Revolution Televised.pdf

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Bibliography Adler, Dick. “Look What They Found in the Junkyard—the Spare Parts of a Comedy Series That Breaks Some New Ground.” TV Guide, 13 May 1972, 28–32. Amory, Cleveland. The Flip Wilson Show. TV Guide, 10 October 1970, 44. ———. Review of Sanford and Son. TV Guide, 26 February 1972, 47. ———. Review of Good Times. TV Guide, 6 April 1974, 52. Anderson, Benedict. Imagined Communities. New York: Verso, 1983. Arliss, Michael. “The Media Dramas of Norman Lear.” New Yorker, 10 March 1975, 89–94. Aucoin, Don. “Flip Wilson, 1933–1998.” Boston Globe, 28 November 1998, Arts & Film, G1. Bailey, Peter. “Black Excellence in the Wasteland.” Ebony, 27 March 1972, 45–48. Barber, Rowland. “Soul Train: For Rock Fans It’s Right on Time.” TV Guide, 25 May 1974, 31–33. ———. “No Time for Jivin’.” TV Guide, 14 December 1974, 28–32. Bass, Amy. “Race and Nation in Olympic Proportions.” Spectator 19, no. 1 (1998): 8–24. Berkow, Ira. “Even the Norfolk Neptunes Cut Him.” TV Guide, 17 August 1974, 15–18. “Beyond Laughter.” Ebony, September 1967, 87–94. Bianculli, David. “TV Land Proves Flip’s Still Hip.” New York Daily News, 18 August 1997, Television, 66. “Black Journal Charges New York Times with Attempted Assassination.” Jet, 27 January 1972, 44. “Black TV: Its Problems and Promises.” Ebony, September 1969, 88–92. Bodroghkozy, Aniko. “‘Is This What You Mean by Color TV?’ Race, 217
218 Bibliography Gender and Contested Meanings in NBC’s Julia.” In Private Screenings, ed. Lynn Spigel and Denise Mann, 143–67. Minneapolis: University of Minnesota Press, 1992. Bogle, Donald. Toms, Coons, Mulattoes, Mammies & Bucks. New York: Bantam Books, 1973. ———. Prime Time Blues. New York: Farrar, Straus and Giroux, 2001. Boyd, Todd. “A Trip down ‘Soul Train’s’ Memory Lane.” Los Angeles Times, 22 November 1995, Calendar, 1. ———. Am I Black Enough for You? Popular Culture from the Hood and Beyond. Bloomington: Indiana University Press, 1997. Braxton, Greg. “Flip Side: Happy Not Being Funny.” Los Angles Times, 11 March 1993, Home Edition, Calendar, 1. ———. “He Brought Us Exquisite ‘Pain’; Now He’s ‘Bigger,’ Not Better.” Los Angeles Times, 10 July 1999, Home Edition, Calendar, F, 2. Bright, Hazel. “TV versus Black Survival.” Black World, December 1973, 30–42. Britt, Bruce. “Leaping Barriers with Laughter.” Washington Post, 28 November 1998, Final Edition, Style, F01. Brownfield, Paul. “Flip Wilson’s Comedy Transcended Era’s Color Barrier.” Los Angeles Times, 28 November 1998, Home Edition, Calendar, 6. Carlson, Peter. “A Call to Arms.” Washington Post, 13 October 1996, Magazine, W10. Carson, Clayborne, et al., eds. The Eyes on the Prize: A Civil Rights Reader. New York: Penguin Books, 1991. Cassese, Sid. “Spotlight: Richard Pryor: No Laughing Matter.” Ebony, September 1969, 78–113. Chappell, Kevin. “Chris Rock; Hot Comic Is on the Roll of His Life.” Ebony, May 1997, 132. Coker, Cheo Hadari. “Welcome to Rock’s World.” Los Angeles Times, 24 April 1997, Calendar, F, 1. Collier, Eugenia. “Sanford and Son Is White to the Core.” New York Times, 17 June 1973, sec. 2, 1, 3. ———. “TV Still Evades the Nitty-Gritty Truth!” TV Guide, 12 January 1974, 6–10. ———. “‘Black’ Shows for White Viewers.” Freedomways, 3rd quarter (1974): 209–17. ———. “A House of Twisted Mirrors: The Black Reflection in the Media.” Current History, November 1974, 228–34. Collins, Reggie. Liner notes, “Pryor Times.” On Richard Pryor: And Its Deep Too: The Complete Warner Brothers Recordings, 26–52. Los Angeles: Warner Brothers, 2000. Color Adjustment. Dir. Marlon Riggs. California Newsreel, 1991.
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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? 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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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
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100 This Ain’t No Junk where they
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102 This Ain’t No Junk Another ep
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104 This Ain’t No Junk it would b
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106 This Ain’t No Junk fred: Hey
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108 This Ain’t No Junk embarrassm
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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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126 Respect Yourself! spaces. These
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128 Respect Yourself! the fact that
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130 Respect Yourself! the father, w
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132 Respect Yourself! poverty and g
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134 Respect Yourself! The character
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136 Respect Yourself! disparity in
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138 Respect Yourself! down in the m
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140 Respect Yourself! 1978), J.J. b
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142 Respect Yourself! and white con
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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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150 That Nigger’s Crazy stereotyp
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152 That Nigger’s Crazy chase: Sp
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154 That Nigger’s Crazy Pryor as
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156 That Nigger’s Crazy network r
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158 That Nigger’s Crazy The first
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160 That Nigger’s Crazy action, w
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162 That Nigger’s Crazy judge coo
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164 That Nigger’s Crazy Episode t
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Page 187 and 188: 170 Conclusion: Movin’ On Up Cont
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Page 191 and 192: 174 Conclusion Indeed, contemporary
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Page 203 and 204: 186 Conclusion HBO to discuss socia
Page 205 and 206: 188 Conclusion the interviewees are
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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
Page 219 and 220: 202 Notes to Chapter 2 45. Black Pa
Page 221 and 222: 204 Notes to Chapter 3 Listening to
Page 223 and 224: 206 Notes to Chapter 3 46. John Kie
Page 225 and 226: 208 Notes to Chapter 4 4. This Ain
Page 227 and 228: 210 Notes to Chapter 5 9. I specify
Page 229 and 230: 212 Notes to Chapter 6 14. McPherso
Page 231 and 232: 214 Notes to Conclusion 7. See Omi
Page 233: 216 Notes to Conclusion where he le
Page 237 and 238: 220 Bibliography Eisner, Joel, and
Page 239 and 240: 222 Bibliography Hodges, Ann. “La
Page 241 and 242: 224 Bibliography Mitz, Rick. The Gr
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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