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What John Amos taught me about having — and being — a father

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What John Amos taught me about having — and being — a father

John Amos in 2007.

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John Amos taught me what it was like to grow up with a father in the house – and to be one.

That’s because Amos – who died in August at the age of 84, though his death wasn’t disclosed publicly until Tuesday – first came to my attention playing righteous dad James Evans, Sr. on the legendary 1970s sitcom Good Times.

As a young, Black boy growing up in a home without my father in Gary, Ind., the best window I had into what it might be like to have a concerned, powerful, ethical male in the house was seeing how James Sr. worked with Esther Rolle’s Florida Evans to keep their kids on track. It didn’t hurt that this new kind of TV family lived in what appeared to be Chicago’s Cabrini-Green housing project, about 40 miles northwest of Gary.

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Good Times presented the first network TV sitcom centered on a two-parent, Black family – in fact, Rolle herself had initially insisted that Good Times’ family have a father – and it meant a lot to a kid who sometimes longed for that in his own life.

James Sr., as Amos played him, was imposing and could get physical – he once gave a whipping to a friend of his youngest son Michael, when that friend dared to disrespect the family and refused to do homework during a sleepover. (Yup, stuff like that happened in my neighborhood all the time.) But he was also a loving, devoted, hard-working dad, who often balanced several jobs while trying to give his kids everything they needed to build lives outside of a deprived, occasionally dangerous neighborhood.

There was little doubt James Sr. could be tender in ways that fathers in my neighborhood rarely were in real life.

Resisting a racist TV industry

It wasn’t until I got older that I realized Amos also embodied another important reality: the Black actor had to use all his talents and wiles to make his way – constantly struggling to subvert and overcome the racist demands of a white-centered TV and film industry.

On Good Times, that meant fighting with producers of the show, including legendary executive producer Norman Lear, when the show’s scripts began focusing more on Jimmie Walker’s character, James Evans Jr., or “J.J.”

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J.J.’s habit of shouting “dyn-o-MITE!” while bugging his eyes after dropping a cheeky rhyme recalled classic “coon”-style stereotypes for Black performers from the past. And Amos often recounted how much that irked him back then.

“I felt too much emphasis was being put on J.J. and his chicken hat and saying ‘dynomite’ every third page,” Amos told the Archive of American Television in a 2014 interview. “But I wasn’t the most diplomatic guy in those days. And they got tired of having their lives threatened over jokes…That taught me a lesson. That I wasn’t as important as I thought I was to the show or to Norman Lear’s plans.”

Ralph Carter, Esther Rolle, John Amos, Jimmie Walker, and BernNadette Stanis gather in the kitchen during a scene from Good Times in 1975.

Ralph Carter, Esther Rolle, John Amos, Jimmie Walker, and BernNadette Stanis gather in the kitchen during a scene from Good Times in 1975.

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Lear admitted in his 2014 memoir, Even This I Get to Experience, that the attention showered on J.J. made Amos so “glum and dispirited,” that the producer wound up writing the actor out of the show at the start of the series’ fourth season.

Just like that, the two-parent Black family that had inspired me so much was undone – fractured by an offscreen car accident that claimed James Sr.’s life.

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A TV pioneer who became the image of Black fatherhood

I didn’t know about the backstage struggles back then, but even as a young viewer I could see that something important had been lost. Turns out, Amos wasn’t just another actor spouting off about a supporting player outshining him; he had begun his show business career as a writer/performer – one of his early jobs in 1969 was as a writer on The Leslie Uggams Show. Amos knew how important quality words were for great acting.

His first big part came in 1970 as Gordy Howard, the weatherman on The Mary Tyler Moore Show – the series’ only Black character – which put Amos on the map and caught Lear’s attention when they were casting Good Times. And not long after he left Good Times, Amos landed another legendary job – playing the adult version of Kunta Kinte, the enslaved man at the heart of ABC’s surprise 1977 miniseries hit, Roots.

In fact, Roots was a bit of showbiz sleight of hand. Well aware that white audiences might grow uncomfortable with a miniseries centered on the family history of African American author Alex Haley and its early genesis in slavery, producers of Roots often cast Black actors as enslaved people who white audiences already knew and loved.

Amos, with his history on popular shows like The Mary Tyler Moore Show and Good Times, fit perfectly as a grown up version of the character then-newcomer LeVar Burton played as a young man. (The moment when a slave catcher cuts off Kunta Kinte’s foot after an escape attempt remains seared in my brain, nearly 50 years after originally seeing it on TV.)

For me, the one-two punch of his parts on Good Times and Roots cemented Amos as a towering image of Black fatherhood in pop culture.

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Back then, Black performers were working hard to take scripts crafted by white producers and make their characters as authentic as possible, balancing the expectations of Black audiences hungry for better representation with a white-dominated industry often stuck in old, demeaning patterns.

Amos could make his points forcefully. He told the Archive of American Television about blowing up at a white, British director on Roots who seemed unconcerned about a Black baby shivering during a night shoot.

Hearing the former pro football player tell stories about occasionally threatening white producers and directors to get his way, I saw a familiar dynamic. Sometimes, when the system is geared against you, intimidation is the only way to make your concerns truly heard.

An actor beloved by Black and white audiences

Over the years, Amos’ classic roles in TV and film piled up: Hunter, Coming to America, The West Wing (as chairman of the Joint Chiefs of Staff), Let’s Do It Again, Die Hard 2, and much, much more. He’s even reportedly in the new spinoff series Suits: LA, as his last role.

(In a sad denouement, after conflicts between Amos’ children, his daughter Shannon Amos found out about her father’s death on Tuesday when media outlets reported it, according to her Instagram post.)

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But for me, Amos’ greatest legacy remains as a TV pioneer who played proud, Black male characters with strong ethics and a devotion to family just when Black audiences needed to see them most – surviving a load of slights, fights and punishments in the process.

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‘The Invite’ is a marriage comedy with sex and heart

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‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

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L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

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A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

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When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

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After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

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He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

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And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

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I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

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“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

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Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

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Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

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Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

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In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

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The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

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