Revolution Televised.pdf

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Respect Yourself! 131 The characters of Good Times: (from left to right) Michael (Ralph Carter), Thelma (BernNadette Stanis), Willona (Ja’Net DuBois), Florida (Esther Rolle), J.J. (Jimmie Walker), and (center front) James Sr. (John Amos). J.J.’s role as comic relief is visible. Chicago mayor Richard J. Daley. However, a ten-point agreement that lacked any political recourse—no way of protesting injustices within the system—was signed in 1967, leaving the predicament of African American, inner-city residents of Chicago unchanged. As previously mentioned, the Panther Party, under the leadership of Fred Hampton, became involved in Chicago to address the
132 Respect Yourself! poverty and general malaise evident in the community; the group instituted free breakfast programs, educational programs, and job training. However, the FBI also targeted Hampton. The bureau conspired with the Chicago police to raid Panther headquarters, and the two organizations were involved in tactics to encourage gang warfare between a local black gang, the Blackstone Rangers, and the Panther Party. They plotted to destroy the free breakfast programs, school, and newspaper. This aggression culminated on December 4, 1969, with the planned assassination of Chicago Panther leader Fred Hampton in his apartment as he slept. Chicago was the archetype for urban black life. The placement of Good Times in Chicago, like the setting of Sanford and Son in the inner-city Los Angeles community of Watts, is again evidence of Lear’s attempts to keep the shows topical. This created a direct link to aspects of African American contemporary social and political realities. The series initially addresses realistic problems, such as the threat of eviction in “Getting Up the Rent” (February 22, 1974). “Junior the Senior” (March 7, 1974) discusses the aforementioned notoriously inferior school system, as J.J. was passed a grade without earning it. “The Gang” (October 24, 1974) confronts the problems of local street gangs. Even within these early shows, the gravity of the episode is balanced by the safeguard of J.J.’s humor, whose ritualistic yelling of “dy-no-mite” seems to allay the seriousness of most situations. The use of comic relief is to be expected in any sitcom format; however, as the seasons continued, the focus began to shift more toward J.J.’s clowning, which advanced from mere comic relief to disruption and a subversion of any political agenda. Consequently, as with Julia, the actors used newspapers and magazines to counteract the images on television. As Rolle suggested in the second epigraph that opens this section, she indeed perceived her role as being the guardian over the process, to make sure that the show stayed within what she conceived of as its original goals. As the times allowed, these black television stars began to use their popularity and commercial viability to their advantage in order to gain agency within the industry. Esther Rolle and, to some extent, John Amos used their voices to impact the scripts and the direction of the show. When this did not work, they used their absence, as well as media resources, to protest. Rolle in particular used the press to create vocal counternarratives to the presentations on the screen when they did not meet her personal standards.
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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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Reading the Roots of Resistance 3 t
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Reading the Roots of Resistance 5 p
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Reading the Roots of Resistance 7 t
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Reading the Roots of Resistance 9 s
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Reading the Roots of Resistance 11
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Was the Revolution Televised? 25 Bl
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Was the Revolution Televised? 27 sc
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Was the Revolution Televised? 29 Bu
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Was the Revolution Televised? 31 ta
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Was the Revolution Televised? 33 to
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Was the Revolution Televised? 35 th
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Was the Revolution Televised? 37 fo
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Was the Revolution Televised? 39 in
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Was the Revolution Televised? 41 Af
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Was the Revolution Televised? 43 ma
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Was the Revolution Televised? 45 di
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Was the Revolution Televised? 47 wo
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Was the Revolution Televised? 49 On
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Was the Revolution Televised? 51 li
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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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What You See Is What You Get 73 “
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Reverend Leroy is a critique of the
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What You See Is What You Get 77 Fli
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What You See Is What You Get 79 Joh
Page 99 and 100: 82 What You See Is What You Get Whe
Page 101 and 102: 84 What You See Is What You Get wit
Page 103 and 104: 86 This Ain’t No Junk my idol, I
Page 105 and 106: 88 This Ain’t No Junk In an era i
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
Page 115 and 116: 98 This Ain’t No Junk but tells h
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
Page 129 and 130: 112 Respect Yourself! This was the
Page 131 and 132: 114 Respect Yourself! actors and bl
Page 133 and 134: 116 Respect Yourself! voice of the
Page 135 and 136: 118 Respect Yourself! may not have
Page 137 and 138: 120 Respect Yourself! white schools
Page 139 and 140: 122 Respect Yourself! races.” She
Page 141 and 142: 124 Respect Yourself! Julia’s poi
Page 143 and 144: 126 Respect Yourself! spaces. These
Page 145 and 146: 128 Respect Yourself! the fact that
Page 147: 130 Respect Yourself! the father, w
Page 151 and 152: 134 Respect Yourself! The character
Page 153 and 154: 136 Respect Yourself! disparity in
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
Page 167 and 168: 150 That Nigger’s Crazy stereotyp
Page 169 and 170: 152 That Nigger’s Crazy chase: Sp
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
Page 177 and 178: 160 That Nigger’s Crazy action, w
Page 179 and 180: 162 That Nigger’s Crazy judge coo
Page 181 and 182: 164 That Nigger’s Crazy Episode t
Page 183 and 184: 166 That Nigger’s Crazy and the d
Page 185 and 186: 168 That Nigger’s Crazy being dru
Page 187 and 188: 170 Conclusion: Movin’ On Up Cont
Page 189 and 190: 172 Conclusion States at the time,
Page 191 and 192: 174 Conclusion Indeed, contemporary
Page 193 and 194: 176 Conclusion Cerebral and black
Page 195 and 196: 178 Conclusion and this film recogn
Page 197 and 198: 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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