The Wake

In developing American society, around the emancipation of the slaves, there was a movement in popular entertainment to further oppress African Americans: blackface. The form of entertainment initially put burnt-cork makeup on a white performer to make him look black. Then, towards the turn of the twentieth century, even black performers themselves would put on blackface. A performer in blackface depicted African-American culture as disorganized, lustful, ignorant, savage and inferior to whites. Ultimately, the blackface image (along with Jim Crow, Plessey vs. Fergusson and the government forced end to Reconstruction) managed to repress the progression of the African-American race in the U.S. following the Civil War. Furthermore, the presence of blackface is still prevalent in contemporary American popular culture. Though faces are no longer being painted, stereotypes are still being exploited and profited on. However, the mockery has expanded in America to now include the belittlement of homosexuals in popular culture.

In 1789, Louis Hallman, Jr., a white man, brought blackface to the theatrical stage. His performance as an inebriated black man became widely popular and Hallman’s works soon influenced many performers who began to use blackface. Prior to the 1840s, all blackface performers were white men mocking the black culture. Then, after the 1840s, it was much more common for African-American men to perform in black face. Though black men were now belittling their own race, the prospect of being able to make a livable wage—which was nearly impossible—forced some African-Americans to be a part of blackface entertainment.

With the introduction of film to America, blackface transferred from the stage to the screen. In 1927, Al Jolson in the Jazz Singer preformed as a white stage actor in blackface. In Plane Crazy in 1928 and Steamboat Willie later in the same year, Mickey Mouse appeared on film for the first time. Mickey’s black face, large eyes, big mouth, white gloves and silly demeanor epitomized a typical blackface character. The murderer in Alfred Hitchcock’s 1937 movie, the Young and Innocent, acted in blackface. Bing Crosby performed as Abraham Lincoln in blackface in the 1942 film Holiday Inn. The list goes on and includes famous American characters such as Buckwheat and Amos ‘n’ Andy. Though these characters did not wear blackface, they embodied all of the other characteristics of the blackface character: slow speech, dim-wittedness and submission to whites.

Blackface performances eventually stopped in the 1950s, but the characteristics of it still exist and are unfortunately still well received today. Shows such as Will and Grace, Queer Eye for the Straight Guy and Project Runway arguably exploit stereotypes of homosexuals for American entertainment. No one on these shows represent a non-overtly-flamboyant character. However, many other shows that portray heterosexuals have characters that are modest with their sexuality—why does popular entertainment construct homosexuals as only aesthetically-obsessed characters? Why are there not homosexual characters on Law and Order where sexuality is insignificant to the plot? Heterosexuals can be cops and robbers, why not homosexuals? Will on Will and Grace may be a lawyer, but his profession is second to his sexuality on the show. Queer Eye for the Straight Guy and Project Runway convey to America that homosexuals have only fashion tips to offer the public. However, this is simply not true—it is just a label. Just as in blackface, homosexual characters are defined by their sexuality’s stereotypes.

Due to the fact that homosexuality has only been out of closet for the past thirty years in United States, many Americans still have not been exposed to homosexuals outside of media portrayals—it is simply not a fair representation. The danger of this is that some Americans may only base their judgments of homosexuals on what they see on T.V. and not on what people are actually like. Although blackface is looked back on today by Americans as a largely offensive part of their cultural history, aspects of it continue to be an influential part of contemporary popular culture by taking advantage of stereotypes. As there is still prejudice against homosexuals in many parts of America today, the stereotypes of homosexuals that the American entertainment industry is

manipulating could be hindering the acceptance of a large part of America’s population.

Tom McNamara is a Voices staff writer and welcomes your comments at .