{"id":32420,"date":"2026-08-07T11:14:30","date_gmt":"2026-08-07T15:14:30","guid":{"rendered":"https:\/\/www.ethanhein.com\/wp\/?p=32420"},"modified":"2026-08-07T11:14:30","modified_gmt":"2026-08-07T15:14:30","slug":"i-decided-what-song-im-going-to-start-my-history-of-20th-century-american-popular-music-class-with","status":"publish","type":"post","link":"https:\/\/www.ethanhein.com\/wp\/2026\/i-decided-what-song-im-going-to-start-my-history-of-20th-century-american-popular-music-class-with\/","title":{"rendered":"I decided what song I&#8217;m going to start my History of 20th Century American Popular Music class with"},"content":{"rendered":"<p><em><strong>Content warning: this post includes offensive imagery.<\/strong><\/em><\/p>\n<p>One of my tasks for the next two weeks is to put together my syllabus for NYU\u2019s\u00a0<a href=\"https:\/\/www.ethanhein.com\/wp\/2026\/teaching-the-history-of-20th-century-american-popular-music\/\">new music history class on 20th century American popular music<\/a>.\u00a0To start the semester off, I wanted to find a song that spans many styles and eras, and that lays the thematic foundation for what comes after. I decided on\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Old_Folks_at_Home\">\u201cOld Folks At Home\u201d by Stephen Foster<\/a>, also known as \u201cSwanee River.\u201d This song was written in 1852, but it had a significant presence in the zeitgeist throughout the 20th century, and\u00a0<a href=\"https:\/\/secondhandsongs.com\/work\/121613\/versions\">Secondhand Songs<\/a>\u00a0lists a couple dozen of recordings from this century too. It\u2019s\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Old_Folks_at_Home#State_song_of_Florida\">Florida\u2019s state song<\/a>, because of course it is. They did replace the word \u201cdarkies\u201d with \u201cbrothers\u201d in 1978, though, so that\u2019s nice. <!--more--><\/p>\n<p>When you look at the cover for the sheet music on Wikipedia, it raises some questions:<\/p>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Old_Folks_at_Home\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"32422\" data-permalink=\"https:\/\/www.ethanhein.com\/wp\/2026\/i-decided-what-song-im-going-to-start-my-history-of-20th-century-american-popular-music-class-with\/oldfolksathome\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.ethanhein.com\/wp\/wp-content\/uploads\/2026\/08\/Oldfolksathome.jpg?fit=757%2C951&amp;ssl=1\" data-orig-size=\"757,951\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Oldfolksathome\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.ethanhein.com\/wp\/wp-content\/uploads\/2026\/08\/Oldfolksathome.jpg?fit=640%2C804&amp;ssl=1\" class=\"alignnone size-full wp-image-32422\" src=\"https:\/\/i0.wp.com\/www.ethanhein.com\/wp\/wp-content\/uploads\/2026\/08\/Oldfolksathome.jpg?resize=640%2C804&#038;ssl=1\" alt=\"\" width=\"640\" height=\"804\" srcset=\"https:\/\/i0.wp.com\/www.ethanhein.com\/wp\/wp-content\/uploads\/2026\/08\/Oldfolksathome.jpg?w=757&amp;ssl=1 757w, https:\/\/i0.wp.com\/www.ethanhein.com\/wp\/wp-content\/uploads\/2026\/08\/Oldfolksathome.jpg?resize=239%2C300&amp;ssl=1 239w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n<p>First of all, why \u201cEthiopian melody\u201d? This just means that it\u2019s meant to be sung by a blackface minstrel. And why does it say \u201cwritten and composed by EP Christy\u201d? Stephen Foster sold the song to Christy, leader of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Christy%27s_Minstrels\">Christy\u2019s Minstrels<\/a>, for whom it was a massive hit. You can see a recreation of their act in the 1952 film\u00a0<em><a href=\"https:\/\/en.wikipedia.org\/wiki\/I_Dream_of_Jeanie_(film)\">I Dream of Jeanie<\/a><\/em>. It\u2019s incredibly offensive!<\/p>\n<div id=\"youtube2-6NqbxQw0rdY\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;6NqbxQw0rdY&quot;,&quot;startTime&quot;:&quot;87&quot;,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/6NqbxQw0rdY?start=87&amp;rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Old_Folks_at_Home#Lyrics\">Foster\u2019s lyrics<\/a>\u00a0are in dialect, and they reference \u201clonging for de old plantation\u201d,\u00a0\u201cdarkeys\u201d, and \u201cde banjo strumming.\u201d It\u2019s part of a whole subgenre of minstrel songs that imagine emancipated slaves yearning for their former lives. These songs were always written by white people. Romanticizing plantation life is a less dominant theme of pop culture now than it was a hundred years ago, but the trope persists right on up to the present.