Abstract Expressionism, 90, 120
Adventures of Huckleberry Finn, The (novel), 252n86
African American press, 17–18, 20–21, 27, 30–31, 115, 128, 154, 161–62, 171, 186, 210, 217n36, 218n56, 219n73–74, 232n48, 251n78
Ahearn, Charlie, 33, 35, 40–41, 51, 59–60, 83, 89, 92–93, 95, 98, 101–2, 104, 108–9, 111, 113, 115, 117, 119, 122–23, 145, 209, 237n93, 237n97
and aesthetic strategies within Wild Style, 236n90
and graffiti as avant-garde art practice, 91, 120–21
and musical film, 233n51
and utopian desires within musical film, 76
Airplane, 147
Altman, Rick, 48, 50–51, 53, 92–93, 96–97, 102, 107, 121, 144, 230–31n29, 236–37n92
American Bandstand, 165
American in Paris, An, 35
American Mutoscope and Biograph Company, 12–14
Anagnos, Bill, 41
Anchors Aweigh, 78
Anderson, Eddie “Rochester,” 97
Anderson, Laurie, 100
Animal House, 45
Arenal, Julie, 201–2
Armstrong, Louis, 17
Astaire, Fred, 35, 78–79, 116, 187, 235n76
Atwell, Rick, 196
Avalon, Frankie, 125
Babes in Arms, 125
Backstage musical, 51, 66, 92, 95, 98, 177
Baker, Josephine, 17–18, 20, 186
Bakhtin, Mikhail, 225n62, 231n32
Ballet, and gender, 198–201
Bambaataa, Afrika, 109
Banes, Sally, 109, 248n33, 250n61
Barkleys of Broadway, The, 78
Baryshnikov, Mikhail, 199
Basquiat, 230n19
Baudrillard, Jean, 143
Beals, Jennifer, 177, 178, 181, 184, 185, 190, 191, 253n97
Beat Street, 4, 33, 39, 40–41, 47–48, 95, 101, 115, 121, 166, 204, 221n5, 235n67, 250n63, 257n4
and “authentic” hip hop practitioners, 114
and breakdance manuals, 167
and choreography, 202
and commercial cooptation of hip hop, 142
and dilapidated housing, 105, 108
and family, 158–59
and location shooting, 114
and marketing, 209; musical genre, 49–51
postclassical musical, 75–77, 81
and urban topography, 54, 57, 59, 65, 71, 82–84
and women in hip hop film, 171
Beiderbecke, Bix, 187
Belafonte, Harry, 41–42, 221n4, 221n4–5
Bennett, Andy, 100
Benny Goodman Story, The, 187
Berkeley, Busby, 49, 157, 234n63, 237n96
Berry, Chuck, 25
Berry, Fred “Rerun,” 172
Bill Haley and the Comets, 155
Billson, Janet-Mancini, 169–70, 173
Birth of a Nation, 149, 188, 216n30, 251n79
Biz Markie, 3
Black Arts Movement, 176
Black Panther Party, 29, 176, 249n52
Blackboard Jungle, 155
Blackface, and minstrelsy, 9–10, 13, 15, 17, 149, 187–88, 199, 205, 215n19, 252n84
Blaxploitation cinema, 4, 22, 29–30, 161
Bledsoe, Jules, 20
Blond Venus, 186
Blondie, 158
Blow, Kurtis, 42, 51, 102, 114, 154
Bodnar, John, 180–81
Body Rock, 4, 33, 39, 42, 44, 46, 67–69, 84, 106, 179
Bonnie Hayes and the Wild Combo, 157
Born Losers, The, 126
Branigan, Laura, 178
Breakdancing: and gender, 166–69, 171, 174
and montage, 77
and opinion of medical community, 164–65
and popular media, 165–66, 167
Breakfast Club, The, 127, 139–40
Breakin’, 4, 33, 37, 39, 42–44, 50–51, 65, 67–68, 81–82, 114, 121, 158–59, 167, 205–7, 221n8, 222n11, 256n1
and African American press, 162–63
and “authentic” hip hop practitioners, 115
and children, 154
and exploitation cinema, 47–48
and marketing, 209
and postclassical “music man,” 79
and women in hip hop film, 171, 177
Breakin’ Through, 4, 33, 37, 39, 42, 44–45, 50–51, 69, 82, 84, 106
