from minstrelsy to ragtime, to blues, country, jazz/swing, and Afromodernism — we’ve discussed what it means to put African-American music on stage, on the page, and on record. We’ve surveyed a range of representations, from legitimating strategies appealing to elites, commercializations appealing to the American mainstream, and uncompromising performances rooted in particular Black communities. This second essay is concerned with the consequences of "Black music" becoming a public form in the United States, a commodity on the market, 
In 3 pages / 750 words, tell a story that traces one particular line of representing Black music: What sort of strategies did the performers embrace? What sorts of politics did these approaches express? If this process began in the 19th century and expanded into various forms in the 20th, how are things different in the 21st century? 

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