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Music and the Broadcast ExperiencePerformance, Production, and Audiences$
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Christina Baade and James A. Deaville

Print publication date: 2016

Print ISBN-13: 9780199314706

Published to Oxford Scholarship Online: September 2016

DOI: 10.1093/acprof:oso/9780199314706.001.0001

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John, Yoko, and Mike Douglas

John, Yoko, and Mike Douglas

Performing Avant-Garde Art and Radical Politics on American Television in the 1970s

Chapter:
(p.213) Chapter 9 John, Yoko, and Mike Douglas
Source:
Music and the Broadcast Experience
Author(s):

Norma Coates

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199314706.003.0010

This chapter examines Yoko Ono’s performances of feminism in her three roles as cohost, as artist, and as musician on The Mike Douglas Show in February 1972 order to reveal how she used the contradictions inherent in media economics to convey progressive ideas to heartland viewers, a difficult audience for the Left to reach with any efficacy. At the same time, the chapter considers how those same performances reinforced the ideology of authenticity that had taken root in rock culture, performance, and discourse. This ideology dictated that the only “serious” rock performers were white and male. Alternative rock performance practices and racial and gender expressions were neither welcome nor acknowledged.

Keywords:   Beatles, conceptual art, feminism television, Middle America, 1970s, politics, popular music, talk shows, Yoko Ono

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