Haley, Bertha (Palmer) (mother), 11, 12
Haley, Cynthia “Cindy” (daughter), 24, 83, 87–88
Haley, George (brother), 12, 24–25, 33
Haley, Julies (brother), 12
Haley, Juliette. See Collins, Juliette “Julie” (wife)
Haley, Lydia (daughter), 13, 15, 16
Haley, My. See Lewis, My (wife)
Haley, “Queen” Jackson (grandmother), 41, 46, 150
Haley, Simon (father), 11–12, 13, 33–34, 73
Haley, William (son), 13, 15, 16
Hallelujah, Baby! (1968) (play), 111
Hamilton, George, 118–19
Handlin, Oscar, 144
Hardy, Tom (great-grandfather), 112–13
“Harlem Nobody Knows, The” (Haley), 14
Harper’s, 16
Harris, Middleton, 6
Hartman, Saidiya, 8
Hatcher, Zeona, 12
Hayes, Isaac, 110
Hefner, Hugh, 83
Henning (Tennessee), 1–2, 3, 11, 12–13, 24, 49–51, 83, 138, 149, 194
Hicks, Hilly, 106
Hill, Lawrence, 208
Hilton, Suzanne, 135–36
historians, 5, 6–7, 8–9, 62, 132, 133, 138, 141–45, 193–94, 197–98. See also black scholars; scholarship
historical accuracy: the Gambia and, 132; Gates, Henry Louis on, 205; genealogy and, 26, 62, 113; Kinte, Kunta (fourth great-grandfather) and, 26, 142–43, 147, 188–89; Ottaway, Mark and, 142–43, 187, 190; popular culture and, 77; reviews and, 6–7, 132; slavery history and, 27, 61–63, 177–78. See also “faction”
History of the Gambia (Gray, 1940), 45
Hogan, William, 38
Hollywood Reporter, 120
Hollywood Shuffle (1987) (film), 206
Hooks, Benjamin, 175
“Hottentot Venus,” 204
How to Co-exist with Negroes (Haley) (book idea), 19–20, 72
Hughes, Langston, 73
Hunter film ranch, 174
I Know Why The Caged Bird Sings (Angelou, 1969), 154
In Cold Blood (Capote, 1966), 57–58, 59
International Cinematographers Guild, 123
Invisible Man (Ellison, 1953), 17, 58
Irish ancestry, 41
IRS (Internal Revenue Service), 86–87
Jackson, Easter (great-grandmother), 41, 46
Jackson, James, 41
Jackson, Jesse, 10
James, Henry, 64–65
Japan, 179
Jawara, David, 37
Johnson, Charles, 151
Johnson, Lyndon, 21, 137
Jordan, Barbara, 178–79
Jordan, Winthrop, 184
Jubilee (Walker, 1966), 74, 190
Juffure (the Gambia), 2, 46, 48–49, 80, 131–33, 142–43, 154, 158, 189
Jungle Jim (film), 133
Kazan, Elia, 32, 42–43, 56–57, 58, 66
Keizer, Arlene, 204–5
Kersey, Tom, 115–16
Kindred (Butler, 1979), 151
King, Martin Luther, Jr., 15, 22
King, Woodie, 120–21, 124
Kinoy, Ernest, 95–96
Kinte, Binta, 49, 153–55
Kinte, Demba, 46
Kinte, Kebba Fofana (uncle), 46, 48, 49–52, 134
Kinte, Kunta (fourth great-grandfather): Africa and, 132–34; Amos, John and, 110, 118; audiences and, 107; birth depiction and, 153–54; casting of, 105, 106–7; film rights and, 57; the Gambia and, 2, 5–6, 49, 80, 147; Haley, Alex and, 4, 26, 49–51, 171, 202–3; historical accuracy and, 26, 142–43, 147, 188–89; Kinte, Kebba Fofana (uncle) and, 49–51; lectures and, 55–56; as the Mandingo, 25; Manga, Ebou and, 40; patriarchalism and, 46; popular culture and, 206; Roots (Haley) and, 8, 80–81, 82, 84–85, 131–32, 134–35, 142–43, 147, 171; sexuality of, 202–3; slavery history and, 26, 59–60, 61–62, 134–35, 159; whipping scene and, 156, 166–68, 169. See also Burton, LeVar
Kinte, Lamin, 49
Kinte, Madi, 49
Kinte, Omoro, 49, 153–55
Kinte, Suwadu, 49
Kinte clan, 61fig.
