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A Cultural History of Black Public Affairs Television 1968-1980 A NORTHWESTERN UNIVERSITY Black Power TV: A Cultural History of Black Public Affairs Television 1968-1980 A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS For the degree DOCTOR OF PHILOSOPHY Field of Radio, Television and Film By Devorah Heitner EVANSTON, ILLINOIS June 2007 2 ABSTRACT: Black Power TV: A Cultural History of Black Public Affairs Television 1968–1980 Devorah Heitner “Black Power TV: A Cultural History of Black Public Affairs Television, 1968– 1980” chronicles the history of a television genre that emerged in 1968, addressing African American audiences with such bold titles as Like It Is, Say Brother, Our People, and For Blacks Only in cities such as Boston, New York, Atlanta, Washington, and Chicago. This dissertation examines the importance of the urban uprisings as a catalyst for changes in Black media representation, considering the impact of the Kerner Report and the responses of local governments and media outlets to the civil unrest of that period. These shows had several critical effects: they created a space for publicizing internal debate in Black communities; they gave African American spectators a chance to see themselves and their communities represented positively on television; and they served as a training ground for a new generation of African American producers, journalists, and technicians. This dissertation analyzes the complex relations between the state, the media makers and the stations that aired these programs. While the programs were initiated as a salve for Black discontent, African American staff members of these programs used them to disseminate a message of Black liberation, by documenting and encouraging activism, celebrating Black artistic and political achievements, and offering a mode of rhetorical self-defense to racist discourses. Furthermore, both activists and government officials recognized a relationship between the media representation and the material conditions of an oppressed group. In addition to the programs themselves, this study demonstrates the impact of tuition-free training programs specifically for Black media workers, demonstrating the continuing impact of professionals who began their careers on programs such as Say Brother and who continued to transform television with programs from Eyes on the Prize to Hill Street Blues. Methodologically, this dissertation draws on extensive archival research as well as oral histories from twenty-three individuals who worked on the television programs. Close textual analysis is used to investigate how the programs articulated their vision of Black empowerment. 2 3 3 4 Acknowledgements Without the tremendous amount of support I received from teachers, mentors, family and friends, I could not have written this dissertation. Furthermore, numerous media-makers, archivists and scholars generously offered me essential resources, recollections and advice. It is a pleasure to thank everyone here. My dissertation committee has offered more than I could have ever expected or asked for. Their examples of principled and dedicated scholarship have been inspiring and motivating. My co-chairs Jim Schwoch and Martha Biondi offered constant encouragement and insightful feedback. Jim Schwoch was enthusiastic about this project from the moment we first discussed it. Jim’s generosity is legion and his encyclopedic knowledge has been crucial. His understanding of the stages of the research and writing process was also a great help throughout this process. Martha Biondi introduced me to both the emerging scholarship on the Black Power era and to Inside Bedford Stuyvesant, which started me down the path to this project. I am grateful for her dedicated to this project and to my scholarly development. Her combination of activism and scholarship offer an inspiring example. Mimi White’s innovative thinking and writing on television has been influential to me, and her ethics as a scholar and a person have been a constant example and support. Her wisdom and generosity helped me survive and thrive in graduate school from day one. Jacqueline Stewart’s connections between lived and scholarly community, her brilliant writing on Black Cinema, and her courses have been a tremendous inspiration. Her close readings of my work challenged me to ask important questions of my material that I would not have arrived at without her guidance. In addition to my committee, 4 5 other faculty at Northwestern have offered mentorship—I especially want to thank Jennifer Devere Brody for her excellent and often timely advice. I am grateful to numerous individuals and groups for their feedback on various chapters and sections in progress: University of Chicago’s Social History Workshop and the American Culture Workshop, as well as the African American History Dissertation Group at Northwestern University. I am especially grateful to Darlene Clark Hine, Eric Gellman and Ebony Utley and at Northwestern and Jacqueline Goldsby, Andrew Johnston, Stephanie Allen, Michael Stamm, and Alyson Hobbs