Scalar's 'additional metadata' features have been disabled on this install. Learn more.
Ghost Metropolis: Los Angeles from Clovis to NixonMain MenuRegimes: Ruling the Los Angeles Region from the Late Pleistocene to the 21st CenturyPlaces and Paths of Los AngelesManna From Hell: Power and Politics from Region to World PowerShadows: Visual Cultures and Mass Media of a Regional and Global PowerSegregated Diversity: The Geosocial Formation of Social Justice in the Late Twentieth CenturyRichard 37th: Nixon, Los Angeles, and World PowerThe American 1989: Los Angeles at the Climax of the 20th CenturyNarrative EssayBibliographies, Filmographies, Gazeteers, IndexesMapping the Past: Theory, Methods, HistoriographyPathCreditsRootPhil Ethingtone37d40405599cccc3b6330e6c4be064cc03ef7a5
Julia , 1968-1971
1media/Diahann_carroll_julia_1969.JPG2018-07-13T01:20:00-07:00Leonard Butingan8a58de73a6a2c51b9fb74d2b9e257db0199f29a56775TV series created by Hal Kanter, NBCplain2018-08-07T22:16:49-07:00Phil Ethingtone37d40405599cccc3b6330e6c4be064cc03ef7a5The show featured Diahann Carroll as Julia Baker, a widowed African American mother and nurse, and her son Corey Baker (Marc Copage). Julia centered around Julia’s middle class life with her son. One of the first shows to feature an African American woman, who was not playing a “mamie” type. Scholar Herman Grey classifies this shows as Julia “assimilationist" because that race is not at issue in the plot or dialogue. The producers and Dihann Carroll were painfully aware of this avoidance, and understood the avoidance as a price to be paid for the privilege of havinga successful black single mom as the central character of a series. Although the show aired in 1968, the same year of Dr. King’s assassination and urban uprisings, whites and blacks simply just co-existed on Julia. Already in the first season of 1968-69, Diahann Carroll complained: “"At the moment we're presenting the white Negro. And he has very little Negroness." In an interview for PBS decades later, Carroll recalls how unprepared and timid the network was at the time. Activists and artists also voiced their displeasure of the show’s assimilationism. Famously, musician and poet, Gil Scott-Heron, on his poem song “The Revolution Will Not Be Televised,” said, “The revolution will not be brought to you by the/Schaefer Award Theatre and will not star Natalie Woods and Steve McQueen or Bullwinkle and Julia.”
This page has paths:
12018-08-07T16:30:27-07:00Phil Ethingtone37d40405599cccc3b6330e6c4be064cc03ef7a5Decolonizing American Television: 1965-1990sLeonard Butingan12timeline2018-09-10T10:43:12-07:00Leonard Butingan8a58de73a6a2c51b9fb74d2b9e257db0199f29a5
12018-08-01T23:44:51-07:00Phil Ethingtone37d40405599cccc3b6330e6c4be064cc03ef7a5Blinding Race: Television in the Civil Rights Era, 1948-1965Phil Ethington29plain2018-08-10T18:34:31-07:00Phil Ethingtone37d40405599cccc3b6330e6c4be064cc03ef7a5