<\/p>\n<p>Here\u2019s the oldest recording I can find of \u201cOld Folks At Home\u201d,\u00a0by\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/George_J._Gaskin\">George J Gaskin<\/a>,\u00a0variously dated 1896, 1897 or 1899.<\/p>\n<div id=\"youtube2-0W3l0rFEIoM\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;0W3l0rFEIoM&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/0W3l0rFEIoM?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Here\u2019s a 1910 recording by\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Jessie_Broughton\">Jessie Broughton<\/a>; you get to see the gramophone in action.<\/p>\n<div id=\"youtube2-OU0pjES4ahg\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;OU0pjES4ahg&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/OU0pjES4ahg?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>George Gershwin and Irving Caesar based their song \u201c<a href=\"https:\/\/en.wikipedia.org\/wiki\/Swanee_(song)\">Swanee<\/a>\u201d on \u201cOld Folks at Home\u201d.\u00a0Here\u2019s Al Jolson\u2019s 1920 recording.<\/p>\n<div id=\"youtube2-HGopNRoDld0\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;HGopNRoDld0&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/HGopNRoDld0?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>This was an absolute smash hit: it was number one on the charts for nine weeks, it sold a million copies of the sheet music and two million records, and it put Gershwin on the map as a songwriter. The lyrics are not quite as offensive as Stephen Foster\u2019s, but the theme is the same.<\/p>\n<blockquote><p>Swanee, how I love you, how I love you, my dear old Swanee<\/p>\n<p>I\u2019d give the world to be among the folks in D-I-X-I-<\/p>\n<p>E-ven though my mammy\u2019s waiting for me, praying for me<\/p>\n<p>Down by the Swanee<\/p>\n<p>The folks up north will see me no more<\/p>\n<p>When I go to that Swanee shore<\/p><\/blockquote>\n<p>Why are a couple of Jewish guys from New York nostalgic for the antebellum South? For that matter, why was Stephen Foster nostalgic for it? Foster visited the South exactly once, and never set foot in Florida, where the Suwanee River is located. So what is going on here? What exactly were these guys imagining themselves to be yearning for?<\/p>\n<p>Maybe Gershwin and Caesar were expressing nostalgia for minstrelry itself. The form dominated American entertainment in the mid-19th century, but in the early 20th century, it started getting displaced by vaudeville. (Blackface remained a regular feature of vaudeville and musical theater long after that, though.) The usual explanation for minstrelry\u2019s nostalgia factor is that the antebellum South represents a \u201csimpler time\u201d, but simpler for whom? I think we can answer that for ourselves.<\/p>\n<p>I was surprised to learn that many black artists performed and recorded both \u201cOld Folks At Home\u201d and \u201cSwanee.\u201d The reasons for that are complicated! From 1923, here\u2019s\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Eubie_Blake\">Eubie Blake\u2019s<\/a>\u00a0\u201cFantasy On Stephen Foster\u2019s Swanee River.\u201d<\/p>\n<div id=\"youtube2-uxQLn-p0w84\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;uxQLn-p0w84&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/uxQLn-p0w84?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Blake is\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Signifying_Monkey\">signifyin(g)<\/a>\u00a0on the song, using what he probably considered to be a hokey cornball tune as a way to show off his virtuosity. You can practically see the air quotes around Foster\u2019s melody.<\/p>\n<p>Paul Robeson recorded \u201cOld Folks at Home\u201d in 1930, with Foster\u2019s lyrics mostly intact, but without dialect, so \u201cthe\u201d instead of \u201cde\u201d. Robeson hadn\u2019t yet had his full activist awakening by this point, but he did imbue the song with significantly more dignity than it deserved.<\/p>\n<div id=\"youtube2-T7JxQc1DRp4\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;T7JxQc1DRp4&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/T7JxQc1DRp4?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Louis Armstrong and the Mills Brothers recorded the tune in 1937. They sang the lyrics in dialect, presumably shrugging their shoulders and figuring that a gig\u2019s a gig. The performance makes me uncomfortable, but the musicianship is superb.<\/p>\n<div id=\"youtube2-gX0PKHWIuZ0\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;gX0PKHWIuZ0&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/gX0PKHWIuZ0?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Ray Charles had his first hit in 1957 with a radical rewrite of \u201cOld Folks At Home\u201d, very much in the spirit of Eubie Blake. He took out all the dialect and plantation references.