Revolution Televised.pdf

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20. Watkins, On the Real Side, 16–41. Also see the introduction for further delineation of African American humor. 21. This image can be seen in such films as Hallelujah (1929), the first major Hollywood film that featured an all-black cast, and the Paul Robeson film The Emperor Jones (1933). It is interesting to note that African American director Oscar Micheaux’s films also used this stereotype to condemn working-class blacks who did not conform to middle-class and church-oriented lifestyles. 22. Although adapted from a Steptoe and Son script, the nuances of the African American performance by Foxx and other characters transform this script into traditional African American humor. 23. Watkins, On the Real Side, 23. 24. Davidson, “The World’s Funniest Dishwasher Is Still Cleaning Up,” 27. 25. Ibid., 27. 26. Pryor will be discussed in more detail in the analysis of The Richard Pryor Show, in chapter 6. 27. For further information on the reclaiming of the term nigger in contemporary popular culture, see Todd Boyd, Am I Black Enough for You? Popular Culture from the Hood and Beyond. 28. Cecil Smith, “Sanford & Son: It’s TV’s First Black-on-Black Show,” 2. 29. Eugenia Collier, “Sanford and Son Is White to the Core,” 1, 3. 30. Smith, “Sanford & Son,” 2. 31. Alex McNeil, Total Television, 722. 32. Michael O’Daniel, “Everything a Performer Could Ask for . . . Except the One Thing He Wants Most: Respect,” 19. 33. Ibid., 19. 34. Ibid., 20. 35. Bill O’Hallaren, “Without Sanford and without Son . . . ,” 60. 5. Respect Yourself! Notes to Chapter 5 209 1. Ella Baker, quoted in Giddings, When and Where I Enter, 284. 2. George, The Death of Rhythm and Blues, 105–6. 3. Robin Kelley refers to the work of anthropologist James C. Scott. 4. I use the term racial dictatorship as suggested by Omi and Winant and as described in the introduction. 5. Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America, 1. 6. The quotation that serves as the heading for this section is from Diahann Carroll, quoted in Carolyn See, “I’m a Black Woman with a White Image,” 30. 7. Richard Warren Lewis, “The Importance of Being Julia,” 24. 8. Ibid., 24.
210 Notes to Chapter 5 9. I specify TV Guide here and continue to use this publication as a primary source in this chapter. As a mainstream publication with a wide readership and obvious ties to television, TV Guide proves to be a relevant resource in understanding the narratives created around television, the interpretations of the historical moment, and eventually the power and widespread impact of the statements made by African American entertainers when featured within its pages. 10. Lewis, “The Importance of Being Julia,” 24. 11. To criticize Julia for not portraying a realistic black person is essentializing, as the Civil Rights movement had helped to solidify a black middle class and Julia was leading a black middle-class existence. 12. Lewis, “The Importance of Being Julia,” 27. 13. Ibid., 27–28. 14. Ibid., 27. 15. Ibid., 28. 16. Ibid., 28. 17. For a detailed discussion of the gender implications of Julia, see Aniko Bodroghkozy, “‘Is This What You Mean by Color TV?’ Race, Gender and Contested Meanings NBC’s Julia,” 143–67. 18. Any citation with stage directions suggests the use of an archived script. Otherwise dialogue is taken directly from the taped episodes. 19. See, “I’m a Black Woman with a White Image,” 29–30. 20. Ibid., 30. 21. Edith Efron, “What’s Happening to Blacks in Broadcasting? Excluded, Distorted, Mishandled and Exploited,” 44. 22. Ibid., 44. 23. Maude was a spin-off of All in the Family. Bea Arthur as Maude Finley was Edith Bunker’s cousin, a strong-willed and opinionated “feminist” who challenged Archie. Maude espoused liberal views, and the show dealt with controversial issues. The episode most often cited to describe the show’s edge dealt with abortion. Good Times was a spin-off of Maude. 24. Esther Rolle, quoted in Riley, “Esther Rolle the Fishin’ Pole,” 17. 25. Ibid., 18. 26. Bob Lucas, “Collard Greens’ TV Show,” 53. 27. Gaines, Uplifting the Race, 5. 28. Esther Rolle in an interview in Color Adjustment, dir. Marlon Riggs, California Newsreel, 1991. 29. Franklin and Moss, From Slavery to Freedom, 493. 30. Carson et al., eds., The Eyes on the Prize, 294. 31. I call these shows pure sitcom because they were not only devoid of politics and pedagogy but also leaned strongly toward exaggerated characterizations and meaningless story lines.
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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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Reverend Leroy is a critique of the
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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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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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100 This Ain’t No Junk where they
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106 This Ain’t No Junk fred: Hey
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110 5. Respect Yourself! Black Wome
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112 Respect Yourself! This was the
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114 Respect Yourself! actors and bl
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116 Respect Yourself! voice of the
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118 Respect Yourself! may not have
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120 Respect Yourself! white schools
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122 Respect Yourself! races.” She
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124 Respect Yourself! Julia’s poi
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128 Respect Yourself! the fact that
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134 Respect Yourself! The character
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136 Respect Yourself! disparity in
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144 That Nigger’s Crazy at the cl
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146 That Nigger’s Crazy ’bout,
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148 That Nigger’s Crazy Crazy, Pr
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154 That Nigger’s Crazy Pryor as
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Page 235 and 236: 218 Bibliography Gender and Contest
Page 237 and 238: 220 Bibliography Eisner, Joel, and
Page 239 and 240: 222 Bibliography Hodges, Ann. “La
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Page 243 and 244: 226 Bibliography Shapiro, Joseph P.
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Page 247 and 248: 230 Index and TOBA, 11; and transfe
Page 249 and 250: 232 Index education, 132, 133-36, 1
Page 251 and 252: 234 Index 2, 21, 78, 107-8, 149, 20
Page 253 and 254: 236 Index Roots, 163, 171-72 Russel
Page 255 and 256: 238 Index Williams, Al, 100-101 Wil
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