Amos 'n' Andy

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Amos ‘n’ Andy

early radio buffoons who distorted language: “I’se regusted!” [Radio: Buxton, 13–14]
References in periodicals archive ?
QI remember watching a programme called Amos 'n' Andy.
They changed the characters names to Amos 'n' Andy in 1928 after hearing two elderly African-Americans say hello to each other using those names in a lift in Chicago.
This reexamination of Amos 'n' Andy, the radio show created by Charles Correll and Freeman Gosden, relies on scripts from the show's earliest versions, which McLeod contends most clearly reflect the vision of its creators.
In Candyfreak (Algonquin), Steve Almond reports that Americans once chomped candy bars honoring Charles Lindbergh (the Winning Lindy), Clara Bow (the It bar), and Al Smith (the Big-Hearted Al), as well as Dick Tracy, Amos 'n' Andy, airmail, the Pierce-Arrow, and the 18th Amendment.
However, as actress Marla Gibbs pointed out on a television documentary about censorship, apropos of African-Americans, it wasn't that Amos 'n' Andy was necessarily a bad representation of blacks so much as it was the only one.
When Schnabel made his preemptive strike on art history, Basquiat (1996), a sort of Amos 'n' Andy Lust for Life, or Stepin Fetchit's The Agony and the Ecstasy, Gerard Basquiat, Jean-Michel's pop, had the plate made into a cool T-shirt.
Only last year a fortune to rival Kuwait's annual oil revenues was collectively reaped by a homosexual Amos 'n' Andy show called The Birdcage and by Independence Day, in which Harvey Fierstein fluttered like Butterfly McQueen while Will and Jeff charged off to fight the good fight.
Others depict real actors and actresses such as Shirley Temple and Tom Mix, or the characters they portrayed such as Amos 'n' Andy and the Little Tramp.