Kinte Corporation, 93, 198
Kirkhorn, Michael, 55–56
Kizzy, 26–27, 46, 110–11, 170, 171–74, 175–76, 202–3. See also Uggams, Leslie
Know Your Ancestors (Williams, 1968), 135–36
Lamar, Kendrick, 206
Landau, Genevieve Millet, 198
Larmore, Phoebe, 11
Larsen, Nella, 161
Lask, Thomas, 145
Laurent, Lawrence, 128–29
lawsuits, 2, 181–82, 186–87, 190–96
Lea, George “Chicken George” (great-great grandfather), 26, 29, 46, 65, 111, 171, 172, 174
Lea, Tom, 172
Leadbelly (1976) (film), 110–11, 123
Lear, Norman, 110
Learning Tree, The (1969) (film), 123
lectures, 53–78; as advance marketing, 4–5, 54–55, 66–67, 75, 89; audiences and, 4, 63, 72–73, 77, 85, 103–4; Autobiography of Malcolm X, The (Haley) and, 40, 53; Before This Anger (Haley) and, 40, 53–56; black history and, 71, 72, 73–74; Blinn, Bill and, 103; copyright and, 195; Doubleday and, 54, 66; film rights and, 66; financial concerns and, 4, 54, 87; the Gambia and, 56; Haley, Alex and, 23, 55–56, 63, 76–77, 88, 195–96; Kinte, Kunta (fourth great-grandfather) and, 55–56; Manga, Ebou and, 39–40; “My Furthest Back Person—‘The African,’” (Haley) and, 67; the New York Times and, 55; Playboy and, 53; popular culture and, 63; Roots (Haley) and, 23, 54, 74–75, 79, 87, 99; W. Colston Leigh speakers’ bureau and, 3, 53–54, 55fig., 195; writing interference and, 54, 74–75, 79, 87, 99; X, Malcolm and, 23
Lehmann-Haupt, Christopher, 142
Leigh, Colston, 54. See also W. Colston Leigh speakers’ bureau
Leslie Uggams Show, The (television), 111
“Letter From a Birmingham Jail” (King), 15
Levine, Lawrence, 6
Lewis, My (wife), 102
licensing deals, 183–85
Like it Is (television), 77–78
Lincoln, C. Eric, 73, 144–45, 193–94
London Times, 142–43, 187–88
Lonely Are the Brave (film), 158–59
Lord Ligonier (ship), 2, 60–62, 151, 157, 158
Los Angeles Sentinel, 136–37, 177
Los Angeles Times, 7, 156
Madinka (Mandingo), the, 3, 25, 28, 38, 46, 85
Mandingo (film), 156
Manga, Ebou, 39–41, 42, 43, 45, 113
manuscript collection auction, 196–98
Margulies, Stan: advance marketing and, 130; birth depiction and, 154; black film professionals and, 120, 122–23, 124; Blinn, Bill and, 97, 103–5; breast nudity depiction and, 116; Drew, Lisa and, 126; Emmy award and, 92fig.; Kinte, Kunta (fourth great-grandfather) casting and, 105, 106–7; the Middle Passage and, 159; Reader’s Digest and, 91; Roots (Haley) and, 5, 9, 65, 91–97; scripts and, 103–5, 226n9; on woman’s show in series, 173
marketing. See advance marketing
mass culture. See popular culture
Maynard, Robert, 145
McCabe, Robert, 185fig.
McCormick, Ken, 9, 11, 30, 38, 59, 126, 146, 186
McQueen, Steve, 208
Melcher Book Award, 199
merchandise, 93, 182–85
Merrick, David, 93
Miami-Dade Community College, 183–84, 185fig.