Breakin’ 2, Electric Boogaloo, 4, 33, 37, 39, 50–51, 65–68, 75, 81, 101, 114–15, 121, 154, 158, 163, 167, 171, 205–7
and commercial cooptation of hip hop, 141–42
and exploitation cinema, 42–44
and family, 159
and postclassical “music man,” 78–79
Bronner, Ethan, 110
Buddy Holly Story, The, 72
Campbell, Don, 175
Canby, Vincent, 83, 134, 179, 240n33
Cannon Films, 42–43, 47, 65, 82, 161, 221n8, 256n1
Can’t Buy Me Love, 130
Car Wash, 42
Cara, Irene, 184
Carmen: A Hip Hopera, 210
Carolina Blues, 23
Carousel, 230n29
Chambers, Michael, 43, 115, 154, 162–63, 205
Chardiet, Jon, 41
Charisse, Cyd, 235n76
Chicken Thief, The (1902), 13
Chicken Thief, The (1903), 13
Chicken Thief, The (1904), 13–14
Chong, Rae Dawn, 41, 114, 171, 235
Chong, Tommy, 114
Chopping Mall, 239n22
City Heat, 44
Classical musical genre conventions, 53–54, 65, 71, 72–73, 75–76, 92
Clean Block Campaign, 87–88, 105, 229n9
Cleaver, Eldridge, 249n52
Clinton, George, 29–30, 219n76
Clover, Carol, 182, 195, 254n116
Cold Crush Brothers, 108, 112, 141
Conceptual Art, 118
Congress of Industrial Organizations, 21
Cool pose, and gender, 170–71
Cooley High, 42
Corman, Roger, 126
Covington, Paul L., 151
Crazy Legs (Richard Colon), 191–92, 205, 246n12, 255n136
Crenshaw, Kimberlé, 176
Cubism, 120
Cusack, John, 156
Da Hip Hop Witch, 210
Dandridge, Dorothy, 22
Dauphin, Gary, 4
Davis, Ossie, 114
Dawn of the Dead, 239n22
Dawn of the Dead (2004 remake), 239n22
De Kooning, Willem, 91
Del Barco, Mandalit, 110
Delivery Boys, 4, 33, 39, 42, 45–46, 69, 84, 106, 211, 222n17, 250n63
and sublimation of violence through performance, 110
Devil’s Angels, 126
Dietrich, Marlene, 186
Dirty Dancing, 34–35, 71, 73, 80–81, 127, 226n76
Doherty, Thomas, 43, 125, 205–6, 221n7
Don’t Knock the Rock, 25–26, 125
Double Trouble (Rodney Stone and Kevin Smith), 98–101, 156
Doug E. Fresh, 235n67
Douglass, Frederick I., 161, 162
Down Argentine Way, 23
Downey, Robert, Jr., 136
Du Bois, W. E. B., 16
Dyer, Richard, 73, 77, 226n78, 253n98
Dynamic Rockers, The, 172
Ebert, Roger, 192, 249n55, 253n97
Ebony Film Corporation, 15
Edison Company, 12–13
Ellington, Duke, 22
Elliot, Missy, 3
Epstein, Marcelo, 44
Ero (Dominique Philbert), 87
Fab Five Freddy (Fred Brathwaite), 90, 234n66
Fairy tale musical, 48, 50, 52–53, 73, 80, 81, 184, 192
Falcon Crest, 44
Farrell, James, 132
Fast Times at Ridgemont High, 36, 130, 132, 137–38
Fat Boys, The, 51, 75, 102, 114, 154–56
Fauvism, 120
Female Break Force, The, 172
Feuer, Jane, 71–72, 80, 97, 230n25
Finish of Bridget McKeen, The, 12
Firstenberg, Sam, 43
Fisher, Jean, 122
Flashdance, 5, 33–34, 37–38, 47, 52, 71–73, 76–77, 127, 166–67, 177–78, 204–7, 210, 226n75, 249n55, 250n61, 253n100
and breakdance, 193–96
and doubles, 189–93
and the individual, 184–85
and Pittsburgh’s steel industry, 180–81
Flip Rock, 235n67
Folk musical, 22, 39, 48, 52, 65, 80–81, 86, 96–98, 100–108, 121, 230n29, 232n50, 250n63
Footloose, 34–35, 73, 127, 210, 226n76
Foreman, Murray, 4
Fort Apache, the Bronx, 83
Foster, Catherine, 179
Freed, Alan, 6, 26, 29, 126, 219n71
Friedberg, Anne, 143–44
Funicello, Annette, 125
Funkadelic, 29
Furious Rockers, The, 174
Futurism, 120
Gabbard, Krin, 187–88, 193, 252n82
George, Nelson, 5, 180, 249n53
