Today, vaudeville is imagined as a parade of slapstick comedians, blackface shouters, coyly revealed knees, and second-rate acrobats. But vaudeville was also America's most popular commercial amusement from the mid-1890s to the First World War; at its peak, 5 million Americans attended vaudeville shows every week. Telling the story of this pioneering art form's rise and decline, David Monod looks through the apparent carnival of vaudeville performance and asks: what made the theater so popular and transformative? Although he acknowledges its quirkiness, Monod makes the case that vaudeville became so popular because it offered audiences a guide to a modern urban lifestyle. Vaudeville acts celebrated sharp city styles and denigrated old-fashioned habits, showcased new music and dance moves, and promulgated a deeply influential vernacular modernism. The variety show's off-the-rack trendiness perfectly suited an era when goods and services were becoming more affordable and the mass market promised to democratize style, offering a clear vision of how the quintessential twentieth-century citizen should look, talk, move, feel, and act.

From 1881 to 1932, vaudeville was at the heart of show business in the UnitedStates. This volume explores the many ways in which vaudeville's story is thestory of show business in America.

In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life.

"In 1919, the four Turner sisters and their parents are barely scraping along. Their father is a low-paid boot stitcher in Johnson City, NY, and the Turners are always one paycheck away from eviction. When their father's hand is crushed and he's forced to quit, their domineering mother decides that the vaudeville stage is their best--and only--chance for salvation. With everything at stake, the Tumbling Turners take to the road and the four young women, teenagers Gert, Winnie, and Kit, and Nell, a 22-year-old new mother and recent widow of the Great War, are soon immersed in the tumultuous world of American Vaudeville on a nine-city tour that will make or break them. Swindlers and ne'er-do-wells await in abundance, but so does kindness, and just maybe a chance at love. Equal parts heartwarming, charming, and reflective, The Tumbling Turner Sisters is the story of the sacrifices we make in the name of family, and how the most unlikely choice can ultimately be the one to lead us toward our truest selves"--