So, basically, you know, people are going to talk. They can say what they want. Dodson surrenders to the Zip Coon stereotype by appearing overly primped in his public appearances, and confirms that he is the dandy jokester by highlighting how much he and his family like to play jokes.
But like performers in coon songs, Dodson is using his agency and media savvy to keep his perceived audience interested so that he can control his image enough to make a profit out of a less than ideal stereotype.
The Negro Faggot draws upon connotations of a deviant Other, one whose homosexuality renders him neither black nor a man.
The construction of the Negro Faggot identity still comes from outside projections, much like how white constructions of blackness created minstrel stereotypes. Blackness is a cultural invention, not some precious essence installed on black bodies; and for better or worse it was often a product of self-commodification, a way of getting along in a constricted world. Black people, that is to say, not only Lose Weight Exercise d a certain amount of control over such practices but perforce sometimes developed them in tandem with white spectators… At the same time, of course, there is no question that white commodification of black bodies structured all of this activity.
Lott, , p. As previously described, blackness is still a cultural invention, one that plays on modern replications of pathological imagery. The Gregory Brothers discount electro musicians like Zapp and producers like Timbaland when they tout their digital product as authentically unique, profiting off black culture while denying its influence on their creation. At the same time, The Gregory Brothers acknowledge their ultimate goal is making a profit, and position themselves as talent hunters in the old model of record labels.
Ironically, record labels have a long history of exploiting their unsigned musical finds. Antoine Dodson and his sister Kelly are examples of how bodies of color online are expected to perform by the often racist, Orientalist rules of the internet. Everett asserts that digital media have not failed to wipe out the old constructs of racism; rather, digital media have introduced new levels of racial divides and strategies for preserving the framework of whiteness as a norm online.
Whiteness in cyberspace operates as the unmarked category upon which difference is constructed, where whiteness never has to acknowledge itself and is the benchmark in social and cultural relations Lipsitz, Lipsitz argues that whiteness maintains its dominance by appearing to not be anything in particular.
Figure 1. Responses across the internet have indicated otherwise. He said,. As the remix took off, I became increasingly uncomfortable with its separation from the underlying situation. A woman was sexually assaulted and her brother was rightfully upset. Mackey, , para. Dodson allowed his image to be used, knowing if he objected to its use he would have been silenced and lost his chance to make a profit.
We may never know all the reasons why Antoine Dodson has donned the blackface mask. Early twentieth century coon songs are an example of this dichotomy. Examining the historical context of coon songs lays a foundation to understand how its nuances appear in contemporary popular music. In the present, hip-hop and imitations of the musical form precariously teeter between artistic expression and a neo-minstrel show.
The convergence of old media coon songs and new media YouTube videos examines internet culture from a critical historical perspective. Abbott, L. Carvin, A. Ellison, R. Change the joke and slip the yoke. Tweets by TheWoodWord. Pitch an article to The Wood Word. Navigate Left. Navigate Right. The Wood Word. The Wood Word Newsletter. Subscribe for a weekly news digest that will be sent directly to your email every Friday.
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