1 00:00:00,000 --> 00:00:16,320 --3 -W4 -R5 2 00:00:30,397 --> 00:00:32,397 . >>> GUESS WHAT FAMOUS 3 00:00:32,399 --> 00:00:34,899 PERSONALITY I CARRIED IN MY CAB TODAY? 4 00:00:34,902 --> 00:00:37,371 WE TALK ABOUT RACE AND CULTURE IN SERIOUS WAYS. 5 00:00:37,371 --> 00:00:40,140 THAT’S IMPORTANT. DISCUSSING THESE IN A SITCOM, 6 00:00:40,140 --> 00:00:43,340 YOU’RE NOT DEFENSIVE, YOU’RE ABLE TO TAKE IN NEW IDEAS. 7 00:00:43,343 --> 00:00:49,950 GIVE YOU ANOTHER HINT, BAN GO BANGO. 8 00:00:49,950 --> 00:00:54,220 KNOWING YOU HE’S PROBABLY BLACK. 9 00:00:54,221 --> 00:01:05,799 SGLF DOING SOMETHING THEY HAVE NEVER DONE BEFORE. 10 00:01:05,799 --> 00:01:09,536 HELLO, GLORIA. AND HER HUSBAND MIKE. 11 00:01:09,536 --> 00:01:11,136 HELLO, MIKE. NO, NO. 12 00:01:11,138 --> 00:01:21,648 IT WAS ELECTRIFYING. I WAS TINGLE LINGING THE WHOL 13 00:01:21,648 --> 00:01:23,417 TIME. HE WAS GOING TO KISS HIM ON 14 00:01:23,417 --> 00:01:26,447 THE CHEEK AND HE’S SITTING THERE GOING, EEEE. 15 00:01:26,453 --> 00:01:32,426 YOU’RE WATCHING KIND OF A MASTER CLASS REFLEBLGCTING 16 00:01:32,426 --> 00:01:34,426 HUMANITY. IT WAS REVOLUTION NAY. 17 00:01:34,428 --> 00:01:37,258 ‐‐ REVOLUTIONARY IN A LOT OF WAYS. 18 00:01:37,264 --> 00:01:50,043 CHANGED THE WAY WE THINK ABOUT SOCIETY. 19 00:01:52,279 --> 00:01:54,479 THAT’S A PICTURE OF SAMMY DAVIS. 20 00:01:54,481 --> 00:01:58,551 LOOK WHAT HE WRITES HERE. TO ARCHIE BUNKER, THE WHITEST 21 00:01:58,552 --> 00:02:01,688 GUY I KNOW. ARCHIE BUNKER WAS JAW 22 00:02:01,688 --> 00:02:07,588 DROPPING AND YOU REALIZED NORMAN LEER IS TAKING US INTO A NEW 23 00:02:07,594 --> 00:02:11,564 REALM OF COMEDY. THAT WAS MY DAD. 24 00:02:11,565 --> 00:02:16,003 MY FATHER USED TO SAY JANETTE, IT’S SUNDAY WE’RE GOING OUT FOR 25 00:02:16,003 --> 00:02:19,106 DRINKS. DAD, WE’RE GOING TO GO OUT FOR A 26 00:02:19,106 --> 00:02:23,406 CHINESE MEAL. WHY DO YOU HAVE TO SAY CHINKS. 27 00:02:23,410 --> 00:02:28,980 JUST SOLD HIS HOME TO A FAMILY OF COLORSEDEDCOLOREDS. 28 00:02:28,982 --> 00:02:32,519 NO. PART OF THE JOY OF DOING IT 29 00:02:32,519 --> 00:02:34,419 WAS THIS HASN’T BEEN DONE BEFORE. 30 00:02:34,421 --> 00:02:39,891 OH, HI, NEIGHBOR. "ALL IN THE FAMILY" COMMENTED 31 00:02:39,893 --> 00:02:43,730 DIRECTLY ON RACISM SAYING WE NEED TO DEAL WITH THIS AND THIS 32 00:02:43,730 --> 00:02:48,700 IS A VEHICLE WE NEED TO DO THAT, THE TELEVISION SITCOM. 33 00:02:48,702 --> 00:02:51,271 THERE AIN’T NO SENSE IN ARGUING BECAUSE I’M RIGHT AND 34 00:02:51,271 --> 00:02:54,307 KNOW I’M RIGHT. ALL THIS BUSINESS OF MIXING THE 35 00:02:54,307 --> 00:02:55,807 COLORS. AT THE SAME TIME, ARCHIE 36 00:02:55,809 --> 00:02:59,279 BUNKER IS A LIGHTNING ROD OF CONTROVERSY BECAUSE HE’S ALLOWED 37 00:02:59,279 --> 00:03:03,579 TO HOLD VERY BIGOTED VIEWS. WHAT IS WRONG WITH THAT, 38 00:03:03,583 --> 00:03:05,185 ARCHIE? CAN’T YOU USE YOUR HEAD? 39 00:03:05,185 --> 00:03:10,085 HOW THE HELL WILL WITH TELL EACH OTHER APART? 40 00:03:10,090 --> 00:03:13,727 AND THERE ARE PEOPLE THAT DON’T SEE ARCHIE BUNKER AS BEING 41 00:03:13,727 --> 00:03:16,827 AN ANTI HERO. THEY JUST SEE HIM AS BEING A 42 00:03:16,830 --> 00:03:18,260 HERO. PRESIDENT NIXON SAW THE SHOW 43 00:03:18,265 --> 00:03:21,068 AND HE WAS ASKED ABOUT WHAT HE THOUGHT OF IT. 44 00:03:21,068 --> 00:03:25,938 HE SAID TRYING TO MAKE A FOOL OUT OF A GOOD MAN. 45 00:03:25,939 --> 00:03:30,009 SORRY DON’T HELP ME BOY. NOW I GOT TO CHANGE THE SHADES. 46 00:03:30,010 --> 00:03:32,610 PEOPLE THINK HE WAS ALL TOGETHER WRONG BUT THE BLOW BACK 47 00:03:32,612 --> 00:03:38,919 FROM THE PUBLIC WAS FAR BURIED BY THE EXCITEMENT AND THE 48 00:03:38,919 --> 00:03:40,687 APPLAUSE. HEY, I DON’T LIKE THAT. 49 00:03:40,687 --> 00:03:43,717 YOU DON’T LIKE WHAT? YOU CALLING ME BOY. 50 00:03:43,724 --> 00:03:46,426 I’M NOT A BOY. I’M A MAN. 51 00:03:46,426 --> 00:03:49,656 IF YOU LOOK AT ARCHIE BUNKER, HE’S A RACIST GUY BUT WE LOVED 52 00:03:49,663 --> 00:03:53,133 HIM. SITCOMS SAY LOOK AT US. 53 00:03:53,133 --> 00:03:56,336 LOOK WHAT WE’RE AFRAID OF. I’M A MAN, TOO. 54 00:03:56,336 --> 00:04:00,666 GEE, I DON’T GO AROUND MAKING A PINT 55 00:04:00,674 --> 00:04:02,642 POINT OF IT. YOU NEVER HAD TO MAKE A POINT 56 00:04:02,642 --> 00:04:05,912 OF IT. IN THE ’70s WITH "ALL IN THE 57 00:04:05,912 --> 00:04:08,715 FAMILY" WE’RE STARTING TO HAVE A CONVERSATION ABOUT RACE IN WAYS 58 00:04:08,715 --> 00:04:10,775 THE CONVERSATIONS HAD NOT BEEN HAD. 59 00:04:10,784 --> 00:04:14,287 THERE WAS A HUGE RISE OF THE BLACK MIDDLE CLASS. 60 00:04:14,287 --> 00:04:18,157 WE GET ADVERTISERS TURNING TOWARDS BLACK PEOPLE. 61 00:04:18,158 --> 00:04:25,298 SO YOU CAN SEE WHY NORMAN LEER CREATES "SANFORD AND SON". 62 00:04:25,298 --> 00:04:36,738 I WAS IN LOS VEGAS AND THE LONG JACK WAS AT FOX AND I CAME 63 00:04:36,743 --> 00:04:40,947 BACK DELLWITH THE POSSIBILITY. THE GUY THAT WROTE THE BIBLE 64 00:04:40,947 --> 00:04:42,916 DIDN’T LIVE IN THIS NEIGHBORHOOD. 65 00:04:42,916 --> 00:04:48,316 IF HE HAD, HE WOULD SAY LOVE THY NEIGHBOR BUT LOCK THY WINDOWS. 66 00:04:48,321 --> 00:04:53,827 FOX FELT LIKE THIS COMEDY FORCE. 67 00:04:53,827 --> 00:04:58,057 "SANFORD AND SON" IS SET IN THE 1970s WITH THIS OLD MAN THAT 68 00:04:58,064 --> 00:05:10,911 RUNS A JUNKYARD WITH HIS ADULT SON MRKSLAMNONT THAT WANTS TO G 69 00:05:10,911 --> 00:05:12,011 RICH QUICK. THAT’S THE WAY THEY TALK. 70 00:05:12,012 --> 00:05:17,382 THIS WOMAN WAS ABOUT 90 YEARS OLD. 71 00:05:17,384 --> 00:05:23,423 AIN’T NOTHING UGLIER THAN A 90‐YEAR‐OLD WHITE WOMAN. 72 00:05:23,423 --> 00:05:25,692 OLD SCHOOL. THERE IS A REASON WHY SANFORD 73 00:05:25,692 --> 00:05:28,461 IS IRRIGATIONBLE. A COURTROOM IS WHERE YOU GET 74 00:05:28,461 --> 00:05:30,961 JUSTICE AND THAT’S WHAT I’M LOOKING FOR, IS JUSTICE. 