Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920s

Notes

Notes Introduction 1. Lee Tung Foo, letter to Margaret Blake Alverson, London, 4 June 1908; “Vaudeville ,” Providence Journal, 1 Jan. 1907, 16; “Proctor’s Theatre,” Newark Evening News, 18 Dec. 1906, clippings, Margaret Blake Alverson Papers, California State Library, Sacramento, Calif. All personal papers from Lee Tung Foo and Margaret Blake Alverson are from the California State Library in Sacramento, California, unless otherwise noted. 2. News Democrat (Providence, R.I.), 1 Jan. 1907, clippings, Margaret Blake Alverson Papers. 3. John Fiske, Understanding Popular Culture (NewYork: Routledge, 1990), 23–26. 4. Gilbert Chase, America’s Music: From the Pilgrims to the Present (Urbana: University of Illinois Press, 1987), 323–561; Richard Crawford, America’s Musical Life: A History (NewYork: W. W. Norton, 2001), 139–688; Richard Butsch, The Making of American Audiences, from Stage toTelevision, 1750 –1990 (NewYork: Cambridge University Press, 2000), 66–234. 5. Judith Butler, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,” in Performing Feminisms: Feminist Critical Theory and Theatre, ed. Sue-Ellen Case (Baltimore: Johns Hopkins University Press, 1990), 278. 6. Edward Said, Orientalism (NewYork:Vintage, 1979), 3, 118. 7. Colin Mackerras, The Chinese Theatre in Modern Times (Amherst: University of Massachusetts Press, 1975); Alan R. Thrasher, Joseph S. C. Lam, Jonathan P. J. Stock, Colin Mackerras, Francesca Rebolto-Sborgi, F. Kouwenhoven, A. Schimmelpenninck , Stephen Jones, Han Mei,Wu Ben, Helen Rees, SabineTrebinjac, and Joanna C. Lee, “China,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (NewYork: Macmillan Press, 2001), 5:631–695; BellYung, Cantonese Opera:Performance as Creative Process (NewYork: Cambridge University Press, 1989); Tanaka Issei, “The Social and Historical Context of Ming-Ch’ing Local Drama,” in Popular Culture in Late Imperial China, ed. David Johnson, Andrew J. Nathan, and Evelyn S. Rawski (Berkeley: University of California Press, 1985), 143–160. 8. Homi K. Bhabha, The Location of Culture (NewYork: Routledge, 1994), 66. 9. Antoinette Burton, Burdens of History: British Feminists, Indian Women, and Imperial Culture, 1865–1915 (Chapel Hill: University of North Carolina Press, 1994). 10. Robert G. Lee, Orientals: Asian Americans in Popular Culture (Philadelphia: Temple University Press, 1999); John Kuo Wei Tchen, NewYork before Chinatown: Orientalism and the Shaping of American Culture, 1776 –1882 (Baltimore: Johns Hopkins University Press, 1999); James S. Moy, Marginal Sights: Staging the Chinese in America (Iowa City: University of Iowa Press, 1993). See also Creighton Miller, The Unwelcome Immigrant:The American Image of the Chinese, 1785–1882 (Berkeley: University 183 of California Press, 1969); Mari Yoshihara, Embracing the East: White Women and American Orientalism (New York: Oxford University Press, 2003); Christina Klein, ColdWar Orientalism:Asia in the Middlebrow Imagination, 1945–1961 (Berkeley: University of California Press, 2003); Judy Tsou, “Gendering Race: Stereotypes of Chinese Americans in Popular Sheet Music,” Repercussions 6 (Fall 2001): 25–62. 11. Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (Ithaca, N.Y.: Cornell University Press, 1986), 5 (emphasis in the original), 191. 12. John M. MacKenzie, Orientalism: History,Theory, and the Arts (NewYork: University of Manchester Press, 1995), 138–175; James Parakilas, “The Soldier and the Exotic: Operatic Variations on a Theme of Racial Encounter: Part I,” Opera Quarterly, 10 (Winter 1993–94): 33–56; Derek B. Scott, “Orientalism and Musical Style,” Musical Quarterly 82 (Summer 1998): 309–335; Ralph P. Locke, “Reflections on Orientalism in Opera and Musical Theater,” Opera Quarterly 10 (Autumn 1993): 50–64. 13. Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and Their World (New York: Cambridge University Press, 1997); Robert C. Toll, Blacking Up:The Minstrel Show in Nineteenth-Century America (New York: Oxford University Press, 1974); Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1993). 14. Eileen Southern, The Music of Black Americans:A History (NewYork: W. W. Norton, 1971);Thomas L. Riis, Just before Jazz:Black MusicalTheater in NewYork,1890 –1915 (Washington, D.C.: Smithsonian Institution Press, 1989); Lawrence Levine, Black Culture, Black Consciousness:Afro-American FolkThought from Slavery to Freedom (New York: Oxford University Press, 1977). 15. Josephine Lee, Performing Asian America: Race and Ethnicity on the Contemporary Stage (Philadelphia: Temple University Press, 1997), 30. See Dorinne Kondo, About Face: Performing Race in Fashion andTheater (NewYork: Routledge, 1997), 10; Karen Shimakawa , National Abjection:The Asian American Body Onstage (Durham, N.C.: Duke University Press, 2002), 19–22. Chapter 1 Imagining China 1. Jacques Attali, Noise: The Political Economy of Music, trans. Brian Massumi (Minneapolis : University of Minnesota Press, 1985). See Alain Corbin, Village...