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Robinson 1975

677

Louie Robinson, "Bad Times On the 'Good Times' Set". Ebony. Vol. 30 no. 11 (September 1975), p. 35.

This page has tags:

1970s Phil Ethington
Contents of this tag:
1. Richard 37th, Act III: Thermidor, 1968-1974
2. Race, Space, Violence, and Voting: 1964, 1978, 1994
3. Good Times, 1974-1979
4. The Jeffersons, 1975-1985
5. Richard 37th, Act IV: Ronald the Great, 1975-1994
6. New Art Spaces after Watts and the Blowouts: Samella Lewis and ASCO, 1965-1978
7. All in the Family, 1971-1979
8. A Clockwork Orange (1971) Warner's poster is organized around an A for Alex. The tip of that A features a phallic knife in the hands of the "delinquent" Alex (Malcolm McDowell). Inside the open "legs" of the A is the "Milk Bar" figure, a naked woman in a submissive position also with her legs spread. The piercing knife above thrusts in the same direction, although artfully, not literally into the open inverted V[agina]. Lest this reading seem too sexually violent, the film's plot-generating scene in Act I is the graphic gang rape of Mrs. Alexander (Adrienne Corri)--her only role in the film because in the plot Mrs. Alexander commits suicide after this trauma. Publicity Poster. Fair use claim for critical study with scaled-down copy. Image embedded from wikimedia.
9. Phase II: Defiance, Resistance to Police Violence, and Ghetto Pride, 1971-1980s
10. Race-Ethnic Majorities by Census Tract, 1970, Showing Pico-Whittier and Lakewood-Rosemead Transections
11. Life of Nixon, Richard 37th
12. Sanford and Son, 1972-1977
13. Photography's Ironic Arrival as Fine Art: Ed Ruscha and Robert Heinecken, 1961-1970
14. Brady Bunch (ABC, 1969-1974)
15. Julia , 1968-1971
16. Life of Nixon Life of Nixon, Photomontage by Phil Ethington (2010) TOP ROW: Nixon family home, Yorba Linda, California (Nixon Birthplace and Library). Furniture and artifacts from Nixon family since Richard M. Nixon's childhood. SECOND ROW: Nixon, "Checkers Speech" 1952, Frame Still of kinetescope of broadcast; Nixon's resignation speech 8 August 1974, suburban family living room with Sears color television set. Live photo on 35mm Tri-X Pan negative; BOTTOM ROW: Nixon family kitchen sink, fawcett not leaking, at sunset, 2002.; The Watergate, also called Traitor's Gate, Tower of London, 2003. All photos except Checkers Speech frame still by Phil Ethington, 1974-2004.
17. "Black Bag Operations," White House Tapes, 21 March 1973
18. Nixon on Busing, 1972
19. The LA and New York Cinematic Rebellions, 1970s-1990s
20. Note: Reeves 2001; White House Tapes, 1971
21. The Ed Sullivan Show, 1948-1971
22. "This Film is Dedicated..." Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
23. The Contradictory Mayoralty of Tom Bradley in the Age of Reagan, 1973-1993
24. Cancer On the Presidency, 21 March 1973 White House Tapes, Nixon Libray. "Cancer on the Presidency" Conversation Date: Wednesday, March 21, 1973 between 10:12am and 11:55am Conversation Number: 886-6 Cassette Number / Minutes: E - 7 – E - 9 (1 hour 23 minutes) Location: White House Oval Office Exhibit Number: Exhibit 12 – U.S. v John N. Mitchell, et al. Exhibit 12 continues onto Reference Cassette Numbers E - 8 and E - 9 Abstract: Dean recaps the history of the Watergate break-in and subsequent cover-up for the President. They guess at who was responsible for setting the break-in in motion. Dean tells the President that the cover-up is "a cancer on the Presidency" that must be excised or his Presidency would be in danger. Also discussed: references to blackmail, perjury; discussion of paying the burglars off with one million dollars. Participants: President Nixon H.R.Haldeman John W. Dean III This conversation segment was released in context as part of the: Watergate Trial Conversations Transcripts
25. Philip Ahn as Master Kan from television series Kung Fu (n.d, publicity photo, circa 1972-1975)
26. Bradbury Building (George Wyman, 1893), by Julius Shulman The Bradbury Building (George Wyman, 1893), photographed in infra-red film by Julius Shulman (1970). Standing on George Wyman's exquisite wrought-iron stairways, on the occasion of a recently-completed 1991 restoration effort by then-owner Ira Yellin, Julius Shulman observed to LA Times architecture critic Suzanne Muchnik that Wyman played with light as though with sound: "Visual Acoustics." Conversation with author, 2003.
27. Race-Ethnic Majority Map, Los Angeles County, 1970
28. Dirty Harry (Warner Bros. 1971) Warner's iconic poster stars Dirty Harry's limb-ripping .44 Magnum, a weapon far too powerful for police work. Like the comparably-powerful 1911 Colt .45 automatic that U.S. Army officers wore as sidearms in both World Wars, the .44 Magnum can rip a man's arm off. Police handguns, like the classic "Service Revolver," use the deadly but not necessarily maiming 38 caliber bullets. This Big Gun, like Freud's Cigar, is an obvious Big Dick, accentuated in the poster by the from-below POV, as though the .44 is Eastwood's phallus. Publicity Poster. Fair use claim for critical study with scaled-down copy. Image embedded from wikimedia.
29. The Devil in Miss Jones (1973) Embedded URL from Wikimedia, which cites fair use rights as follows.: "This image is of a poster, and the copyright for it is most likely owned by either the publisher or the creator of the work depicted. It is believed that the use of scaled-down, low-resolution images of posters to provide critical commentary on the film, event, etc. in question or of the poster itself, not solely for illustration...qualifies as fair use under United States copyright law. " The author of Ghost Metropolis claims this same right, but only displays a publication by wikimedia here.
30. Conceptualism and the the CalArts Mafia, 1971-1980
31. John Amos interviewed about role as James Evans in Good Times (1974-6)
32. ASCO, "Spray Paint LACMA," with Patssi Valdez (1972)
33. "Black Bag Operations" The Dean-Nixon Cancer converstation, 21 March 1973
34. Orson Welles, Peter Bogdanovich, and the Artistic Apotheosis of the New Hollywood, 1971-1980
35. J. Paul Getty Interviewed by David Frost in Great Hall of Sutton Place, Televised Interview, 1970. Photograph by Julius Shulman.
36. Race-Ethnic Bar Charts, Central Los Angeles , 1970 by Census Tracts
37. Edward Ruscha, The Back of Hollywood, 1977