75 00:05:30,964 --> 00:05:36,536 SANFORD HAS REAL PROBLEMS WITH AMERICAN RACISM IN THE WAY 76 00:05:36,536 --> 00:05:39,436 IT PLAYS OUT IN HIS LIFE. WHY DON’T YOU ARREST SOME 77 00:05:39,439 --> 00:05:41,208 WHITE DRIVERS? I DO. 78 00:05:41,208 --> 00:05:43,538 YOU DO? WHERE ARE THEY? 79 00:05:43,543 --> 00:05:50,583 LOOK AT ALL THESE IN HERE. FOX IS THE FIRST TO SAY THE 80 00:05:50,584 --> 00:05:55,422 WORD NIGGER ON TV. SAID IT TWICE THAT EPISODE. 81 00:05:55,422 --> 00:05:57,891 IT’S REAL. WE USE IT. 82 00:05:57,891 --> 00:06:01,661 IT’S PART OF OUR LANGUAGE. I DON’T KNOW IF IT’S RIGHT OR 83 00:06:01,661 --> 00:06:06,231 WRONG, I DON’T GET INTO THAT. "SANFORD AND SON" RESONATED 84 00:06:06,233 --> 00:06:10,237 WITH ME BECAUSE THE ACTORS SPOKE LIKE BLACK PEOPLE I KNEW. 85 00:06:10,237 --> 00:06:14,837 LAMONT, YOU KNOW I’D DO ANYTHING FOR YOU. 86 00:06:14,841 --> 00:06:16,941 TELL HER TO HAVE HER FACE FIXED. 87 00:06:16,943 --> 00:06:19,112 BLACK LIFE HAD NOT BEEN SHOWN IN ANY KIND OF FASHION. 88 00:06:19,112 --> 00:06:21,648 IT WAS IMPORTANT PEOPLE WERE FEELING RECOGNIZED. 89 00:06:21,648 --> 00:06:25,178 IT PROVED THAT BLOCK SHOWS CAN BE JUST AS SUCCESSFUL AS 90 00:06:25,185 --> 00:06:28,855 LONG AS PEOPLE CAN RELATE TO IT. I’M DYING. 91 00:06:28,855 --> 00:06:36,355 YOU KNOW ELIZABETH? I’M COMING TO JOIN YOU, HONEY. 92 00:06:36,363 --> 00:06:40,100 OH. MAYBE THAT’S ELIZABETH. 93 00:06:40,100 --> 00:06:44,137 WITH "ALL IN THE FAMILY, SANFORD AND SON" ON THE AIR 94 00:06:44,137 --> 00:06:47,007 WAVES, THEN THERE WAS "GOOD TIMES". 95 00:06:47,007 --> 00:06:52,445 LET’S SEE. I’LL PAY THIS ONE, STALL THIS 96 00:06:52,445 --> 00:06:54,345 ONE, GOT TO ARGUE ABOUT THIS ONE. 97 00:06:54,347 --> 00:06:57,247 THIS ONE I’M GOING TO PUT IN THE FUNNY PAPERS. 98 00:06:57,250 --> 00:07:02,889 SHOWS LIKE "GOOD TIMES" AND "SANFORD AND SON" TOOK A STEP 99 00:07:02,889 --> 00:07:05,889 FORWARD IN WE SEE MORE DEPICTIONS OF BLACK FAMILIES BUT 100 00:07:05,892 --> 00:07:11,262 THOSE FAMILIES ARE ALSO SQUARELY IN THE WORKING CLASS. 101 00:07:11,264 --> 00:07:15,802 WE WERE PEOPLE THAT WORKED 60 HOURS A WEEK AND CLEANED YOUR 102 00:07:15,802 --> 00:07:18,939 HOUSES AND EMPTY YOUR GARAGE CANS. 103 00:07:18,939 --> 00:07:22,309 WE MUST SET HIGHER GOALS. WE MUST SET HIGHER GOALS. 104 00:07:22,309 --> 00:07:27,309 IN THE 1970s, CARMICHAEL WAS ONE OF THE BLACK PANTHERS AND 105 00:07:27,314 --> 00:07:33,887 SOME OF HIS PANTHERS SS COME STORMING INTO NORMAN’S OFFICE. 106 00:07:33,887 --> 00:07:37,187 THERE ARE THREE GUYS THAT WANT TO SEE THE GARBAGE MAN. 107 00:07:37,190 --> 00:07:43,496 THEY SAID YOU GOT THIS POOR BLACK FAMILY ON "GODOD TIMES." 108 00:07:43,496 --> 00:07:45,326 THIS IS A REAL MISREPRESENTATION. 109 00:07:45,332 --> 00:07:49,469 WE HAD A BLACK FAMILY NEXT DOOR ON "ALL IN THE FAMILY" AND 110 00:07:49,469 --> 00:07:51,599 WE DECIDED TO MOVE THEM ON UP. 111 00:07:51,604 --> 00:07:54,407 ♪ MOVING ON UP ♪ EVERYBODY KNOWS WHAT THAT 112 00:07:54,407 --> 00:07:55,675 MEANS. YOU’VE MOVED ON UP. 113 00:07:55,675 --> 00:08:01,205 YOU’RE ON THE EAST SIDE. WHAT YOU DID TO GET THERE AND 114 00:08:01,214 --> 00:08:04,017 WHAT YOU GOT TO DO TO STAY THERE. 115 00:08:04,017 --> 00:08:07,517 IT IS NICE AROUND HERE, AIMTN IT? 116 00:08:07,520 --> 00:08:10,090 KIND OF NICE? THIS IS IT. 117 00:08:10,090 --> 00:08:13,890 THE JEFFERSONS SHOWED US OWNING SOMETHING, WHICH WAS VERY 118 00:08:13,893 --> 00:08:15,662 IMPORTANT. YOU SAW A BLACK MAN STANDING 119 00:08:15,662 --> 00:08:20,132 UP TO WHITE PEOPLE. WHO ARE YOU CALLING CRAZY? 120 00:08:20,133 --> 00:08:25,103 THE SHOWS HAD DEPTHS TO THEM. THEY TACKLED RACIAL ISSUES. 121 00:08:25,105 --> 00:08:28,808 VERY GOOD. VERY GOOD, LADIES. 122 00:08:28,808 --> 00:08:31,008 WHO IS NEXT? COME ON NOW, WE’RE ALL 123 00:08:31,011 --> 00:08:33,747 FRIENDS HERE. YOU MAY BE FRIENDS BUT WE 124 00:08:33,747 --> 00:08:39,617 DON’T TOUCH ANYTHING THAT’S BEEN KISSED BY A NIGGER. 125 00:08:39,619 --> 00:08:44,157 OH! THE FLASH BACK EPISODE, WHAT 126 00:08:44,157 --> 00:08:47,587 JEFFERSONS WERE DOING TODAY MARTIN LUTHER KING WAS SHOT. 127 00:08:47,594 --> 00:08:50,697 IT ENDS WITH MARTIN LUTHER KING’S SPEECH. 128 00:08:50,697 --> 00:08:57,937 WE HAVE SOME DIFFICULTIES AHEAD BUT I WANT YOU TO KNOW 129 00:08:57,937 --> 00:09:00,167 TONIGHT THAT WE THE PEOPLE WILL GET TO THE PROMISE LAND. 130 00:09:00,173 --> 00:09:05,678 BUT THE FLY IN THE OINTMENT WAS THEY WERE ALL WRITTEN 131 00:09:05,678 --> 00:09:11,048 PRIMARILY BY WHITE EXECUTIVES THAT HAD A MYOPIC VIEW OF BLACK 132 00:09:11,051 --> 00:09:14,151 AMERICA. I FEEL QUALIFYIED TO DO THAT 133 00:09:14,154 --> 00:09:18,758 AS A HUMAN BEING THAT SHARED SOME OF THE SAME CONCERNS AND WE 134 00:09:18,758 --> 00:09:22,058 HAD A COUPLE MORE WRITERS WHO WERE THEMSELVES 135 00:09:22,062 --> 00:09:24,197 AFRICAN‐AMERICAN. DOES NORMAN LEER MISS THE 136 00:09:24,197 --> 00:09:26,366 MARK A LOT? HE DOES BUT CAPTURES MOMENTS 137 00:09:26,366 --> 00:09:28,826 THAT HAD NOT BEEN CAPTURED BEFORE IN TERMS OF SHOWING 138 00:09:28,835 --> 00:09:34,974 AFRICAN‐AMERICAN CULTURE. I BELIEVE THAT IT IS 139 00:09:34,974 --> 00:09:43,316 IMPORTANT TO HAVE WRITERS IN THE ROOM THAT UNDERSTAND THE 140 00:09:43,316 --> 00:09:49,386 CHARACTERS, THE JOY, IF NOT, IT LOOKS LIKE ANDY. 141 00:10:18,610 --> 00:10:23,181 >>> IN THE LATE 1940s, 1950s, TELEVISION WAS TRYING TO SEE 142 00:10:23,181 --> 00:10:28,081 WHAT WORKED COMING OUT OF RADIO. IT WAS MADE IN NEW YORK CITY 143 00:10:28,086 --> 00:10:31,256 SO WAS DIVERSE. MANY SHOWS ARE BORN AS RADIO 144 00:10:31,256 --> 00:10:36,026 PROGRAMS. "LIFE WITH LUIGI, THE 145 00:10:36,027 --> 00:10:38,096 GOLDBERGS". SOMETIMES I WONDER IF YOU 146 00:10:38,096 --> 00:10:41,696 EVER LEARNED ANYTHING. SURE. 147 00:10:41,699 --> 00:10:47,305 I LEARN A LOT OF THINGS. SOME WERE RECIRCULATING 148 00:10:47,305 --> 00:10:49,641 STEREO TYPES. WHEN IT IS A MISREPRESENTATION 149 00:10:49,641 --> 00:10:54,341 ON THE SCREEN, IT IS DONE ON MANY LEVELS GREAT HARM. 150 00:10:54,345 --> 00:11:03,085 ON THE RADIO, "AMIS AND ANDY" WERE POPULAR SITCOMS BUT WHO 151 00:11:03,087 --> 00:11:07,091 PLAYED THEM WERE RIGHT. THE ORIGINAL PILOT FOR THE 152 00:11:07,091 --> 00:11:11,261 SHOW WAS DONE IN BLACKFACE AND THE SPONSOR SAID I DON’T KNOW IF 153 00:11:11,262 --> 00:11:15,192 THIS IS GOING TO GO OVER WELL, SO THEY CASTED IT WITH SOME VERY 154 00:11:15,199 --> 00:11:20,305 FUNNY BLACK COMEDIANS. 