Revolution Televised.pdf

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chase: Jungle bunny pryor: Peckerwood chase: Burrhead pryor: Cracker That Nigger’s Crazy 151 A rare 1970s TV appearance of Richard Pryor, with McLean Stevenson and Flip Wilson.
152 That Nigger’s Crazy chase: Spear-chucker pryor: White trash chase: Jungle bunny pryor: Honkey chase: Spade pryor: Honkey-honkey chase: Nigger! pryor: Deeeeeeead honkey! 18 Despite Pryor’s success on Saturday Night Live, he was still considered unsuitable for network television. However, he continued to find success with his comedy albums and increasing opportunities in supporting roles in film. Still, his primary venue continued to be stand-up comedy. That Nigger’s Crazy (1974) went gold, . . . Is It Something I Said? (1975) was a platinum record with excellent reviews, and Bicentennial Nigger (1976) was also a gold album. Pryor won Grammy Awards for all three albums, and his concerts were very profitable. 19 Pryor had many small roles in a variety of films. For example, his stand-up was featured in the concert film Wattstax (1973), and he had a supporting role opposite Max Julien in the Blaxploitation film The Mack (1973). However, his performance as Billie Holiday’s piano player opposite Diana Ross in Lady Sings the Blues (1972) and as private detective Sharp Eye Washington in the Bill Cosby and Sidney Poitier film, Uptown Saturday Night (1974), brought him to the attention of mainstream U.S. critics and audiences. Then in 1976, three films featuring Pryor, The Bingo Long Traveling All- Stars and Motor Kings, Car Wash, and Silver Streak, were released and became box office hits. As discussed, many African American artists found ways to use popular culture as a site of resistance to discuss issues of importance to the African American community and to create community across a nation of black viewers. Much of this resistance was evidenced within hidden transcripts—themes, humor, and ideas that could be understood in ways unique to an African American audience. However, as the era progressed, black critical thought within popular culture became more vocalized. When Richard Pryor’s success brought him an NBC television contract, he initially believed that he was allowed to make all creative choices. It quickly became apparent that this was not the case, and the adjustments that NBC
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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 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? 33 to
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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
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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
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90 This Ain’t No Junk bought his
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92 This Ain’t No Junk garnered el
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94 This Ain’t No Junk activities
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96 This Ain’t No Junk Aunt Esther
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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 and 148: 130 Respect Yourself! the father, w
Page 149 and 150: 132 Respect Yourself! poverty and g
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
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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
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
Page 199 and 200: 182 Conclusion You know how I can t
Page 201 and 202: 184 Conclusion Connerly to speak on
Page 203 and 204: 186 Conclusion HBO to discuss socia
Page 205 and 206: 188 Conclusion the interviewees are
Page 207 and 208: 190 Conclusion credit montage estab
Page 209 and 210: 192 Conclusion Shut the fuck up! Wh
Page 211 and 212: 194 Conclusion saying every black p
Page 213 and 214: 196 Notes to Chapter 1 within U.S.
Page 215 and 216: 198 Notes to Chapter 1 Guerrero dis
Page 217 and 218: 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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