American Bandstand, one of the most popular television shows ever, broadcast from Philadelphia in the late fifties, a time when that city had become a battleground for civil rights. Counter to host Dick Clark’s claims that he integrated American Bandstand, this book reveals how the first national television program directed at teens discriminated against black youth during its early years and how black teens and civil rights advocates protested this discrimination. Matthew F. Delmont brings together major themes in American history—civil rights, rock and roll, television, and the emergence of a youth culture—as he tells how white families around American Bandstand’s studio mobilized to maintain all-white neighborhoods and how local school officials reinforced segregation long after Brown vs. Board of Education. The Nicest Kids in Town powerfully illustrates how national issues and history have their roots in local situations, and how nostalgic representations of the past, like the musical film Hairspray, based on the American Bandstand era, can work as impediments to progress in the present.

Dancing Black, Dancing White: Rock 'n' Roll, Race, and Youth Culture of the 1950s and Early 1960s offers a new look at the highly popular phenomenon of the televised teen dance program. These teen shows were incubators of new styles of social and popular dance and both reflected and shaped pressing social issues of the day. Often referred to as "dance parties," the televised teen dance shows helped cultivate a nascent youth culture in the post-World War II era. The youth culture depicted on the shows, however, was primarily white. Black teenagers certainly had a youth culture of their own, but the injustice was glaring: Black culture was not always in evident display on the airwaves, as television, like the nation at large, was deeply segregated and appealed to a primarily white, homogenous audience. The crux of the book, then, is twofold: to explore how social and popular dance styles were created and disseminated within the new technology of television and to investigate how the shows both reflected and re-affirmed the racial politics and attitudes of the time. The 1950s was a watershed decade for American culture and dance. The era witnessed the ascendancy of rock and roll music and recorded sound, the rise of the teenager as a marketing demographic, the beginnings of television, and a new phase of the country's struggle with race. The story of televised teen dance told here is about Black and white teenagers wanting to dance to rock 'n' roll music despite the barriers placed on their ability to do so. It is also a story that fuses issues of race, morality, and sexuality. Dancing Black, Dancing White weaves together these elements to tell two stories: that of the different experiences of Black and white adolescents and their desires to have a space of their own where they could be seen, heard, appreciated, and understood.

New Directions in Print Culture Studies features new methods and approaches to cultural and literary history that draw on periodicals, print culture, and material culture, thus revising and rewriting what we think we know about the aesthetic, cultural, and social history of transnational America. The unifying questions posed and answered in this book are methodological: How can we make material, archival objects meaningful? How can we engage and contest dominant conceptions of aesthetic, historical, and literary periods? How can we present archival material in ways that make it accessible to other scholars and students? What theoretical commitments does a focus on material objects entail? New Directions in Print Culture Studies brings together leading scholars to address the methodological, historical, and theoretical commitments that emerge from studying how periodicals, books, images, and ideas circulated from the 19th century to the present. Reaching beyond national boundaries, the essays in this book focus on the different materials and archives we can use to rewrite literary history in ways that highlight not a canon of “major” literary works, but instead the networks, dialogues, and tensions that define print cultures in various moments and movements.

On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards.

In the first decade of the twenty-first century, Broadway was notable for old-fashioned, feel-good shows (Hairspray, Jersey Boys), a number of family-friendly musicals (Little Women, Mary Poppins), plenty of revivals (Follies, Oklahoma!, Wonderful Town), a couple of off-the-wall hits (Avenue Q, Urinetown), several gargantuan flops (Dance of the Vampires, Lestat), and a few serious productions that garnered critical acclaim (The Light in the Piazza, Next to Normal). Unlike earlier decades which were dominated by specific composers, by a new form of musical theatre, or by numerous British imports, the decade is perhaps most notable for the rise of shows which poked fun at the musical comedy form, such as The Producers and Spamalot. In The Complete Book of 2000s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway from 2000 through the end of 2009. This book discusses the era’s major successes, notorious failures, and musicals that closed during their pre-Broadway tryouts. In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Patti LuPone, Chita Rivera, and Martin Short. Each entry contains the following information: Plot summary Cast members Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Opening and closing dates Number of performances Critical commentary Musical numbers and the performers who introduced the songs Production data, including information about tryouts Source material Tony awards and nominations Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of black-themed shows and Jewish-themed productions. This comprehensive book contains a wealth of information and provides a comprehensive view of each show. The Complete Book of 2000s Broadway Musicals will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history.

An outrageous collection from the uniquely legendary John Waters, updated with new material—including Waters’s 2002 New York Times article, “Finally, Footlights on the Fat Girls.” Crackpot, originally released in 1986, is John Waters’s brilliantly entertaining litany of odd and fascinating people, places, and things. From Baltimore to Los Angeles, from William Castle to Pia Zadora, from the National Enquirer to Ronald Reagan’s colon, Waters explores the depths of our culture. And he dispenses useful advice along the way: how not to make a movie, how to become famous (read: infamous), and of course, how to most effectively shock and make our nation’s public laugh at the same time. Loaded with bonus features, this special edition is guaranteed to leave you totally mental.

