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Reprint of the 1991 Free Press edition, with Ely's (history, College of William and Mary) new eight-page preface. c. Book News Inc.
WINNER OF THE BANCROFT PRIZEA New York Times Book Review and Atlantic Monthly Editors' ChoiceThomas Jefferson denied that whites and freed blacks could live together in harmony. His cousin, Richard Randolph, not only disagreed, but made it possible for ninety African Americans to prove Jefferson wrong. Israel on the Appomattox tells the story of these liberated blacks and the community they formed, called Israel Hill, in Prince Edward County, Virginia. There, ex-slaves established farms, navigated the Appomattox River, and became entrepreneurs. Free blacks and whites did business with one another, sued each other, worked side by side for equal wages, joined forces to found a Baptist congregation, moved west together, and occasionally settled down as man and wife. Slavery cast its grim shadow, even over the lives of the free, yet on Israel Hill we discover a moving story of hardship and hope that defies our expectations of the Old South.
Winner of the Man Booker Prize Winner of the National Book Critics Circle Award in Fiction Winner of the John Dos Passos Prize for Literature New York Times Bestseller Los Angeles Times Bestseller Named One of the 10 Best Books of the Year by The New York Times Book Review Named a Best Book of the Year by Newsweek, The Denver Post, BuzzFeed, Kirkus Reviews, and Publishers Weekly Named a "Must-Read" by Flavorwire and New York Magazine's "Vulture" Blog A biting satire about a young man's isolated upbringing and the race trial that sends him to the Supreme Court, Paul Beatty's The Sellout showcases a comic genius at the top of his game. It challenges the sacred tenets of the United States Constitution, urban life, the civil rights movement, the father-son relationship, and the holy grail of racial equality—the black Chinese restaurant. Born in the "agrarian ghetto" of Dickens—on the southern outskirts of Los Angeles—the narrator of The Sellout resigns himself to the fate of lower-middle-class Californians: "I'd die in the same bedroom I'd grown up in, looking up at the cracks in the stucco ceiling that've been there since '68 quake." Raised by a single father, a controversial sociologist, he spent his childhood as the subject in racially charged psychological studies. He is led to believe that his father's pioneering work will result in a memoir that will solve his family's financial woes. But when his father is killed in a police shoot-out, he realizes there never was a memoir. All that's left is the bill for a drive-thru funeral. Fueled by this deceit and the general disrepair of his hometown, the narrator sets out to right another wrong: Dickens has literally been removed from the map to save California from further embarrassment. Enlisting the help of the town's most famous resident—the last surviving Little Rascal, Hominy Jenkins—he initiates the most outrageous action conceivable: reinstating slavery and segregating the local high school, which lands him in the Supreme Court.
This critical reexamination of Amos 'n' Andy, the pioneering creation of Charles Correll and Freeman Gosden, presents an unapologetic but balanced view lacking in most treatments. It relies upon an untapped resource--thousands of pages of scripts from the show's nearly forgotten earliest version, which most clearly reflected the vision of its creators. Consequently, it provides fresh insights and in part refutes the usual blanket condemnations of this groundbreaking show. The text incorporates numerous script excerpts, provides key background information, and also acknowledges the show's importance to radio broadcasting and modern entertainment.
In the days after the 2008 presidential election, we heard that Sarah Palin thought Africa was one big country. We heard that the leak came from Martin Eisenstadt, a McCain policy adviser. And then, within forty-eight hours, we heard that he was a fraud, a fake, and that Martin Eisenstadt didn't exist. Maybe he doesn't. But in a world where "news" can spread like wildfire on the Internet and a hoax can tell you more about politics than the facts, Martin Eisenstadt—whose blog and think tank fooled the world—has something to tell us. With the savviness of Primary Colors and the playfulness of Forrest Gump, his book is a mix of political intrigue, campaign-trail escapades, and cyberspace detective work. From debate preparation with Sarah Palin to his mother's basement (yes, he still lives at home), from Liberation of Iraq softball games to Saturday Night Live; from his campaign for casinos in the Green Zone to happy hour in Washington, we follow a neocon pundit on his travels. This is his version of the election campaign. Martin Eisenstadt: Hoaxster? Hero? You decide.
Presented in a single volume, this engaging review reflects on the scholarship and the historical development of American broadcasting A Companion to the History of American Broadcasting comprehensively evaluates the vibrant history of American radio and television and reveals broadcasting’s influence on American history in the twentieth and twenty-first centuries. With contributions from leading scholars on the topic, this wide-ranging anthology explores the impact of broadcasting on American culture, politics, and society from an historical perspective as well as the effect on our economic and social structures. The text’s original and accessibly-written essays offer explorations on a wealth of topics including the production of broadcast media, the evolution of various television and radio genres, the development of the broadcast ratings system, the rise of Spanish language broadcasting in the United States, broadcast activism, African Americans and broadcasting, 1950’s television, and much more. This essential resource: Presents a scholarly overview of the history of radio and television broadcasting and its influence on contemporary American history Contains original essays from leading academics in the field Examines the role of radio in the television era Discusses the evolution of regulations in radio and television Offers insight into the cultural influence of radio and television Analyzes canonical texts that helped shape the field Written for students and scholars of media studies and twentieth-century history, A Companion to the History of American Broadcasting is an essential and field-defining guide to the history and historiography of American broadcasting and its many cultural, societal, and political impacts.
Looks at the history of radio broadcasting as an aspect of American culture, and discusses social tensions, radio formats, and the roles of African Americans and women
The second edition of this powerful analysis of African-Americans in the television insudtry since 1948 is completely updated. The increased visibility of blacks in television, the success of the Cosby Show and other sitcoms featuring black actors, and the impact of cable TV on programming are described in detail. Professor MacDonald traces the stereotyping, tokenism, and unfair treatment of blacks from the early days of the indsutry, but expresses his hope and belief that a new video order is materializing that will finally fulfill the bright promise of television.
In the fall of 1961, a new cartoon made its primetime network television debut, joining Hanna-Barbera's The Flintstones and Top Cat series. Titled Calvin and the Colonel, it was the creation of Freeman Gosden and Charles Correll, and was produced by Kayro Productions in association with MCA TV/Revue Studios. The new cartoon was anything but new; it was the reincarnation of Gosden and Correll's Amos 'n' Andy radio program. Amos and Andy storywriters Joe Connelly and Bob Mosher, who wrote for the radio show, were brought onboard to repurpose their old scripts for the new cartoon series. While characters Colonel Montgomery J. Klaxon and Calvin T. Burnside were animals, their voices, performed by Gosden and Correll, were identical to the radio's Andy Brown and George "Kingfish" Stevens characters. Explore this unique look at how Calvin and the Colonel became a cartoon, Gosden and Correll's previous 1934 animation venture, and all of the controversy that went with it.