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An incisive cultural history that captures a fractious nation through the prism of television and the rattled mind of a celebrity president In the tradition of Neil Postman's masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the twentieth century, which joined millions of Americans in a shared monoculture, into today's zillion-channel, Internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump. Reaching back to the 1940s, when Trump and commercial television were born, Poniewozik illustrates how Donald became "a character that wrote itself, a brand mascot that jumped off the cereal box and entered the world, a simulacrum that replaced the thing it represented." Viscerally attuned to the media, Trump shape-shifted into a boastful tabloid playboy in the 1980s; a self-parodic sitcom fixture in the 1990s; a reality-TV "You're Fired" machine in the 2000s; and finally, the biggest role of his career, a Fox News-obsessed, Twitter-mad, culture-warring demagogue in the White House.
An incisive cultural history that captures a fractious nation through the prism of television and the rattled mind of a celebrity president In the tradition of Neil Postman's masterpiece Amusing Ourselves to Death, Audience of One shows how American media have shaped American society and politics, by interweaving two crucial stories. The first story follows the evolution of television from the three-network era of the twentieth century, which joined millions of Americans in a shared monoculture, into today's zillion-channel, Internet-atomized universe, which sliced and diced them into fractious, alienated subcultures. The second story is a cultural critique of Donald Trump. Reaching back to the 1940s, when Trump and commercial television were born, Poniewozik illustrates how Donald became "a character that wrote itself, a brand mascot that jumped off the cereal box and entered the world, a simulacrum that replaced the thing it represented." Viscerally attuned to the media, Trump shape-shifted into a boastful tabloid playboy in the 1980s; a self-parodic sitcom fixture in the 1990s; a reality-TV "You're Fired" machine in the 2000s; and finally, the biggest role of his career, a Fox News-obsessed, Twitter-mad, culture-warring demagogue in the White House.
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Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
About the Author-
James Poniewozik has been the chief television critic of the New York Times since 2015. He was previously the television and media critic for Time magazine and media columnist for Salon. He lives in Brooklyn.
Starred review from June 24, 2019 Epochal shifts in entertainment media have driven the derangement of American politics, according to this caustic, scintillating cultural history. New York Times television critic Poniewozik sets Donald Trump’s political rise against American television’s evolution, from a three-network monopoly broadcasting inoffensive, common denominator fare to a fragmented cable and internet spectrum of isolated niche channels, a world where liberals watched Mad Men while conservatives watched Duck Dynasty. That polarization, he argues, bred new televisual genres that incubated the Trumpian worldview: antihero dramas where ugly violence is needed to defeat even darker forces, reality shows where life is a cutthroat, zero-sum struggle between amoral operators, and cable news shows that portray the world as a chaos of noisy, flashy dogfights where perceptions of truth are dictated by tribal allegiance. Meanwhile, Trump’s own media persona—“the blunt, impolite apex predator” on The Apprentice, the trash-talking bully in pro-wrestling cameos, the birther conspiracy theorist on Fox News guest spots—shaped his political style and then subsumed him entirely: Trump became “a cable news channel in human form: loud, short of attention span, and addicted to conflict,” Poniewozik writes. “TV became president.” Poniewozik’s trenchant, brilliantly witty critique of the cultural archetypes percolating into American politics is one of the best analyses yet of the Trump era.
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Narrator Matthew Josdal's delivery style--low-key, neutral, and occasionally skeptical--makes him the right voice for this fresh perspective on Donald Trump. The premise: Trump is a brand mascot, not much different than Mr. Clean or Colonel Sanders, who has "jumped off the cereal box" and into the White House. This triumph of brand over man has its roots in TV's populist history. There's Davy Crockett (a Mexican-hating, plain-talking American), the Beverly Hillbillies (nouveaux riches who thumb their noses at the elite), and CADDYSHACK's Rodney Dangerfield (a man with "sympathy for the overdog"). More recently, Trump, the brand mascot, capitalized on the fragmentation of viewership and the merger of 24-hour news with reality TV. Josdal's well-paced delivery and the author's McLuhanesque viewpoint make this mind-bending audiobook a standout. R.W.S. Winner of AudioFile Earphones Award © AudioFile 2020, Portland, Maine
