A Revolution in Three Acts - by David Hajdu & John Carey (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>"An African American who performed in blackface to challenge racial stereotypes; a woman whose song, "I Don't Care," became emblematic of the modern "New Woman"; and a female impersonator whose act was created to uphold the traditional values of American femininity. These stories are at the center of David Hajdu's new work of graphic nonfiction, which recounts the lives and careers of Bert Williams, Eva Tanguay, and Julian Eltinge, three of the most popular and influential vaudeville performers at the turn of the twentieth century. Hajdu's history reveals how popular American entertainment as we know it first took form in vaudeville, and the ways these three artists challenged conceptions of race, gender, and what it meant to be an American during a pivotal time in the nation's history. Hajdu and the artist John Carey intertwine the stories of Williams, Eltinge, and Tanguay with sections that focus on subjects relating to their lives and careers, such as the histories of minstrelsy or gender-bending in American theater. The book tells how the West Indian Bert Williams found a balance in his act that at once played to and challenged ideas of Blackness in American life. Eva Tanguay, who was known as "The Queen of Vaudeville," embodied a fiercely radical challenge to the prevailing conceptions of female propriety. Julian Eltinge, to whom Tanguay was briefly "engaged," created a precise impersonation of the dainty, graceful proper woman, while maintaining an offstage persona of hypermasculinity. Hajdu and Carey conclude the book by examining how these artists influenced the acts and personas of later performers ranging from Elvis Presley to Prince to Nikki Minaj"--<p/><br></br><p><b> Book Synopsis </b></p></br></br>Bert Williams--a Black man forced to perform in blackface who challenged the stereotypes of minstrelsy. Eva Tanguay--an entertainer with the signature song "I Don't Care" who flouted the rules of propriety to redefine womanhood for the modern age. Julian Eltinge--a female impersonator who entranced and unnerved audiences by embodying the feminine ideal Tanguay rejected. At the turn of the twentieth century, they became three of the most provocative and popular performers in vaudeville, the form in which American mass entertainment first took shape. <p/><i>A Revolution in Three Acts</i> explores how these vaudeville stars defied the standards of their time to change how their audiences thought about what it meant to be American, to be Black, to be a woman or a man. The writer David Hajdu and the artist John Carey collaborate in this work of graphic nonfiction, crafting powerful portrayals of Williams, Tanguay, and Eltinge to show how they transformed American culture. Hand-drawn images give vivid visual form to the lives and work of the book's subjects and their world. <p/>This book is at once a deft telling of three intricately entwined stories, a lush evocation of a performance milieu with unabashed entertainment value, and an eye-opening account of a key moment in American cultural history with striking parallels to present-day questions of race, gender, and sexual identity.<p/><br></br><p><b> Review Quotes </b></p></br></br><br><i>A Revolution in Three Acts</i> is an incredible work of historical scholarship, entertainment, and artistry.--Foreword Reviews<br><br>Neither revolution nor radical are terms commonly associated with vaudeville. Yet Hajdu and Carey effectively illuminate the significance of three trailblazers who merit such rhetoric and who have been largely forgotten since vaudeville lost its audience to the movies . . . Hajdu's lively scholarship and critical perspective match Carey's spirited renderings, which range from ebullience to devastation. A sharp account that brings life and light to a period that has gone dark in popular memory.--Kirkus Reviews<br><br><i>A Revolution in Three Acts</i> is a vivid window into a bygone era of American entertainment. Here is vaudeville and all its comic, dramatic, and tragic dimensions as witnessed in the lives of three of its most pivotal practitioners. David Hajdu and John Carey have not simply crafted an elegy for an art form, they have chronicled the figures whose talent made it great in the first place.--Jelani Cobb, author of <i>To the Break of Dawn: A Freestyle on the Hip Hop Aesthetic</i><br><br>Three amazing people--Bert Williams, a Black entertainer who pushed the boundaries of minstrelsy; Eva Tanguay, a sexually provocative and funny performer whose best-known song is about not caring what people thought of her; and Julian Eltinge, a cross-dressing vaudevillian who even had his own magazine--are the stars of this entertaining, thought-provoking work of graphic history.--Roz Chast, author of <i>Can't We Talk About Something More Pleasant?</i><br><br>Brimming with insight and graphic creativity, this is a highly engaging and informative history of three of the most transformative American performers of the early twentieth century: a Black man who subverted blackface by performing in it, a "wild woman" who "didn't care" about social convention, and a female impersonator who provided beauty advice to multitudes of American women. Hajdu and Carey deftly show us how, rather than being consigned to the margins, they made themselves unlikely stars of the most popular entertainment form of their day: vaudeville, the voice of the city.--George Chauncey, author of <i>Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940</i><br><br>David Hajdu and John Carey's <i>A Revolution in Three Acts</i> offers a thoroughly engrossing, kaleidoscopic historical portrait of three landmark entertainers: Bert Williams, Eva Tanguay, and Julian Eltinge, artists who challenged the presumptive rigidity of racial, gender, and class categories both off the stage as well as on it. With its crisp, vivid, animated narration, it is a book that illuminates the intersecting careers of these pathbreaking performers and the electrifying ways that they each used vaudeville as the space where American identity could be radically reimagined. A page-turner.--Daphne A. Brooks, author of <i>Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound</i><br><br>Using a format as episodic as the unique performance tradition they are depicting, David Hajdu and John Carey introduce readers to three figures who transformed vaudeville and defied the values of their age. Giving voice and images to these remarkable performers and their social and political milieu, we see Bert Williams convert the stereotypes of Blackness in what Frederick Douglass referred to as the 'pestiferous nuisance' of blackface minstrelsy into performances that depicted the pathos of Black people's experience in the racist and segregated US; Julian Eltinge's cross-dressed delineations of femininity reveal the fluidity and performativity of gender, and Eva Tanguay's embrace of the Salome character's sensuality signify 'new' women's rebellion against social constraints.--Lisa Merrill, author of <i>When Romeo Was a Woman: Charlotte Cushman and Her Circle of Female Spectators</i><br><br>This vivid book offers the tales and truths of pioneering performers who challenged the rules of race, gender, and sexuality. "Change the joke and slip the yoke," as Ralph Ellison said. And so they did, remaking American art and history and culture in the process.--Margo Jefferson, author of <i>Negroland: A Memoir</i><br><p/><br></br><p><b> About the Author </b></p></br></br>David Hajdu is a professor at the Columbia Journalism School. His books include <i>Lush Life: A Biography of Billy Strayhorn</i> (1996); <i>Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña, and Richard Fariña </i>(2001); <i>The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America</i> (2008); and <i>Adrianne Geffel: A Fiction</i> (2020). <p/>John Carey is a painter and cartoonist. He was the editorial cartoonist for Greater Media Newspapers for many years. <p/>Michele Wallace is professor emerita of English at the City College of New York and the CUNY Graduate Center. Her books include <i>Invisibility Blues: From Pop to Theory</i> (1990).
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