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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 ...
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 ...
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]
Gosden and Correll had a show similar to Amos 'n' Andy called Sam 'n' Henry at Chicago radio station WGN, but after a dispute in 1927, they took the program's concept and WGN announcer Bill Hay across town to WMAQ. [1] The Amos 'n' Andy team created the first syndicated radio show in history.
Gosden and Correll made one more motion-picture appearance (as guest stars in The Big Broadcast of 1936), but there were no further attempts at live-action portrayals of Amos 'n' Andy until the Amos 'n' Andy television show (1951–1953), although the radio show continued to be a top-rated program throughout the 1930s and 1940s.
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.
The first sustained protest against the program found its inspiration in the December 1930 issue of Abbott's Monthly, when Bishop W.J. Walls of the African Methodist Episcopal Zion Church wrote an article sharply denouncing Amos 'n' Andy, singling out the lower-class characterizations and the "crude, repetitious, and moronic" dialogue. [9]