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Amos 'n' Andy was an American radio sitcom about black characters, initially set in Chicago then later in the Harlem section of New York City. While the show had a brief life on 1950s television with black actors, the 1928 to 1960 radio show was created, written and voiced by two white actors, Freeman Gosden and Charles Correll, who played Amos Jones (Gosden), Andrew Hogg Brown (Correll), and ...
Ernestine began playing Sapphire Stevens in 1939, [7] [8] [9] but originally came to the Amos 'n' Andy radio show in the role of Valada Green, a lady who believed she had married Andy. [2] In her interview that is part of the documentary Amos 'n' Andy: Anatomy of a Controversy, Wade related how she got the job with the radio show. Initially ...
In 1987, Doris McMillon devoted an entire week of her nightly talk show, On the Line with, to a discussion of the documentary Amos 'n' Andy: Anatomy of a Controversy, and the issues surrounding the shows. Stewart was one of the participants, discussing the show and his role in it. [23]
Until Amos 'n' Andy, Williams had never worked in television. [31] Amos 'n Andy was the first U.S. television program with an all-black cast, running for 78 episodes on CBS from 1951 to 1953. [32] However, the program created considerable controversy, with the NAACP going to federal court to achieve an injunction to halt its premiere. In August ...
B. The Bachelor (American TV series) Believe in the Stars; The Betty White Show (1952 TV series) Beulah (radio and TV series) Big Brother 11 (American season)
Tim Moore (December 9, 1887 – December 13, 1958) was an American vaudevillian and comic actor of the first half of the 20th century. He gained his greatest recognition in the starring role of George "Kingfish" Stevens in the CBS TV's The Amos 'n' Andy Show.
In 1956, Randolph and her choir, along with fellow Amos 'n' Andy television show cast members Tim Moore, Alvin Childress, and Spencer Williams set off on a tour of the US as "The TV Stars of Amos 'n' Andy". However, CBS claimed it was an infringement of its rights to the show and its characters. The tour soon came to an end. [42]
Blackface in contemporary art remains in relatively limited use as a theatrical device; today, it is more commonly used as social commentary or satire. Perhaps the most enduring effect of blackface is the precedent it established in the introduction of African-American culture to an international audience, albeit through a distorted lens.