155 00:11:20,305 --> 00:11:25,343 WHAT DO YOU THINK, LIGHTNING? THIS SURE IS A THIN HOUSE. 156 00:11:25,343 --> 00:11:30,843 IT WAS, AT TIMES, HYSTERICALLY FUNNY BUT THE 157 00:11:30,848 --> 00:11:33,951 STEREO TYPES LEFT A NEGATIVE TASTE IN A LOT OF OUR MOUTHS. 158 00:11:33,951 --> 00:11:43,491 THE CENTRAL CHARACTERS ARE ALL JUST DIFFERENT ENTERINTEGRAT 159 00:11:43,494 --> 00:11:49,064 OF THE TYPES OF SHOWS WHERE WHITE MEN WERE PUTTING ON 160 00:11:49,067 --> 00:11:52,367 BLACKFACE. IT’S EMBRACING THIS DEHUMANIZING 161 00:11:52,370 --> 00:12:00,144 TRADITION OF REPRESENTATION. THE NAACP CAME OUT AGAINST "AMIS 162 00:12:00,144 --> 00:12:02,880 AND ANDY "AND IT WENT OFF TELEVISION. 163 00:12:02,880 --> 00:12:07,050 EVERY TIME YOU SEE SOMEONE WHO MAKES THE COMPLETELY ILL 164 00:12:07,051 --> 00:12:10,821 INFORMED IDEA OF USING BLACKFACE AS A COSTUME, THAT WAS FERMENTED 165 00:12:10,822 --> 00:12:18,992 WITH SHOWS LIKE "AMIS AND ANDY." OH, MY LORD. 166 00:12:18,996 --> 00:12:21,696 YOU REALIZE THIS IS INCREDIBLY OFFENSIVE? 167 00:12:21,699 --> 00:12:28,039 YES. AND YOU REALIZE BLACKFACE 168 00:12:28,039 --> 00:12:29,674 MAKEUP REIGNITES STEREO TYPES AFRICAN‐AMERICANS HAVE BEEN 169 00:12:29,674 --> 00:12:32,504 WORKING TO OVERCOME? THE IDEA OF PEOPLE OF COLOR 170 00:12:32,510 --> 00:12:39,951 IN FRONT OF AND BEHIND THE SCENES ARELESS LESS PALATABLE OF 171 00:12:39,951 --> 00:12:43,381 THOSE WRITING THE CHECKS. ADVERTISERS AND INPUT 172 00:12:43,388 --> 00:12:45,823 MATTERS. NIELSEN WASN’T COUNTING BLACK 173 00:12:45,823 --> 00:12:49,623 HOUSEHOLDS IN THEIR NUMBERS SO OF COURSE YOU DON’T GET SITCOMS 174 00:12:49,627 --> 00:12:52,027 THAT SHOW THEIR LIVES BECAUSE THEY DIDN’T CARE IF YOU WERE 175 00:12:52,029 --> 00:12:55,799 WATCHING OR NOT. THERE WASN’T ONE BLACK PERSON 176 00:12:55,800 --> 00:13:01,506 IN 203 SHOWS. WE HAVE ONE ETHNIC PERSON, THE 177 00:13:01,506 --> 00:13:07,076 GARDENER. OH, BUENOS DIAS. 178 00:13:07,078 --> 00:13:09,914 THEY HAD A HOUSEKEEPER WHO WAS ASIAN. 179 00:13:09,914 --> 00:13:13,284 EDDIE, IF THERE IS ANYTHING YOU NEED. 180 00:13:13,284 --> 00:13:21,624 WERE RELATIVELY INVISIBLE BUT USED AS KIND OF LIKE A 181 00:13:21,626 --> 00:13:23,261 CONTINUEMENT CONDIMENT. 182 00:13:23,861 --> 00:13:26,061 IN THE ’60s, THERE WAS SEGREGATION IN TV JUST LIKE WE 183 00:13:26,063 --> 00:13:32,703 WERE SEEING IN REAL LIFE. BUT YOU’RE BEGINNING TO GET A 184 00:13:32,703 --> 00:13:37,203 REAL PICKUP ON THE LEVEL OF THE CIVIL RIGHTS MOVEMENT. 185 00:13:37,208 --> 00:13:43,281 BLACK PEOPLE WERE SPEAKING UP SAYING YOU MUST INCLUDE ME. 186 00:13:43,281 --> 00:13:52,951 IT WAS WROTE ON "AMIS AND ANDY" HE WENT TO A LAUNCH EVERUN 187 00:13:52,957 --> 00:13:55,393 THE SPEAKER WAS A CIVIL RIGHTS LEADER ROY WILKINS THAT TALKED 188 00:13:55,393 --> 00:13:59,530 ABOUT THE SIGNIFICANCE OF REPRESENTATION 189 00:13:59,530 --> 00:14:01,190 REPRESENTATION. SO CANTER DECIDED TO HAVE A 190 00:14:01,199 --> 00:14:08,339 PROGRAM TO CALM A LOT OF THE RACIAL TENSIONS IN AMERICA. 191 00:14:11,409 --> 00:14:15,079 JULIA IS ABOUT A SINGLE MOM WHO IS A NURSE. 192 00:14:15,079 --> 00:14:18,282 SHE’S GOT A YOUNG CHILD. HER HUSBAND DIED IN VIETNAM. 193 00:14:18,282 --> 00:14:21,652 FRANKLY, YOU’RE NOT EXACTLY WHAT I EXPECTED. 194 00:14:21,652 --> 00:14:26,422 NO? DID YOU EXPECT ME TO BE OLDER OR 195 00:14:26,424 --> 00:14:28,924 YOUNGER? JULIA WAS THE FIRST STARRING 196 00:14:28,926 --> 00:14:32,763 ROLE FOR A BLACK WOMAN WHO WAS NOT A DOMESTIC. 197 00:14:32,763 --> 00:14:37,201 THAT WILL TEACH YOU, PARTNER. BUT THEY AVOIDED SHOWING HER 198 00:14:37,201 --> 00:14:41,901 AS A BLACK WOMAN AS MUCH AS POSSIBLE TO MAKE IT MORE 199 00:14:41,906 --> 00:14:47,076 PALATABLE FOR WHITE AUDIENCES. DIANE CAROL DESCRIBED JULIA 200 00:14:47,078 --> 00:14:50,348 AS A WHITE NEGRO WITH VERY LITTLE NEGRONESS. 201 00:14:50,348 --> 00:14:53,150 DON’T WORRY ABOUT IT. THERE WILL BE ANOTHER MONDAY 202 00:14:53,150 --> 00:14:56,020 NEXT WEEK. BUT THE BEGINNING, THERE WERE 203 00:14:56,020 --> 00:14:59,390 CERTAIN STATIONS THAT WOULDN’T EVEN CARRY IT, ESPECIALLY IN THE 204 00:14:59,390 --> 00:15:02,420 SOUTH. BACK IN THE ’60s, WHENEVER A 205 00:15:02,426 --> 00:15:05,162 BLACK PERSON WAS ON TELEVISION, IT WAS PARTICULAR PRESSURE. 206 00:15:05,162 --> 00:15:08,862 IT WAS A HUGE RESPONSIBILITY FOR DIANE CAROL TO HAVE BROKEN 207 00:15:08,866 --> 00:15:11,866 THAT GROUND. IT WAS A BIT TOO MUCH. 208 00:15:11,869 --> 00:15:13,638 BY THAT, I MEAN THE RESPONSIBILITY OF IT WAS MAYBE 209 00:15:13,638 --> 00:15:15,938 ONE THAT I SHOULDN’T HAVE TAKEN SO SERIOUSLY. 210 00:15:15,940 --> 00:15:24,448 IT REALLY DROVE MS. CAROL TO THE VURG OF A NEARERGE OF A NERV 211 00:15:24,448 --> 00:15:25,683 BREAKDOWN. I THINK WE WERE BEGINNING AND 212 00:15:25,683 --> 00:15:28,813 THAT BEGINNING I THINK HAS RESULTED IN A LOT OF THE THINGS 213 00:15:28,819 --> 00:15:29,759 THAT WE’RE SEEING OF THE AIR TODAY. 214 00:15:47,091 --> 00:15:52,161 >>> YO, MAN, THANKS FOR COMING. CHEERS TO PRISON A FORTUNE 215 00:15:52,163 --> 00:15:54,399 COOKIE. FORTUNE COOKIE. 216 00:15:54,399 --> 00:15:59,899 FOR SO LONG, DIVERSITY AND REPRESENTATION TRADITIONALLY 217 00:15:59,904 --> 00:16:03,341 MEANT YOU HAD BLACK CHARACTERS AND THE OTHER ETHNIC MINORITIES 218 00:16:03,341 --> 00:16:05,771 WERE NOT REALLY PART OF THAT CONVERSATION. 