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Prime Time Blues: African Americans on Network Television, by Donald Bogle
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Primetime Blues is the first comprehensive history of African Americans on the network series. Donald Bogle traces the changing roles of African Americans on primetime -- from the blatant stereotypes of television's early years to the more subtle stereotypes of recent eras. Bogle also reveals another equally important aspect of TV history: namely, that television has been invigorated by extraordinary Black performers -- from Ethel Waters and Eddie "Rochester" Anderson to Cicely Tyson, Flip Wilson, Redd Foxx, and those mighty power brokers Cosby and Oprah -- who frequently use the medium to make personal and cultural statements, and whose presence on the tube has been of enormous significance to the African American community. Bogle's exhaustive study moves from the postwar era of Beulah and Amos 'n' Andy to the politically restless sixties reflected in I Spy and the edgy, ultra-hip characters of The Mod Squad. Bogle comments on the short-lived East Side, West Side, the controversial Julia, and the television of the seventies, when a nation still caught up in Vietnam and Watergate retreated to the ethnic humor of Sanford and Son and Good Times; and on the politically conservative eighties, marked by the unexpected success of The Cosby Show. He explores die-hard Bonded Buddies on such series as Spenser: For Hire, and those Teen Dream heroes of Miami Vice. Finally, Bogle turns a critical eye to the television landscape of the nineties -- when Black and white viewers often watched entirely different programs -- with shows such as The Fresh Prince of Bel Air, ER, and The Steve Harvey Show. He also examines TV movies and miniseries such as The Autobiography of Miss Jane Pittman and Roots. Ultimately, this important book gives us a history rich in personalities and tensions as well as paradoxes and achievements.
- Sales Rank: #1991696 in Books
- Published on: 2001-02
- Original language: English
- Number of items: 1
- Dimensions: 1.78" h x 6.42" w x 9.56" l,
- Binding: Hardcover
- 512 pages
From Publishers Weekly
From its earliest days, television has always had a problem with color. The advent of Technicolor didn't change the fact that most actors on TV were white. Even in the mid-1970s, when African-American actors began appearing more regularly on network shows, the roles open to them were rigidly circumscribed. In this thoroughly researched, witty and often shocking social history, media scholar Bogle fashions an in-depth chronicle of the way television has mirrored and influenced the politics of race in the U.S. His analysis remains attuned to how the earliest black performersD"Eddie" Rochester on The Jack Benny Show; Ethel Waters, Hattie McDaniel and Louise Beavers playing the indefatigably cheerful black maid Beulah; and Alvin Childress and Spencer Williams in Amos n' AndyDmanaged to communicate authentically with African-American viewers, despite often finding themselves "cast in parts that were shameless, dishonest travesties of African American life and culture." Situating its critique within a broad economic and industry analysis, the book addresses such major issues as the pressure of sponsors and the advent of cable on the portrayal of African-American subject matter. The author of Dorothy Dandridge and Toms, Coons, Mulattos, Mammies, & Bucks, Bogle pulls no punches (e.g., chastising the popular Sanford and Son for what he sees as its anti-Asian racism and homophobia). This major new work in television and media studies will be welcomed by both academics and general readers. 60 b&w photos. Agent, Marie Brown. 5-city author tour. (Feb. 24)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
The history of network television is filled with examples of talented black actors tackling memorable roles in noted primetime television series. In scholarly yet accessible fashion, Bogle (history, New York Univ.; Dorothy Dandridge: A Biography) brings these examples together. His book is particularly notable as perhaps the first complete chronicle of the evolution of black television from its inception in the 1940s to the present. The author, who has covered the exploits of black TV and media personalities before (he recently appeared on an E! Entertainment Network biography of Josephine Baker), here shows us that people of color have helped define network television as we know it today and continue to contribute creatively to the medium. His illuminating and entertaining study is recommended for all popular TV and media sections.
-DDavid M. Lisa, Wayne P.L., NJ
Copyright 2001 Reed Business Information, Inc.
