Pimpin' Ain't Easy

Selling Black Entertainment Television

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book Pimpin' Ain't Easy by Beretta E. Smith-Shomade, Taylor and Francis
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Author: Beretta E. Smith-Shomade ISBN: 9781135869489
Publisher: Taylor and Francis Publication: August 21, 2012
Imprint: Routledge Language: English
Author: Beretta E. Smith-Shomade
ISBN: 9781135869489
Publisher: Taylor and Francis
Publication: August 21, 2012
Imprint: Routledge
Language: English

Launched in 1980, cable network Black Entertainment Television (BET) has helped make blackness visible and profitable at levels never seen prior in the TV industry. In 2000, BET was sold by founder Robert L. Johnson, a former cable lobbyist, to media giant Viacom for 2.33 billion dollars.

This book explores the legacy of BET: what the network has provided to the larger US television economy, and, more specifically, to its target African-American demographic. The book examines whether the company has fulfilled its stated goals and implied obligation to African-American communities. Has it changed the way African-Americans see themselves and the way others see them? Does the financial success of the network - secured in large part via the proliferation of images deemed offensive and problematic by many black communities - come at the expense of its African-American audience?

This book fills a major gap in black television scholarship and should find a sizeable audience in both media studies and African-American studies.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Launched in 1980, cable network Black Entertainment Television (BET) has helped make blackness visible and profitable at levels never seen prior in the TV industry. In 2000, BET was sold by founder Robert L. Johnson, a former cable lobbyist, to media giant Viacom for 2.33 billion dollars.

This book explores the legacy of BET: what the network has provided to the larger US television economy, and, more specifically, to its target African-American demographic. The book examines whether the company has fulfilled its stated goals and implied obligation to African-American communities. Has it changed the way African-Americans see themselves and the way others see them? Does the financial success of the network - secured in large part via the proliferation of images deemed offensive and problematic by many black communities - come at the expense of its African-American audience?

This book fills a major gap in black television scholarship and should find a sizeable audience in both media studies and African-American studies.

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