By Doris Witt
The construction of the Aunt Jemima trademark from an 1889 vaudeville functionality of a play known as ''The Emigrant'' helped codify a pervasive connection among African American girls and meals. In Black Hunger, Doris Witt demonstrates how this connection has operated as a critical structuring dynamic of twentieth-century U.S. psychic, cultural, sociopolitical, and financial existence. Taking as her concentration the tumultuous period of the overdue Nineteen Sixties and early Nineteen Seventies, while soul nutrition emerged as a pivotal logo of white radical stylish and black bourgeois authenticity, Witt explores how this interracial get together of formerly stigmatized meals akin to chitterlings and watermelon was once associated with the contemporaneous vilification of black girls as slave moms. via positioning African American ladies on the nexus of debates over household servants, black culinary historical past, and white girl physique politics, Black Hunger demonstrates why the continuing narrative of white fascination with blackness calls for elevated realization to the inner dynamics of sexuality, gender, type, and faith in African American tradition. Witt attracts on fresh paintings in social background and cultural experiences to argue for nutrients as an interpretive paradigm that may problem the privileging of tune in scholarship on African American tradition, destabilize constrictive disciplinary barriers within the academy, and improve our realizing of the way person and collective identities are demonstrated.
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Extra resources for Black Hunger: Food and the Politics of U.S. Identity
Noticeably different, however, is a new, stylish, greystreaked hairdo, and her headband has been removed. Other changes include cosmetic touches such as a different style of collar and the addition of earrings. "We wanted to present Aunt Jemima in a more contemporary light, while preserving the important attributes of warmth, quality, good taste, heritage and reliability," said Barbara R. Allen, Vice President-Marketing for Quaker Oats Company's Convenience Foods Division, makers of Aunt Jemima products.
Whether cited or not, at-hand or at-second-remove, one book seems to have functioned as the "ur" text for most of the post-1960s accounts of Aunt Jemima: Arthur Marquette's Brands, Trademarks and Good Will: The Story of the Quaker Oats Company (1967). Writing as the integrationist civil rights agenda was giving way to the more uncompromising politics of Black Power, Marquette pretty clearly aimed to position the Aunt Jemima trademark as a legitimate inheritor of white global capitalism and black folk culture alike.
Obsession with black female appetites. This concern has played itself out on numerous levels, from gastronomic to sexual to economic. " quickly mutates to encompass other aspects of black female consumption, including access 24 SERVANT PROBLEMS to the wealth and power that can satisfy desire. Certainly one suspects that popular interest in Winfrey's eating habits during the late 1980s and early 1990s was in no small part a function of her enormous wealth: even the notorious TV Guide body-switch cover was accompanied by a story entitled "The Richest Woman on TV?