Many African-American members of my generation who grew up watching “Good Times” reacted to the delayed news of the recent passing of John Amos as we would of a close relative.
“Good Times” was an iconic Norman Lear sitcom of the 1970s, and Amos portrayed the stern and battle-tested James Evans, a father who struggled to support his three children and wife Florida (Esther Rolle). The Evans family was depicted as living in the projects on Chicago’s South Side. James often worked multiple manual jobs to meet the rent each month, and while food wasn’t always scarce for the Evans family, many times it was bland, with oatmeal being a breakfast staple. Although poor, James prided himself on being a provider and a protector, which made his role so endearing, especially to Black kids watching the show who did not have a father or strong male mentor in their lives.
Reflecting on the impression “Good Times” made on me as a child, the strength and love of the Evans’ tight family unit was paramount. “Good Times” was the first primetime television sitcom that featured a Black family with both a mother and father, a precursor for programs that came much later, such as “The Cosby Show” and “My Wife and Kids.” In fact, “Good Times” was originally written to portray Florida Evans as a single mother raising her children, but Esther Rolle refused to accept the part unless she was given a husband.
Amos provided a dominant but not uncompromising characterization of a Black father. In several episodes, his vulnerability in facing racism and ageism was shown. In the episode “Too Old Blues,” James is looking forward to beginning an apprenticeship program that will start him at $2.50 an hour (1974 wages) and then increase him to $4.25 an hour upon completion. He becomes so excited about this significant pay raise that he tells Florida to take the rent money and spend it on food and drinks for an elaborate party celebration with friends. James then receives gut-wrenching news at his interview that a computer error was made regarding his age, which at 41 disqualified him for the apprenticeship.
This was one of many episodes where James could never catch a break financially and get his family over the hump. They were barely “keeping their heads above water,” which was one of the lyrics in the show’s theme song. Florida is surprisingly hired as a department store salesperson in the episode “Florida’s Big Gig,” only to be laid off shortly due to the country experiencing a recession.
Students in my TV history class at Ohio State’s Lima campus watch “The Debutante Ball,” which portrays James as a proud man defending his son JJ (Jimmie Walker). In this episode, JJ is set to take his date from a Chicago upper-class South Shore neighborhood to this high-society affair, only to be belittled by her father who feels JJ isn’t good enough due to his poverty-stricken status.
It was always one huge disappointment after another for the Evans family, and storylines like these that kept them from progressing eventually caused Amos to be frustrated with “Good Times’” writers. His character was later killed off, and the show was never the same.
The poverty theme also wore on “Good Times’” fans throughout the show’s five seasons, but if someone had asked me when I was 8 years old if the Evans family was poor, I’m sure I would have said no. Amos’ strong character portrayal of James always finding a way to survive had me drawn into the family’s triumphs as a young viewer.
I also noticed the faith of Florida in tough situations. “Good Times” did not have many faith-based episodes, but Florida would occasionally reference God and pray. When I watch reruns of the show now, I think about the classic hymn, “The Lord Will Make a Way Somehow,” that I grew up hearing in church. The line “the storms of life are raging and their fury falls on me” definitely describes what James was going through, and Amos made James come alive with stamina and humility.
Amos left a rich television legacy and will also be remembered for his powerful role as the adult Kunta Kinte in the 1977 TV drama “Roots” and for his humorous side as Cleo McDowell in the 1988 comedy film “Coming to America.” However, for my generation, James Evans is a seminal role we will never forget, as he was the first father figure we identified with on television.
Dr. Jessica A. Johnson is a lecturer in the English department at The Ohio State University-Lima. Reach her at [email protected] or on Twitter @JjSmojc. Her opinion does not necessarily represent the views of The Lima News or its owner, AIM Media.
