

When I showed my sister the story on The Root, she screamed (via Google Messenger) and replied, “Obama and Drake in the same sentence? Do people mention [President] Bush and Eminem in the same sentence?” She’s right. White men are allowed to choose their own identities. Black men not so much, and biracial men certainly not. Which begs the question, why can’t we see that one biracial person is not the same as the next?

In general, polite company, we as general, polite people, recognize that a person’s experiences are not solely dictated by their race or ethnicity. For example, I don’t think people considering Lucy Liu, a famous actress, and Connie Chung, an award-winning journalist, would try and argue that the two have much in common, at least on the surface. The same with Denzel Washington and Reggie Bush, or Barbara Streisand and Heidi Fleiss. No comparisons. But people, general and polite as they are, still seem to view the experiences of biracial people in this country as singular in nature.

And often, as The Root essay explores, polarizing. “Mixed-race blacks […] are the physical incarnation of a racial dilemma that all blacks inevitably must confront: To sell out or keep it real? That is the question,” writes Williams, who spends the better part of 1,000 words waxing on about the definition of authentic blackness (or at least how he sees it). According to Williams, a mixed-race person must choose to be black, like the president and like Drake, who “both proudly define themselves as black.” A mixed-race person must then “act black,” which Williams sees as wearing loose clothes and playing basketball.

If blackness meant just one thing, and if mixed-race people were able to align themselves with just one part of their identity, then his essay might hold more weight. But black people don’t have just one identity, at least not to ourselves. Hollywood directors, novelists and journalists may see us as trash-talking, saggy pant-wearing basketball fanatics, but I don’t think that’s how we see ourselves. And by asserting that he can turn his black switch on and off, simply by altering the fit of his pants, Williams — though he may identify as black — shows how much he doesn’t understand the complexity of black culture.

Which is why I don’t believe that we should automatically label mixed-race people as black; they’re mixed-race. Being biracial may be similar to African-American culture, just as West African and West Indian cultures share similarities to black culture, but ultimately have their own dialects, dress, worship practices, food and courtship rituals. But biracial people etch out their own identities. Sure, they may be similar to that of African-Americans or other cultures. But it’s limiting to both black and biracial people when society automatically labels anyone with brown skin and textured hair black. Whether we’re talking about President Obama or anyone else, what it means to be biracial is an entirely individual question.

re: little. black. sambo.

I just wanted to post a bit more about the history of Little Black Sambo.  I think the most important aspect of this history is the way the character/story has made people feel about themselves.  White privilege protects a majority of people from the hurts that can be evoked by “harmless” depictions in story books and advertisements.  The price for that protection can come in the form indifferent ignorance.

  • “The cultural understanding of ‘Little Black Sambo’ is a negative,” says Professor Frank Gilliam of UCLA. “It’s meant to suggest that people of African descent are childlike, that they’re irresponsible, that they’re not fully developed human beings.”
  • Langston Hughes pointed out that Little Black Sambo was “amusing undoubtedly to the white child, but like an unkind word to one who has known too many hurts to enjoy the additional pain of being laughed at.”

The following is excerpted from an essay found at the Jim Crow Museum of Racist Memorabilia:

Arguably, the most controversial picaninny image is the one created by Helen Bannerman…The book appeared in England in 1899 and was an immediate success. The next year it was published in the United States by Frederick A. Stokes, a mainstream publisher. It was even more successful than it had been in England. The book’s success led to many imitators — and controversies.

Was Bannerman’s Little Black Sambo racist? The major characters: Little Black Sambo, his mother (Black Mumbo) and his father (Black Jumbo) used standard English, not the bastardized English then associated with Blacks. Stereotypical anti-Black traits — for example, laziness, stupidity, and immorality — were absent from the book. Little Black Sambo, the character, was bright and resourceful unlike most portrayals of Black children. Nevertheless, the book does have anti-Black overtones, most notably the illustrations. Sambo is crudely drawn, an obvious caricature… The names Mumbo and Jumbo also make the characters seem nonsensical at a time when Blacks were routinely thought to be inherently dumb.

The illustrations were racially offensive, and so was the name Sambo. At the time that the book was originally published Sambo was an established anti-Black epithet, a generic degrading reference. It symbolized the lazy, grinning, docile, childlike, good-for-little servant. Maybe Bannerman was unfamiliar with Sambo’s American meaning. For many African Americans Little Black Sambo was an entertaining story ruined by racist pictures and racist names. Julius Lester, who has recently co-authored Sam and the Tigers, an updated Afrocentric version of Little Black Sambo, wrote:

When I read Little Black Sambo as a child, I had no choice but to identify with him because I am black and so was he. Even as I sit here and write the feelings of shame, embarrassment and hurt come back. And there was a bit of confusion because I liked the story and I especially liked all those pancakes, but the illustrations exaggerated the racial features society had made it clear to me represented my racial inferiority — the black, black skin, the eyes shining white, the red protruding lips. I did not feel good about myself as a black child looking at those pictures.