Michelman, Herbert, 191
Middle Passage (Johnson, 1990), 151
Middle Passage, the, 4, 113, 151, 159–160, 161–66, 171, 193, 201–2, 205
Miles, Tiya, 8
Mills, Elizabeth and Gary, 61–62
Modern Romances, 13–14
Morgan, Edmund, 6, 143
Morning Herald, 95
Morrison, Toni, 6, 8, 151, 198–99, 201–2
Morrow, Vic, 108, 166, 168
Moses, Gilbert, 121–23, 124, 174
Moynihan, Daniel Patrick, 137–38, 139
Murray, Pauli, 73
Murr
ay, Tom (grandfather), 194
Murrays, the, 30, 33–34
“My Furthest Back Person—‘The African,’” (Haley), 67
“My Most Unforgettable Character” (Reader’s Digest), 23
My Search for Roots (documentary film) and, 93
“My Search for Roots” (Haley) (unpublished manuscript), 148–49, 150
NAACP (National Association for the Advancement of Colored People), 7–8, 120
Nakamura, Naohiro, 179
National Book Award, 145–46
National Museum of African American History and Culture, 208
Nat Turner (2003) (film), 181
NBC (National Broadcasting Company), 8, 83, 120, 207
Negro Ensemble Company, 110
Negro History Week (Black History Month), 74
Nelson, Alondra, 205–6
network television racial realities, 109–10, 180
New American Library, 58
New Federal Theater, 120
New Journalism, 58
Newsweek, 127, 136, 163
New Times, 182
New York Age, 14
New York Amsterdam News, 207
New Yorker, 58
New York Historical Society, 208
New York Review of Books, 132
New York Times: Capote, Truman and the, 58; the Gambia and the, 37, 188; Haley, Alex and the, 21, 89; lectures and the, 55; Moses, Gilbert and the, 121; Roots (Haley) and the, 142, 143, 145; Roots (television) and the, 178
New York Times Magazine, 67, 68–69, 70, 75
Nigeria, 179
N’Jie, M. D., 43
Noble, Gil, 77–78
nonfiction/fiction, 58, 86, 126–27, 145–46, 189–190. See also “faction”
Norrell, Robert, 12
Northup, Solomon, 208
Norton Anthology of African American Literature, 8
novel v nonfiction, 58, 86, 126–27, 145–46, 189–190. See also “faction”
nudity depiction, 115–17, 119–120, 163–64, 165
Oakland Tribune, 182
O’Conner, Carroll, 158
Old Sister Dinti, 148–49
Ottaway, Mark, 51, 142–43, 144, 147, 187, 190
Owens, Nathaniel, 139–140
Oyotunji African Village, 114–15
Palmer, Cynthia (grandmother), 1–2, 12, 26
Palmerstown U.S.A. (1980–81) (television), 196
paperback rights, 35, 58, 59, 75, 186–87
Parents Magazine, 198
Paris Exposition (1900), 7
Park, Mungo, 38
Parks, Gordon, 122, 123
patriarchalism, 46, 149, 171
Paul R. Reynolds, Inc., 195. See also Reynolds, Paul Revere
PBS (Public Broadcasting Service), 156, 181, 205
Peculiar Institution, The (Stampp, 1956), 181
People, 188
Philadelphia Daily News, 90
Phillips, Thomas, 150–51
Pippin (1973) play, 111
plagiarism lawsuits, 2, 181–82, 190–95, 196
Playboy, 17–18, 22, 53, 82, 83, 138
Poitier, Sidney, 110
popular culture: advance marketing and, 54–55; black history and, 2, 74; historical accuracy and, 6–7, 77; Kinte, Kunta (fourth great-grandfather) and, 206; lectures and, 63; Roots (Haley) and, 3; Roots (television) and, 156; slavery history and, 64, 140–41, 156, 200, 208; Before This Anger (Haley) and, 65; Uncle Tom’s Cabin (Stowe) and, 64–65
Price, Charles, 137
production. See Roots (television)
Pryor, Richard, 110
Pulitzer Prize, 44, 145–46
Putnam Publishing, 21–22
Quicksand (Larsen, 1928), 161
race depictions, 7–8, 111–12, 133–34
race relations, 20–21, 176, 178–79
racism: Africa and, 133–34; beauty ideals and, 106, 161; black celebrities and, 100–101; Haley, Alex and, 14–15, 17; How to Co-exist with Negroes (book idea) and, 19–20; legacies and, 207–8; nudity depiction and, 117; television and, 17, 110, 180; Before This Anger (Haley) and, 20–21
Radio Gambia, 43
Ragsdale, Maurice, 41–42
Rampersad, Arnold, 8, 141
Random House, 6, 183–84
Rangel, Charles, 179
Rasulala, Thalmus, 154, 155fig.