<\/p>\n<div id=\"youtube2-nC-vaI53t_4\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;nC-vaI53t_4&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/nC-vaI53t_4?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>This is much more palatable to me than Armstrong and the Mills brothers, but in fairness, back in the 1930s they were operating in a world where most white people were still perfectly comfortable with blackface. White supremacy was well within the political mainstream at the time. Here\u2019s Al Jolson doing \u201cOld Folks At Home\u201d in character as EP Christy in the 1939 film\u00a0<em>Swanee River<\/em>.<\/p>\n<div id=\"youtube2-ZoD0K_5rV2w\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;ZoD0K_5rV2w&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/ZoD0K_5rV2w?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>He also played himself\u00a0in the 1945 George Gershwin biopic\u00a0<em>Rhapsody in Blue,\u00a0<\/em>and<em>\u00a0<\/em>sang \u201cSwanee\u201d in blackface. This was within my parents\u2019 lifetime.<\/p>\n<div id=\"youtube2-wPEtnyg6sn0\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;wPEtnyg6sn0&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/wPEtnyg6sn0?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Judy Garland, who had an unfortunate history of doing blackface herself, didn\u2019t wear it in her performance of \u201cSwanee\u201d in\u00a0<em>A Star Is Born<\/em>\u00a0(1954), but several members of the ensemble cast did.<\/p>\n<div id=\"youtube2-LsGygMw0-OQ\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;LsGygMw0-OQ&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/LsGygMw0-OQ?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Not every white person was quite this racist back then.\u00a0Pete Seeger recorded \u201cOld Folks At Home\u201d under the title \u201cSwanee River\u201d in 1959, and, good liberal that he was, he didn\u2019t use dialect, and he replaced \u201cdarkies\u201d with \u201cbrothers\u201d. Otherwise, though, he kept the song intact, and his version has not aged as well as Ray Charles\u2019.<\/p>\n<div id=\"youtube2-0r9iE89by7E\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;0r9iE89by7E&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/0r9iE89by7E?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Brian Wilson adored Stephen Foster, and adapted his songs repeatedly. In 1963, Wilson wrote \u201cSurfin\u2019 Down the Swanee River\u201d for The Honeys, featuring his future wife Marilyn Rovell, and also sang backup on it. I don\u2019t even know how to think about the racial politics here; it\u2019s one of the silliest things I\u2019ve ever heard.<\/p>\n<div id=\"youtube2-MK-olXmzRUw\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;MK-olXmzRUw&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/MK-olXmzRUw?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Aretha Franklin recorded \u201cSwanee\u201d on one of her many standards albums in 1966. It is not the kind of thing we remember her for! It\u2019s wild to think that it was only a year before she recorded \u201cRespect.\u201d\u00a0<a href=\"https:\/\/500songs.com\/podcast\/episode-149-respect-by-aretha-franklin\/\">Andrew Hickey points out<\/a>\u00a0that Aretha loved this kind of tune, and was probably not under any presssure from the label or producer to record it.<\/p>\n<div id=\"youtube2-kFkrcTl5aVM\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;kFkrcTl5aVM&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/kFkrcTl5aVM?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>The Temptations performed \u201cSwanee\u201d on the Smothers Brothers Comedy Hour in 1967, and they put it on a live album the following year. As with Aretha, this is very far from the kind of material we associate them with now. I\u2019m assuming they approached it as a regular old Gershwin standard, and that it didn\u2019t have strong minstrel connotations by that point.<\/p>\n<div id=\"youtube2-Zh2YoO6FBxo\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;Zh2YoO6FBxo&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/Zh2YoO6FBxo?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>People are still recording \u201cSwanee\u201d in the 21st century. Here\u2019s Rufus Wainright\u2019s version from 2007.<\/p>\n<div id=\"youtube2-5THbn4e4XqY\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;5THbn4e4XqY&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/5THbn4e4XqY?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>Like I said above, plenty of people still record \u201cOld Folks At Home\u201d too. Here\u2019s a live performance by Hugh Laurie (Dr House himself) in 2012.