During the worst years of apartheid, the most popular show on television in South Africa—among both Black and White South Africans—was The Cosby Show. Why did people living under a system built on the idea that Black people were inferior and threatening flock to a show that portrayed African Americans as comfortably mainstream? Starring Mandela and Cosby takes up this paradox, revealing the surprising impact of television on racial politics. The South African government maintained a ban on television until 1976, and according to Ron Krabill, they were right to be wary of its potential power. The medium, he contends, created a shared space for communication in a deeply divided nation that seemed destined for civil war along racial lines. At a time when it was illegal to publish images of Nelson Mandela, Bill Cosby became the most recognizable Black man in the country, and, Krabill argues, his presence in the living rooms of white South Africans helped lay the groundwork for Mandela’s release and ascension to power. Weaving together South Africa’s political history and a social history of television, Krabill challenges conventional understandings of globalization, offering up new insights into the relationship between politics and the media.
Drawing upon his experience in teaching this material over the past twenty-five years in forty countries, Ron Man provides a rich and deep examination of biblical worship, drawing principles out of a rigorous study of the text of Scripture. He also writes as a practitioner, from the perspective of one who served as a church worship pastor for twenty-two years. Features distinguishing this book from other similar studies include: 1) a tracing of the foundational Revelation and Response pattern through the Scriptures; 2) a more thorough treatment of New Testament texts than is often found; 3) a comprehensive treatment of the crucial role of Jesus Christ as the true Leader of our worship; 4) a consideration of worship as it relates to world missions; and 5) a concluding summary of twelve “Biblical Principles of Worship,” synthesizing the results of the study.
From city councils to governorships, from county commissioners to coroners, there are thousands of contested or vacant elected offices each year throughout the United States. In Political Tool Kit, author Ron Parsons provides a practical guide for citizens who are seeking an opportunity to participate in the democratic process through political candidacy. Based on his education and personal experience, Ron offers a step-by-step, sequential model that candidates can mold to fit their candidacies by making their campaigns unique. Political Tool Kit merges contemporary and traditional political organizational structures to address a myriad of tasks, such as fundraising, advertising, nominating petitions, and scheduling, while detailing job functions and tasks. This campaign model adopts modern communications tools through optimizing the Internet and cutting-edge mobile devices. It also includes a range of resources, such as a campaign budget, letters to the editor, mailings, and canvassing techniques. Political Tool Kit offers the tools to build a process that enables candidates to grow to their full potential. The winning ideals embedded within a campaign will follow candidates throughout their political careers.
During the worst years of apartheid, the most popular show on television in South Africa—among both Black and White South Africans—was The Cosby Show. Why did people living under a system built on the idea that Black people were inferior and threatening flock to a show that portrayed African Americans as comfortably mainstream? Starring Mandela and Cosby takes up this paradox, revealing the surprising impact of television on racial politics. The South African government maintained a ban on television until 1976, and according to Ron Krabill, they were right to be wary of its potential power. The medium, he contends, created a shared space for communication in a deeply divided nation that seemed destined for civil war along racial lines. At a time when it was illegal to publish images of Nelson Mandela, Bill Cosby became the most recognizable Black man in the country, and, Krabill argues, his presence in the living rooms of white South Africans helped lay the groundwork for Mandela’s release and ascension to power. Weaving together South Africa’s political history and a social history of television, Krabill challenges conventional understandings of globalization, offering up new insights into the relationship between politics and the media.
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