219 00:16:05,777 --> 00:16:16,988 I COME FROM TWO BACK GROUNDS, HUNGARIEN AND PUERTO RICKKCANRIC 220 00:16:16,988 --> 00:16:20,588 WHEN I SAW FREDY PRINCE IN 1973, I FELL IN LOVE FOR THE 221 00:16:20,592 --> 00:16:23,127 FIRST TIME. HE DID ONE EXCEPTIONAL SHOT ON 222 00:16:23,127 --> 00:16:26,457 "THE TONIGHT SHOW" AND SEEMINGLY A MINUTE LATER WAS THE STAR OF 223 00:16:26,464 --> 00:16:41,244 HIS OWN SHOW. IN 1974 "CHICO AND THE MAN". 224 00:16:41,245 --> 00:16:44,615 I’M NOT AFRAID OF ANYTHING. IT WAS THIS OLD MAN AND THIS 225 00:16:44,616 --> 00:16:48,620 YOUNG STARRY EYED KID IN EAST L. A. AT A GARAGE. 226 00:16:48,620 --> 00:16:51,850 WHY ARE YOU DRINKING? I INTEND TO HIT YOU ON THE HEAD 227 00:16:51,856 --> 00:16:54,058 WITH THIS BOTTLE IN A FEW MINUTES. 228 00:16:54,058 --> 00:16:57,158 ED BROWN IS RAILING AGAINST THE COMMUNITY OF EAST LOS 229 00:16:57,161 --> 00:17:00,161 ANGELES THAT IS CHANGING IN A WAY HE’S NOT COMFORTABLE WITH. 230 00:17:00,164 --> 00:17:04,502 GET OUT OF HERE. TAKE YOUR FLIES WITH YOU. 231 00:17:04,502 --> 00:17:07,772 WHAT FLIES? YOUR FLIES. 232 00:17:07,772 --> 00:17:09,841 IT’S A BRIGHT NEW HIT FOR NBC. 233 00:17:09,841 --> 00:17:12,110 WHILE YOU’RE STANDING HERE, YOU’RE FLIES ARE GETTING 234 00:17:12,110 --> 00:17:16,447 TOGETHER WITH MY FLIES AND MAKING MORE FLIES. 235 00:17:16,447 --> 00:17:21,477 FREDDY PRINCE STOOD OUT AS A CHARMING LATINO AT A TIME THE 236 00:17:21,486 --> 00:17:26,924 ONLY OTHER CHARMING LATINO HAD BEEN ON TV 25 YEARS LATER. 237 00:17:26,924 --> 00:17:32,664 ARNEZ. THIS KID IS BELOVED BY EVERYONE. 238 00:17:32,664 --> 00:17:36,234 NOT NECESSARILY IN THAT 239 00:17:36,234 --> 00:17:38,569 ORDER. THEY CALLED ME THAT IN GRADE 240 00:17:38,569 --> 00:17:40,938 SCHOOL BECAUSE I WAS A BACKWARD KID. 241 00:17:40,938 --> 00:17:45,068 THEN IT JUST OVER AND HE’S 242 00:17:45,076 --> 00:17:47,645 GONE. AND HE COMMITTED SUICIDE IN 243 00:17:47,645 --> 00:17:54,885 JANUARY OF 1977. HE DIES AT AGE 22 WITH THE 244 00:17:54,886 --> 00:18:11,002 WORLD LITERALLY AT HIS FEET. ITS HARD FOR THE LATIN 245 00:18:11,002 --> 00:18:13,471 COMMUNITY. YOU CAN’T PUT THAT PRESSURE ON 246 00:18:13,471 --> 00:18:16,371 ONE PERSON FROM THAT GROUP. TO SEE SOMEBODY THAT CHANGES 247 00:18:16,374 --> 00:18:19,174 YOU, GIVES YOU A PURPOSE. I WANTED TO BE A COMEDIAN 248 00:18:19,177 --> 00:18:20,578 BECAUSE OF HIM. I’LL MISS YOU. 249 00:18:20,578 --> 00:18:24,308 YOU’LL MISS ME? BUT I WON’T MISS YOU WITH 250 00:18:24,315 --> 00:18:25,950 THIS IF YOU DON’T GET BACK TO WORK. 251 00:18:25,950 --> 00:18:26,980 I’M GOING. I’M GOING. 252 00:18:26,984 --> 00:18:31,022 THE AMERICAN SITCOM HAD GOTTEN A DISRUPTION IN THE EARLY 253 00:18:31,022 --> 00:18:37,428 1970s WITH "ALL IN THE FAMILY, MARY TYLER MOORE". 254 00:18:37,428 --> 00:18:43,798 WE GOING TO HIT RACE, CLASS, GETTER TO CAN WE ALL JUST GET 255 00:18:43,801 --> 00:18:44,969 ALONG? 256 00:18:44,969 --> 00:18:52,609 IT WAS A DREAM, TWO KIDS IN 257 00:18:52,610 --> 00:18:57,280 THE GHETTO GET ADOPTED BY A RICH WHITE MAN. 258 00:18:57,281 --> 00:19:00,017 THE WHITE SAY THE NARRATIVE IN DIFFERENT STOKES IS THE BASIS 259 00:19:00,017 --> 00:19:07,887 OF THE WHOLE SERIES. WELCOME, GENTLEMEN. 260 00:19:07,892 --> 00:19:09,592 DOWNTOWN AND ALREADY WITH JUNE. 261 00:19:09,594 --> 00:19:13,164 IT WAS ABOUT LOVE AND UNDERSTANDING AND RESPECT FOR 262 00:19:13,164 --> 00:19:19,370 EACH OTHER’S CULTURES. OF COURSE, GARY COLEMAN IS 263 00:19:19,370 --> 00:19:21,770 THIS LITTLE BLACK CHILD MAKING US LAUGH. 264 00:19:21,773 --> 00:19:26,643 TO COLLECT UNEMPLOYMENT, YOU GOT TO BE NOT WORKING BEFORE YOU 265 00:19:26,644 --> 00:19:29,514 START WORKING. WHAT YOU TALKING ABOUT 266 00:19:29,514 --> 00:19:32,514 WILLIS? IT MAKES US FEEL GOOD. 267 00:19:32,517 --> 00:19:37,855 WE SOLVED RACISM. THANK GOODNESS. 268 00:19:37,855 --> 00:19:43,294 IT WAS A MASSIVE HIT. YOU KNOW, IT’S THE ’80s. 269 00:19:43,294 --> 00:19:48,232 IT’S LIKE LET’S NOT THINK ABOUT THAT COMPLICATED STUFF RIGHT 270 00:19:48,232 --> 00:19:50,168 NOW. FOR THE FIRST TIME "THE COSBY 271 00:19:50,168 --> 00:19:56,307 SHOW" FORCED AMERICA TO RECOGNIZE THE BLACK MIDDLE 272 00:19:56,307 --> 00:19:58,707 CLASS. $95? 273 00:19:58,709 --> 00:20:03,609 I DON’T HAVE $95 SHIRT AND I HAVE A JOB. 274 00:20:03,614 --> 00:20:12,390 THE RAGENARRATIVE ALLOWED EVERYONE NOT TO SEE RACE AND SEE 275 00:20:12,390 --> 00:20:14,990 THIS ALL AMERICAN FAMILY YOU COULD EMULATE. 276 00:20:14,992 --> 00:20:20,331 RONALD REAGAN SAID "COSBY" WAS HIS FAVORITE SHOW SO GO 277 00:20:20,331 --> 00:20:22,700 FIGURE. WHERE I CAME FROM MY 278 00:20:22,700 --> 00:20:23,800 NEIGHBORHOOD, I NEVER BOUGHT THAT. 279 00:20:23,801 --> 00:20:26,201 I NEVER SEEN A BLACK DOCTOR SO I DIDN’T REALLY IDENTIFY AND 280 00:20:26,204 --> 00:20:30,674 RELATE WITH THAT SHOW. BECAUSE OF EVERYTHING GOING 281 00:20:30,675 --> 00:20:35,213 ON WITH MR. COSBY NOW, OF COURSE, THE LEGACY HAS BEEN 282 00:20:35,213 --> 00:20:38,382 TARNISHED. THE SHOW DEFINITELY INSPIRED 283 00:20:38,382 --> 00:20:44,021 GENERATIONS OF PEOPLE OF COLOR WHO PURSUED HIGHER EDUCATION. 284 00:20:44,021 --> 00:20:50,961 I’M GOING TO HELLMMAN. SO THEN WE HAVE THE NIECE WHO 285 00:20:50,962 --> 00:20:55,732 IS GOING TO GO TO AN HBCU, HISTORICALLY BLACK COLLEGE AND 286 00:20:55,733 --> 00:20:57,668 UNIVERSITY. IT’S THE STORY OF LEAVING 287 00:20:57,668 --> 00:21:04,668 HOME FOR THE FIRST TIME AND I WAS THE SNOTTY BITCH THAT MESSED 288 00:21:04,675 --> 00:21:09,345 WITH DENISE HUXTABLE. DO YOU KNOW HOW TO GIVE FOOT 289 00:21:09,347 --> 00:21:14,051 MASSAGES? WHEN I FOUND OUT DIANE WAS 290 00:21:14,051 --> 00:21:15,851 PLAYING THE MOTHER, I KIND OF FREAKED OUT. 291 00:21:15,853 --> 00:21:20,323 HOW IS MY DARLING? I FELT LIKE A TRUCK DRIVER 292 00:21:20,324 --> 00:21:24,494 AROUND DIANE CAROL. OH, WHITLEY, WHAT IS THAT 293 00:21:24,495 --> 00:21:27,298 DRESS? IT JUST SCREAMS FIRST COMMUNION. 