<\/p>\n<div id=\"youtube2-x-qv87vXQzo\" class=\"youtube-wrap\" data-attrs=\"{&quot;videoId&quot;:&quot;x-qv87vXQzo&quot;,&quot;startTime&quot;:null,&quot;endTime&quot;:null}\" data-component-name=\"Youtube2ToDOM\">\n<div class=\"youtube-inner\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/x-qv87vXQzo?rel=0&amp;autoplay=0&amp;showinfo=0&amp;enablejsapi=0\" width=\"728\" height=\"409\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<\/div>\n<p>The first unit of my class is going to be Minstrelry and Black Identity. I didn\u2019t choose the topic, but I fully support starting with it. We need to study minstrelry not only for its massive importance in American cultural history, but also for its continuing relevance. Some scholars argue, convincingly, that minstrelry never ended, it just became slightly more subtle. Matthew Morrison\u2019s book\u00a0<em><a href=\"https:\/\/www.ucpress.edu\/books\/blacksound\/paper\">Blacksound: Making Race and Popular Music in the United State<\/a><\/em><a href=\"https:\/\/www.ucpress.edu\/books\/blacksound\/paper\">s<\/a>\u00a0defines \u201cBlacksound\u201d as \u201cthe sonic complement and legacy of blackface performance\u2026 a performance practice (in sound and movement) that laid the foundation for the industry of American popular music and entertainment within the context of chattel slavery\u201d (pp. 8-9). Morrison identifies Blacksound as the throughline running through American pop culture from the early 19th century through the present. I believe him; I don\u2019t think it would even be possible for a white artist to attain mainstream pop success without adopting Blacksound.<\/p>\n<p>It\u2019s easy to condemn white racists 100 years ago for wearing or enjoying blackface, but why did they do it in the first place? The obvious answer is that it demeaned black people, but Morrison doesn\u2019t think that\u2019s the only factor. He also points out that minstrelry was a liberating experience for white performers and audiences, a way to create their ideals of themselves in contrast to their caricatures of blackness. He further argues that this experience retains its attraction in the present.<\/p>\n<blockquote><p>The cultivation of minstrelized performances through the ruse of blackness, as well as varied and counterfeit interpretations of sounds produced by black people via blackface, allowed white participants to be, as Nina Eidsheim states, \u201cliberated to explore the heightened expressivity of the rest of the body and the voice.\u201d The paradoxical ritual of blackface performance\u2014i.e., the impersonation of black movement and sound through non-black and often racist interpretations, while co- constructing idea(l)s of whiteness through popular sound\u2014persisted\u00a0<em>after\u00a0<\/em>the disappearance or removal of burnt cork. To attend to the sounds and performances of blackface, and not just its visual mask, elucidates how the ritualistic improvisation of hybrid scripts in sound and movement allowed Blacksound to liberate both the minds and bodies of (white) performers and audiences alike, while simultaneously being absorbed as sources of property within the economy of popular entertainment. Attending to sound also foregrounds the way in which the embodiment of blackface performances and scripts continues, whether blackface is present or not, within American popular music (p. 13).<\/p><\/blockquote>\n<p>This is an uncomfortable paragraph for me to read, because it very accurately describes my own musical life. I have felt my own inner self much more truly expressed and reflected back to me through black music than through the music of my white ancestors. When I hear blues or jazz or funk or hip-hop, I hear something that speaks to me profoundly. That is\u2026 not great.<\/p>\n<p>Morrison devotes most of his book to a study of intellectual property law, which has enabled white artists and businesspeople to profit from black cultural expression in ways that have largely excluded the originators of that expression.<\/p>\n<blockquote><p>Because sound and movement were largely left out of copyright protection for most of the nineteenth (and well into the twentieth) century, the very sounds that originated in localized black communities (i.e., the blues scale that developed out of harmonic practices derived from black spiritual music, as well as idiosyncratic rhythmic practices and vocal stylings in work songs and other black folk music) have been ontologically understood as part of the public domain since slavery (p. 15).