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Recommended: Matter of whiteness
During the early to mid 1900s Black men and women struggled to make a impact on society. Through segregation, Jim Crow laws, and racism –many African Americans were oppressed and left to suffer. Struggles were persistent between the White and black populations in America. Millions of blacks from the rural South left in order to find a better life in the industrial North. Lets not even get started on the treatment of women, let alone the black women. Therefore, when it came to expressing ones selves, music was the golden opportunity. However, during the early 1920s in the United States, working conditions for blacks and whites differed in the recording industry. The white man was always the boos while the black people were seen as the works. …show more content…
They thought of blues music as many white Americans think of rap/hip-hop in present day. It was just a bunch of noise that didn’t tell a story. August Wilson tells a power yet subtle story about the struggle of Black Americans during the 1900s. He writes about struggles in equality, and identity through the cast members of Ma Rainey music group.
As I reread Ma Rainey Black Bottom by August Wilson, I was surprised to find more connections than I initially found. Being almost at the end of the quarter, we as a class have delved into many different pieces of literature. Overall, many themes of the literature have been oppression, racism, and identity struggles. Sometimes as you read, you get lost in how everything is all connected. However, as I reflect back again on the first book we read in the class --certain themes are presented again. The theme of Power is the overlaying theme in Ma Rainey Black Bottom. During the play, the band members strive to complete a recording session despite conflicts that happen between the oppressor (Sturdyvant) and Ma Rainey. This conflict shows the historical battle between capitalist and the workers. The idea of
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Before taking this class, I never really delved into the idea of whiteness. I knew it was a thing, but no one ever talked about. However, after going to the passionate difficult dialogue on whiteness, I saw its impact on many of my peers. Also, I have seen how it has perpetuated a lot of hurt in society and a feeling of non-inclusion. Whiteness is the idea of the white race or culture having privileges or advantages in the United States through the government , media , corporations , schools and much more. This process of whiteness perpetuates racism in America. You don’t have to be white to employ whiteness. Whiteness is always present even when white people aren’t there. There are many situation sin the book in which whiteness was revealed. Irvin bribes the police officer to let Ma Rainey off the hook. Irvin proclaims “ (Slides a bill from his pocket)Look, Officer. I’m Madame Rainey manger…as soon as we’re finished with the recording session, I’ll personally stop by the precinct house and straightening up this misunderstanding .”(Wilson ,pg. 52). Another scene the displays whiteness in society is when Cutler has to ask Irvin for a specific form of payment. He has to ask fro this specific form because Cutler is unable to cash his check anywhere. As Hampton said in “The People Have to Have the Power” , the people have the power, it belongs to the people. The by product of capitalism is racism and one
In “Blame It On the Blues” the author Angela Davis, argues against critics, like Samuel Charters and Paul Oliver, who say that the Blues lacks social commentary or political protest, by saying that the Blues was a subtle protest against gender and racial inequality. Davis uses various songs from Ma Rainey and Bessie Smith to prove this.
Tim Wise’s book White Like Me provides a picture of what it is like to be white in America. A main topic covered in White Like Me is white privilege. On pages 24 and 25 Wise illustrates what white privilege is and shares his opinion regarding how to address white privilege in society today. Wise’s plan for addressing white privilege is one not of guilt, but of responsibility, a difference Wise highlights. The concept of feeling guilty for white privilege lacks reason because white privilege is something built up through generations and its existence is not of any one person’s fault.
The book depicts the story of culture conflicts of the music, which arose from the introduction of the foot-tapping, hip-swaying music now known as rock n' roll (Graarrq). The outcome of rock n’ roll coincided with tremendous uproar in the movement to grant civil rights to African American. Trapped in the racial politics of the 1950s, rock n’ roll was credited with and criticized for promoting integration and economic opportunity for blacks while bringing to “mainstream” cloture black styles and values (Altschuler). Black values were looked over and kind of not important to whites. Whites were very much so well treated then blacks were, however no one spoke out until the outcome of rock n’ roll.
By the end of World War I, Black Americans were facing their lowest point in history since slavery. Most of the blacks migrated to the northern states such as New York and Chicago. It was in New York where the “Harlem Renaissance” was born. This movement with jazz was used to rid of the restraints held against African Americans. One of the main reasons that jazz was so popular was that it allowed the performer to create the rhythm. With This in Mind performers realized that there could no...
The development of Rock ‘n’ Roll in the late 1940s and early 1950s by young African Americans coincided with a sensitive time in America. Civil rights movements were under way around the country as African Americans struggles to gain equal treatment and the same access to resources as their white neighbors. As courts began to vote in favor of integration, tensions between whites and blacks escalated. As the catchy rhythm of Rock ‘n’ Roll began to cross racial boundaries many whites began to feel threatened by the music, claiming its role in promoting integration. This became especially problematic as their youth became especially drawn to ...