294 00:21:27,298 --> 00:21:32,228 SHE WAS ALWAYS THE ONLY BLACK WOMAN ON THE SET OF "JULIA." 295 00:21:32,236 --> 00:21:37,875 SHE LET US KNOW HOW SPECIAL IT WAS THAT WE’RE ON A SET WITH ALL 296 00:21:37,875 --> 00:21:41,579 THESE BLACK PEOPLE. A DIFFERENT WORLD WAS A 297 00:21:41,579 --> 00:21:44,909 SUCCESS BECAUSE IT WASN’T A BUNCH OF WHITE MEN TELLING 298 00:21:44,916 --> 00:21:47,885 LITTLE BLACK KIDS WHAT THEY WERE LIKE GROWING UP. 299 00:21:47,885 --> 00:21:52,855 I CREDIT ALL OF THAT TO OUR PRODUCER AND OUR DIRECTOR DEBBIE 300 00:21:52,857 --> 00:21:54,692 ALLEN. IT WAS LIKE HOW CAN WE DEEPEN 301 00:21:54,692 --> 00:21:58,392 ALL OF THESE CHARACTERS? SHE’S ALSO GONE TO HOWARD 302 00:21:58,396 --> 00:22:01,899 UNIVERSITY, SO SHE BROUGHT SOMETHING VERY ORGANIC AND 303 00:22:01,899 --> 00:22:04,329 AUTHENTIC. SHE SAW THE HUMANITY OF BLACK 304 00:22:04,335 --> 00:22:06,737 YOUTH, BLACK COLLEGE KIDS, BLACK WORLD. 305 00:22:06,737 --> 00:22:11,307 IT WAS A CHANCE FOR WRITERS, CREATORS IN FRONT AND BEHIND THE 306 00:22:11,309 --> 00:22:15,609 CAMERA TO TELL OUR STORY. WHAT IS THIS? 307 00:22:15,613 --> 00:22:21,018 SHE’S PART OF MY EXHIBIT FROM MAMMY TO MODERN TIMES. 308 00:22:21,018 --> 00:22:27,718 WE NEEDED A SHOW THAT WAS ABOUT COLOR‐ISM AND HOW IT 309 00:22:27,725 --> 00:22:29,625 DIVIDED US OVER HUNDREDS OF YEARS. 310 00:22:29,627 --> 00:22:32,463 I WON’T LEARN ANYTHING ABOUT MYSELF BUT LOOKING AT THIS. 311 00:22:32,463 --> 00:22:35,232 THAT’S RIGHT. IN ORDER TO NEUTRALIZE THE 312 00:22:35,232 --> 00:22:37,568 STEREO TYPE WE HAVE TO RECLAIM IT. 313 00:22:37,568 --> 00:22:43,438 THE SITCOM AFFORDS US SOMETHING WHERE WE CAN BE FUNNY 314 00:22:43,441 --> 00:22:47,078 AND SOMETHING DEEP HAPPENS. YOU KNOW WHAT I WANT TO SAY 315 00:22:47,078 --> 00:22:52,978 TO WHITLEY? IT’S EASY FOR YOU. 316 00:22:52,984 --> 00:22:55,453 LOOK LIKE ME OR YOU. THIS IS WHAT YOU THINK YOU 317 00:22:55,453 --> 00:22:58,689 LOOK LIKE? SOMETHING DEEP IS GOING ON 318 00:22:58,689 --> 00:23:06,659 AND SOMETHING FUNNY HAPPENS. AND THANK GOD ‐‐ 319 00:23:06,664 --> 00:23:10,274 FOR MY SISTER. THANK YOU, MY SISTER. 320 00:23:28,909 --> 00:23:33,514 >>> THE RAGE OVER THE ACQUITTAL OF FOUR LOS ANGELES POLICE 321 00:23:33,514 --> 00:23:37,944 OFFICERS HAVE TURNED INTO REACTION ON THE STREETS. 322 00:23:37,952 --> 00:23:39,954 I DO I DO RECALL AS THE RIOTS WERE 323 00:23:39,954 --> 00:23:44,892 GOING ON, THE MAYOR OF L. A. HAD GOTTEN ON TELEVISION LIKE GO 324 00:23:44,892 --> 00:23:49,192 HOME, WATCH THE LAST EPISODE OF "THE COSBY SHOW". 325 00:23:49,196 --> 00:23:54,166 FORGET WHY THESE THINGS WERE ACTUALLY HAPPENING. 326 00:23:54,168 --> 00:24:01,675 IT DEFINITELY THE END OF A VERY SPECIFIC KIND OF ERA. 327 00:24:02,276 --> 00:24:11,046 THE ’90s ROLL AROUND AND HIP‐HOP IS CHANGING THE WAY 328 00:24:11,052 --> 00:24:16,524 PEOPLE ARE LOOKING AT BLACK CULTURE AND "FRESH PRINCE OF 329 00:24:16,524 --> 00:24:22,363 BELLAIRE" IS LOOKING TO PUT THAT IN A SITCOM WORLD. 330 00:24:22,963 --> 00:24:30,533 WILL WAS A FISH OUT OF WATER FROM THE URBAN PHILLY COMMUNITY. 331 00:24:37,678 --> 00:24:43,417 AN AUNT AND UNCLE AND COUSINS THAT ARE VERY DIFFERENT TO BE 332 00:24:43,417 --> 00:24:47,254 GROWING UP WITH. MALCOLM X, HE’S SORT OF MY 333 00:24:47,254 --> 00:24:48,454 HERO. HE WAS A GREAT MAN. 334 00:24:48,456 --> 00:24:51,125 I DON’T KNOW IF I’D CALL HIM MY HERO, EXACTLY. 335 00:24:51,125 --> 00:24:53,425 WHO ARE YOUR HEROES? MY DAD. 336 00:24:53,427 --> 00:24:57,697 AND BRYANT GUMBEL, HE’S DARN GOOD. 337 00:24:57,698 --> 00:25:00,868 "FRESH PRINCE OF BELL AIR" I 338 00:25:00,868 --> 00:25:07,508 WANT TO BE FRIENDS WITH WILL AND JAZZ SEE 339 00:25:07,508 --> 00:25:08,542 JAZZY JEFF. CRANK THAT UP FOR ME. 340 00:25:08,542 --> 00:25:13,272 MOST OF THE WRITERS WERE WHITE BUT WE HAD THEM UNDERSTAND 341 00:25:13,280 --> 00:25:18,319 THAT THEY CANNOT DEPICT OUR FAMILY JUST FROM THEIR POINT OF 342 00:25:18,319 --> 00:25:21,989 VIEW. SOMEWHERE BETWEEN PRINCETON 343 00:25:21,989 --> 00:25:26,627 AND THE OFFICE, YOU GOT SOFT. I GREW UP ON THE STREETS JUST 344 00:25:26,627 --> 00:25:31,497 LIKE YOU. I ENCOUNTERED BIGOTRY YOU CANNOT 345 00:25:31,499 --> 00:25:36,737 IMAGINE. YOU HAVE A NICE POSTER OF MALL 346 00:25:36,737 --> 00:25:40,407 COME X ON THE WALL. THEY HIT ASPECTS OF THE 347 00:25:40,407 --> 00:25:42,407 AFRICAN‐AMERICAN EXPERIENCE HEAD ON. 348 00:25:42,409 --> 00:25:45,613 ABSENTEE FATHERS. LONG TIME NOW. 349 00:25:45,613 --> 00:25:46,743 14 YEAR THE. DRUGS. 350 00:25:46,747 --> 00:25:49,984 THE PILLS YOU TOOK WEREN’T VITAMINS. 351 00:25:49,984 --> 00:25:51,614 WHAT WERE THEY? IT WAS SPEED. 352 00:25:51,619 --> 00:25:56,857 OH MY GOD. I’M A DRUG ADDICT AND A VIRGIN. 353 00:25:56,857 --> 00:25:58,993 PEOPLE FORGET CARLTON WAS ONE 354 00:25:58,993 --> 00:26:01,493 OF THE FIRST BLACK NERDS ON SCREEN SHOWING THERE WERE OTHER 355 00:26:01,495 --> 00:26:08,565 WAYS TO BE BLACK. ♪ IT’S NOT UNUSUAL TO BE LOVED 356 00:26:08,569 --> 00:26:13,039 BY ANYONE ♪ SO WHEN FOX COMES AROUND AND 357 00:26:13,040 --> 00:26:15,809 SAYS HOW CAN WE GAIN AUDIENCE? BLACK PEOPLE. 358 00:26:15,809 --> 00:26:19,446 SO THEY INITIATE A SERIES OF SHOWS THAT TARGET AN AUDIENCE 359 00:26:19,446 --> 00:26:29,924 THAT HAD NOT BEEN TARGETED. THIS INCREASINGLY MEGA 360 00:26:29,924 --> 00:26:33,294 POPULAR COMEDIAN ON THE SCENE. I KNOW BIG BIRD HAD A 361 00:26:33,294 --> 00:26:34,924 BUSINESS BUT ‐‐ 362 00:26:34,929 --> 00:26:41,902 IF YOU WANT TO JUST COMPARE "MARTIN" AND "THE FRESH PRINCE 363 00:26:41,902 --> 00:26:49,802 ", HE HOSTED A BLACK RADIO SHOW. HE HAD GINA, HIS LIVE IN 364 00:26:49,810 --> 00:26:51,679 GIRLFRIEND. IT WAS THE BLENDING OF SKETCH 365 00:26:51,679 --> 00:26:55,549 WITH TRADITIONAL NARRATIVE SITCOM. 