Rochester Tvue Weekley; Jan. 12-18, 1952
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Black Women in Primetime Soap Opera: Examining Representation Within Genre Television
Black Women in Primetime Soap Opera: Examining Representation within Genre Television by Courtney Suggs A Thesis Submitted in Partial Fulfillment of Requirements for the Degree of Master of Science in Media Studies Middle Tennessee State University December 2019 Dissertation Committee: Dr. Katie Foss, Chair Dr. Sanjay Asthana Dr. Sally Ann Cruikshank ABSTRACT Using textual genre analysis, this research studied representation in primetime soap operas Scandal, How To Get Away with Murder, and Empire. Two hundred and eighty- three episodes were viewed to understand how black female identity is represented in primetime soap and how genre influences those representation. Using Collins (2009) theory of controlling images, this study found that black female protagonists were depicted as jezebels and matriarchs. The welfare mother stereotype was updated by portrayals of black woman as hard working. Soap opera conventions such as heavy talk helped provide context to stereotypical portrayals while conventions such as melodrama lead to reactive characterization. ii TABLE OF CONTENTS CHAPTER I: INTRODUCTION……………………………………………….….....1 Background……………………………………………………...………........3 CHAPTER II: LITERATURE REVIEW.....................................................................9 Black Women in Scripted Television…...........................................................9 Television Effects on Viewers……………………………………………....14 CHAPTER III: THEORETICAL FRAMEWORK………………………………....18 Representation Theory……………………………………………………...18 Genre Theory……………………………………………………………….19 -
The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*
“The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country. -
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Search for Tomorrow. An Epimodernist Future for Literature Emmanuel Bouju Université de la Sorbonne Nouvelle abstract: “The Future is in the way things are,” says “the Minister of the Future,” Timothy Morton, in a recent exhibition at the Centre de cultura contemporània de Barcelona, After the End of the World. Search for tomorrow: it’s already here and now. So how does contemporary literature address and envision the very possibility of a future as such? This essay argues that there is a reneweddiagonal force of the contem- porary called epimodernism. The epimodernist values are superficiality, secrecy, energy, acceleration, credit, and consistency. These six values are necessary for envisioning any future that doesn’t involve hyperfinance, rating agencies, systematic calculation of behaviors—and their consequences for politics. hen i first heard of the topic for the preparatory workshop of this issue of Dibur Literary Journal, it was said to be “contemporary visions of the future in liter- ature and art.” I don’t know why (maybe because I wanted it to be so) I thought it meantW not “visions of the future in literature and art” (the future within literature, “le futur dans la littérature” in French) but “visions of the future of literature and art” (le futur de la littérature), as in “this literature has no future” (cette littérature n’a pas d’avenir). I’m French. So I was quite optimistic. I do have a vision of the “future of literature and art.” But then I received another e-mail, with the final title: “Contemporary Visionsof the Future.” And I realized it was all about the future in works of literature and art. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia. -
Alternate PDF Version
gyxegsxq2ri2yvh2yp2ihqe2sgi2f y qr pive2hedes2of2humEhums3 As the summer of 2005 rolls around, we have two more Burroughs conventions on the docket, one in Chicago and one in Toronto. Information flyers are included with this issue, so we hope you can fit one or both of these events into your schedule. Meanwhile, here are some recollections by our President, Bob Hyde, on how the Dum-Dums started. This memoir was first published at the 1991 Dum- Dum in Chicago, but since some of you were not there, we publish it again. Cheers! ... “Ye Editor” GENESIS OF THE BURROUGHS BIBLIOPHILES By Bob Hyde In the beginning . Vernell Coriell started publishing THE BURROUGHS BULLETIN in 1947, and sent free copies to anyone who asked. Soon after this, he was asked to form a Burroughs fan club, and this became a topic of discussion with various fans he met in his travels over the next two years. When Vern was in California in 1949, he obtained permission from ERB, Inc. to form a fan club and to call it THE BURROUGHS BIBLIOPHILES, but not to have any official connection with ERB, Inc. It was still a matter of discussion at the 1959 WORLD SCIENCE FICTION CONVENTION in Detroit where our Pittsburgh S-F group won the election to hold the 18th (1960) World Con in Pittsburgh. This 1960 event got us off on a firm footing. Since I was a member of the Convention Committee, Vern asked me to set up an organizational meeting for him at the convention. We figured this would be the logical place where a larger group of ERB fans would be gathered. -
5 Toau) Secret Talks a Possibility