Giannone, Mary, 204
Gilbert, Eugene, 238n7
Gish, Lillian, 252n90
Glenn Miller Story, The, 187
Godard, Jean Luc, 235n73
Gold Diggers of 1933, 49, 229n14, 234n63, 237n96
and African American press, 86–89
and challenging the constraints of urban life, 93–94
and high art world, 95
as positive force, 87, 89, 91, 93–94
and relation of word to image, 118–19
and relation to advertising, 119
and stemming violence, 109–11
Graffiti Rock, 165
Grand Bobalition, or “Great Annibersary Fussible,” 7
Grand Celebrashun ob de Bobalition ob African Slabery!!!, 7–8
Grand Wizzard Theodore, 3
Granger, Lester, 27–28
Great Fear of the Period That Uncle Sam May Be Swallowed by Foreigners: The Problem Solved, The, 10–11
Green Pastures, The, 22, 227n91
Griffith, D. W., 188
Grubb, Kevin, 114
Hairspray, 72
Hall, Adelaide, 20
Hall, Anthony Michael, 135
Hall, G. Stanley, 124
Handler, Ken, 46
Harlem, 16, 31, 42, 58–59, 102, 108, 151, 251n77
Harrington, Richard, 145
Hay, James, 71–72
Hazzard-Donald, Katrina, 171–72, 175
Hearts in Dixie, 22, 39, 107, 227n91
Hellinger, Mark, 19–20
Heyward, Julia, 100
High, Becky, 116
Higher Learning, 96
Hill District, The (Pittsburgh), 31, 42, 55, 60–62, 71, 84
Hoare, Roseanne, 168, 173, 198
Holman, Michael, 165, 168, 169, 175, 255n136
hooks, bell, 249n52
House Party, 96
How Bridget Served the Salad Undressed,
Hughes, John, 36, 126–27, 132, 134–35, 140, 238n10
Hughes, Langston, 16
Hughes Brothers, The, 4
Hurston, Zora Neale, 16
Ice Cube, 234n61
Ice-T, 114
Irish appropriation, of African American performance traditions, 6, 187
Irish immigrants, and African Americans, 10–12, 24, 60
representation of, 14
Jackson, Jesse, 55
Jackson, Michael, 162, 175, 196
Jacob, John E., 33
Jacobson, Harlan, 83
Jay-Z, 4
Jazz Singer, The, 39, 95, 96, 187–88
Jeremy, Susan, 167–68
Jett, Joan, 181
Johnson, Linton Kwesi, 100
Johnson, Sunny, II, 178
Jordan, Chris, 189, 191–92, 195, 226n75
Jordan, Vernon E., Jr., 54–55
Keeler, Ruby, 78
Kelly, Gene, 35, 78, 81, 182, 198
Kempley, Rita, 145
Kendall, Richard, 203
Kid Fresh, 196
King Kong, 186
Kline, Franz, 91
Kool and the Gang, 102
Kool Herc, 141
Kool Moe Dee, 235n67
Krush Groove, 4–5, 33, 36, 39–40, 42, 75, 101, 106, 121, 127, 152, 171, 228n102
and “authentic” hip hop practitioners, 114
and commercial cooptation of hip hop, 141–42
and contemporary newspaper reviews/ articles, 161–63
and location shooting in New York City, 59
and musical genre, 51
and teen film genre, 154–56
and urban topography, 81–84
and violence during film screenings, 146–49, 210, 244n88
Kudrow, Lisa, 211
Lady Pink (Sandra Fabara), 90, 234n66, 255n135
Lady Rock (Clarissa Lopez), 172–73
Lagersfeld, Paul F., 131, 240n28
Lake, Robert W., 128
Last Summer, 126
Lawrence, Jacob, 16
LeBrock, Kelly, 135
Legend of Billie Jean, The, 157
Les Carabiniers, 235n73
Lescaze, Lee, 56
Lil John, 3
Little Richard, 25–26
LL Cool J, 3, 5, 114, 147, 214n8
Los Angeles, 31, 70, 83, 148, 159, 237n97
Losin’ It, 45
Lott, Eric, 9, 187–88, 215n19, 252n84
Love Me Tonight, 50, 73, 92, 121
Lubin, 13–14
MacDonald, Jeanette, 73
Mailer, Norman, 94
Mall culture and history of malls, 127–28, 129, 135–40, 143–44
Marable, Manning, 107
Marcano, Josh, 46