366 00:26:55,549 --> 00:26:58,953 PLAYED MANY, MANY CHARACTERS ON THE SHOW. 367 00:26:58,953 --> 00:27:01,283 JEROME TO ROSCO. WHAT DO YOU WANT? 368 00:27:01,288 --> 00:27:06,258 I WANT YOU TO GET A SMALLER HEAD BUT I AIN’T GOT NO CONTROL 369 00:27:06,260 --> 00:27:17,705 OVER 245. SHANAYNAY. 370 00:27:17,705 --> 00:27:18,572 S SHA‐NAY‐AND‐NAY. 371 00:27:18,572 --> 00:27:21,632 ALL THE CHARACTERS FELT PERSONAL TO THE YOUNG BLACK 372 00:27:21,642 --> 00:27:24,612 EXPERIENCE. WHY ARE YOU ALWAYS OVER HERE? 373 00:27:24,612 --> 00:27:28,482 I MEAN, DO YOU HAVE A BED? 374 00:27:28,482 --> 00:27:30,982 FOX USED THAT SHOW TO BUILD THEIR NETWORK. 375 00:27:30,985 --> 00:27:34,154 FOX WAS FLORIDA FOR BLACK PEOPLE. 376 00:27:34,154 --> 00:27:38,424 THAT’S WHERE WE’RE ALL GOING TO GO NOW TO HAVE A NEW LIFE. 377 00:27:38,425 --> 00:27:41,625 YOU KNOW, TELEVISION BECAME SEGREGATED. 378 00:27:41,629 --> 00:27:45,099 THERE WAS A PLACE FOR SHOWS OF COLOR AND A PLACE FOR SHOWS THAT 379 00:27:45,099 --> 00:27:51,538 DIDN’T FEATURE CHARACTERS OF COLOR BUT GIVEN THE SUCCESS OF 380 00:27:51,538 --> 00:27:54,208 FRESH "FRESH PRINCE" AND "MARTIN" 381 00:27:54,208 --> 00:27:59,778 NETWORKS LOOKED AT UNDER REPRESENTED GROUPS TO BUILD AN 382 00:27:59,780 --> 00:28:04,385 AUDIENCE. A COMEDIAN IS EXTREMELY 383 00:28:04,385 --> 00:28:06,485 QUEER. I’M HERE, I’M QUEER. 384 00:28:06,487 --> 00:28:09,356 VERY BODY. ACTUALLY, I’M NOT REALLY 385 00:28:09,356 --> 00:28:15,095 ALLOWED TO SAY THE WORD VAGINA BECAUSE I DON’T EVEN USE MINE, 386 00:28:15,095 --> 00:28:17,425 SO. "ALL AMERICAN GIRL" IS 387 00:28:17,431 --> 00:28:19,733 NOTHING LIKE THAT. MARGARET. 388 00:28:19,733 --> 00:28:26,603 DO YOU KNOW WHY I ENCOURAGE YOUR BROTHER TO BECOME A CARD OL’ 389 00:28:26,607 --> 00:28:28,007 CARDIOLOGIST? NO. 390 00:28:28,008 --> 00:28:31,045 BECAUSE ONE DAY I ALWAYS KNEW YOU’D GIVE ME A HEART ATTACK. 391 00:28:31,045 --> 00:28:34,875 WHAT ARE YOU WEARING? I WAS 23 YEARS OLD AND WENT 392 00:28:34,882 --> 00:28:41,188 TO DISNEY WITH A WRITER THAT CREATED THE SHOW AROUND ME AND 393 00:28:41,188 --> 00:28:52,566 CREATED OTHERCHARACTERS. I WENT ALONG WITH IT US. 394 00:28:52,566 --> 00:29:00,636 THE NETWORK THOUGHT I WAS TOO OVER WEIGHT TO PLAY THEMOTHER, I 395 00:29:00,641 --> 00:29:03,877 FIXUPS. I LOST AN INCREDIBLE AMOUNT 396 00:29:03,877 --> 00:29:07,877 OF WEIGHT IN A SHORT TIME. IT AFFECTED MY WEALTH IN A NL 397 00:29:07,881 --> 00:29:09,683 DAINGDA ‐‐ DAMAGING WAY. 398 00:29:09,683 --> 00:29:14,153 I HADN’T EVER SEEN AN ASIAN AMERICAN FAMILY ON A SITCOM. 399 00:29:14,154 --> 00:29:18,124 SO IN A LOT OF WAYS, WE LEARNED LESSONS OF HOW TO TELL A STORY 400 00:29:18,125 --> 00:29:21,755 ABOUT PEOPLE WHO ARE TRADITIONALLY UNDER REPRESENTED. 401 00:29:21,762 --> 00:29:24,231 I’M VERY, VERY PROUD IT BROKE GROUND. 402 00:29:24,231 --> 00:29:28,836 IT GAVE AN AMAZING PUSH TO A GENERATION EXPERIENCING THIS 403 00:29:28,836 --> 00:29:33,836 GREAT SUCCESS NOW. IF YOU TRY TO SUSPEND OUR SON 404 00:29:33,841 --> 00:29:37,544 BECAUSE OF THIS, WE WILL SUE EVERYONE IN THIS SCHOOL. 405 00:29:37,544 --> 00:29:40,914 HEY, IT’S THE AMERICAN WAY, RIGHT? 406 00:29:40,914 --> 00:29:41,444 YOU KNOW ABOUT THAT? 407 00:30:08,809 --> 00:30:10,909 The previous owners left in a hurry, 408 00:30:26,908 --> 00:30:30,808 >>> CHECK IT OUT. THE MID‐90s WAS GOLDEN ERA 409 00:30:30,812 --> 00:30:33,381 FOR BLACK SITCOMS. AS FOX WENT WITH 410 00:30:33,381 --> 00:30:36,211 PREDOMINANTLY AFRICAN‐AMERICAN CAST, YOU HAVE NEW NETWORKS IN 411 00:30:36,217 --> 00:30:43,925 THE W. B. AND UPN THAT TOOK THAT PLAYBOOK AND WENT WITH IT. 412 00:30:43,925 --> 00:30:49,964 MOM? THAT GIRL HAS MY FACE. 413 00:30:49,964 --> 00:30:54,669 "SISSER ER"SISTER SISTER". WHEN THE BLACK SITCOM WAS 414 00:30:54,669 --> 00:30:59,339 EMERGING, YOU ARE SO JOYFUL, EXCITED YOU GET TO EXPRESS YOUR 415 00:30:59,340 --> 00:31:06,240 CULTURE THROUGH THE SHOWS. USHER IS THERE. 416 00:31:06,247 --> 00:31:08,583 KOBE BRYANT IS THERE. IT WAS THE RISE AND 417 00:31:08,583 --> 00:31:10,113 RECOGNITION OF THE BLACK COMEDIAN. 418 00:31:10,118 --> 00:31:14,355 WE JUST RUSHED THE DOOR. Y’ALL GOT KIDS. 419 00:31:14,355 --> 00:31:17,625 YOU KNOW. I JUST DEAL WITH MINE UP FRONT. 420 00:31:17,625 --> 00:31:21,095 I DON’T GO BEHIND THE CURTAIN, YOU KNOW. 421 00:31:21,095 --> 00:31:25,865 PAIN IN THE BUTT. "THE BERNIE MACK" SHOW WAS 422 00:31:25,867 --> 00:31:30,371 INSPIRED ABOUT HOW HE TOOK IN HIS WIFE’S SISTER’S KIDS WHEN 423 00:31:30,371 --> 00:31:34,941 SHE HAD DRUG PROBLEMS. QUIT BEING SO SOFT HERE. 424 00:31:34,943 --> 00:31:37,111 YOU ALWAYS CRYING. YOU GOT TO BE A MAN. 425 00:31:37,111 --> 00:31:41,811 I DON’T WANT TO BE A MAN. REALLY PUSHED THE ENVELOPE OF 426 00:31:41,816 --> 00:31:50,091 BEING A FATHER IN A CRAZY WORLD. SHE THINK WE COUNTRY CLUB 427 00:31:50,091 --> 00:31:51,421 RICH. OL’ MONEY RICH. 428 00:31:51,426 --> 00:31:59,701 WE JUST NIGGA RICH. BERNIE’S SHOW LED TO MORE 429 00:31:59,701 --> 00:32:05,471 MODERN DAY STORY TELLING AND BLACK COMEDIANS CAN TELL THESE 430 00:32:05,473 --> 00:32:06,503 STORIES. SO YOU’RE CHRIS? 431 00:32:06,508 --> 00:32:07,108 ? . 432 00:32:07,108 --> 00:32:10,878 YES, SIR. I’M YOUR GUIDANCE COUNSELOR. 433 00:32:10,879 --> 00:32:15,249 BY THE TIME "EVERYBODY HATES CHRIS" DEBUTED IN 2005, CHRIS 434 00:32:15,250 --> 00:32:19,580 ROCK WAS A MASSIVE STAR. "EVERYBODY HATES CHRIS" IS A 435 00:32:19,587 --> 00:32:25,727 FUNNY RECALLING OF CHRIS ROCK’S CHILDHOOD IN 1980s BROOKLYN. 436 00:32:25,727 --> 00:32:28,730 MY FATHER ALWAYS KNEW WHAT EVERYTHING COST. 437 00:32:28,730 --> 00:32:34,630 THAT’S 1.09 IN THE TRASH. AN ALL BLACK SHOW IN THE HOME 438 00:32:34,636 --> 00:32:37,038 AND CHRIS GOT BUSSED TO AN ALL WHITE SCHOOL. 