ratings, 109, 133, 175, 198
Rawick, George, 6
Reader’s Digest: copyright and, 194; financial support and, 39, 89; Fisher, Murray and, 82–83; Haley, Alex and, 16; “Harlem Nobody Knows, The” (Haley), 14; lectures and, 63; Lord Ligonier (ship) and, 60; “My Most Unforgettable Character” and, 23; Roots (Haley) and, 3, 5, 73, 75, 79–80, 86–87, 89–91, 93, 94, 97; Before This Anger (Haley) and, 39, 41, 42, 59, 65–66; World Press Institute, 89, 104
Reagan, Ronald, 176
Reagon, Bernice, 71
Reed, Robert, 108–9
research: the Gambia and, 27, 41–42, 43–52, 56, 57, 59–60, 77, 142–43, 188; Haley, Alex and, 8–9, 27, 41–42, 43–52, 57, 59–60, 77, 85–86, 132, 142–43; Reader’s Digest and, 60; Schomburg Center for Research in Black Culture, 9, 71–72, 197; Sims, George and, 12, 30, 40, 50fig., 71, 146, 194; Before This Anger (Haley) and, 38
Researcher’s Guide to American Genealogy, The (Greenwood, 1974), 135–36
reviews: “faction” and, 141–45; historical accuracy and, 6–7, 132; Roots (Haley) and, 6–7, 132, 136–37, 140, 141–45; Roots (television) and, 6–7, 156, 162–63, 165, 178, 179–180; white guilt and, 140
Revolutionary War, 170
Reynolds, Paul Revere: copyright and, 195; film rights and, 56–57, 92–93, 224n46; financial concerns and, 19, 22, 32–33, 34–36, 39, 56–57, 87–88; finishing Roots (Haley) and, 84, 86, 87–88, 94–95, 96–97; the Gambia and, 39, 44, 45; Haley, Alex as client and, 19, 85; How to Co-exist with Negroes (book idea) and, 19–20; Paul R. Reynolds, Inc., 195; publications for writers and, 18; Reader’s Digest and, 39; as Roots co-creator, 9; Before This Anger (Haley) and, 11, 18, 19, 20–22, 24–30, 33, 34–36, 44, 54, 56–57, 59, 66–67, 83; X, Malcolm and, 28–29
Rich Man, Poor Man (1976) (television), 107, 125–26, 128
Richter, Conrad, 19
Ridley, John, 208
Roberts, Warren, 144
Robeson, Eslanda Goode, 74
Roll, Jordan, Roll: The World the Slaves Made (Genovese, 1974), 6
Rootlessness (Arceneaux, 2002) (art installation), 201
Roots (Haley), 79–102, 131–152; ABC (American Broadcasting Company) and, 82, 94, 95–96; advance marketing and, 4–5, 54–55, 66, 75, 87, 89, 95, 102; Africa and, 133–34; African linguistics and, 26–27; Angelou, Maya and, 133–34, 151–52; anticipation for, 75, 79; audiences and, 3, 70, 77, 90–91, 140–41; Autobiography of Malcolm X, The (Haley) and, 80, 89; awards and, 145–46; Baldwin, James and, 150, 151–52; black Americans and, 62; Black Family: A Case for National Action, The (Moynihan, 1965) (report) and, 137–38, 139; black history and, 90, 136–37, 145; black interests and, 100–101; commercialization and, 2, 27, 28, 62, 63, 93, 127–28, 130, 181, 182–87, 200; controversy and, 143–45, 147, 187–190; copyright and, 190, 193, 194–95; critics and, 2, 132, 141–42, 151, 156, 178; Doubleday and, 2, 82, 87, 93, 94, 95–96, 136, 186, 189–190; Drew, Lisa and, 9, 59, 95–96; “faction” and, 5–6, 8, 10, 27, 58, 77, 90, 141–47, 188–190; as family story, 135, 136; female characters and, 149; film rights and, 75, 86, 91–93, 224n46; financial concerns and, 3–4, 86–88, 93–94, 96–97, 98–99, 102; finishing and, 2, 3, 70, 82–84, 86, 87–89, 91–92, 94–100, 101–2; Fisher, Murray and, 2, 9, 82–84, 85–87, 89, 96–102, 188, 194; genealogy and, 8, 60, 61–62, 67, 68–69, 113, 135–36, 150; haunting and, 149–150; Juffure (the Gambia) and, 131–33, 142–43; Kinte, Kunta (fourth great-grandfather) and, 8, 80–81, 82, 84–85, 131–32, 134–35, 142–43, 147, 171; lectures and, 23, 54, 74–75, 79, 87, 99; Margulies, Stan and, 91–97; merchandise and, 93, 182–85; My Search for Roots (documentary film), 93; “My Search for Roots” (Hal
