Trends in popular entertainment often reveal the tensions between competing ideologies, appetites, and values in American society. For example, in the late 19th century, Americans embraced "self-made men" such as John D. Rockefeller and Andrew Carnegie; the celebrities of the day were circus tycoons P.T. Barnum and James A. Bailey, Wild West star "Buffalo Bill" Cody, professional baseball organizer Albert Spalding, and prizefighter John L. Sullivan. At the same time, however, several female performers challenged traditional notions of weak, frail Victorian women. Adah Isaacs Menken astonished crowds by wearing tights that made her appear nude while performing dangerous stunts on horseback, and the shows of the voluptuous burlesque group British Blondes often centered on provocative images of female sexual power and dominance.
Ashby describes how history and politics frequently influence mainstream entertainment. When Native Americans, blacks, and other non-whites appeared in the 19th-century circuses and Wild West shows, it was often to perpetuate demeaning racial stereotypes - crowds jeered Sitting Bull at Cody's shows. By the early 20th century, however, black minstrel acts reveled in racial tensions, reinforcing stereotypes while at the same time satirizing them and mocking racist attitudes before a predominantly white audience. Decades later, Red Foxx and Richard Pryor's profane comedy routines changed American entertainment. The raw ethnic material of Pryor's short-lived television show led to a series of African-American sitcoms in the 1980s that presented common American experiences - from family life to college life - with black casts.
Mainstream entertainment has often co-opted and sanitized fringe amusements in an ongoing process of redefining the cultural center and its boundaries. Social control and respectability vied with the bold, erotic, sensational, and surprising, as entrepreneurs sought to manipulate the vagaries of the market, control shifting public appetites, and capitalize on campaigns to protect public morals. Rock 'n Roll was one such fringe culture; in the 1950s, Elvis blurred gender norms with his androgynous style and challenged conventions of public decency with his sexually-charged performances. By the end of the 1960s, Bob Dylan introduced the social consciousness of folk music into the rock scene, and The Beatles embraced hippie counter-culture. Don McLean's 1971 anthem "American Pie" served as an epitaph for rock's political core, which had been replaced by the spectacle of hard rock acts such as Kiss and Alice Cooper. While Rock 'n Roll did not lose its ability to shock, in less than three decades it became part of the established order that it had originally sought to challenge.
With Amusement for All provides the context to what Americans have done for fun since 1830, showing the reciprocal nature of the relationships between social, political, economic, and cultural forces and the way in which the entertainment world has reflected, refracted, or reinforced the values those forces represent in America.
The book is published by University Press of Kentucky.
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Customer ReviewsMost Helpful
By Paul on 28-11-13
So Much Fun!
An amazing overview! Well put together with great narration that kept me listening even after I was done driving. I love books like this that give you history in a context that you may not consider.
6 of 6 people found this review helpful
By Aaron on 07-08-13
Would you consider the audio edition of With Amusement for All to be better than the print version?
Best to have both
What did you like best about this story?
Transportive strangeness of "old weird America"
What do you think the narrator could have done better?
His voice and performance are just fine
If you could give With Amusement for All a new subtitle, what would it be?
Any additional comments?
3 of 3 people found this review helpful