38. Population Size and Race-Ethnic Proportions, 1970: Central Los Angeles by Census Tracts
39. Enter The Dragon (1973)
40. "Starring The Black Community," Title Credits, Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
41. Nixon at Hungarian Border, 1956, by Ferenc Daday, 1971
42. Deep Throat (1972)
43. Tom and Ethel Bradley at Southwestern's First Annual Tom Bradley Scholarship Fund Dinner in 1978
44. Life of Nixon, Captions
45. Richard Nixon Press Conference 3/24/1972 Nixon press conference on March 24, 1972. The press conference opens with a question about the suspension of Paris Peace talks to end the Vietnam War. Nixon maintains that the North Vietnamese and Viet Cong are not serious in negiotiations and using them for propaganda purposes. Other topics discussed include desegregation, the ITT scandal and inflation. From the Nixon Presidential holdings at the National Archives, identifier P-720312. Notes 00:46 Suspension of the Paris Peace talks with North Vietnam 02:23 ITT scandal 04:20 Proper contact between White House and ongoing legal matters before Federal agencies 05:40 "The War on Inflation" 09:50 Political influence of large campaign contributions. Nixon adds at length and unprompted that ITT has had no influence on his administration. 12:31 Desegregation, a return by Nixon to "seperate but equal"? 20:01 ITT 20:16 Primary elections 21:41 Assess military situation in Vietnam 23:45 Desegregation 25:03 Division of power in the world 26:38 Peace with Castro 26:53 Marijuana 27:44 Upcoming trip to Canada, trade, cleanup Great Lakes 29:05 Trip to China 30:09 Confidence in Ambassador Watson 31:15 George Meaney 33:34 Agnew on ticket 34:00 Arms talks with Soviet Union, SALT
46. The Fall of American Censorship, 1953-1973
47. Diff’rent Strokes, 1978-1986
48. Richard M. Nixon, 37th President of the United States
49. Suzanne Jackson, "Sundown" (1974)
50. Thelma and Louise (1991) Sexual Assault Scene Thelma and Louise (1991), scene in which Harlan Puckett (Timothy Carhart) attempts to rape Thelma Dickinson (Geena Davis), ending with Louise Sawyer (Susan Sarandon) killing Puckett. 1 min 33 sec clip. Written as a feminist counter-attack on rape cinema by the screenwriter Carolyn Ann "Callie" Khouri, this scene marks the most important turning-point for Hollywood cinema's gender relations. That it took until 1991 to tell the truth about violent sexual assault, replace the male protector with a big sister who pulls a Dirty Harry by killing the man in cold blood after the immediate danger had been de-escalated. Louise (Susan Sarandon) kills Harlan (Timothy Carhart) for his insulting taunts after the confrontation was over, making the scene heavily colored by "payback" for women all over the world. In the portrayal, Harlan really seems to "deserve" being killed at that moment. The attempted rape is frighteningly violent, and Louise's speech to Harlan before killing him, included here, is a complete refutation of Clint Eastwood's rapist fantasy in High Plains Drifter (1973), in which the victim relaxes and enjoys the attack as real sex. Khouri won the Academy Award for Best Screenplay Written Directly for Film (the film's only Oscar, but it won a total of six nominations). So the Industry itself honored not only a great screenplay but a feminist revision of scores of Hollywood myths and codes. This anti-rape scene is not alone in the film as a feminist rebuke. Thelma and Louise also blow-up a fuel tank truck because the driver had been catcalling them.
51. Dirty Harry (1971) District Attorney Scene
52. Ahn Chang-ho, Philip Ahn, Susan Ahn Cuddy, 1905-1975
53. Brady Bunch (ABC, 1969-1974)
54. Transcript of "Cancer on the Presidency" Tape, 21 March 1971. Nixon Library, Yorba Linda. "Cancer on the Presidency" Conversation Date: Wednesday, March 21, 1973 between 10:12am and 11:55am Conversation Number: 886-6 Cassette Number / Minutes: E - 7 – E - 9 (1 hour 23 minutes) | Adobe Acrobat PDFTranscript | Listen Location: White House Oval Office Exhibit Number: Exhibit 12 – U.S. v John N. Mitchell, et al. Exhibit 12 continues onto Reference Cassette Numbers E - 8 and E - 9 Abstract: Dean recaps the history of the Watergate break-in and subsequent cover-up for the President. They guess at who was responsible for setting the break-in in motion. Dean tells the President that the cover-up is "a cancer on the Presidency" that must be excised or his Presidency would be in danger. Also discussed: references to blackmail, perjury; discussion of paying the burglars off with one million dollars. Participants: President Nixon H.R.Haldeman John W. Dean III This conversation segment was released in context as part of the: Watergate Trial Conversations Transcripts
55. Table 5.1: Explaining the Vote for Proposition 13 -- Property Tax Limitation, 1978
56. Robinson 1975
57. Vote for Proposition 13 (Property Tax Limitation), 1978. Above (red) and Below (blue) Median (white).
58. "Moratorium" (1973), by Willie Herron and Gronk Estrada Courts Housing Community, Olympic Blvd between Orme Ave and Lorena St
59. Title, Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
60. Plagens (1974): 21.
61. Hollywood Sign, c 1977
62. "Nixon Praises Troops: Contrasts with 'Bums' Blowing up Campuses"
63. Behind the Green Door (1972)
64. Women in Design Conference Poster by Sheila Levrant de Bretteville (1975)
65. Race-Ethnic Bar Charts by Census Tracts, Central LA, 1970
66. The Art of Feminism and Women of the LA Avant Garde, circa 1975
67. McCoy (1979)
68. "Nixon Praises Troops: Contrasts with 'Bums' Blowing up Campuses"
69. High Plains Drifter (1973)
70. L.A. Rebellion | Medea (1973)
71. ASCO, "First Supper (After a Major Riot)," 1973
72. Gebhard and Winter (1977)
73. Patton (1970)
74. Wattstax 1972 Full Documentary
75. "Starring The Black Community," Title Credits, Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
76. Race-Ethnic Majority Map, Los Angeles County, 1970, With August 1965 Qaurantine Area
77. Fraser 1979
78. Suzanne Jackson Sundown 1974
79. Resignation of Richard Nixon, Sears Color Television Set, Suburban Family Room, 8 August 1974
80. "The most troublesome post-thing," White House Tapes, 21 March 1973
81. Note on Rape Scene in High Plains Drifter (1973)
82. Race-Ethnic Bar Charts by Census 1970 Central LA
83. Sanford and Son, Frame Still 1972
84. Note: Nixon White House Tapes 1972
85. "You can get a million dollars..." White House Tapes, 21 March 1973