Marci X, 211
Marx, Karl, 144, 221n1, 242n47
Matheus, John Frederick, 20
Maximum Base Rent system, 57
McBroom, Durga, 182
McCarthy, Andrew, 133
McCulley, Johnson, 229n11
McKeever-Kaye, Kimberly, 175, 248n42
McLuhan, Marshall, 131
Meatballs II, 45
Meet Me in St Louis, 97, 230n29
Melle Mel, 235n67
Menace II Society, 234n61
Merton, Robert K., 131, 240n28
Microphone, 211
Millar, Jeff, 83
Mills, Florence, 20
Missing in Action, 161–62
Mitchell-Smith, Ilan, 135
Moby Dick (novel), 252n86
Moyers, Bill, 107
Mr. Freeze, 180
MTV (Music Television), 179, 180, 183, 249n56
Mulvey, Laura, 240n34
Murphy, Eddie, 162
Murphy, Francis L., 87
Nadell, Bonnie, 167
Nashville, 72
New Black Realism, 4, 33, 58–59, 70, 153, 163, 170, 224n51, 234n61
New Edition, 114
New York City Breakers, 21, 165–66, 235n67, 255n136
Nichols, Kelly, 46
Nigger in the Woodpile, A, 13–14
Night of the Comet, 157
Nightmare on Elm Street, A, 147–48, 153, 159–60
Nijinsky, Vaslav, 199
Nureyev, Rudolf, 199
Nyman, Bruce, 150
O’Conner, Donald, 182–83, 254n116
O’Conner, Thomas, 134
Oklahoma!, 230n29
100 Men and a Girl, 125
Only the Strong, 111
Orchestra Wives, 23
Outsiders, The, 157
Palmer, Betsy, 160
Palmer, Robert, 100
Parliament, 29–30
Pennies From Heaven, 34–35, 72, 80
Peyton Place, 235n8
Phase2, 31
Philip, Richard, 199–200
Pinkster, 9
Plasketes, George, 179, 249n56
Platters, The, 25
Pollock, Jackson, 91
Port of Missing Girls, 124
Postclassical musical, 34–35, 39, 53, 71, 73, 76–77, 79, 227n80, 227n80–81
Postmodernism, 53–54, 72, 223n25
Potts, Annie, 134
Pough, Gwendolyn, 176, 247n26, 249n53
Powell, Dick, 78
Pretty in Pink, 127, 139, 240n33
and style as class difference, 132–35
Prince, 160
Prince Ken Swift, 235n67
Pryor, Richard, 162
Psychedelic Furs, 133
Pump Up the Volume, 139
Purple Rain, 72
Quinones, Adolfo, 43, 115, 163, 175, 205, 221n8
Quinones, Lee, 89–90, 228n1, 234n66
Racial migration and suburbanization, 15–16, 60, 128–29, 130–32, 149, 151, 180–81
Randolph, A. Philip, 21–23
Rappin’, 4, 33, 39–40, 42–43, 65–66, 71, 75, 79, 81–82, 84, 95, 101, 105, 121, 158, 204, 225n62, 250n63
and grassroots activism, 62–64
and urban decline, 61–62
Rapping, Elayne, 129–30, 153, 239n18
Reagan, Ronald, and his administration, 32–33, 41, 55–57, 67, 106–7, 153, 220n78–79, 221n4, 223n35, 225n67, 232n45–47
Rebecca of Sunnybrook Farm, 193
Rebel Without a Cause, 124
Red Alert, DJ, 157–58
Revolt (Joey Ahlbum), 116
Rhythm Technicians, 196
Ribeiro, Alfonso, 196
Riesman, David, 131–32, 239n23
Risky Business, 130
Ritchie, Lionel, 225n61
Rize, 210
Road to Ruin, The, 124
Robbins, Jerome, 108
Robeson, Paul, 17
Robinson, Bill, 17, 19–20, 22, 30, 78, 193, 218n61
and interracial desire, 26–28
Rock Around the Clock, 25, 125–26
Rock Steady Crew, 21, 110, 166, 179–80, 183, 186, 192, 194, 234n66, 235n67, 246n12, 255n136
Rocky, 207
Rocky Horror Picture Show, The, 145
Rodrigues, Beatrice, 196
Rogers, Ginger, 187
Roller Boogie, 147
Rooftops, 111
Rooney, Mickey, 125
Roosevelt, Franklin D., 21
Rosenwald, Peter, 179
Roxy night club, 69, 101, 114, 142, 174
Roy, Malinda, 196
Royal Wedding, 78–79
Run-D.M.C., 5, 42, 51, 102, 114, 141, 147, 154, 165
Rusler, Robert, 136
Saigon Electric, 211
