Changes in Black and White Perceptions of the Army's Race Relations/Equal Opportunity Programs--1972 to 1974.

Author(s):  
Dale K. Brown ◽  
Peter G. Nordlie ◽  
James A. Thomas
Author(s):  
Kathryn H. Fuller-Seeley

African-American dancer, singer, comedian Eddie Anderson pursued an entertainment career in California, his opportunities limited by Jim Crow-era racism in Hollywood but also shaped opportunities in night clubs and cabarets that catered to both black and white patrons. Winning an audition for a one-time role on Benny’s radio show, Anderson’s inimitable gravelly voice spurred Benny to create a full time part, the character of Rochester Van Jones, Jack’s butler and valet, in late 1937. Although initially hampered by stereotyped minstrel-show dialogue and character habits, Rochester soon became renowned by both white and black listeners for his ability to criticize the “Boss” in impertinent manner. Virtually co-starred in three films with Benny that were highly successful at the box office, commenters in the black press in 1940 hoped that Rochester offered “a new day” in improved race relations.


1976 ◽  
Author(s):  
William E. Beusse ◽  
Earl A. Waller ◽  
Forrest R. Ratliff

1974 ◽  
Vol 89 (4) ◽  
pp. 862
Author(s):  
Michael Preston ◽  
Peter I. Rose ◽  
Stanley Rothman ◽  
William J. Wilson

Author(s):  
Aniko Bodroghkozy

This chapter examines how entertainment television addressed the theme of race relations and “black and white together” by focusing on CBS's East Side/West Side, one of the first prime-time shows to feature an African American in a continuing role. Many cultural critics complained about the perceived decline in quality of television programming. Federal Communications Commission Chairman Newton Minow even described network television as “a vast wasteland.” This chapter considers the television networks' inauguration of a new form of programming dubbed “New Frontier character dramas” as they tried to soothe their presumed white audiences about race relations. It explores how East Side/West Side presented to its viewers issues of racism, black rage, white guilt, the place of African Americans in American society, and the appropriate response by white liberals. It explains how East Side/West Side became a terrain of struggle for mostly Northern, mostly white Americans trying to negotiate positions around race and Kennedy-era liberalism. It also argues that the series was out of step with the story that television really wanted to tell.


1982 ◽  
Vol 4 (5) ◽  
pp. 12-16 ◽  
Author(s):  
David Knights ◽  
Trevor Hitner

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