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The Allman Brothers Band and Lynyrd Skynyrd helped usher in a new
kind of southern music from Jacksonville, Florida. Together, they
and fellow bands like Blackfoot, 38 Special, and Molly Hatchet
would reset the course of seventies rock. Yet Jacksonville seemed
an unlikely hotbed for a new musical movement. Michael FitzGerald
blends eyewitness detail with in-depth history to tell the story of
how the River City bred this generation of legendary musicians. As
he profiles essential bands alongside forerunners like Gram Parsons
and Cowboy, FitzGerald reveals how the powerful local AM radio
station worked with newspapers and television stations to nurture
talent. Media attention in turn created a public hungry for live
performances by area bands. What became the southern rock elite
welded relentless determination to a ferocious work ethic, honing
their gifts on a testing ground that brooked no weakness and took
no prisoners. FitzGerald looks at the music as the diverse
soundtrack to a neo-southern lifestyle that reconciled different
segments of society in Jacksonville, and across the nation, in the
late sixties and early seventies. A vivid journey into a crucible
of American music, Jacksonville and the Roots of Southern Rock
shines a light on the artists and songs that powered a phenomenon.
The American Indian has figured prominently in many films and
television shows, portrayed variously as a villain, subservient
friend, or a hapless victim of progress. Many Indian stereotypes
that were derived from European colonial discourse-some hundreds of
years old-still exist in the media today. Even when set in the
contemporary era, novels, films, and programs tend to purvey
rehashed tropes such as Pocahontas or man Friday. In Native
Americans on Network TV: Stereotypes, Myths, and the "Good Indian,"
Michael Ray FitzGerald argues that the colonial power of the U.S.
is clearly evident in network television's portrayals of Native
Americans. FitzGerald contends that these representations fit
neatly into existing conceptions of colonial discourse and that
their messages about the "Good Indian" have become part of viewers'
understandings of Native Americans. In this study, FitzGerald
offers close examinations of such series as The Lone Ranger, Daniel
Boone, Broken Arrow, Hawk, Nakia, and Walker, Texas Ranger. By
examining the traditional role of stereotypes and their functions
in the rhetoric of colonialism, the volume ultimately offers a
critical analysis of images of the "Good Indian"-minority figures
that enforce the dominant group's norms. A long overdue discussion
of this issue, Native Americans on Network TV will be of interest
to scholars of television and media studies, but also those of
Native American studies, subaltern studies, and media history.
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