Expanding the Role of African-Americans on TV : Blacks Making Inroads Outside of Networks

Readers of Greg Braxton’s Sunday Calendar article “Where More Isn’t Much Better” (Oct. 4) easily could have come away believing that network series are the only game in town as far as seeing blacks on television.

Consider instead these headlines:

“Black Business Leaders . . . Focused Upon in Weekly TV Series.”

“Living Legends of Black American Music Honored.”

“8th Annual Television Awards Special Honors Gospel Music.”

“Hip-Hop Music and Culture Featured in New Year’s Special.”

“Road to Success . . . TV Series of Black Role Models.”

Are these headlines from television of the future? Or a programming executive’s wish list for African-American shows that appeal to all, regardless of race, color, creed or country?

The fact is, they are neither dream nor wish list, but the enacted vision that for 20 years has been a reality of black-owned companies such as Central City Productions, Syndicate It, Don Cornelius Productions and Ebony/Jet.

So, although the Calendar article did not mention it, let it be known that there are existing forces other than the networks in the television industry that are committed to showing realistic slices of the African-American experience.

The four big networks continue to receive all the attention on their fictional dramas and sitcoms while critics continue to narrowly focus on those inaccurate depictions.

As Braxton did report, it is positive that there is more black talent being used on network television than in past seasons. On the surface, it appears that blacks are making inroads because of this increased presence in front of the camera, but the real picture is that behind the camera blacks are continuing to face the bitter taste of racism.

Because of racism and the “good old boy network,” blacks are excluded from behind-the-camera positions in the areas of executive producer, producer or head writer at the studios and major networks.

This results in the inaccurate depiction of blacks on television, and that will continue until the industry gives us an opportunity to produce and write shows as opposed to only using blacks as creative consultants with no power to affect any decisions.

Currently, the trend for black producers, including myself, is to come up with the money to produce our own shows, and then syndicate and sell them to independent stations and advertisers.

Fortunately, we are witnessing some modest success with this approach, and, hopefully, once we have built up a track record of success stories, the industry will open its doors and become more receptive to working with black producers.

In the meantime, viewers should be aware that easily accessible alternatives of positive black programming do exist.

The era of depicting “contemporary black culture values” through TV has arrived, and there is a way to change your mind about the negative prognosis about black images on television: Just read your local listings, then change the channel. You will find independent stations are more sensitive and committed to reflecting positive images about blacks, versus the networks’ continued depiction of blacks as frivolous, comic and lazy.