Doesn’t change the fact that Coonman said he did blackface for a michael jackson contest.
What matters, the photo or doing blackface?
For those who don't mind empowering the Left as our national thought police then blackface is what matters.
Al Jolson, Stephen Foster get to be unpersons in the new, sanitized America.
One should never underestimate the ability of Americans to absorb cultural marxism and think it's a good thing to demonize the past.
http://exhibits.lib.usf.edu/exhibits/show/minstrelsy/jimcrow-to-jolson/blackface
"The History of Minstrelsy: From Jump Jim Crow to The Jazz Singer"
"While some today assume that minstrelsy’s blackface has roots in the American South because of the genre’s focus on black degradation and slavery, minstrelsy was born and evolved initially in the North."
"For the majority of whites living in the pre-Civil War North, slavery and black people were a distant reality, one that evoked mixed emotions. If slavery was the commodification of black labor, minstrelsy, with its focus on presenting authentically black songs and dances, was the commodification of black culture. However, the depictions of blacks in minstrel performances were exaggerated, dehumanizing and inaccurate. Instead of representing black culture on stage, blackface minstrel performers reflected and reinforced white supremacy."
"After emancipation in 1865, African American performers, seeing minstrelsy as an opportunity for advancement, contributed a humanizing element to their portrayal of blacks even though they also performed in blackface. Black performers during the Jim Crow era combined blackface with the newly popular genre of vaudeville and brought a black political agenda to their stage performances. During the 1930s, minstrelsy lost its widespread popularity to jazz but could still be seen in aspects of American society such as film. The popular film The Jazz Singer (1927) was about a white man wanting to become a blackface performer and featured Al Jolson, the most well-known performer of the decade. At the time, the film was the biggest earner in Warner Bros., and its success indicated that the age of minstrelsy in American history was far from over. Even in the twenty-first century, the racial stereotypes derived from minstrel shows can still be seen in popular culture."