southsuburbs
What I Live By...
I DID NOT WRITE THIS!! AYE, BLUEDOG....I DID NOT WRITE THIS! June 29, 2009
Scott Mills
Chief Executive Officer
Black Entertainment Television
One BET Plaza
1235 W. Street NE
Washington, DC, 20018
Mr. Mills:
As an African American teenager growing up in the South, BET’s arrival on air in 1980 was a transformative moment for my family. For the first time in our lives, we had a cable station that provided my parents with a television venue, “for us and by usâ€, that could reinforce the values of education, racial pride, and community service that were key touchstones for my development into a successful woman. While I was more anxious to make sure that I was in place for Donnie Simpson and Video Soul, my parents made sure that I watched “Conversations with Ed Gordonâ€, “Our Voicesâ€, and “Teen Summit†each week to ensure that we gained valuable insight to the socio-political issues and leaders shaping the African American community. BET was a welcomed part of our home.
Five years ago, I realized it was time to leave ‘home’. I believed that the programming that emerged during this period only served to reinforce the stereotype that all African Americans want is to be ‘entertained’. Therefore, discouraged by the emphasis on ‘booty shake’ music videos; salacious reality television shows; and original programming that continued to play to the lowest common denominator, I determined I could no longer continue to support any media outlet, let alone one purportedly “for us
by usâ€, that demeaned my race and my gender. It saddened me to realize I didn’t leave my home—but that BET had locked me out.
However, upon the death of Michael Jackson and hearing of a BET Award Show tribute, I believed that it was time to ‘return home’. Michael, whose relationship with his own ‘community’ could be described as ambivalent at best, would once again be front and center in our consciousness and celebrated as one of us. This was a celebration that my heart and soul needed.More importantly, as the first public event since his death, this was a celebration the nation needed. Therefore, despite my concerns of the past, I believed that in the end, Michael and our community would be well served by the unique perspective BET could provide into the life and legend of this African American icon. Sadly, I was wrong.
The BET Awards show was an unfortunate conglomeration of buffoonery; a glorification of the negative stereotypes of African Americans; and too often lackluster talent. While such performances may be appropriate for a segment of the African American demographic; it does not represent the best and brightest that African American athletics, politics, entertainment, and culture had to offer in 2008-2009. My concerns are not with the winners; for in the end, I will trust the integrity of the selection process (though it must be noted, unlike other award shows, no explanation of the rules or accounting was presented). However, the production value; the=2
0selection of featured videos; performers; and the quality of the hosting were below the dignity of our proud people and certainly, Mr. Jackson.
I am sure that one argument for your current programming mix is based on the demographic of your viewers. Based on the programming, I am led to assume that your target audience is no longer the college-educated, middle class, African American who is equally as interested in politics as they are in music and entertainment. Moreover, I am sure that you are aware that shows like “Frankie and Neffe†or “Tiny and Toyaâ€, while appealing to a very vocal segment of the African American demographic, will not appeal to the African Americans who make over $50,000 annually, who while only representing 35% of the total African American population, represent 60% of our projected $1.1 Trillion buying power (Report Buyer, 2008). Mr. Mills, even a student in my first year Management Communication course could tell you that BET’s demographic and program strategy is not poised for growth nor does it tap in to your most profitable audience base. Moreover, in times of political and economic uncertainty, it would be interesting to know just how BET’s programming better positions its current audience for success.
This year, Dance Theatre of Harlem celebrated its 40th Anniversary; The Cosby Show is 25 years old; and the work of African American performing arts has never been more vibrant. From Broadway to the ballet, African Americans are offering a20wonderful array of cultural expressions, none of which have been profiled by BET. When Good Morning America can celebrate the milestone of Dance Theatre of Harlem and BET doesn’t, it is clear that there is a gap between BET’s espoused mission and the way it is lived out. Perhaps, if you gave the African American scholar, performing artists, politicians, and community servants equal time with the assortment of marginally talented ‘rappers’ and singers and mixologists, we might see a resurgence of the African American presence and embrace of literature, dance, politics, and the humanities. The day when Zora Neale Hurston, Arthur Mitchell, James Baldwin and others are celebrated on BET other than in February, that will be the day when BET will return to its mission.
I often tell my students that a mission statement’s success or failure largely depends on how it is enacted by the organization. Choices regarding the use of resources, the products produced, and its external and internal communication are the fruit by which the true character of an organization is revealed. Mr. Mills, BET is a failure; to our people and to our future.