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Good Times, 1974-1979 Good Times, the third of Norman Lear's sitcoms of social criticism, focuses on the life of the working-class family of James (John Amos) and Florida (Esther Rolle) Evans in an inner city Chicago housing project, which is based on the actual Cabrini-Green projects.

While It is one of the first full feature sitcoms to focus on a “nuclear” African American family, it evolved from the role of Florida that Evans Rolle had played in Maude, where she played the title character's maid. Given that Maude Findlay was a liberal civil rights character, it is significant that she was portrayed as employing an African American as a servant. Conversely, given that the Chicago Projects were the very model for the "ghetto crisis" of the 1970s, Lear's CBS Evans family largely confined the African American family to the world of the Chicago's notorious, crime-ridden, high-rise projects.

Typical of Lear's opus, Good Times tackled many social issues, such as poverty, racism, and child abuse, but these "serious" issues were increasingly drowned-out by the stereotypical antics of the 16-year-old son "JJ" (played by Jimmy Walker) that dated from slavery. JJ called himself "Kid Dy-no-mite!,” wore super-fly headwear, and acted ignorant. His mannerisms were reminiscent of the “Shuckin’ and Jivin” stereotype from the slavery era. Both of the shows co-stars, Esher Rolle, and John Amos, were displeased by Walker's show-stealing and the Lears' willingness to go along with it. "They have made J.J. more stupid and enlarged the role," Rolle complained in Ebony magazine, during the second season of the show: "Negative images have been slipped in on us through the character of the oldest child."Note

John Amos was also vocal in opposing the direction Jimmy Walker was taking the character of JJ, especially because his character's other son, Michael (played by Ralph Carter), was planning to become a Supreme Court Justice and could just as well have been a focus of the scripts. Instead, Michael's intellectual character is left in the shadow of his older brother's jive-talk. Amos' opposition to JJ put him at odds with Lear, who fired Amos at the end of the third season, by killing James Evans with an off-screen heart attack.