at University of Chicago, for helpful comments on drafts. At DePaul University, Jacqui Lazu, Amor Kohli, Darrell Moore and Amy Tyson have offered insights on this work and opportunities to share it. Liena Vayzman taught quite a bit about the writing and research process. Various folks read drafts and made useful suggestions; I especially thank my partner, Dan Weissmann, for comments on many drafts, always with fresh insights and patience, as well as a journalist’s eye for clear writing. Thanks also to Chris Finke, Lenore Weissmann, Margo Miller, Liena Vayzman, and Liz Duffrin, for some major and minor surgery on this text. Finally, but not least, Michael Kramer’s insightful readings of several chapters and his camaraderie as a dissertation buddy were invaluable, and I look forward to his book. The media makers I interviewed for this project spent many hours with me, recollecting their early careers. I wish to extend heartfelt thanks to everyone that I interviewed, especially Angela Fontanez, Charles Hobson, Madeline Anderson, Kay Bourne, Jewelle Gomez, Hazel Bright, Bobby Shepard, Eric Werner, St. Clair Bourne, Mrs. Ernestine Middleton, and Jim Tilmon. It was a privilege to get to know these individuals over the course of hours of tape. 5 6 Numerous archivists and librarians pointed me to resources, gave me excellent advice, and even attempted to help me get funding for my work. I wish to especially thank Ruta Abolins at the Peabody Archives, Karen King at National Public Broadcasting Archives, and Leah Weisse and Mary Ide at the WGBH archives. Additionally, archivists at New Jersey City University Library, The Moorland Spingarn Library at Howard University, The Moving Pictures Archive at the Library of Congress, The Museum of Television and Radio (New York) The UCLA Film and Television Archives, the Ford Foundation Archives and the Schomburg Center for Research in Black Culture helped me find video and documents from the history of Black public affairs television. Tracy Capers at the Bedford Stuyvesant Redevelopment Corporation helped me to locate the letters and other material cited in the second chapter. Laura Wolf-Powers offered crucial insights and research leads on Brooklyn and urban planning. I am grateful for the grants and fellowships that facilitated this work. Northwestern University’s Humanities Center gave both the Mellon Research and Travel Grant and the Graduate Affiliate Award. These grants made several research trips possible. I am also grateful for fellowships from the Northwestern University Graduate School: a Research Fellowship, and a Graduate Research Grant. The University of South Carolina’s Institute for Southern Studies funded a research trip to South Carolina. I am indebted to the American Association of University Women for the American Fellowship during which much of the final draft was written. On a graduate student’s budget, even with generous funding, I would never have been able to carry out this research without the hospitality of a number of people who let me stay with them, bought me meals, picked me up from airports and otherwise contributed to both my 6 7 survival and sanity on the road. My father Howard and stepmother Lois were especially generous with both schlepping and hospitality while I was in the New York metropolitan area. My father once carried a window unit up to an apartment I rented while doing research one hot summer in New York City. I would have dedicated this dissertation to him anyway, but that certainly sealed the deal. Additionally, Joe Milutis, Cecilia Lucas, Chris Kalb, Rebecca Bachman, Todd and Naomi Schragmar, Laura and Josh Wolf Powers, Lori Macintosh, Lynea Diaz Hagen and Federico Hewson, Ken and Aliza Heitner, Ellie Knepler, Ethan Heitner, Choe Smolarski, Jessie Cohen, and Dan Streible all contributed to my life on the road in various ways. My work has been supported and sustained by a rich network in and beyond Chicago. Aniko Bodroghkozy, Steven Classen, Arlene Davila, Jennifer Fuller, Frida Furman, Bambi Haggins, Peniel Joseph, Mary C. Kearney, Darrell Moore, Amy Onigiri, Laurie Ouellette, Yeidy Rivero, Mark Williams, and Michele White and have extended themselves in ways that make me feel fortunate to be part of a thriving scholarly community. Josh Malitsky, Clayton Brown, Susan Ericsson, Katy Chiles and Margo Miller were excellent graduate comrades. Katie Gucer told me I could do it and showed the way. Thanks to my whole Chicago circle for making my life here so sweet. Thanks especially to Lara Burrows, Moira Hinderer and Tracy Kostenbader. These women are my other sisters and have sustained me with healthy meals and in many other ways. I am in awe of their love. Cecilia Lucas, Chloe Smolarski, Jen Tilton and Amy Ahlstrom are my girls on the coasts, and these righteous women also have my undying loyalty. The art, activism, and scholarship that these women create give me hope for the world. 7 8 My family has grown in so many ways as I worked on this dissertation. There has always been my dad, Howard Heitner who has supported me through so much.
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