ey) (unpublished manuscript) and, 148–49, 150; mythic qualities and, 68, 144, 147, 189; New York Times and, 142, 143, 145; novel v nonfiction and, 86, 126–27, 145–46, 189–190; Ottaway, Mark and, 51, 142–43, 144, 147, 187, 190; paperback rights and, 75, 186–87; plagiarism lawsuits and, 2, 181–82, 190–95, 196; popular culture and, 3; profits and, 181–82, 198; Reader’s Digest and, 3, 5, 73, 75, 79–80, 86–87, 89–91, 93, 94, 97; reviews of, 6–7, 132, 136–37, 140, 141–45; Reynolds, Paul Revere and, 84, 85, 86, 87–88, 94–95, 96–97; Roots (television) v, 3, 109, 125–26, 154, 157, 158fig., 173; sales and, 66, 130, 186; scholarship and, 2, 6, 8–9, 141–45, 184, 208; Schomburg Center for Research in Black Culture and, 9, 71–72, 197; scrutiny and, 100, 113; sexuality and, 31, 202–3; slavery history and, 2, 6–7, 52, 60, 132–141, 143–44, 145, 149–151, 200–208; television rights and, 75, 92–102; title change to, 67, 125; white guilt and, 140–41; Wolper, David and, 3, 5, 65, 82, 91–96; writing preferences and, 81–82, 84. See also Before This Anger (Haley); Doubleday; historical accuracy; popular culture
Roots (television), 103–30, 153–180; advance marketing and, 4–5, 54–55, 66, 75, 95, 102, 125–130; African linguistics and, 113; audiences and, 3, 77, 106–10, 121, 130, 163, 164, 168–69, 175–180; Bess, Rebecca and, 163–65; birth depiction and, 153–54; Birth of a Nation (Griffith) (film) and, 156; black Americans and, 178–79; black extras and, 160–65; black film professionals and, 101–2, 120–24; black history and, 180; the book v, 3, 125–26, 154, 157, 158fig., 173; breast nudity depiction and, 115–17, 119–120, 163–64, 165; budget and, 113, 174–75; cinematography and, 123–24, 159; civil rights and, 101, 178; commercialization and, 2, 93, 109–10, 127–28, 130, 180, 182–87, 200; copyright and, 184–85; costs of, 130; Crain, Mary Beth and, 7, 156; critics and, 156, 178, 200; Davies, Thomas and, 157, 158fig., 163; Donaldson, James William and, 175; Doubleday and, 126–28; educational markets and, 93, 183–85; Emmy award and, 92fig.; Erman, John, 167–68; extras and, 160–65, 174–75; “faction” and, 5–6, 190; as family story, 125; female characters and, 165, 170–71; Fight against Slavery, The (1975) (BBC series) and, 156; the Gambia and, 113–15, 154; global broadcasts and, 179; Gone with the Wind (film) and, 175; Greene, David and, 105, 107, 114, 154, 159–160, 161, 164, 170; as groundbreaking, 112, 180; historical accuracy and, 178; Hooks, Benjamin and, 175; Juffure (the Gambia) and, 154, 158; Kizzy and, 170, 171–74, 175–76; Larsen, Nella, 161; Lea, George “Chicken George” (great-great grandfather) and, 171, 172, 174; licensing deals and, 183–85; Lord Ligonier (ship) and, 157, 158; Los Angeles Sentinel and, 177; Los Angeles Times and, 7, 156; Mandingo (film) and, 156; Manga, Ebou and, 113; manuscript collection auction and, 197; merchandise and, 182–85; the Middle Passage and, 159–160, 161–66, 171; Newsweek and, 127, 163; New York Times and, 178; novel v nonfiction and, 125–26; patriarchalism and, 171; popular culture and, 156; profits and, 181–82, 198; Quicksand (Larsen, 1928) and, 161; race relations and, 176, 178–79; racism and, 110, 180; ratings and, 109, 133, 175, 198; Reagan, Ronald and, 176; reviews and, 6–7, 151–52, 156, 162–63, 165, 178, 179–180; Roots (Haley) v, 3, 109, 125–26, 154, 157, 158fig., 173; Schickel, Richard and, 156; scholarship and, 2, 208; Schomburg Center for Research in Black Culture and, 197; Scott, Jan and, 159; scripts and, 95–96, 103–5, 158–59, 197, 226n9; sexuality and, 116, 156; slavery history and, 2, 162–64, 200–208; Standards and Practices office (ABC) and, 115–17, 165; Stone, Chuck and, 180; television rights, 75, 92–102; Time and, 156, 179–180; VCRs (videocassette recorders) and, 184–85; Washington Post and, 128–29, 162; whipping scene and, 156, 166–68, 169; white actors and, 107–9, 130, 168; white audiences and, 106–10, 130; white characters and, 109, 157, 158; white guilt and, 108, 177, 180; “Why ‘Roots’ Hit Home” (Time) and, 179–180; Wolper Productions, 91, 102, 127, 185; women film professionals and, 171. See also ABC (American Broadcasting Company); black actors; Blinn, Bill; Kinte, Kunta (fourth great-grandfather); Margulies, Stan; Roots (Haley); television; Wolper, David; individual actors
Making Roots Page 25