Revolution Televised.pdf

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Respect Yourself! 141 The episodes of the final season do indicate an attempt to engage in the issues and situations of the early series. “Where Have All the Doctors Gone?” (February 15, 1979) interrogates the flight of the professional class from inner-city communities. Everyone in the family is sick and particularly concerned about Penny. Florida tries to find a doctor to take care of her. The show describes internalized racism, as Dr. Kelley, a black woman, continually refers to the Evanses as “you people.” She also blames them for their health problems and suggests that all they have to do is not purchase “fat back and pigs feet” and instead buy “lean meat, fresh fruit, and vegetables.” Florida, of course, challenges her assumptions, points out to her that the items she recommends are too expensive, and gets her to realize how she has distanced herself from inner-city African Americans. Unfortunately, it was too late for Good Times to recuperate in the ratings. Even the aforementioned “Blood Will Tell” appeared after Rolle had returned to the show, and the series was canceled in 1979. In the final episode all of the loose ends are tied up. Thelma’s husband, Keith, who had quit football because of an injury and was informed that if he played again he could be crippled, accepts a sixty thousand dollar offer to play for the Chicago Bears. J.J. sells his cartoon, Dy-no-woman, and goes to college. Florida is invited to live with Thelma and Keith, and Willona gets the apartment in their new house. African American cultural critic Henry Louis Gates once described Good Times as the television show that represented the greatest potential and yet was the greatest failure. 38 The unproblematic conclusion to the series is perhaps the clearest indication of the collapse of a show that had started off with such great promise. More significant, however, is the trace evidence of resistance that both Good Times and Julia leave behind—that of the strength of black women to challenge the white mainstream television venue using whatever means or resources at their disposal. It is also clear how uplift ideology, in its contemporary form, informed the battle over the images of black televisual families. The emphasis was placed on the need for images of the patriarchal black family, and these women displayed an urgency regarding how their image was constructed and received by viewers, black and white. The women’s interviews in major magazines targeted to black
142 Respect Yourself! and white consumers are visible signs that challenges to mainstream imaginings of blackness were no longer hidden in the postintegration era. With political and social integration and the integration of television came the opportunity to openly express the concerns of black society and to resist the constructions of black people perpetuated by the media and the U.S. political machine.
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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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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
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82 What You See Is What You Get Whe
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84 What You See Is What You Get wit
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86 This Ain’t No Junk my idol, I
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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
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Page 151 and 152: 134 Respect Yourself! The character
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Page 155 and 156: 138 Respect Yourself! down in the m
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Page 161 and 162: 144 That Nigger’s Crazy at the cl
Page 163 and 164: 146 That Nigger’s Crazy ’bout,
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Page 167 and 168: 150 That Nigger’s Crazy stereotyp
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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
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
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Page 191 and 192: 174 Conclusion Indeed, contemporary
Page 193 and 194: 176 Conclusion Cerebral and black
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Page 199 and 200: 182 Conclusion You know how I can t
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Page 203 and 204: 186 Conclusion HBO to discuss socia
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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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