Kristal Brent Zook – författare

Offering a fascinating examination of the explosion of black television programming in the 1980s and 1990s, this book provides, for the first time ever, an interpretation of black TV based in both journalism and critical theory. Locating a persistent black nationalist desire--a yearning for home and community--in the shows produced by and for African-Americans in this period, Zook shows how the Fox hip-hop sitcom both reinforced and rebelled against earlier black sitcoms from the sixties and seventies. Incorporating interviews with such prominent executives, producers, and stars as Keenan Ivory Wayans, Sinbad, Quincy Jones, Robert Townsend, Charles Dutton, Yvette Lee Bowser, Ralph Farquhar, and Susan Fales, this study looks at both production and reception among African-American viewers, providing nuanced readings of the shows themselves as well as the sociopolitical contexts in which they emerged. While black TV during this period may seem trivial or buffoonish to some, Sly as a Fox reveals its deep-rooted ties to African-American protest literature and autobiography, and a desire for social transformation.

Offering a fascinating examination of the explosion of black television programming in the 1980s and 1990s, this book provides, for the first time ever, an interpretation of black TV based in both journalism and critical theory. Locating a persistent black nationalist desire--a yearning for home and community--in the shows produced by and for African-Americans in this period, Zook shows how the Fox hip-hop sitcom both reinforced and rebelled against earlier black sitcoms from the sixties and seventies. Incorporating interviews with such prominent executives, producers, and stars as Keenan Ivory Wayans, Sinbad, Quincy Jones, Robert Townsend, Charles Dutton, Yvette Lee Bowser, Ralph Farquhar, and Susan Fales, this study looks at both production and reception among African-American viewers, providing nuanced readings of the shows themselves as well as the sociopolitical contexts in which they emerged. While black TV during this period may seem trivial or buffoonish to some, Sly as a Fox reveals its deep-rooted ties to African-American protest literature and autobiography, and a desire for social transformation.

Following the overwhelming success of "The Cosby Show" in the 1980s, an unprecedented shift took place in television history: white executives turned to black dollars as a way of salvaging network profits lost in the war against video cassettes and cable T.V. Not only were African-American viewers watching disproportionately more network television than the general population but, as Nielsen finally realized, they preferred black shows. As a result, African-American producers, writers, directors, and stars were given an unusual degree of creative control over shows such as "The Fresh Prince of Bel Air," "Roc," "Living Single," and "New York Undercover". What emerged were radical representations of African-American memory and experience. Offering a fascinating examination of the explosion of black television programming in the 1980s and 1990s, this book provides, for the first time ever, an interpretation of black TV based in both journalism and critical theory. Locating a persistent black nationalist desire--a yearning for home and community--in the shows produced by and for African-Americans in this period, Kristal Brent Zook shows how the Fox hip-hop sitcom both reinforced and rebelled against earlier black sitcoms from the sixties and seventies. Incorporating interviews with such prominent executives, producers, and stars as Keenen Ivory Wayans, Sinbad, Quincy Jones, Robert Townsend, Charles Dutton, Yvette Lee Bowser, and Ralph Farquhar, this study looks at both production and reception among African-American viewers, providing nuanced readings of the shows themselves as well as the sociopolitical contexts in which they emerged. While black TV during this period may seem trivial or buffoonish to some, Color by Fox reveals its deep-rooted ties to African-American protest literature and autobiography, and a desire for social transformation.

At five years old, Kristal Brent Zook sat on the steps of a Venice Beach, California, motel trying to make sense of her white father’s abandonment, which left her feeling unworthy of a man’s love and of white protection. Raised by her working-class African American mother and grandmother, Zook was taught not to count on anyone, especially men. Men leave. Men disappoint. In adulthood she became a feminist, activist, and “race woman” journalist in New York City. Despite her professional success, something was missing. Coming to terms with her identity was a constant challenge.The Girl in the Yellow Poncho is Zook’s coming-of-age tale about what it means to be biracial in America. Throughout, she grapples with in-betweenness while also facing childhood sexual assault, economic insecurity, and multigenerational alcoholism and substance abuse on both the Black and white sides of her family. Her story is one of strong Black women-herself, her cousin, her mother, and her grandmother-and the generational cycles of oppression and survival that seemingly defined their lives.Setting out on an inner journey that takes her across oceans and continents, Zook tells the story of a little girl who never gives up on love, even long after it seems to have been destroyed. In the end she triumphs, reconciling with her father and mother to create the family of her dreams through forgiveness and sheer force of will. A testament to the power of settling into one’s authentic identity, this book tells a story of a daughter’s lifelong yearning, a mother’s rediscovery of lost love, and the profound power of atonement and faith to heal a broken family.

At five years old, Kristal Brent Zook sat on the steps of a Venice Beach, California, motel trying to make sense of her white father’s abandonment, which left her feeling unworthy of a man’s love and of white protection. Raised by her working-class African American mother and grandmother, Zook was taught not to count on anyone, especially men. Men leave. Men disappoint. In adulthood she became a feminist, activist, and “race woman” journalist in New York City. Despite her professional success, something was missing. Coming to terms with her identity was a constant challenge.The Girl in the Yellow Poncho is Zook’s coming-of-age tale about what it means to be biracial in America. Throughout, she grapples with in-betweenness while also facing childhood sexual assault, economic insecurity, and multigenerational alcoholism and substance abuse on both the Black and white sides of her family. Her story is one of strong Black women—herself, her cousin, her mother, and her grandmother—and the generational cycles of oppression and survival that seemingly defined their lives.Setting out on an inner journey that takes her across oceans and continents, Zook tells the story of a little girl who never gives up on love, even long after it seems to have been destroyed. In the end she triumphs, reconciling with her father and mother to create the family of her dreams through forgiveness and sheer force of will. A testament to the power of settling into one’s authentic identity, this book tells a story of a daughter’s lifelong yearning, a mother’s rediscovery of lost love, and the profound power of atonement and faith to heal a broken family.