The Flip Wilson Show

INDEX

INDEX Acham, Christine, xx, xxi–xxii, 96 Ali, Muhammad, 74 All in the Family, xv, 3, 7, 8, 12, 15 ambivalence, aesthetic of: xx, xxv; and audience demographics, 6, 15; in critical reception xxii, 9–10; studio audience, 79, 85, 92, 97; in variety form, 7, 13–15, 17–18, 23 Amos ’n’ Andy, 45, 54–55, 110n 6; and characters, xviii, 8, 48, 64 Andy Griffith Show, The, 57 Ang, Ien, 80 audience, demographics, 14–15. See also ambivalence, aesthetic of: audience demographics; Flip Wilson Show, The: audience address of, studio audience for Bennett, Lerone, 8, 64, 89–90 Berle, Milton, 63 Big Momma’s House, 103 Bill Cosby Show, The, 2. See also Cosby, Bill 125 blackness, 9, 62, media representations of, 59–63. See also race Black Power, 5, 11, 66–67, 69, 82 Blue Collar TV, xxix, 105 Bodroghkozy, Aniko, 4, 18–19, 79 Bogle, Donald, xxi, 39, 41–40, 64 Butler, Judith, 42 Carlin, George, 49–51, 52 Carney, Art, 22–23 Carol Burnett Show, The, 79 Carroll, Diahann, 59, 61–62 Cedric the Entertainer Presents, xxiii, 100–101, 103, 104 Chappelle, Dave, xxiii–xxiv, 102. See also Chappelle’s Show Chappelle’s Show, xxiii, 102, 104. See also Chappelle, Dave Chitlin’ Circuit, xxvii, 1, 25, 17, 40, 96 Chong, Larry (character), 93–97 Chris Rock Show, The, xxiii Clerow Wilson and the Miracle of P .S. 14, 26 Clerow Wilson’s Great Escape, 26 Colgate Comedy Hour, The, 38, 39 comedy-variety, and aesthetic of ambivalence, 36, 47 (see also ambivalence, aesthetic of: in variety form); in 1970s television , 3–4; examples of, xxiii, xxix, 19; non-naturalistic performance in, 44, 52, 104; segmented structure of, 12, 42, 61; history of, 15, 18–19 Conway, Tim, 21–22, 45, 57. See also Tim Conway Show, The Cosby, Bill, 45. See also Bill Cosby Show, The Cosell, Howard, 81–83 Darin, Bobby, 21–22 David Frost Show, The, 7 Davis, Sammy, Jr., 37–41, Dean Martin Show, The, 1 Don Knotts Show, The, 4. See also Knotts, Don drag. See Geraldine (character) Eastman, Max. See Enjoyment of Laughter, The Ed Sullivan Show, The, 1 Enjoyment of Laughter, The, 24, 28, 75 Feldon, Barbara, 23 Flip Wilson Show, The: audience address of, 20, 47, 80–81, 105; close-ups in, 85–93, 96; compared to All in the Family, 7; critical reception of, xx–xxii; debut of, xi–xiv; popular reception of, xv–xvii, 16, 20, 27, 29, 33, 84; promotion by 126 Index NBC, 16–18, 25–26, 30; studio audience for, 81–85, 88–89, 92–97. See also ambivalence, aesthetic of; comedy-variety; Wilson, Flip Foucault, Michel, 60 Foxx, Redd, 10, 93–97 Freddie the Playboy (character), 61–62, 86–88, 90–92 Frost, David, 7–8 genealogy, 99, 103 Geraldine (character), xxi, 7–8, 63–74 Get Smart, 23 Gitlin, Todd, 3, 14. See also relevancy Glenn, Susan A., 42 Glenn Campbell Goodtime Hour, The, 4 Good Times, 40 Goulet, Robert, 27 Gray, Herman, xxiv Hall, Stuart, 105–6 Harper, Phillip Brian, 59, 66 In Living Color, xxiii, xxiv, 71, 103–4 I Spy, 2 Jenkins, Henry, 41, 78–79 Johnny Cash Show, The, 4 Johnson, E. Patrick, 66, 71–72 Julia, 2, 59. See also Carroll, Diahann Killer (character), 8, 70, 72 Knotts, Don, 45, 55–56, 57. See also Don Knotts Show, The 127 Index Lattimer, Marvin (character), 45, 52–54 Lentz, Kirsten Marthe, 59 Leslie Uggams Show, The, 2, 119–20n. 10 liberalism: corporate, xxv, 20; white, 27, 29–30, 89–90 Lott, Eric, 78–79 MacDonald, J. Fred, xxi, 4–5, Martin, 64, 71, 103 Mary Tyler Moore Show, The, 3 M*A*S*H, 3 McMahon, Ed, 53 McQueen, Butterfly, 63 mimicry, and pastiche, 51, 56–57, 90–91, 116n. 18; and vaudeville , 37–44, 46 minstrelsy, xxvi, 4; and audience, 78–79; and race, 33, 36, 47. See also Williams and Walker; ambivalence, aesthetic of Mod Squad, The, 2 Nat King Cole Show, The, 2 pastiche, 52, 54, 56–57, 74 performance. See Flip Wilson Show, The; mimicry; minstrelsy; realism; vaudeville performativity, 42, 46, 62, 66 Pryor, Richard, 45, 55–56 race: and gender, 70–71; integration , 21; interracial unions, 11–14, 83–84; television representations of, 2–3, 6, 15, 16–17. See also blackness realism, 43, 47, 59–60 reception studies, 85, 106 relevancy, 3–4, 7, 14. See also Gitlin, Todd...