front cover of Inventing Modern Adolescence
Inventing Modern Adolescence
The Children of Immigrants in Turn-of-the-Century America
Sarah E. Chinn
Rutgers University Press, 2008
The 1960s are commonly considered to be the beginning of a distinct "teenage culture" in America. But did this highly visible era of free love and rock 'n' roll really mark the start of adolescent defiance? In Inventing Modern Adolescence Sarah E. Chinn follows the roots of American teenage identity further back, to the end of the nineteenth and beginning of the twentieth centuries. She argues that the concept of the "generation gap"—a stereotypical complaint against American teens—actually originated with the division between immigrant parents and their American-born or -raised children. Melding a uniquely urban immigrant sensibility with commercialized consumer culture and a youth-oriented ethos characterized by fun, leisure, and overt sexual behavior, these young people formed a new identity that provided the framework for today's concepts of teenage lifestyle.Addressing the intersecting issues of urban life, race, gender, sexuality, and class consciousness, Inventing Modern Adolescence is an authoritative and engaging look at a pivotal point in American history and the intriguing, complicated, and still very pertinent teenage identity that emerged from it.
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front cover of Staging Race
Staging Race
Black Performers in Turn of the Century America
Karen Sotiropoulos
Harvard University Press, 2006

Staging Race casts a spotlight on the generation of black artists who came of age between 1890 and World War I in an era of Jim Crow segregation and heightened racial tensions. As public entertainment expanded through vaudeville, minstrel shows, and world's fairs, black performers, like the stage duo of Bert Williams and George Walker, used the conventions of blackface to appear in front of, and appeal to, white audiences. At the same time, they communicated a leitmotif of black cultural humor and political comment to the black audiences segregated in balcony seats. With ingenuity and innovation, they enacted racial stereotypes onstage while hoping to unmask the fictions that upheld them offstage.

Drawing extensively on black newspapers and commentary of the period, Karen Sotiropoulos shows how black performers and composers participated in a politically charged debate about the role of the expressive arts in the struggle for equality. Despite the racial violence, disenfranchisement, and the segregation of virtually all public space, they used America's new businesses of popular entertainment as vehicles for their own creativity and as spheres for political engagement.

The story of how African Americans entered the stage door and transformed popular culture is a largely untold story. Although ultimately unable to erase racist stereotypes, these pioneering artists brought black music and dance into America's mainstream and helped to spur racial advancement.

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