Revolution Televised.pdf

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Respect Yourself! 123 tion, Howard strove to create a curriculum that replicated the best white universities in the country. Often called the Black Harvard, Howard confronted the black consciousness of its student body in the late ’60s. This was exemplified by the victory of Robin Gregory as homecoming queen in the fall of 1966. Gregory based her campaign on issues of black pride and wore a natural, or an Afro, in contrast to previous homecoming queens, who were judged on their ability to imitate white standards of beauty—one of the cultural pitfalls of integration. Gregory’s victory sparked protests in which students demonstrated against mandatory ROTC training imposed on incoming freshmen as well as discrepancies in the educational curriculum, which largely ignored black history. Students suspended attending class and eventually took over the administrative building until Howard administrators were willing to agree to many of their demands. As discussed in chapter 1, this was a period in which many black political and social organizations discussed the ramifications of integration, selling out, losing one’s identity, and the breakup of black communities with black professionals’ exodus to the suburbs. In “The Doctor’s Dilemma,” all of these concerns, which were part of the rhetoric of Black Nationalism and black consciousness, are invalidated because they are embodied in a woman who is demonized and positioned as ignorant. Even when Julia expresses a sense of consciousness, her words are easily diminished. In “Am I, Pardon the Expression, Blacklisted?” Julia comes home to discover that Corey and Earl have been shining shoes to earn money for a toy. Very upset about the incident, she explains to Marie why she will not allow Corey to continue. julia: Because there was a time when that was all our men could do—shine shoes, wait tables, menial jobs. marie: Times have changed, Julia. Today they’re supreme court justices, senators, labor leaders, mayors—Thurgood Marshall, Philip Randolph, Edward Brooks, Carl Stokes. Oh Julia, come on! Maybe there used to be a stigma attached to manual labor, but today hod carriers and brick masons all earn as much as a lot of professionals. (Stage directions: Julia smiles, agreeing with and impressed by Marie’s simple logic. Things are changing and we know that this is a better world because of the Marie Waggedorns.)
124 Respect Yourself! Julia’s point is based on historical precedent. However, her concerns are invalidated or reduced by Marie’s “simple logic.” Mainstream U.S. society has traditionally used the success of the few to deflect the problems of the majority. The underlying implication: if these few can make it, it is not a case of institutional racism but a case of personal failure. Julia and Corey were embraced by their neighbors the Waggedorns, Marie (Betty Baird) and Earl J. (Michael Link).
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Revolution Televised
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Revolution Televised Prime Time and
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This book is dedicated to Ailsa Jea
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Contents Acknowledgments ix Introdu
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Acknowledgments Revolution Televise
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Introduction Dy-no-mite! What’s h
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Introduction xiii texts were chosen
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Introduction xv in black television
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1. Reading the Roots of Resistance
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Was the Revolution Televised? 49 On
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Was the Revolution Televised? 53 ca
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What You See Is What You Get 55 ces
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What You See Is What You Get 57 VCR
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What You See Is What You Get 59 tur
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What You See Is What You Get 61 Wit
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What You See Is What You Get 63 bac
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What You See Is What You Get 65 MTV
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What You See Is What You Get 67 and
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What You See Is What You Get 69 asp
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What You See Is What You Get 71 str
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Page 92 and 93: Reverend Leroy is a critique of the
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Page 103 and 104: 86 This Ain’t No Junk my idol, I
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Page 107 and 108: 90 This Ain’t No Junk bought his
Page 109 and 110: 92 This Ain’t No Junk garnered el
Page 111 and 112: 94 This Ain’t No Junk activities
Page 113 and 114: 96 This Ain’t No Junk Aunt Esther
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Page 117 and 118: 100 This Ain’t No Junk where they
Page 119 and 120: 102 This Ain’t No Junk Another ep
Page 121 and 122: 104 This Ain’t No Junk it would b
Page 123 and 124: 106 This Ain’t No Junk fred: Hey
Page 125 and 126: 108 This Ain’t No Junk embarrassm
Page 127 and 128: 110 5. Respect Yourself! Black Wome
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Page 133 and 134: 116 Respect Yourself! voice of the
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Page 155 and 156: 138 Respect Yourself! down in the m
Page 157 and 158: 140 Respect Yourself! 1978), J.J. b
Page 159 and 160: 142 Respect Yourself! and white con
Page 161 and 162: 144 That Nigger’s Crazy at the cl
Page 163 and 164: 146 That Nigger’s Crazy ’bout,
Page 165 and 166: 148 That Nigger’s Crazy Crazy, Pr
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Page 171 and 172: 154 That Nigger’s Crazy Pryor as
Page 173 and 174: 156 That Nigger’s Crazy network r
Page 175 and 176: 158 That Nigger’s Crazy The first
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Page 179 and 180: 162 That Nigger’s Crazy judge coo
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Page 187 and 188: 170 Conclusion: Movin’ On Up Cont
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174 Conclusion Indeed, contemporary
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176 Conclusion Cerebral and black
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178 Conclusion and this film recogn
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180 Conclusion under the constant s
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182 Conclusion You know how I can t
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184 Conclusion Connerly to speak on
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186 Conclusion HBO to discuss socia
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188 Conclusion the interviewees are
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190 Conclusion credit montage estab
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192 Conclusion Shut the fuck up! Wh
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194 Conclusion saying every black p
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196 Notes to Chapter 1 within U.S.
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198 Notes to Chapter 1 Guerrero dis
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200 Notes to Chapter 2 47. Thomas C
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202 Notes to Chapter 2 45. Black Pa
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204 Notes to Chapter 3 Listening to
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206 Notes to Chapter 3 46. John Kie
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208 Notes to Chapter 4 4. This Ain
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210 Notes to Chapter 5 9. I specify
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212 Notes to Chapter 6 14. McPherso
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214 Notes to Conclusion 7. See Omi
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216 Notes to Conclusion where he le
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218 Bibliography Gender and Contest
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220 Bibliography Eisner, Joel, and
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222 Bibliography Hodges, Ann. “La
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224 Bibliography Mitz, Rick. The Gr
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226 Bibliography Shapiro, Joseph P.
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230 Index and TOBA, 11; and transfe
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232 Index education, 132, 133-36, 1
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234 Index 2, 21, 78, 107-8, 149, 20
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236 Index Roots, 163, 171-72 Russel
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238 Index Williams, Al, 100-101 Wil
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