From Booklist
Bogle, author of Dorothy Dandridge (1997), offers an absorbing look at the potential and the disappointment of television, the most ubiquitous American cultural medium, and its place in the racial history of the nation. With the aid of photographs and detailed descriptions of the plots and characterizations of television shows, Bogle traces television's treatment of race and black performers from the controversial racial stereotyping of Amos 'n' Andy and Beulah through the deracialized appeal of The Cosby Show. The discussion is further enlivened by profiles of black performers' careers, such as that of Ethel Waters and Oprah Winfrey, noting their triumphs and humiliations. Bogle recalls the firsts in television and race history, for example, the first television show with a black star (The Ethel Waters Show) and the first interracial kiss on a television show (Uhura and Captain Kirk on Star Trek). He examines the slow process of moving from the racial neutrality of Julia to grittier portrayals of urban and racial realities in the U.S with Hill Street Blues, Equal Justice, and similar dramas. This is an extensive and even-handed look at how television has mirrored and distorted race images and issues in the premier multiracial society. Vanessa Bush
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
2 of 2 people found the following review helpful.
A CLASSIC,BUT WITH A FEW FLAWS
By J. Johnson
PRIMETIME BLUES is an excellent history of African-Americans
on primetime television,from the days of "Beluah" to "The Parkers".Smart,honest,and very,very,very insightful,PRIMETIME
BLUES makes you want to read even more.But if I had to put in
some complaints,it'd be Donald Bogle's political bias.Suggesting
that all Blacks live rough and that any Black show that wants to
show a normal,calm Black family is phony.And at times,PRIMETIME
BLUES comes off a textbook as well.But anyway,buy this book
for excellent coverage of Blacks on your TV screen!
2 of 2 people found the following review helpful.
FRESH PRINT
By A Customer
What an excellent, thoughtful study of a worthwhile topic. Bogle is to first writer to acknowledge the shows that are the most influential in the history of African American television. Special credit should go to him for identifying "The Fresh Prince of Bel-Air" as the one truly groundbreaking show of the last thirty years. Much like that show, this book is thoroughly intelligent and well done from start to finish.
5 of 7 people found the following review helpful.
PRIMETIME BLUES a politically biased take on black TV series
By Steven Bailey
In all of the 512 pages of Primetime Blues: African Americans on Network Television, the most telling sentence is author Donald Bogle's admission that "no one television show can answer everyone's needs." Ironically, this admission comes in the middle of Bogle's critique of "The Cosby Show," Bill Cosby's landmark 1980's sitcom that showed a middle-class black family doing well for itself, and surely one of the most popular sitcoms of its era.
It doesn't take a major historian of television to show that African Americans have been incredibly wronged by most television entertainment. Besides the obvious cases such as "Amos 'n Andy," Bogle goes to great and justifiable lengths to show many other cases where stereotypes abounded, such as Louise Beavers as a maid giving her all to a bland white family in "Beulah," and Hazel Scott, a unique and talented TV singer whose career was eventually undone by the '50s Communist witch hunt. Bogle also cites examples such as Martin Lawrence's career-boosting sitcom "Martin" to show that pandering, black entertainment has hardly gone by the wayside. Bogle also writes in a very down-to-earth style that subtly makes his case for positive black entertainment.
My biggest problem with the book is that Bogle is all too eager to examine each and every black sitcom and dramatic show in a socio-political prism. In Bogle's view, "The Cosby Show" suffered for overlooking political issues such as the 1985 Howard Beach killing of a black man, even though "The Cosby Show" never claimed to be politically oriented. (In any case, Cosby was far subtler about such issues, as when his sitcom son Theo sported an "Abolish Apartheid" poster on his wall and the show called no huge attention to it, though Cosby had to fight for that poster behind the scenes.) And the short-lived but critically acclaimed "Frank's Place" is taken to task by Bogle for being too different (no laugh track; filmed with a multi-camera movie-type set-up)--exactly the kind of unique programming for which Bogle pleads most of his case.
Most abominably, Bogle's idea of an exceptional black sitcom is "The Jeffersons," simply because it depicted George Jefferson as an up-and-coming businessman who made it on his own terms. As a long-time (admittedly white) viewer of the show in my teens, I feel the show had a lot of punch in its early years but eventually deteriorated into a slapstick sitcom. My most overwhelming memory of the show's later years is its opening montage that included clips from a show in which George and Louise dressed up for a costume party. Who did they dress up as? George did Charlie Chaplin, while Louise did Mae West--two blatantly white entertainment icons. What sort of message do you suppose that sent to young black viewers?
Prime Time Blues is an easy read (no small feat at over 500 pages) and offers some insight into the occasionally glimmering desert that is black television entertainment. But when one reads Bogle's criticisms of nearly every black show in history--even the ones that tried to make some headway for blacks--one wonders exactly what kind of show would make Bogle happy.
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