Maleta Wilson
"The measure of a man is not in his mistakes, but in how he handles his mistakes"
Scott Mills
Chief Executive Officer
Black Entertainment Television
One BET Plaza
1235 W. Street NE
Washington, DC, 20018
Mr. Mills:
As an African American teenager growing up in the South, BET’s arrival on air in 1980 was a transformative moment for my family. For the first time in our lives, we had a cable station that provided my parents with a television venue, “for us and by usâ€, that could reinforce the values of education, racial pride, and community service that were key touchstones for my development into a successful woman. While I was more anxious to make sure that I was in place for Donnie Simpson and Video Soul, my parents made sure that I watched “Conversations with Ed Gordonâ€, “Our Voicesâ€, and “Teen Summit†each week to ensure that we gained valuable insight to the socio-political issues and leaders shaping the African American community. BET was a welcomed part of our home.
Five years ago, I realized it was time to leave ‘home’. I believed that the programming that emerged during this period only served to reinforce the stereotype that all African Americans want is to be ‘entertained’. Therefore, discouraged by the emphasis on ‘booty shake’ music videos; salacious reality television shows; and original programming that continued to play to the lowest common denominator, I determined I could no longer continue to support any media outlet, let alone one purportedly “for us
by usâ€, that demeaned my race and my gender. It saddened me to realize I didn’t leave my home—but that BET had locked me out.
However, upon the death of Michael Jackson and hearing of a BET Award Show tribute, I believed that it was time to ‘return home’. Michael, whose relationship with his own ‘community’ could be described as ambivalent at best, would once again be front and center in our consciousness and celebrated as one of us. This was a celebration that my heart and soul needed.More importantly, as the first public event since his death, this was a celebration the nation needed. Therefore, despite my concerns of the past, I believed that in the end, Michael and our community would be well served by the unique perspective BET could provide into the life and legend of this African American icon. Sadly, I was wrong.
The BET Awards show was an unfortunate conglomeration of buffoonery; a glorification of the negative stereotypes of African Americans; and too often lackluster talent. While such performances may be appropriate for a segment of the African American demographic; it does not represent the best and brightest that African American athletics, politics, entertainment, and culture had to offer in 2008-2009. My concerns are not with the winners; for in the end, I will trust the integrity of the selection process (though it must be noted, unlike other award shows, no explanation of the rules or accounting was presented). However, the production value; the=2
0selection of featured videos; performers; and the quality of the hosting were below the dignity of our proud people and certainly, Mr. Jackson.
I am sure that one argument for your current programming mix is based on the demographic of your viewers. Based on the programming, I am led to assume that your target audience is no longer the college-educated, middle class, African American who is equally as interested in politics as they are in music and entertainment. Moreover, I am sure that you are aware that shows like “Frankie and Neffe†or “Tiny and Toyaâ€, while appealing to a very vocal segment of the African American demographic, will not appeal to the African Americans who make over $50,000 annually, who while only representing 35% of the total African American population, represent 60% of our projected $1.1 Trillion buying power (Report Buyer, 2008). Mr. Mills, even a student in my first year Management Communication course could tell you that BET’s demographic and program strategy is not poised for growth nor does it tap in to your most profitable audience base. Moreover, in times of political and economic uncertainty, it would be interesting to know just how BET’s programming better positions its current audience for success.
This year, Dance Theatre of Harlem celebrated its 40th Anniversary; The Cosby Show is 25 years old; and the work of African American performing arts has never been more vibrant. From Broadway to the ballet, African Americans are offering a20wonderful array of cultural expressions, none of which have been profiled by BET. When Good Morning America can celebrate the milestone of Dance Theatre of Harlem and BET doesn’t, it is clear that there is a gap between BET’s espoused mission and the way it is lived out. Perhaps, if you gave the African American scholar, performing artists, politicians, and community servants equal time with the assortment of marginally talented ‘rappers’ and singers and mixologists, we might see a resurgence of the African American presence and embrace of literature, dance, politics, and the humanities. The day when Zora Neale Hurston, Arthur Mitchell, James Baldwin and others are celebrated on BET other than in February, that will be the day when BET will return to its mission.
I often tell my students that a mission statement’s success or failure largely depends on how it is enacted by the organization. Choices regarding the use of resources, the products produced, and its external and internal communication are the fruit by which the true character of an organization is revealed. Mr. Mills, BET is a failure; to our people and to our future.
Maleta Wilson
"The measure of a man is not in his mistakes, but in how he handles his mistakes"
:tup: 
