... By the 1930s, Tin Pan Alley’s diluted blues became the sad torch song of the weary-bluesy mammy, a type Ethel Waters was repeatedly called upon to voice. This character type existed in contrast to the Broadway blues mama persona that Zora Neale Hurston envisioned for Waters, and roles taken up...

... minstrelsy Tin Pan Alley mammy sheet music female audiences ...

... Ethel Waters Juanita Hall Pearl Bailey mammy torch song ...

... Harriet Tubman Blessed Anastacia Betye Saar Elizabeth Catlett Aunt Jemima mammy figure ...

... Gold Coast mammy wagons slave ships Guinea surgeons Paul Virilio patient voices ...

... performance of collective protection. This chapter engages the reconstructions of the figure of mammy, using images by Betye Saar and Joe Overstreet. There is a need in a post 1960s moment of black recreation to reconcile the imagistic mammy with her assumed allegiance to white domesticity. Artists fit mammy...

... This chapter establishes the historical context and conditions for crooning’s increasing centrality in American popular music, specifically its development from the nineteenth and early twentieth centuries, when it was used to describe the sound made by mammies and mothers, to its use as a term...

... with Guinea slave ships of the 1790s: thus, postwar melancholic Akan women and disintegrating slaves of the late eighteenth century. The mammy wagons and shrines of the first pry open a modern, emergent West African, where anthropologist Margaret Field encountered depressed women enmeshed in dreams, fast...

... Akan women and disintegrating slaves of the late eighteenth century. The mammy wagons and shrines of the first pry open a modern, emergent West African, where anthropologist Margaret Field encountered depressed women enmeshed in dreams, fast lorries, and vulnerability. A slow-moving slave ship...

... mammy role and racially charged rehearsal dynamics. Asare also writes about working as a lyricist on Paradise Square, whose star Joaquina Kalukango won the season’s Tony Award for Best Performance by an Actress in a Leading Role in a Musical, detailing key moments in the second act that stage the black...

... of Race and Region (New York: Routledge, 1994), especially 1–22; and Cheryl Thurber, “The Development of the Mammy Image and Mythology,” in Virginia Bernhard et al., eds., Southern Women: Histories and Identities (Columbia: University of Missouri Press, 1992), 87–108. Both the headnotes...

... of Race and Region (New York: Routledge, 1994), especially 1–22; and Cheryl Thurber, “The Development of the Mammy Image and Mythology,” in Virginia Bernhard et al., eds., Southern Women: Histories and Identities (Columbia: University of Missouri Press, 1992), 87–108. Both the headnotes...

... of Race and Region (New York: Routledge, 1994), especially 1–22; and Cheryl Thurber, “The Development of the Mammy Image and Mythology,” in Virginia Bernhard et al., eds., Southern Women: Histories and Identities (Columbia: University of Missouri Press, 1992), 87–108. Both the headnotes...

... of Race and Region (New York: Routledge, 1994), especially 1–22; and Cheryl Thurber, “The Development of the Mammy Image and Mythology,” in Virginia Bernhard et al., eds., Southern Women: Histories and Identities (Columbia: University of Missouri Press, 1992), 87–108. Both the headnotes...

... of Race and Region (New York: Routledge, 1994), especially 1–22; and Cheryl Thurber, “The Development of the Mammy Image and Mythology,” in Virginia Bernhard et al., eds., Southern Women: Histories and Identities (Columbia: University of Missouri Press, 1992), 87–108. Both the headnotes...