Archie Bunker's America discerns what was in the air as television networks tried to accommodate cultural and political swings in America from the Vietnam era through the late 1970s. Josh Ozersky's spirited examination of the ways America changed television during a period of intense social upheaval, recuperation, and fragmentation uncovers a bold and beguiling facet of American cultural history. From the conflict-based comedy of All in the Family and such post-1960s frolics as Three's Company to tendentiously apolitical programs like Happy Days, Ozersky describes the range and power of television to echoed larger schemes of American life. Around 1968, advertisers who were anxious to break into the lucrative baby-boomer demographic convinced television networks to begin to abandon prime-time programming that catered to universal audiences. With the market splintering, networks ventured into more issue-based and controversial territories. While early network attempts at more relevant programming failed, Ozersky examines how CBS struck gold with the political comedy All in the Family in 1971 and how other successful, conflict-based comedies turned away from typical show business conventions. As the 1970s wore on, the invations of the previous years began to lose their public appeal. After Vietnam and Watergate, Ozersky argues, Americans were exhausted from the political turbulence of the preceding decade and were ready for a televisual return to rmalcy. Straightforward, engaging, and liberally illustrated, Archie Bunker's America is peppered with the stories of outsider cops and failed variety shows, of a young Bill Murray and an old Ed Sullivan, of Mary Tyler Moore, Fonzie, and the Skipper, too. Drawing on interviews with television insiders, trade publications, and the programs themselves, Ozersky chronicles the ongoing attempts of prime-time television to program for a fragmented audience - an audience whose greatest common deminator, by 1978, may well have been the act of watching television itself. The book also includes a foreword by rewned media critic Mark Crispin Miller and an epilogue of related commentary on the following decades.
Josh Ozersky writes frequently on American cultural history for Newsday, the Washington Post, History: Review of New Books, Tikkun, Business 2.0, and other periodicals. He is the author of Readings for the 21st Century and has contributed to the Oxford Dictionary of American Biography.