The birth and development of commercial television in Cuba in the 1950s occurred alongside political and social turmoil. In this period of dramatic swings encompassing democracy, a coup, a dictatorship, and a revolution, television functioned as a beacon and promoter of Cuba’s identity as a modern nation. In Broadcasting Modernity, television historian Yeidy M. Rivero shows how television owners, regulatory entities, critics, and the state produced Cuban modernity for television. The Cuban television industry enabled different institutions to convey the nation's progress, democracy, economic abundance, high culture, education, morality, and decency. After nationalizing Cuban television, the state used it to advance Fidel Castro's project of creating a modern socialist country. As Cuba changed, television changed with it. Rivero not only demonstrates television's importance to Cuban cultural identity formation, she explains how the medium functions in society during times of radical political and social transformation.

The Roots of Educational Inequality chronicles the transformation of one American high school over the course of the twentieth century to explore the larger political, economic, and social factors that have contributed to the escalation of educational inequality in modern America. In 1914, when Germantown High School officially opened, Martin G. Brumbaugh, the superintendent of the School District of Philadelphia, told residents that they had one of the finest high schools in the nation. Located in a suburban neighborhood in Philadelphia's northwest corner, the school provided Germantown youth with a first-rate education and the necessary credentials to secure a prosperous future. In 2013, almost a century later, William Hite, the city's superintendent, announced that Germantown High was one of thirty-seven schools slated for closure due to low academic achievement. How is it that the school, like so many others that serve low-income students of color, transformed in this way? Erika M. Kitzmiller links the saga of a single high school to the history of its local community, its city, and the nation. Through a fresh, longitudinal examination that combines deep archival research and spatial analysis, Kitzmiller challenges conventional declension narratives that suggest American high schools have moved steadily from pillars of success to institutions of failures. Instead, this work demonstrates that educational inequality has been embedded in our nation's urban high schools since their founding. The book argues that urban schools were never funded adequately. Since the beginning of the twentieth century, urban school districts lacked the tax revenues needed to operate their schools. Rather than raising taxes, these school districts relied on private philanthropy from families and communities to subsidize a lack of government aid. Over time, this philanthropy disappeared leaving urban schools with inadequate funds and exacerbating the level of educational inequality.

Baltimore seen through the eyes of John Waters, Anne Tyler, Charles S. Dutton, Barry Levinson, David Simon—and also ordinary citizens. The city of Baltimore features prominently in an extraordinary number of films, television shows, novels, plays, poems, and songs. Whether it's the small-town eccentricity of Charm City (think duckpin bowling and marble-stooped row houses) or the gang violence of "Bodymore, Murdaland," Baltimore has figured prominently in popular culture about cities since the 1950s. In Come and Be Shocked, Mary Rizzo examines the cultural history and racial politics of these contrasting images of the city. From the 1950s, a period of urban crisis and urban renewal, to the early twenty-first century, Rizzo looks at how artists created powerful images of Baltimore. How, Rizzo asks, do the imaginary cities created by artists affect the real cities that we live in? How does public policy (intentionally or not) shape the kinds of cultural representations that artists create? And why has the relationship between artists and Baltimore city officials been so fraught, resulting in public battles over film permits and censorship? To answer these questions, Rizzo explores the rise of tourism, urban branding, and citizen activism. She considers artists working in the margins, from the East Baltimore poets writing in Chicory, a community magazine funded by the Office of Economic Opportunity, to a young John Waters, who shot his early low-budget movies on the streets, guerrilla-style. She also investigates more mainstream art, from the teen dance sensation The Buddy Deane Show to the comedy-drama Roc to the crime show The Wire, from Anne Tyler's award-winning book The Accidental Tourist to Barry Levinson's movie classic Diner.

The history of American dance reflects the nation’s tangled culture. Dancers from wildly different backgrounds learned, imitated, and stole from one another. Audiences everywhere embraced the result as deeply American. Using the stories of tapper Bill "Bojangles" Robinson, Ginger Rogers and Fred Astaire, ballet and Broadway choreographer Agnes de Mille, choreographer Paul Taylor, and Michael Jackson, Megan Pugh shows how freedom—that nebulous, contested American ideal—emerges as a genre-defining aesthetic. In Pugh’s account, ballerinas mingle with slumming thrill-seekers, and hoedowns show up on elite opera house stages. Steps invented by slaves on antebellum plantations captivate the British royalty and the Parisian avant-garde. Dances were better boundary crossers than their dancers, however, and the issues of race and class that haunt everyday life shadow American dance as well. Deftly narrated, America Dancing demonstrates the centrality of dance in American art, life, and identity, taking us to watershed moments when the nation worked out a sense of itself through public movement.