<\/p><\/blockquote>\n<p>He also points out that even when a black artist like Ray Charles reclaims a song like \u201cOld Folks At Home\u201d through signifyin(g), white listeners can easily miss the point.<\/p>\n<blockquote><p>If the black performers\u2014who eventually gained access to the popular stage over the course of the nineteenth century\u2014were Signifyin(g) upon the pre-established, racist tropes of blackface and attempted to \u201cchange the joke, slip the yoke\u201d in their performances, the majority-white audiences still often received and accepted their performances as \u201cauthentic\u201d representations of black people and other people of color. Their own white bodies were liberated through participation, yet these same acts were treated as degrading and negative scripts when emanating from (and written onto)\u00a0<em>actual\u00a0<\/em>black and other non-white people (p. 18).<\/p><\/blockquote>\n<p>So, that\u2019s how I plan to kick off the semester. It\u2019s going to be uncomfortable for everyone! At the ISME Conference last week, I went to a session by\u00a0<a href=\"https:\/\/sgottesman.com\/about\/\">Shoshana Gottesman-Solomon<\/a>\u00a0and\u00a0<a href=\"https:\/\/www.robinjfreeman.com\/\">Robin Freeman<\/a>\u00a0about designing classes to have a constructive atmosphere for hard conversations like this one. I usually take a loose, off-the-cuff approach to class discussions, but for a topic like blackface, I want to be more intentional about taking care of the students and myself. Gottesman-Solomon and Freeman have some useful ideas about that. They recommend that you\u00a0design an opening activity that builds trust and psychological safety and signals the kind of participation you want to invite. The goal is to cultivate joy and connection, or, for me, at least to mitigate anger and hurt feelings.<\/p>\n<p>Gottesman-Solomon and Freeman also recommend that the class work together to create a community agreement, asking the students what would allow them to learn, contribute, and make mistakes in the group. Some elements might include:<\/p>\n<ul>\n<li>Approach each other and our differences with kindness, curiosity, and self-awareness<\/li>\n<li>Lean into discomfort<\/li>\n<li>What\u2019s said here stays, what\u2019s learned here can leave<\/li>\n<\/ul>\n<p>Finally, Gottesman-Solomon and Freeman recommend building in systems for students to give you continual feedback, using tools like\u00a0<a href=\"https:\/\/www.stephenbrookfield.com\/critical-incident-questionnaire\">Stephen Brookfield\u2019s Critical Incident Questionnaire (CIQ)<\/a>. I have never used these kinds of formalisms before, trusting my natural warmth to build trust and connection with students. It has worked fine so far, but I haven\u2019t stress-tested it very hard, and talking about blackface is going to be a serious stress-test, especially right at the beginning of the class. So this is going to require me to step up my pedagogical game.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Content warning: this post includes offensive imagery. One of my tasks for the next two weeks is to put together my syllabus for NYU\u2019s\u00a0new music history class on 20th century American popular music.\u00a0To start the semester off, I wanted to find a song that spans many styles and eras, and that lays the thematic foundation &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/www.ethanhein.com\/wp\/2026\/i-decided-what-song-im-going-to-start-my-history-of-20th-century-american-popular-music-class-with\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;I decided what song I&#8217;m going to start my History of 20th Century American Popular Music class with&#8221;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[3,927],"tags":[3098,1786],"class_list":["post-32420","post","type-post","status-publish","format-standard","hentry","category-autobio","category-music-teaching","tag-george-gershwin","tag-stephen-foster","entry"],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pAPdE-8qU","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/posts\/32420","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/comments?post=32420"}],"version-history":[{"count":2,"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/posts\/32420\/revisions"}],"predecessor-version":[{"id":32423,"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/posts\/32420\/revisions\/32423"}],"wp:attachment":[{"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/media?parent=32420"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/categories?post=32420"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ethanhein.com\/wp\/wp-json\/wp\/v2\/tags?post=32420"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}