439 00:32:37,038 --> 00:32:41,608 WAS THE JUNIOR HIGH SCHOOL ACROSS THE STREET REALLY THAT 440 00:32:41,609 --> 00:32:42,509 BAD? 441 00:32:42,510 --> 00:32:46,580 MUCH LIKE ROCK ’N’ ROLL, SCHOOL SHOOTINGS WERE ALSO 442 00:32:46,581 --> 00:32:48,550 INVENTED BY BLACKS AND STOLEN BY THE WHITE MAN. 443 00:32:48,550 --> 00:32:53,950 OF COURSE, IN 2006, UPN MERGED WITH THE WB TO BECOME 444 00:32:53,955 --> 00:32:58,593 WHAT WE KNOW AS THE CW. THE CW, IT JUST DECIDES NOT 445 00:32:58,593 --> 00:33:05,633 TO DO SITCOMS ANYMORE AND THAT CUTS BLACK PROGRAMMING. 446 00:33:05,633 --> 00:33:07,333 IT’S SOMETHING FOX DID EARLIER. 447 00:33:07,335 --> 00:33:11,205 YOU START YOUR NETWORK BASED ON BLACK SITCOMS AND THEN WHEN YOU 448 00:33:11,205 --> 00:33:15,944 GET ENOUGH VIEWERS, YOU MAKE THE PIVOT TO THE QUOTE UNQUOTE MORE 449 00:33:15,944 --> 00:33:19,414 MAIN STREAM WHITE AUDIENCES, WHICH OF COURSE, ALSO GETS YOU 450 00:33:19,414 --> 00:33:25,353 BETTER ADVERTISERS. YOU HAVE THIS MAJOR PEOPLE OF 451 00:33:25,353 --> 00:33:27,488 COLOR EXCEPT FOR SIDE CHARACTERS. 452 00:33:27,488 --> 00:33:31,788 WHEN YOU ARE ERASED FROM THE MEDIA, WHEN YOU TURN ON THE 453 00:33:31,793 --> 00:33:36,963 TELEVISION AND THERE ARE 100 CHANNELS, THOUSANDS OF SHOWS TO 454 00:33:36,965 --> 00:33:40,668 STREAM AND NONE OF THEM REPRESENT YOU, YOU START TO 455 00:33:40,668 --> 00:33:46,098 THINK YOU DON’T MATTER. HELLO MY BEAUTIFUL INDIAN 456 00:33:46,107 --> 00:33:50,511 BROTHER. JOHN, HE’S A SIDE CHARACTER 457 00:33:50,511 --> 00:34:02,721 ON "KING OF THE HILL." I’M NOT A PEAR CHESTBARE CHESTED 458 00:34:02,724 --> 00:34:06,024 TEXAS BUT THE CLOSEST I HAD. WHAT IS THAT MADE OF? 459 00:34:06,027 --> 00:34:06,761 RIGITTONI? BONES. 460 00:34:06,761 --> 00:34:10,531 THERE IS A VERY NATIVE STORY LINE WHERE JOHN WANTS TO SHARE 461 00:34:10,531 --> 00:34:14,168 HIS CULTURE WITH HIS SON. YOU HAVE TO MAKE A CHOICE, 462 00:34:14,168 --> 00:34:16,298 JOSEPH. SOMETIMES A HERD CAN BE THE 463 00:34:16,304 --> 00:34:19,674 SAFEST PLACE THERE IS BUT THE WRONG HERD CAN TRAMPLE YOU. 464 00:34:19,674 --> 00:34:25,613 WE HAVE THIS CULTURE THAT IS TRADITIONALLY TAKEN OR STOLEN OR 465 00:34:25,613 --> 00:34:27,782 MISAPPROPRIATED. SAY IT, DALE. 466 00:34:27,782 --> 00:34:29,312 SOMETHING SEEMS DIFFERENT ABOUT YOU. 467 00:34:29,317 --> 00:34:31,452 SOMETHING IS DIFFERENT, BILL. I HAD A VISION. 468 00:34:31,452 --> 00:34:34,352 I’M AN INDIAN NOW. GOOD MORNING CLASS. 469 00:34:34,355 --> 00:34:38,192 NOT SEEING NATIVE AMERICAN CHARACTERS, NOT SEEING NATIVE 470 00:34:38,192 --> 00:34:40,528 PEOPLE LIKE YOU, YOU HUNGER FOR IT. 471 00:34:40,528 --> 00:34:45,628 SO WHEN YOU GET A SIDE CHARACTER WHO IS NOT IN EVERY EPISODE, 472 00:34:45,633 --> 00:34:48,603 IT’S NOT A FULL MEAL BUT IT’S SOMETHING. 473 00:34:48,603 --> 00:34:51,403 THE ROAD TO REPRESENTATION HAS BEEN A LONG AND WINDING ONE 474 00:34:51,406 --> 00:34:58,212 FOR MANY COMMUNITIES OF COLOR. AFTER "CHICCO AND THE MAN" IT 475 00:34:58,212 --> 00:35:02,712 WOULD BE A LONG TIME BEFORE A LATIN X WAS EMBRACED BY 476 00:35:02,717 --> 00:35:05,953 TELEVISION AUDIENCES AGAIN. 477 00:35:05,953 --> 00:35:07,989 EVERYBODY WOULD COME UP TO US 478 00:35:07,989 --> 00:35:11,589 AND GO YOU NEED TO DO A SHOW ABOUT A LATINO FAMILY, GOOD 479 00:35:11,592 --> 00:35:12,660 LUCK. YOU’RE NOT LEAVING. 480 00:35:12,660 --> 00:35:15,890 SHE LIED TO GET OUT OF SWIM ‐‐ CARMEN, WE’RE DEALING WITH THIS 481 00:35:15,897 --> 00:35:17,865 NOW. IF YOU’RE GOING TO OPEN A 482 00:35:17,865 --> 00:35:20,601 RESTAURANT IN THE BEGINNING, YOU HAVE TO MAKE IT APPEAL TO 483 00:35:20,601 --> 00:35:23,201 EVERYONE. LOOK, ANGIE, IS IT THAT BIG A 484 00:35:23,204 --> 00:35:27,308 DEAL? WHY DOES SHE NEED TO KNOW HOW TO 485 00:35:27,308 --> 00:35:29,468 SWIM? "THE GEORGE LOPEZ" SHOW WAS 486 00:35:29,477 --> 00:35:32,013 GREAT BECAUSE IT DIDN’T TRY TO REINVENT THE WHEEL. 487 00:35:32,013 --> 00:35:34,582 IT WAS A TRADITIONAL FAMILY SITCOM. 488 00:35:34,582 --> 00:35:36,150 DAD, I DON’T WANT TO TALK ABOUT IT. 489 00:35:36,150 --> 00:35:40,588 HEY, I DON’T WANT TO TALK ABOUT IT, EITHER. 490 00:35:40,588 --> 00:35:45,288 LET’S JUST SIT HERE AWHILE SO YOUR MOM THINKS I HANDLED IT. 491 00:35:45,293 --> 00:35:47,428 WHITE KIDS LOVED IT. AFRICAN‐AMERICAN KIDS. 492 00:35:47,428 --> 00:35:51,428 THEY SAW A FATHER WHO WASN’T ALWAYS TRYING TO WIN THE LOVE OF 493 00:35:51,432 --> 00:35:56,632 HIS KIDS AND HIS MOTHER STILL THOUGHT HE WAS A BOY AND HIS 494 00:35:56,637 --> 00:36:01,275 WIFE DIDN’T THINK HE WAS ENOUGH OF A MAN AND THAT’S LIFE. 495 00:36:01,275 --> 00:36:06,545 YOU KNOW, WHEN I WAS A KID, I GOT MADE FUN OF A LOT, TOO. 496 00:36:06,547 --> 00:36:13,287 YOU’RE STUPID. YOU’RE FAT, YOUR FATTER ISHER IS 497 00:36:13,287 --> 00:36:20,561 LOSER. YOUR GRANDMOTHER CAN BE A CRUEL 498 00:36:20,561 --> 00:36:22,730 WOMAN. ARNEZ WAS IN A SHOW CALLED "I 499 00:36:22,730 --> 00:36:33,240 LOVE LUCY ". FREDDIE PRINZE WAS IN A SHOW 500 00:36:46,479 --> 00:36:51,884 >>> HE LOW. AS LONG AS THERE IS BEEN 501 00:36:51,884 --> 00:36:56,414 TELEVISION, SITCOMS ALWAYS GO IN CYCLES. 502 00:36:56,422 --> 00:37:01,894 THE BLACK TELEVISION RENAISSANCE THAT WAS TAKEN HOLD IN THE ’90s 503 00:37:01,894 --> 00:37:05,824 GOT CRIPPLED. WHEN PRESIDENT OBAMA WAS IN 504 00:37:05,832 --> 00:37:14,073 OFFICE, THOSE FIRST FOUR YEARS, TYLER PERRY SHOW AND "THE GANG" 505 00:37:14,073 --> 00:37:18,903 WAS THE ONLY ONES ON TELEVISION. WELL, THEY DON’T NEED US 506 00:37:18,911 --> 00:37:28,688 ANYMORE BECAUSE THEY GOT OBAMA. FINALLY GIVEN AN AGENCY TO TELL 507 00:37:28,688 --> 00:37:32,088 OUR STORIES. POLICE BEATEN UP ON AN 508 00:37:32,091 --> 00:37:35,928 UNARMED BLACK MAN, THAT’S THE STORY I HAVE HEARD ALL MY LIFE. 509 00:37:35,928 --> 00:37:45,204 A NEW VOICE IN COMEDY AND ALL THE SPIN‐OFFS AND "GROWNISH" AND 510 00:37:45,204 --> 00:37:48,774 EVERY ISH. KIDS ARE DYING IN THE 511 00:37:48,774 --> 00:37:50,943 STREETS. HOLD ON, KIDS ARE DYING? 