Little Black Sambo served as the boiler plate for a spate of other versions, many of which used mean-spirited racist drawings and dialogue. The vulgar reprint versions were symbolic of Black-White relations. Little Black Sambo’s popularity coincided with the crystallization of Jim Crow laws and etiquette. Blacks were denied basic human and civil rights, discriminated against in the labor market, barred from many public schools and libraries, harassed at voting booths, subjected to physical violence, and generally treated as second class citizens. The year that Little Black Sambo came to America a Whites-initiated race riot occurred in New Orleans. It was effectively a pogrom — Blacks were beaten, their schools and homes destroyed. Little Black Sambo did not, of course, cause riots, but it entered America during a period of strained and harsh race relations. It was, simply, another insult in the daily lives of African Americans.

The anti-Little Black Sambo movement started in the 1930s and continued into the 1970s. Black educators and civil rights leaders organized numerous campaigns to get the book banned from public libraries, especially in elementary schools. In the 1940s and 1950s the book was dropped from many lists of “Recommended Books.” By the 1960s the book was seen as a remnant of a racist past.

Little Black Sambo was again popular by the mid-1990s. Its recent popularity is a result of many factors, including a white backlash against perceived political correctness. This is evident in internet discussions. Americans, Black and White, are rereading the original book (and some of the unauthorized reprints). There is agreement that Bannerman’s book is entertaining. However, there is little agreement regarding whether it is racist. White readers tend to focus on Bannerman’s non-racist intentions and the unfairness of judging yesterday’s “classics” by today’s standards of racial equality. Blacks find the book’s title and the illustrations offensive. Most of the debate centers on Bannerman’s version; there is no debating the racism explicit in later editions of the book produced by other writers and publishers.

© Dr. David Pilgrim, Professor of Sociology
Ferris State University
Oct., 2000

SOURCE

darktown

I’ll never be able to sing “Sleigh Ride” again!  Ever!  Not even with Amy Grant.  Currier & Ives!?  Puh-lease!  I’ll take Norman Rockwell any day.  ANY day.

In 1857, Nathaniel Currier, a Massachusetts lithographer, and James Merritt Ives, a self-trained artist and bookkeeper for the business of N. Currier, formed a partnership. The result was the firm of Currier & Ives, which produced three to four prints every week for fifty years – a total of over 7,500 titles. The lithographs produced by the company were published by Currier & Ives, none were actually drawn or lithographed by them. Upon their deaths in 1888 and 1895 respectively, their sons, Edward West Currier and Chauncy Ives, directed the firm until its close in 1907 (American Historical Print Collectors Society).

Previous to the Emancipation Proclamation, Currier & Ives generally depicted blacks as individuals content with their lives and position in society; they were often pictured in the background of idyllic plantation images. Initially after the Proclamation was issued, the firm continued to depict blacks in a positive light, focusing more on individuals, publishing portraits of John Brown, Frederick Douglas, and black Union soldiers fighting for their freedom (222). As time went on, however, and the freedmen began to move north into the cities, it became more apparent that not all Northerners were unanimous in their support of emancipation and the status of the freedman. The political images published by Currier & Ives during this time were vicious attacks against the character and intelligence of blacks, depicting them as unsupportive and disobliging of the political figures who sought to free them, such as Abraham Lincoln, Horace Greeley, and Senator Charles Sumner (226).

During and after Reconstruction, Currier & Ives, and America it seems, continued to appreciate these negative images of African Americans. Out of this, between the mid-1870s to the early 1890s, the Darktown Comics arose, mostly illustrated by Thomas Worth (1834-1917) and James Cameron (1828-1963). The company described the Comics as “pleasant and humorous designs, free from coarseness or vulgarity, being good natured hits at the popular amusements and excitements of the times”. It has been suggested that Darktown may have “served as satires on polite white behavior as well”, as could be supported by previously positive images of African Americans. Regardless of intent, the prints only reinforced negative racial stereotypes throughout the country.


The caricatures presented by the Darktown Comics consisted of “African Americans performing actions that were more or less normal for ‘ordinary’ folk, meaning whites…the implication being that the African Americans could not execute even the simplest tasks of everyday life without making themselves appear ridiculous”. The most common images depicted by Currier & Ives’ artists were of African Americans attempting to have horse, skull, and sulky races; ride in carriages and yachts; hunt; host lawn parties; play tennis; and fight fires–always with disastrous results. And the depiction of  African American lawyers, doctors and the clergymen as bumbling and dishonest were quite malicious. African American children were also featured in a poor light – as mischievous, out of control, disrespectful hoodlums. This is evident in prints by Thomas Worth such as “A Put Up Job” and “A Fall from Grace” (1883) and “Breaking In: A Black Imposition” and “Breaking Out: A Lively Scrimmage” (1881).


