Author: United States. Congress. Senate. Committee on the JudiciaryPublisher:
ISBN:
Category :
Languages : en
Pages : 304
Book Description
Legislative and Executive Calendar
Author: United States. Congress. Senate. Committee on the JudiciaryPublisher:
ISBN:
Category :
Languages : en
Pages : 304
Book Description
Examining Enforcement of the Foreign Corrupt Practices Act
Author: United States. Congress. Senate. Committee on the Judiciary. Subcommittee on Crime and DrugsPublisher:
ISBN:
Category : Bribery
Languages : en
Pages : 112
Book Description
The Employment Situation: April 2009, S.Hrg. 111-308, May 8, 2009, 111-1 Hearing, *
Author: Reviewing The National Broadband Plan, S. HRG. 111-367, April 14, 2010, 111-2 Hearing, *
Author: Monthly Catalog of United States Government Publications
Author: Monthly Catalogue, United States Public Documents
Author: Publisher:
ISBN:
Category : Government publications
Languages : en
Pages : 1102
Book Description
Congressional Record
Author: United States. CongressPublisher:
ISBN:
Category : Law
Languages : en
Pages : 1324
Book Description
108-1 Hearing: Confirmation Hearings on Federal Appointments, S. Hrg. 108-135, Part 2, February 5, 2003, Etc., *
Author: CIS Annual
Author: Publisher:
ISBN:
Category : Government publications
Languages : en
Pages : 928
Book Description
Who Got the Camera?
Author: Eric HarveyPublisher: University of Texas Press
ISBN: 1477323953
Category : Music
Languages : en
Pages : 358
Book Description
Reality first appeared in the late 1980s—in the sense not of real life but rather of the TV entertainment genre inaugurated by shows such as Cops and America’s Most Wanted; the daytime gabfests of Geraldo, Oprah, and Donahue; and the tabloid news of A Current Affair. In a bracing work of cultural criticism, Eric Harvey argues that reality TV emerged in dialog with another kind of entertainment that served as its foil while borrowing its techniques: gangsta rap. Or, as legendary performers Ice Cube and Ice-T called it, “reality rap.” Reality rap and reality TV were components of a cultural revolution that redefined popular entertainment as a truth-telling medium. Reality entertainment borrowed journalistic tropes but was undiluted by the caveats and context that journalism demanded. While N.W.A.’s “Fuck tha Police” countered Cops’ vision of Black lives in America, the reality rappers who emerged in that group’s wake, such as Snoop Doggy Dogg and Tupac Shakur, embraced reality’s visceral tabloid sensationalism, using the media's obsession with Black criminality to collapse the distinction between image and truth. Reality TV and reality rap nurtured the world we live in now, where politics and basic facts don’t feel real until they have been translated into mass-mediated entertainment.