The Original Amos N Andy

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.

Reprint of the 1991 Free Press edition, with Ely's (history, College of William and Mary) new eight-page preface. c. Book News Inc.

This is a new release of the original 1929 edition.

"Andy Weinberger has done something extraordinary with his first novel: he’s written a truly great detective novel that is fresh and original, but already feels like it’s a classic. In the tradition of Walter Mosley, Raymond Chandler, and Sue Grafton, semi-retired private eye Amos Parisman roams LA’s seedy and not-so-seedy neighborhoods in pursuit of justice. I don’t want another Amos Parisman novel—I want a dozen more!” — Amy Stewart When a controversial celebrity rabbi drops dead over his matzoh ball soup at the famed Canter's Deli in Los Angeles, retired private eye Amos Parisman— a sixtyish, no-nonsense Jewish detective who lives with his addled wife in Park La Brea—is hired by the temple's board to make sure everything is kosher. As he looks into what seems to be a simple, tragic accident, the ante is raised when more people start to die or disappear, and Amos uncovers a world of treachery and hurt that shakes a large L.A. Jewish community to its core.

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

This comprehensive history of black humor sets it in the context of American popular culture. Blackface minstrelsy, Stepin Fetchit, and the Amos 'n' Andy show presented a distorted picture of African Americans; this book contrasts this image with the authentic underground humor of African Americans found in folktales, race records, and all-black shows and films. After generations of stereotypes, the underground humor finally emerged before the American public with Richard Pryor in the 1970s. But Pryor was not the first popular comic to present authentically black humor. Watkins offers surprising reassessments of such seminal figures as Fetchit, Bert Williams, Moms Mabley, and Redd Foxx, looking at how they paved the way for contemporary comics such as Whoopi Goldberg, Eddie Murphy, and Bill Cosby.

Even well-meaning fiction writers of the late Jim Crow era (1900–1955) perpetuated racial stereotypes in their depiction of black characters. From 1918 to 1952, Octavus Roy Cohen turned out a remarkable 360 short stories featuring Florian Slappey and the schemers, romancers and ditzes of Birmingham’s Darktown for The Saturday Evening Post and other publications. Cohen said, “I received a great deal of mail from Negroes and I have never found any resentment from a one of them.” The black readership had to be satisfied with any black presence in the popular literature of the day. The best known white writers of black characters included Booth Tarkington (Herman and Verman in the Penrod books), Irvin S. Cobb (Judge Priest’s houseman Jeff Poindexter), Roark Bradford (Widow Duck, the plantation matriarch), Hugh Wiley (Wildcat Marsden, the war veteran who traveled the country in the company of his goat) and Charles Correll and Freeman Gosden (radio’s Amos ’n’ Andy). These writers deservedly declined in the civil rights era, but left a curious legacy that deserves examination. This book, focusing on authors of series fiction and particularly of humorous stories, profiles 29 writers and their black characters in detail, with brief entries covering 72 others.