African American stereotypes that still exist today were begun here – the connection of African Americans to music, in Darktown specifically of banjo playing, and of their supposed eating habits, most notable in the Comics, that of eating watermelon. This can be seen in the prints that make up the set of the Darktown Banjo Class and in single prints like “O Dat Watermillion!”. As one can see, African American speech was attacked as well, through phonetic renderings steeped in the distortion of stereotypes and caricature.


The Darktown Comics did not develop or exist in a vacuum, however. In addition to theDarktown prints that came out of this time, Harper’s Weekly featured the Blackville prints; examples of which can be seen at HarpWeek’s exhibition, “Toward Racial Equality:Harper’s Weekly Reports on Black America, 1857-1874 or the Philadelphia Print Shop’sBlackville Prints.” These were similar in content to Darktownspoofs of African American attempts at high fashion, sports, etc. The most prevalent artists of this series were Sol Eytinge, Jr., William Ludwell Sheppard, S.C. McCutcheon and “Sphinx” (Philadelphia Print Shop, Ltd.). Other publications, such as Life, Puck and Judge, as well as Pulitzer’s New York World and Hearst’s New York Journal produced similar images but these were in the context of satire (Hays). Whether or not these images were taken as satire or at face value by the American populous is up for debate, however. Other news and editorial magazines, such as The Outlook and The Independent, also promoted these types of images through their illustrations and advertising—exemplifying the prevalence and acceptance of these racist stereotypes across the country (Hays).


The “high art” of this time, specifically that of southern artists, furthered these stereotypes as well, dehumanizing the African American through their depictions of coal black skin, thick red lips, oversized teeth, and patchwork clothing. It wasn’t until the impact of the Ashcan Society and the period of realism came into play that classical forms of art began to celebrate the figure of the African American as he really appeared. The art of Robert Henry, George Luks, and George Wesley Bellows are forefathers of this new view – a celebration of the African American.

SOURCE

worse ads

The products are/were the real problem, I suppose.

Offensive &amp; Politically incorrect advertising and propaganda:No fuss, to the point racist packaging. What you see here is an old Norwegian brand of tar/varnish used on wood burning ovens. It’s been out of production for a good while now, but boxes like this can still be found tucked away in old dusty closets in Norway. more examples of mindblowing advertising here

Offensive & Politically incorrect advertising and propaganda:

No fuss, to the point racist packaging. What you see here is an old Norwegian brand of tar/varnish used on wood burning ovens. It’s been out of production for a good while now, but boxes like this can still be found tucked away in old dusty closets in Norway.

via

here

kimball

1900sc_Nigger_Head_Oysters_Can

negro head oysters

In the US and the UK, the word nigger featured in branding and packaging consumer products, e.g. “Nigger Hair Tobacco” and “Niggerhead Oysters”, Brazil nuts were called nigger toes, et cetera. As racism became unacceptable in mainstream culture, the tobacco brand became “Bigger Hare” and the canned goods brand became “Negro Head”.

inspired by mad men…sort of

I’ve actually been planning to blog this for a while, but I got lazy and tucked it into a folder on my computer.  Last week’s episode of Mad Men has inspired me to get it together though.  If you saw the episode, you probably know what this is all about.  The blackface.  The throwback to the “good old days” when it was just hilarious (and not at all inappropriate) to mock the darkies.  I’m not exactly sure how I feel about the scene from the show.  It was kind of long and awkward, but perhaps that was the point.  Anyway, it’s not like the writers of the show just pulled that out of thin air.  I bet they didn’t have the song written for the show. As with racist advertising (and as malevolent as), there is a plethora of  good ole “racist” music out there.  Wanna see some?

allcoonsErnest Hogan was a black man. Here are his lyrics:

“All coons look alike to me, I’ve got another beau you see, and he’s just as good to me as you, nig!”

Here’s some back story on Hogan and the song from Wikipedia:
In 1895, black entertainer Ernest Hogan published two of the earliest sheet music rags, one of which (“All Coons Look Alike to Me”) eventually sold a million copies. As fellow Black musician Tom Fletcher said, Hogan was the “first to put on paper the kind of rhythm that was being played by non-reading musicians.” While the song’s success helped introduce the country to ragtime rhythms, its use of racial slurs created a number of derogatory imitation tunes, known as “coon songs” because of their use of extremely racist and stereotypical images of blacks. In Hogan’s later years he admitted shame and a sense of “race betrayal” for the song while also expressing pride in helping bring ragtime to a larger audience.

463px-Cooncooncoon“Coon!  Coon!  Coon! I wish my color would fade.  Coon! Coon! Coon! I’d like a different shade.  Coon! Coon! Coon! Morning, night, and noon, I wish I was a white man ‘stead of a Coon!  Coon! Coon!”

No lyrics for these two, I believe:

watermelon trust
JemimasWeddingDay
Here’s one that I thought was kind of sweet, yet sad:
dpl-hac-11062-0001
“Mama, are there any angels black like me?  I’ve been as good as any little girl could be.  If I hide my face do you think they would see?  I wonder if they’ll find a place for Little black me.”