Nathan Huggins’ Harlem Renaissance in(Lipsitz in Spigel and Mann) “points out that minstrel show stereotypes enabled white society ….to attribute to black people the characteristics that it feared the most in itself….” Blacks represent laziness, greed, gluttony and licentiousness. This “naive humor” re-enforces the power relationships between superior whites and inferior childlike blacks. On the Real Side by Mel Watkins (pp 29-32) raises issues critical to an understanding humor at the expense of blacks and “Black Humor.” “Blacks were funny for most white Americans only insofar as they engaged in quaint, foolish or childlike behavior, or stumbled over a language they were only half-heartedly taught to speak, and forbidden to read.” (Watkins, p. Books of “Darky Jokes,” “Minstrel Jokes,” and “Coon Jokes” were readily available in most 5 and 10 cent stores. In fact the first talking picture The Jazz Singer (1927) starred Al Jolson singing “Mammy” in black face. By the 1920’s these caricatures had become institutionalized in American popular culture. By the 1850’s minstrel shows were popular throughout the United States and toured widely in Europe. Thomas Rice created the Jim Crow caricature-“plantation style” song and dance combined with “comic” dialect. What are the characteristics common to these popular entertainments? Perhaps the most salient feature is that both Amos ‘n’ Andy and minstrel shows were created by whites, to entertain primarily white audiences. In fact the minstrel show tradition is the foundation for the “humor” of Amos ‘n’ Andy which depends on race for it’s effect.
Freeman and Garrett created minstrel shows for the family’s entertainment. Godsen claimed to have been raised by a “mammy” and shared his home with Garrett Brown, an African-American boy “adopted” by the Godsen’s. Godsen’s father joined the rebels at 17 and was one of 75 officers who refused to surrender at Appomatox. Correl’s family was related to Jefferson Davis, the president of the Confederacy. Their personal histories were shaped by the Civil War and the legacy of slavery and race relations in the South.
AMOS AND ANDY TV EPISODES SERIES
Although set in a decidely middle class milieu and often depicting black professionals, the series did little to support black self-esteem, needless to say it did provide positive role models.Īmos ‘n’ Andy was created by Charles Correll and Freeman Godsen. The majority of the stories revolved around the Kingfish (Tim Moore) and his schemes to both avoid work and, if possible, take financial advantage of the ignorance and naivete of Andy and other characters/caricatures. The program was designed as a situation comedy set in Harlem. The programs were shot on black and white film, and in 1951 the series was the most expensive show produced for television.
Because the last Amos ‘n’ Andy radio program was broadcast on 1/25/60, and the television series was withdrawn from syndication in 1965 a generation and a half has grown up without direct access to the material.īetween Jand JCBS broadcast 78 half hour episodes.
I’ve chosen Amos ‘n Andy for this case study because of the importance of the show -both as a radio series and as the first national television series to cast African-Americans in leading roles. In particular, the unmonitored, unsupervised, uncritical viewing of television puts children at risk, and makes them the most vulnerable to negative consequences.
The negative consequences of television viewing are likely to be disproportionally borne by viewers who are younger, less educated, and those whose sense of self-worth and self-image are the least formed- that is our children. As a working premise it may be fair to assume that images are not insubstantial, that they powerfully shape perceptions, values and behavior and that consequently negative images have negative consequences. What is the significance of these depictions in popular culture on the African American family? African-Americans are among the heaviest viewers of commercial television. The negative images in Amos ‘n’ Andy not only have historical precedents, but that they continued to inform televised representations of black Americans long after the show was no longer available. But its stereotypes and caricatures have roots deep in American culture and branches that are still evident today.
AMOS AND ANDY TV EPISODES PDF
Back PDF Amos ‘n’ Andy: Past as Prologue?Īmos ‘n’ Andy was born on radio in 1928.
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