Revolution Televised.pdf

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102; and slavery, 198n29; and Soul Train, 64; and TOBA, 11 Cambridge, Godfrey, 48, 70 Carlin, George, 79 Carlos, John, 24, 48, 202n47 Carroll, Diahann: as Academy Award winner, 126; as first black star, 42; political expression by, 110, 112, 116, 125–26; and “white Negro,” 114. See also Julia Charlie and Company, 83 Chisholm, Shirley, 111 Chitlin’ Circuit: compared to TOBA, 16; and Redd Foxx, xiv, 86–88; location of, xiii, 13; and middle class, 16; and Richard Pryor, 144; and road shows, 11; sexual content of, 18; and Flip Wilson, 68, 78 Chris Rock Show: and concerns of African American population, xiv, 180–89; debut of, 183; guests on, 183. See also Rock, Chris Civil Rights legislation: of 1875, 8; in 1963, 28; in 1964, 28, 29; in 1965, 29 Civil Rights movement: and black community, 180; and Black Power movement, 27, 65, 71; and Nixon, 160, 169; selfconstruction within, 107; television news coverage of, 24–29, 31; and vocal protest, xiii class. See middle-class African Americans; working-class African Americans Claudine, 126, 127 “colorless”: Bill Cosby as, 70, 145; definition of, 206n48; Sidney Poitier as, 4 Commission on Civil Disorders, 40 Index 231 Confederate flag, 187 Congressional Black Caucus, 51, 127, 133 Connerly, Ward, 183–85, 215n26, 216n27 Copage, Mark, 115, 119 Cornelius, Don, xiii; and politics, xiv, 61; and radio, 59; and Soul Train, 55–66 Corporation for Public Broadcasting, 41, 49, 51–52 Cosby, Bill, 42, 54, 70, 90, 144–45, 147, 172, 175 Cosby Show, The, 1, 172, 196n2. See also Cosby, Bill Cotton Comes to Harlem, 91 courts, 161–62 Cronkite, Walter, 25 Crooklyn, 56 Crothers, Scatman, 100–101 Daktari, 54 dance, 60–63 Davis, Angela, 50, 111, 146 Davis, Sammy, Jr., 11, 20, 48, 90 desegregation. See integration Different World, 1 Diff’rent Strokes, 171 documentaries: and blackness, 32, 40; on cable, 214–15n14, 215n17; on network television, 26, 29–30, 53; and objectivity, 31; as source of black American stories, xiii; versus television news, 24. See also Black Journal; “Watts: Riots or Revolt?” documentary excess, 33, 39 double consciousness, 9, 83, 180 Douglass, Frederick, 44 Du Bois, W. E. B., 5, 8, 83, 180 Eckstine, Billy, 100–101 Ed Sullivan Show, The, 20
232 Index education, 132, 133–36, 181, 193, 202n45 Edwards, Harry, 48 Ellison, Ralph, 25 Emmy Awards, 41, 67, 109, 149, 176, 215n22 employment issues: 12, 33, 94, 103, 159, 202n45 Evers, Medgar, 177 family: and gender relations, 191–92; instability of, 5, 36–37, 107; representations of black nuclear, 48, 112, 117, 128–29, 141; and welfare, 126; women at head of, 35–37, 129 Fanon, Franz, 29 Farrakhan, Louis, 181 Fetchit, Steppin’, 73 FBI (Federal Bureau of Investigations), 45, 132, 160 FCC (Federal Communications Commission), 30 Fitzgerald, Ella, 20 Flip Wilson Show, The: black reception of, 82; guests on, 78–79; mainstream popularity of, xiii, 67, 71–72; and politics, 68, 71, 84; premiere of, 54, 66; stereotypes on, 73, 78. See also Wilson, Flip Ford, Gerald, 160 Foreman, George, 48 Foxx, Redd: albums by, 89; and black-only audiences, 89; and censorship, 87, 90; politics of, 109; and Redd’s Place, 90; salary negotiations, 108; as standup comic, 85–89, 108; and transition from black-only to mainstream forums, xiv, 17, 91, 99; in Trinidad, 85 Franklin, Aretha, 111 gangs, 132–34, 186, 188 Get Christie Love!, 170–71 Ghosts of Mississippi, 26, 177 Golden Age of Television Documentary, 30–32, 34, 40, 46, 200n13 Good Times: and J.J. as clown, 132, 138–40; and mixed politics, xii, 133, 141; pedagogical episodes of, 133–35; political episodes of, 135–38; popularity of, xiii, 108; pure sitcom episodes of, 138–40; setting of, 132. See also Amos, John; Rolle, Esther; Walker, Jimmie Grady, 108 Grammy Awards, 64, 70, 152 Gray, Herman, xv, 27 Greaves, William, 41, 49 Gregory, Dick, 17, 181 Grier, Pam, 111 Hamer, Fannie Lou, 111 Harlem Renaissance, 13 Harvard Report, 58 HBO, 176, 214n14. See also madefor-television films; Rock, Chris Head of State, 193 health, 133–34, 141, 216n31 Hemsley, Sherman, 171, 213n36 Henry, Bob, 70, 71, 82 hidden transcripts: defined, 6–7; and mainstream publications, 113; and Richard Pryor, 152; in theater performance, 12, 14, 18; and Flip Wilson, 73 Homeboyz from Outer Space, 175 Hooker, John Lee, 48 Hoover, J. Edgar, 45, 160 Horne, Lena, 48, 97–98 House, Lou, 42 housing, 33, 130, 202n45 Hughleys, The, 175
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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 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 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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166 That Nigger’s Crazy and the d
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168 That Nigger’s Crazy being dru
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170 Conclusion: Movin’ On Up Cont
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172 Conclusion States at the time,
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174 Conclusion Indeed, contemporary
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176 Conclusion Cerebral and black
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178 Conclusion and this film recogn
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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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Page 223 and 224: 206 Notes to Chapter 3 46. John Kie
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Page 227 and 228: 210 Notes to Chapter 5 9. I specify
Page 229 and 230: 212 Notes to Chapter 6 14. McPherso
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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
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: 230 Index and TOBA, 11; and transfe
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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