Pop Culture Text - St. Dominic High School

620 Indexand Great Depression, 234; as major company,210, 334, 346; and mergers, 493;and MTV, 468; and Nashville, 417; post–World War I slump of, 212; origins of,153; drops Sinatra, 295; and Thriller, 467Columbia Pictures, 188, 222, 231, 399–400,402Columbia University, 104Combs, Sean “Diddy,” 516comedians: and comedic counterrevolutionof 1970s, 424; and consensus, 317–18; ascultural disturbers, 314–16, 319, 352–54,408–10; and ethnicity, 314–15; and gender,317, 318; as outsiders, 314–15, 316,353–54comic books: and audiences, 261, 265, 357,433–34, 453, 465; changes in the 1970s,433–34; changes in the 1980s, 453–55;changes in the 1990s, 464–65; and ColdWar, 302, 311–14, 313; and Comics CodeAuthority, 313, 465; and corporate mergers,433, 464, 465; and counterculture,357; and crime, 311–12; distribution of,434, 452–53, 465; financial successes inthe 1990s, 464–65; and gender, 310–11,454–55; and Great Depression, 260–62,270, 274; and horror, 312; and independents,454; investigations of, 310, 312–14,356; and race, 357; readers of, 310–11,453, 465; rebound of, in the 1960s, 357;and reluctant heroes, 356–57; and selfregulation,313, 14; and shrinking market,465; and social relevance, 432–33;statistics regarding, 310–11, 453, 465;and superheroes, 261–62, 310, 356, 433,453–54, 465; and World War II, 256Comic Magazine Association of America,313Comics Code Authority, 465comic strips, 251, 264–65, 329Cominsky, Charles, 151Commission on Obscenity and Pornography,398Committee for the First Amendment, 293Communications Act of 1934, 250compact discs (CDs), 469Comstock, Anthony, 93concert saloons, 48, 64, 108–9, 119Coney Island, 133–42, 161, 292, 435; andclass, 133–34, 136; and democracy, 134;and development of, 133–34; and GreatDepression, 221; legacy of, 491–92; aspeople’s playground, 133; postwar declineof, 435; and race, 140; respectability of,136–38, 139, 140–41; revitalization of,491–92; and World War II, 263–64, 270.See also amusement parks; Luna Park; SeaLion Park; Steeplechase ParkConfessions of a Dirty Ballplayer, 427Confidence Man, The, 35Conger, Darva, 484Connecticut’s Act for the Suppressing ofMountebanks, 6Conrad, Frank, 231Conrad, Joseph, 423Conroy, Jack, 232“Constant, The,” 71Continental Congress, 6Continuity Acceptance Department, 253Conversation, The, 402Conway, Tim, 363Cook, Albert (Bert), 157Cook, Fannie Shaw, 157Cool Hand Luke, 396Coolidge, Calvin, 166“coon songs,” 88Cooper, Chuck, 553 n 68Cooper, Gary, 327Cooper, Marc, 492Cooper, Prentice, 320“Cop Killer,” 478Coppola, Francis Ford, 400, 402–3, 421,422, 423Cops, 461copyright laws, 55, 249,250Corbett, “Gentleman Jim,” 95Corliss, Richard, 482–83Corman, Roger, 396“corporate rock,” 412–13Correll, Charles, 254–55Corvettes, 502Corwin, Norman, 274Cosby, Bill, 361, 362, 409, 445–46, 450Cosby Show, The, 445–46, 450–51, 459Cosmopolitan, 100Costco, 509Cotton, Ben, 14, 15Cotton Club, 205Coughlin, Father Charles, 242, 257Coulter, Ann, 505Counterattack: The Newsletter of Facts toCombat Communism, 297counterculture, 348, 360; and advertising,348–52; and Cold War, 479–80; and FMradio, 379–80; and Hair, 392; and MuhammadAli, 426; Welk repudiates, 372Country, 450country fairs, 2country music, 210–12, 246–48, 271; andclass, 248, 415, 741, 474–75; and conservatism,384, 414–15, 419, 470; contradictionsof, 471, 472–72; counterculture, 384,