512 00:37:50,943 --> 00:37:55,113 WE ARE KIDS. HE’S TACKLING THE TRUMP 513 00:37:55,114 --> 00:37:58,084 ADMINISTRATION, HE’S TALKING ABOUT BLACK LIVES MATTER, ALL 514 00:37:58,084 --> 00:38:04,654 THESE THINGS THAT ARE SWELLING UP AND AMERICAN CULTURE. 515 00:38:04,657 --> 00:38:08,657 OKAY, FINE, MAYBE THE STORM IS KEEPING ME UP A LITTLE BIT. 516 00:38:08,661 --> 00:38:11,931 SEEMS LIKE EVERY TIME I TURN ON THE NEWS, SOMETHING ELSE. 517 00:38:11,931 --> 00:38:15,034 KENYA APPROACHED THE WORK ON THE SHOW, THIS IS AS STORY THAT 518 00:38:15,034 --> 00:38:16,734 NEEDS TO BE TOLD. IT IS A STORY THAT MILLIONS OF 519 00:38:16,736 --> 00:38:23,336 PEOPLE. YOU SEE THE WORD PRIDE? 520 00:38:23,342 --> 00:38:25,778 IT IMPLIES YOU OVERCOME ADVERSITY. 521 00:38:25,778 --> 00:38:32,548 IF YOU ARE BLACK OR BROWN OR GAY OR WOMAN OR CLIPPERS’ FANS, 522 00:38:32,551 --> 00:38:36,088 YOU HAVE ENDURED THE STRUGGLE. I REMEMBER WHEN EPISODE WHERE 523 00:38:36,088 --> 00:38:41,558 THEY WERE TACKLING THE UPPER OF COLIN KAEPERNICK TAKING A KNEE. 524 00:38:41,560 --> 00:38:44,897 I AM SORRY, I CAN’T SLEEP. OF COURSE YOU WOULD BE AFRAID 525 00:38:44,897 --> 00:38:48,297 OF THE STONE. IT IS NOT WHY I CAN’T SLEEP. 526 00:38:48,301 --> 00:38:55,408 THE SCHOOL SUSPENDED ANY ATHLETES WHO TAKE A KNEE DURING 527 00:38:55,408 --> 00:38:58,708 THE NATIONAL ANTHEM. ABC FINDS IT HOT. 528 00:38:58,711 --> 00:39:07,386 WE GOT A WHOPPING DEAL TO CREATE NEW CONTENT. 529 00:39:07,386 --> 00:39:13,426 I DON’T KNOW HOW TO DO IT, MAN. 530 00:39:13,426 --> 00:39:15,895 IT IS REALLY SAD. SAD EXISTENCE. 531 00:39:15,895 --> 00:39:27,165 IT IS NOT A GREAT LIFE. "BLACK AF" WHERE HE’S LOST AND 532 00:39:27,173 --> 00:39:30,009 HE DOES NOT KNOW WHAT TO DO. PEOPLE ARE RECOGNIZING 533 00:39:30,009 --> 00:39:38,417 THEMSELVES IN THESE STORIES NO MATTER HOW OH, CRITIC DON’T GET 534 00:39:38,417 --> 00:39:40,747 THIS. I DON’T GIVE A ‐‐ BECAUSE I AM 535 00:39:40,753 --> 00:39:43,422 TALKING TO US. THE FRAGMENTATION OF 536 00:39:43,422 --> 00:39:50,296 TELEVISION, STREAMERS COMING IN, IT OPENS UP ALL THE SPACE. 537 00:39:50,296 --> 00:39:55,334 WHAT MAKES IT INSECURE AND UNIQUE IS THE POWER AND THE 538 00:39:55,334 --> 00:40:00,534 RECOGNITION OF STRONG VIBRANT BLACK WOMEN. 539 00:40:00,539 --> 00:40:04,243 BEING AGGRESSIVE WOMAN, THAT’S WHAT I DO BEST. 540 00:40:04,243 --> 00:40:08,273 I USED TO KEEP A JOURNAL BUT NOW I JUST WRITE RAP. 541 00:40:08,280 --> 00:40:16,255 THE FIRST TIME I SAW MYSELF ON TELEVISION WAS "INSECURE." 542 00:40:16,255 --> 00:40:20,785 I WAS A 20 SOMETHING POST COLLEGE, SOME WHAT AIMLESS 543 00:40:20,793 --> 00:40:24,063 MILLENNIAL WHO WAS TRYING TO FIGURE OUT HOW TO GROW UP. 544 00:40:24,063 --> 00:40:28,801 I DO WHAT I WANT AND I DO NOT GIVE A WHAT ANYBODY 545 00:40:28,801 --> 00:40:35,708 THINKS. "ATLANTA" IS PART OF THIS NEW 546 00:40:35,708 --> 00:40:45,748 WAVE OF A TOUR‐DRIVEN COMEDY. WHERE IS YOUR ANSWERCESTORS F 547 00:40:45,751 --> 00:40:54,460 CONGO. THE PREMISE IS THAT ERN HAD 548 00:40:54,460 --> 00:40:57,596 DROPPED OUT OF PRINCETON UNIVERSITY AND IS BACK HOME IN 549 00:40:57,596 --> 00:41:02,666 ATLANTA AND TRYING TO MANAGE HIS COUSIN TO RAP STARDOM. 550 00:41:02,668 --> 00:41:08,007 YOU GET MY MONEY. I DON’T SCARE PEOPLE LIKE 551 00:41:08,007 --> 00:41:09,537 YOU, MAN. THAT. 552 00:41:09,542 --> 00:41:14,112 DAMN. I CAN WRITE YOU A CHECK. 553 00:41:14,113 --> 00:41:17,883 THE QUESTION IS, IS "ATLANTA" A GREAT SITCOM? 554 00:41:17,883 --> 00:41:24,183 WILY, YOU ARE COMING OUT? HAS IT SO PUSH THE BOUNDARIES 555 00:41:24,190 --> 00:41:30,229 OF WHAT A SITCOM CAN BE THAT WE NEED TO COIN A NEW GENRE TERM 556 00:41:30,229 --> 00:41:36,299 TOGETHER TO DESCRIBE IT? I THINK EVERYBODY CHANGES 557 00:41:36,302 --> 00:41:44,042 WHEN YOU GIVE A VOICE TO A COMMUNITY THAT HAS NOT HAD ONE. 558 00:41:44,043 --> 00:41:46,745 ROMMING COULD NOT HAVE HAPPENED BEFORE STREAMING. 559 00:41:46,745 --> 00:41:57,655 WE HAD TWO DECADES, PEOPLE TERRIFYIED OF MUSLIMS AND ALL OF 560 00:41:57,656 --> 00:41:59,825 SUDDEN THERE IS A SITCOM AND PEOPLE ARE LAUGHING. 561 00:41:59,825 --> 00:42:04,695 NO, ARE YOU OUT OF YOUR MIND. YOU CAN’T KEEP DATING THEM 562 00:42:04,697 --> 00:42:07,197 ONCE. THEY’RE ALWAYS WALKING AROUND 563 00:42:07,199 --> 00:42:09,335 BAREFOOT. SO MUCH OF WHAT HAPPENS IN 564 00:42:09,335 --> 00:42:21,545 THAT SHOW IS SITCOM 101. WHAT HAPPENS IF SITCOM 101 IS 565 00:42:21,547 --> 00:42:28,954 TOLD BY SOMEONE ELSE THAT NEVER GOT TO TELL THEIR STORIES 566 00:42:28,954 --> 00:42:37,994 BEFORE. MEDTHE FUTURE OF SITCOM IS 567 00:42:37,997 --> 00:42:40,927 AUTISTIC. WHEN WE SEE OURSELVES ON 568 00:42:40,933 --> 00:42:45,237 SCREEN, THE SHOW IS POSSIBLE. HE’S LIKE 5’2". 569 00:42:45,237 --> 00:42:50,207 DANG MOM, THAT WAS SAVAGE. MORE PERSPECTIVES AND NEW 570 00:42:50,209 --> 00:42:52,044 PERSPECTIVES AND FRESH PERSPECTIVES. 571 00:42:52,044 --> 00:42:58,414 THAT ALL MAKES BETTER TELEVISION. 572 00:42:58,417 --> 00:43:03,517 I GOT A CUSTOMER. MAKE THAT MONEY. 573 00:43:03,522 --> 00:43:06,225 IT IS AMAZING HOW MUCH IT CHANGED AND HOW MUCH YOU HAVE TO 574 00:43:06,225 --> 00:43:10,295 GO. THE HISTORY OF INDIGENOUS 575 00:43:10,296 --> 00:43:12,626 PEOPLE IS THE GREATEST STORY NEVER TOLD. 576 00:43:12,631 --> 00:43:16,869 I AM HONORED. BUT THERE IS MORE TO BE DONE 577 00:43:16,869 --> 00:43:19,405 BECAUSE THE MEDIUM IS A CULTURAL MIRROR. 578 00:43:19,405 --> 00:43:23,905 IT NEEDS TO REFLECT ALL OF OUR EXPERIENCES. 579 00:43:23,909 --> 00:43:27,249 THESE SHOWS ARE WHAT WE NEED. THE JOKES DISARM YOU AND YOU CAN