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Revolution Televised.pdf

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Respect Yourself! 119<br />

Corey (Marc Copage). The show denied that racism was a serious<br />

problem in American society; it worked to undermine the contemporary<br />

political and social realities of African American existence.<br />

Julia was a safe black person whom America could embrace. Unlike<br />

Carroll, Julia did not acknowledge, espouse, or approve of Black<br />

Nationalism, so evident in contemporary late-’60s U.S. society.<br />

In the pilot, “Mama’s Man” (March 29, 1968), Julia copes with<br />

moving into a new apartment and looking for a job. Knowing no<br />

one in her neighborhood and being a single mother, Julia must leave<br />

her seven-year-old son, Corey, at home to go on an initial interview.<br />

It is strongly insinuated that the interviewer, Mr. Colton, will not<br />

pass her résumé on to Dr. Chegley (Lloyd Nolan), the head physician,<br />

because she is black.<br />

When she returns home, she finds Corey at a neighbor’s apartment.<br />

Earl J. Waggedorn (Michael Link), a neighbor whom Corey<br />

invited in to play, has accidentally cut himself with a knife. Marie<br />

(Betty Beaird), Earl’s mother, who is initially angry, forgives Julia<br />

almost instantaneously, offering to baby-sit whenever Julia needs<br />

her to. Julia is accepted into the white neighborhood, although she<br />

is a single black mother who has apparently jeopardized the safety<br />

of the children. The boys’ conversation summarizes the atmosphere<br />

of the situation.<br />

earl: That’s your mother? (Corey nods.) You know what?<br />

corey: What?<br />

earl: Your mother’s colored.<br />

corey: Of course—I’m colored too.<br />

earl: You are?<br />

corey: Yeah. (Laughter between the boys)<br />

earl: Oh boy!<br />

Thus, Julia makes an unproblematic transition into the integrated<br />

world. While the show opens with the issue of racist hiring practices,<br />

the gravity of the situation is undermined by Julia’s acceptance into<br />

the neighborhood. The aforementioned scene places the question<br />

of race into the conversation of the children, while the issue is<br />

of no concern to the adult Marie, who embodies the attitudes of<br />

white America as accepting of integration. Considering that as late<br />

as 1974 there were riots as a result of bussing black students into

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