r FRIDAY, JULY 14, 1972 PAGlfi TW5!NTY;F0UR > iiattrtfPBtpr iEttming l|?ralb At the Center The Weather Coventry With Glenti Gamher Fair arid humid tonight, lows In the 70s with a 20 per cent iPage 5 lEupnt« 5 to a U ) chance of rain. Hazy and humid, a chance of showers Sunday, Tax Deadline Aug. 1 Manchester— A City of Village Charm high 95. Gardening Tax Collector 'Audrey Bray ting by Qreg Locke, Curt Le VOL. XCI, NO. 243 (FOURTEEN PAGES— TV SECTION) ts reminding Coventry residents Doyt smd Dwayne Beagla. MANCHESTER, CONN., SATURDAY, JULY 15, 1972 (Classified Advertising on Page 11) PRICE FIFTEEN CENTS and property owners that tsuc- Other members of the Coven- es on the Grand List of Octo- try All-Stars are Dave Blwell, ber 1, 1971 are due and payable Ken Qoodale, Kevin Qraen, l^u prior to August 1. , LaBrec, ^Lee Martin, A1 i Frank Atwood Payments may be made dm Nominees Open either at her office In the Town Tomanelll, Sm U W^*®ce, Bill ■'What Is the of the automatic controls, twice a day. Mr. Devanney points out, Is Hall or by mall. In which case Seatim pretty flowers?" summer; If the winter basically residential, which Is these wishing a receipt should ^ become elec- ' r / " sun Is unusually bright, the his reason for not putting up a enclose a stamped, self-address- PP i„ the ReaU Secret Talks This Is a quesUon asked many ^^tered three Umes sign. It Is a reason also for the ed envelope with their payment. of M l Campaign Race times a day at the checkout a day. -
Peter Ford, a Star's
Page 70 Classic Images April 2011 Peter Ford, A Star’s Son The Hardest Job In The World by Charles Ziarko It was the perfect family. Mom “He’s the luckiest kid in the would file for divorce. “I filed on the and Country/Western sounds of the was an athletic, beautiful woman who world”, the fans must have imagined grounds of mental cruelty, and that’s day. And in the 1950s, their 10-year- gave up international fame to devote as they pored over the photos of this exactly what I meant,” she reported. old son Peter could claim respon- herself to being a mother. Dad was All-American family appearing reg- sibility for beginning the decline a sexy, charismatic leading man just ularly in newspapers and movie fan Like many war-time romances, of American popular music. When reemerging in A-list Hollywood, but magazines. Looks can be deceiving, this story really began when the little director Richard Brooks began look- taking time to shower his family however, especially in Hollywood. family moved into a place of their ing into the latest trends in popular with loving attention. Their son was own, composer Max Steiner’s old music in preparation for his new a blonde, blue-eyed little boy, an The dad was actor Glenn Ford, home, less than a mile from where movie, young Peter handed him three only child, photographed endlessly who conceived his baby boy with they were married in a movie-star of his favorite rock ’n’ roll records. enjoying all the perks of the privi- dancer-actress Eleanor Powell on mansion on Bedford Drive that mom One of these was chosen to be the leged. -
The Victor Black Label Discography
The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black -
Frons Launches Soap Sensation
et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net behind Dan Curtis 'SO's block countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi buster miniseries " War and Re actors and extras and nearly 800 half editing "War and Remem ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es considered undoable-particular soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust. -
Dulles Calls Red Plan for Germany Stupid
MONDAY, JANUARY 12. 1959* The Weather PA<Ste >OTratEEN Average Daily Net Press Run iim trljf0tpr lEwpning For the Week Ending Forecaurt of II.. a. Weather BoroM January 10th,' 1959 Fnlr and a bit colder tonight and St Judo Thaddeus Mothers The Queen of Peace Mothers Cir- have particlMted with Johnwn In The Officers' Wives Club of the I . Clrcle will meet Wednesday at | cle wilt meet tomorrow night all Court Slates the Towers breaks. * PRESCRIPTIONS 12,864 Wednesday. I*»w tonight 20 to 28. 93rd A A A Group will hold It* Kingalgy ha* been charged with High Wednesday In middle SO*. About Town monthly luncheon at the Head- 815 pm. at the home of Mrs. ,8:15 at the home of Mrs. Frank' DAT OR NIGHT Member of the Audit Herbert Carvev, .1 Scarborough 1 Pearaon. 110 Bretlon Rd. Tlie co-1 breakUig and entering the Pine BY EXPERTS qtiarter.s of Ihe 63rd Artillery Pharfnagy, on Center St., and the Bureau of drrulatlon I Rd. Co-hostesses will be Mrs.' hostess will be Mrs. Allyn M ar-; Manchenter— A City o f Village Charm TJi* VF\V Auxiliary will meet to- Group. New Britain, tomorrow lit Safe Break Manchester Motor Salqs, in March Thomas Sweeney and Mr*. Robert, _ ! TOontw night at T;SO at tha post 12:30 p.m. I 1954. *. ARTHUR DRUB In all. Stale Police said the four, (UlaMlIied Advertising on Page 12) PRICE FIVE CEN’1’8 home. Officer* having tmiforms are i ____ I The Nathan Hale PTA will hold Cases Jan. -
Johnson Production Group Press Kit
Johnson Production Group Press Kit One-Liner When a struggling housewife poses as a potential buyer to help her boss close real estate transactions, she discovers her boss will do anything to close a deal - even murder. Synopsis Shelby Adams and her husband, Grant, struggled to get by. They had a hard time paying the rent on their house and keeping up with the bills in today’s economy. Something had to be done and Shelby was the one that took the initiative. Getting her real estate license, Shelby wanted to make money while Grant’s indecisions and insecurities caused friction between them. He had a low paying job and was resigned that it would be his lot in life. They were feeling the strain on their relationship. However, everything changed when Paulette entered their lives. Paulette was a successful realtor that claimed she saw something in Shelby that she admired. She offered Shelby a job to assist Paulette with her real estate ventures. It would be the opportunity Shelby had been waiting for. Yet Paulette’s business practices seemed unconventional. She had Shelby pretend to be potential buyer to pressure sales. She also had Shelby pretend to be expert on mold in order to claim there were no problems with a property. Shelby was wary but Paulette always had an answer. There was always an excuse. Paulette was good at manipulating people - including Shelby. After all, Paulette had a dream project she wanted to do and wanted Shelby to be part of it. Paulette had a financial backer and all she needed was time to put the deal together.