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African American Culture; Race; ..
The confluence of stereotype and law -- Latinas/os in the American imagination -- Centering Latina/o stereotypes in those of other groups -- Greasers and gangsters : Latinas/os and crime -- Mañana (is soon enough for me) : fertility and welfare -- In the U.S.A. it's English or adiós amigo : Latina/o assimilation -- One of the smart ones : Latina/o (un)intelligence -- No Mexicans or dogs allowed: subhumanity -- Gringos in the Latina/o imagination -- Latinas/os in the mirror : intra/inter-ethnic glimpses -- Eradicating stereotypes : community-based strategies of media counterspeech and protest -- Mi familia as counterspeech -- Eradicating stereotypes : the collision of legal strategies with the First Amendment -- Beyond stereotype : movement toward social change.
Considerable public concern has arisen over the issue of media diversity, as it is generally accepted that mass media has strong social and psychological effects on viewers. Film and television, for example, provide many children with their first exposure to people of other races, ethnicities, religions and cultures. What they see onscreen, therefore, can impact their attitudes about the treatment of others. One study found, for instance, that two years of viewing Sesame Street by European-American preschoolers was associated with more positive attitudes toward African and Latino Americans. Another study found that white children exposed to a negative television portrayal of African-Americans had a negative change in attitude toward blacks. (Diversity in film and television: MediaScope)
africanisms in american culture | Download eBook …
To say that the problem of portraying minorities negatively is as bad now as it was in the past would be inaccurate, but to say that the situation was good would be just as grossly inaccurate. We must recognize that there are changes and that there are barriers that stand in the way of change. The only way to remove these barriers is to have patience and persistence in what you believe is right. Until more people of color make it up the ranks of the media and entertainment industries, it will be very difficult to enact drastic changes. Yeah, there are shows that portray minorities positively, but there are still far too many that place minorities into inferior roles. Until television represents reality, it will be a threat to those who are uninformed and impressionable. But for now, change is occurring and hopefully it will pick up the pace in the future.
A breakdown of the senior staff of NBC is probably typical of other networks. At NBC's New York Headquarters in the network news division, of 645 employees, 96% were white. In that department, which monitors, writes about and broadcasts news across the globe, only 16 were African-American, 8 were Latino and 6 were Asian. As we know these percentages do not represent the actual "key employees" position, 270 jobs in all, can be broken down as follows: 142 white males, 121 white females, 3 black males, 2 black females, 2 Latinos and one Asian female. (1)
American Crossover Culture Essay Music Race one essay on imp
The media sets the tone for the morals, values, and images of our culture. Many people in this country, some of whom have never encountered black people, believe that the degrading stereotypes of blacks are based on reality and not fiction. Everything they believe about blacks is determined by what they see on television. After over a century of movie making, these horrible stereotypes continue to plague us today, and until negative images of blacks are extinguished from the media, blacks will be regarded as second-class citizens.
Dell’Agnese, Elena. “The US-Mexico Border in American Movies: A Political Geography Perspective” Power, Marcus, and Andrew Crampton. Cinema and Popular Geo-Politics. London: Routledge, 2007. Web
Díaz, Katharine A. "Man of Ingluence: Edward James Olmos changes lives through his actions." Hispanic. September 2000. , Díaz
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Music | Latest News | Village Voice
Yet just as country music seemed to be moving beyond the cultural notes of its past—becoming, depending on your take, either broadminded and modern or denuded and obsolete—the terrorist attacks of September 11, 2001, led Nashville to circle the wagons. In 2002, Toby Keith sang lustily about America putting a boot in the ass of its enemies on the song "Courtesy of the Red, White, and Blue (The Angry American).” A year later, he helped run the Dixie Chicks, one of the biggest acts of the previous decade, out of town after the group's lead singer, Natalie Maines, insulted President Bush while onstage in London. Around the same time, Darryl Worley sang "Have You Forgotten?," a rabble-rousing propaganda song that argued the Bush Administration's position that the war in Iraq was a just response to the 9/11 attacks. Country radio continued to air plenty of tunes about love and whiskey, but you heard more about guns and God, too. Some stations started playing the national anthem every day at noon; Lee Greenwood's "I'm Proud to Be an American" enjoyed a revival.
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Bonilla, Frank, and Edwin Meléndez, Rebecca Morales, María de los Angeles Torres, eds. Borderless Borders: U.S. Latinos, Latin Americans, and the Paradox of Interdependence. Philadelphia: Temple University Press, 1998.
The Flea Breaks In Its New Theater With the Quirky “Inanimate”
The overt political fervor eventually dissipated, but the genre as a whole had moved back toward its foundational identity. Barack Obama could have been referring to the protagonist of a country hit at the time when, in 2008, he made the gaffe of speaking honestly about the white voters he was struggling to win over: "They get bitter, they cling to guns or religion or antipathy to people who aren't like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations." These days, the genre's stars sing less about politics than about a de-facto political identity: Jack Daniels and Conway Twitty are the boxes that get checked by artists trying to shore up their all-American bona fides. People are more likely to praise the red-meat conservative Hank Williams, Jr., than they are his populist father—and nobody name-checks Garth Brooks.
Recall That Ice Cream Truck Song? We Have Unpleasant …
Brooks sat out the rightward lurch. He retired following the release of his ninth album, “Scarecrow,” in 2001, saying that he wanted to spend more time with his family. And so it was never suggested that he should sing a song about the might of the American military or the rightness of its international adventures. Safely in retirement (he popped up with live shows from time to time) and with all those millions sold, he could , in 2010, without worrying too much about what his fans might think. And a year later, when other celebrity endorsers of the President were jumping ship, he could , "I love him to death and I fully support him and I just wish him well because it's got to be hell in that office."
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