Dr. Peggy McIntosh looks at white privilege, by “Unpacking the Invisible Knapsack.” She describes white privilege as almost a special check or coin that she gets to cash in on. Dr. McIntosh tells that white privilege has been a taboo and repressed subject – and that many white people are taught not to see or recognize it. However, she is granted privileges (McIntosh 30). Dr. McIntosh goes on to describe twenty-six ways in which her skin-color grants her certain privileges. In example twenty, she describes how she can buy “…posters, postcards, picture books…” and other items that “…feature people of my race” (32). Additionally, in her first example, she talks about being able to be in the “company of people of my race most of the time” (McIntosh 31). Instances in which a privilege person would not even recognize unless they were looking, show evidence for white privilege. People take these advantages for granted because they simply expect them. Due to the lack of melatonin in her skin, she was granted privileges and her skin served as an asset to her. Dr. McIntosh conveys how her privilege is not only a “favored state,” but also a power over other
Women’s sufferage was at it’s peak with the ratification of the United States Nineteenth Amendment. Women recived more independence after the end of the First World War and took a greater part in the work force. In the 1920s, there were many famous women Jazz artists such as Lovie Austin, a piano player and band leader, Lil Hardin Armstrong, a pianist who was originally a member of King Oliver’s band, and Bessie Smith, an African-American blues singer who inspired women like Billie Holiday and Janis Joplin. Although women were also making a difference in the Jazz industry, it wasn’t until the 1930s when they were recongnized as successful artists in the music world.
Record labels played a big role in bringing the black struggle to the mainstream through their artists music. In particular, two labels were the frontrunners for producing records that would continue to promote addressing the black struggle: Motown and Stax. Motown, a black-owned label, was seen as a more assimilationist and industrial record label that was successful in making hits that appealed to both black and white audiences, earning it the nickname of “Hitsville, U.S.A.” Stax, a white-owned label, was seen as being more representative of black self-reliance and an overall more authentic, black record label that appealed much more to the black audience, earning it the nickname of “Soulsville, U.S.A.” Despite their differences, both labels used their own style of music production and distribution to help surface the black struggle in very similar ways, and in turn they helped pave the way for black consciousness to emerge through soul music.
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Prior to beginning my readings on white racial identity, I did not pay much attention to my white race. If someone had asked me to describe my appearance I would have said short blond hair, blue eyes, average stature, etc. One of the last things I would have noted was the color of my skin. Growing up in overwhelmingly white communities, I never thought to use the color of my skin to differentiate myself from others. Over the course of this dialogue I have learned that my white racial identity is one of the most defining aspects of my appearance in this society. There is a certain level of privilege that I am afforded based solely on the color of my skin. According to Peggy McIntosh, “White privilege is like an invisible weightless knapsack of special provisions, assurances, tools, maps, guides, codebooks, passports, visas, clothes, compass, emergency gear, and blank checks” (71). All these objects listed by McIntosh are things I have access to and certainly take for granted. Due to a history of non-white racial oppression, which transformed into decades of racial discrimination that still lingers today, the white race has dominated our society in terms of resources and prosperity. The ideas of wealth, higher-level education and ambition to succeed are all traits commonly linked to people of the white race that collectively define privilege. The aspect of privilege can also produce disadvantages for people of the white race as well. In the book Promoting Diversity and Justice, the author D. Goodman notes that people of advantage groups develop a sense of superiority, which will sometimes lead them to wonder if, “their achievements were based on privilege or merit” (107). Along with a diminished sense of accomplishment, the cost ...
Before the war started, a wealthy white man by the name of John Hammond worked to integrate black and white music.1 Since his childhood, he enjoyed the music of numerous black artists, and he wanted to share his love with the rest of America. He used much of his inherited fortune to make this possible. He went against the general opinion of society and his parents, who despised black people. Hammond refused to ignore black artists’ musical abilities because of their color, “I did not revolt against the system, I simply refused to be a part of it.”2 He used his money to organize the most eclectic group of musicians ever assembled, for an integrated audience of his time. Hammond’s efforts made an indelible impact on the music industry. The musicians Hammond introduced in...
In chapter 5 of Images of color, images of crime author Peggy McIntosh refers to White privilege as an invisible package of unearned assets that can count on cashing in each day, but about which 'meant' to remain oblivious. White privilege is like an invisible weightless knapsack of special provisions, maps, passports, codebooks, visas, clothes, tools, and blank checks. It is apparent that white people receive unearned advantages and benefits that are not accessible to people of color. In fact, how can someone even question that the fact that people of color are treated differently than Whites, when African Americans constitute a significant portion of individuals who are incarcerated today. Here is an example of an experience that I had a few years ago that made me realize that I was treated differently because I was not white. I worked at the Ymca for about three years at a summer camp, which was predominantly white. I loved working there, but I kept to myself because I was treated differently from my co-workers. In fact, the white individuals that I worked with would constantly ma...
Not known to many, the genre of rock music originated from gospel music sung on the slave plantations in early Mississippi. A common musical device used in rock music is known as “call and response”. This is where the singer sings the line and everyone else involved in the chorus repeats that line. This came from slaves working in the fields and singing songs to get through the day. Theses hymns are fondly referred to as “negro spirituals”. In Anne Moody’s novel, Coming of Age in Mississippi we revisit African Americans in Mississippi struggling not through slavery, but through the oppression of the Civil Rights Era. At the same plantation but in a different time, Jim crow has made life almost impossible for blacks to get by in the South. In a country were all men were created equal, laws were put in place to ensure that blacks could never achieve equality. Through Anne Moody’s work and through the work of musical artists Johnny Cash, and Nas, we will discover just how far we may or may not have come.
The beginning of racism in the music industry began only 13 years after the creation of the phonograph by Thomas Edison in 1877. Recorded sound was still pretty new at the time, but it didn’t take long for record companies to form: Berliner, Edison, and Columbia, all of which functioned under the plan that the artist didn’t matter, but the song did. Under this plan, companies skipped over the talent from stage and focused on finding anyone who could carry a turn and had good diction. By the 1890’s, they “had established a cadre of profession white recorders” that “could reproduce works of African American performers with “authentic” dialect”. This group of white singers were grouped together and made to sound like black artists