San Francisco Ballet, 196, 200–201
Sanchez, James, 151–52
Sandler, Ken, 204
Saturday Night Fever, 34
Save the Last Dance, 210
School Daze, 72
Schultz, Michael, 42, 146, 210
Scratch, 210
Shake, Rattle, & Rock, 125
Shakur, Tupac, 3
Shary, Timothy, 124, 129–30, 234n62, 241n36
Sherman, Sharon, 96
Sherman Oaks Galleria, 137, 138, 140, 144
Silberg, Joel, 42–43
Silver, Tony, 93
Simon, Roger, 180–81
Singin’ in the Rain, 49, 182–83, 195, 264n116
Siskel, Gene, 47–48
Sixteen Candles, 126, 153, 156
Sklar, Robert, 44
Slavery, 9, 14, 15, 17, 94, 144, 169, 215n18, 242n48
Smith-Madden, Valerie, 163
Snead, James, 78
Some Kind of Wonderful, 132, 140
Soundies, 22–24
South Bronx, 31, 35, 40–42, 49, 51, 59–60, 65, 71, 82, 86, 89, 95, 97–98, 103–6, 112–14, 122–23, 141, 151–52, 172, 213n2, 221n5
and heroin, 237n97
and urban decline, 54–58, 83, 223n26, 223n34–35
Speed, Lesley, 96
Spice-1, 234n61
Spying the Spy, 15
Stallabrass, Julian, 119–20, 236n86
Stam, Robert, 115, 182, 186, 235n72
Star Spangled Rhythm, 23
Stein, Chris, 158
Steinberg, Cobbett, 198–99
Stewart, Susan, 104
Street Dance 3D, 210
Strike up the Band, 125
Style Wars, 93
Summer, Donna, 253n95
Superfly, 29
Sweat Equity Program, 57, 59, 64
Taki 183 (Demetrius), 94
Talmi, Akiva, 196, 200–201, 204
Tap Dance Kid, The, 196
Tate, Jimmy, 196
Teatro Puerto Rico, 151–52
Teenage Crime Wave, 124
Teenage Gang Debs, 124
Telotte, J. P., 71, 73, 75, 227n80, 227n81
Terminator, The, 44
Three Smart Girls, 125
Tims, Candace, 172
Tinkcom, Matthew, 52–53, 222n23
Trip, The, 126
Two Knights of Vaudeville, 15
Two or Three Things I Know About Her, 235n73
Uncle Tom’s Cabin (1927 film), 193
Underwood, Blair, 42, 114, 161, 163, 171
UTFO, 245n96
Valenza, Tasia, 42
and mall culture, 137–40
and children in teen film, 156–57
Vaudeville, 11–12, 15, 20, 24, 95, 216n29
Vereen, Ben, 45
Vlaminck, Maurice, 91
Walker, George, 12
Wallace, Michelle, 249n52
Walton, Lester, 17
Washington, Booker T., 20
Watermelon Contest (1887), 13
Watermelon Contest (1900), 13
Watermelon Eating Contest (1903), 13
Watermelon Feast, A, 13
Watermelon Patch, The, 13–14
Watkins, Craig, 82
Wayans, Damon, 211
Weber, Michael, 180–81
Weekend, 235n73
Weird Science, 127, 130, 132, 241n36
and mall culture, 135–36
Welsh, Jim, 83
West Side Story, 108
Whitney, Mary, 199–200
Who Said Chicken? (1900), 13–14
Who Said Chicken? (1901), 13–14
Who Said Watermelon, 13
Whodini, 102
Wild Angels, The, 126
Wild Ones, The, 124
Wild Style, 4, 32–35, 39–40, 47, 49, 51–52, 54, 57, 60, 65, 71, 79, 81–86, 88, 95–97, 107–8, 110–11, 121–23, 141–42, 145–46, 156, 158–59, 167, 204, 211, 213n2, 228n1, 233n51, 250n63
and animation, 115–18
and documentary aspects, 112–14
and film musical audience, 97–102
and graffiti, 89–94, 103–4, 109, 118–20
and location shooting in New York City, 59
and marketing, 209
and styles of Modern Art, 91, 93, 120, 229n12, 236n90
and postclassical musical, 75–76
and representations of “home,” 103–6
and women in hip hop film, 170–71
Williams, Melvin, 104–5, 231n42
Wilson, Lester, 202
Wise, Robert, 108
Wiz, The, 72
Yellowman, 100
Yolanda and the Thief, 53
You Got Served, 210
Young Man with a Horn, 187
Youskevitch, Igor, 198–99
Zappa, Moon Unit, 137