The program was conceived by independent producers Norman Lear and Bud Yorkin. This team's creation of highly successful and often controversial sitcoms during the 1970s and early 1980s helped to change television history. Programs such as Maude, Sanford and Son, and Good Times were frequently ranked among the top-ten most watched programs.

     The Jeffersons was a spin-off of one of 1970s television's most notable television sitcoms, All in the Family. In 1973 Lear cast Sherman Hemsley in the role of George Jefferson, Archie Bunker's irascible and upwardly mobile Black neighbor. This character was such a hit with viewers that Hemsley was soon cast in the spin-off series The Jeffersons.

     George and Louise Jefferson led lives that reflected the trappings of money and success. Their home was filled with expensive furnishings; art lined the walls. They even had their own black housekeeper, a wise­ cracking maid named Florence. The supporting cast comprised a number of unique characters, including neighbor Harry Bentley, an eccentric Englishman who often made a mess of things; the Willises, a mixed-race couple with two adult children-one black, one white; and the ever-obsequious Ralph the Doorman, who knew no shame when it came to earning a tip. Occasional characters included George's mother, the elderly and quietly cantankerous "Mother Jefferson" (the actress, Zara Cully, died in 1978); and George and Louise's college-aged son, Lionel (who was portrayed during various periods by two different actors).

     The George Jefferson character was conceptualized as an Archie Bunker in blackface. George was intolerant, rude, and stubborn; he referred to white people as "honkies." He was a short, mean, bigoted popinjay who balked at manners. Louise, his long-suffering wife, spent most of her time apologizing for her husband's behavior. Florence, the maid, contributed a great deal of comic relief, with her continuous put­-downs of George. She was not afraid of his angry outbursts and in fact had little regard for him or his tirades. She referred to him as "Shorty" and never missed a chance to put him in his place.

     The program was enormously popular and remained on prime-time television for ten years. There are a number of factors that position this program as an important facet of television history. First, The Jeffersons was one of three programs of the period to feature African Americans in leading roles-the first such programming since the cancellation of the infamous Amos '11' Andy show in 1953. The Jeffersons was the first television program to feature an interracial married coup] , and it offered an uncommon, albeit comic, portrayal of a successful African-American family. Lastly, The Jeffersons is one of several programs of the period to re:y heavily on confrontational humor. Along with All in the Family, and Sanford and Son, the show was also one of many to repopularize old-style ethnic humor.

     It also serves to examine some of the controven.y that surrounded The Jeffersons. Throughout its ten­ year run on prime-time television, the show did not ro without its share of criticism. The range of complaints, which emanated from media scholars, television critics, and everyday Black viewers, ranged from the show's occasional lapses into the negative stereotyping to its sometimes lack of ethnic realism. To some, the early Louise Jefferson character was nothing more than an Old-South Mammy stereotype. And George, though a millionaire businessman, was generally posi­tioned as nothing more than a buffoon or the butt if someone's joke. Even his own maid had no respect for him. Some blacks questioned, "Are we laughing with George as he balks at convention, or at George as he continuously makes a fool of himself?"

     Ironically, as the show continued into the conser­vatism of the Reagan years, the tone of the program shifted. Louise Jefferson's afro hairstyle disappeared and so did her poor English. There was no mention of her former life as a housekeeper. George's racism was toned down, and the sketches were rendered more palatable in order to appeal to a wider audience. As with Amos 'n' Andy some 20 years prior, America's black community remained divided in its assessment of The Jeffersons.

     This period of television history was a shifting one for television programmers seeking to create a show featuring African Americans. Obvious stereotypes could no longer be sold, yet the pabulum of shows like Julia was equally as unacceptable. The Jeffersons joined other Lear-Yorkin programs in setting a new tone for prime-time television, exploring issues that TV had scarcely touched before; furthermore, the series proved that programs with blacks in leading roles could indeed be successful commodities.