richards' racist rant (part 2)

In the wake of Michael Richards' meltdown on stage, several new developments have come up. For now I just wanted to talk about how a number of black leaders have met with media heads to discuss use of "the n-word".

AP: Black leaders seek end to use of slur

For me the most surprising piece of this is that after watching Richards' rant, even Paul Mooney has said that he will no longer use "the n-word". "He's my Dr. Phil," Mooney said. "He's cured me."

Paul Mooney definitely expressed a noble sentiment and if he can stick to his pledge, more power to him. But to be honest, I really don't believe he will. I mean, Mooney is the brother who made the claim "I say nigga 100 times every morning... it makes my teeth white". He was a close friend and collaborator to Richard Pryor, but even after Pryor's trip to Africa when he decided to quit using the word, Mooney kept right on going. Mooney even has an upcoming film 'Jesus is Black and so was Cleopatra' which is about to be released and which is definitely liberally 'seasoned' with the n-word. (Also, thinking about the film makes me wonder if the title is at all a reference to the title of Sarah Silverman's film 'Jesus is Magic'. Both Silverman and Mooney are stand-up comedians who deal with race in ways which are intense, edgy and skillfull.) Ultimately, I suspect that Mooney will probably tone down his live performances, especially if the Laugh Factory is serious about fining comedians who use the slur on stage, but I doubt that he will quit cold turkey.

Myspace: Jesus is Black and so was Cleopatra

Grenada's past:
"it makes my teeth white" - paul mooney
richard pryor (1940-2005)
word association
deep cover
rebirth of a word, a film, a slur
najee ali v. the boondocks

"it makes my teeth white" - paul mooney

In this blog, especially with certain entries, I often have some very intensely personal things in my life that I'm dwelling on, but instead of coming out and saying exactly what is going on in a clear and explicit way, I often point to public events or creative works or artists who are in the same ballpark, and which are hopefully still interesting to the other people reading, but in reality are only the tip of the iceberg. This is no exception...

Have you ever heard of Paul Mooney? He's this amazing Black comedian. In my book he is actually THE Black comedian. He was a writer for Sanford and Son, he wrote for Richard Pryor, Eddie Murphy, Saturday Night Live, and head writer for In Living Color (he's the one who made up Homey the Clown). He has appeared in Spike Lee's film Bamboozled, Robert Townsend's film Hollywood Shuffle and even an episode of Good Times. Most recently he has appeared on the Dave Chapelle show as Negrodamus and on the Ask a Black Dude segment.

An article entitled Straight Talk appeared in the Bay Area journal Metroactive a few years ago gives a taste of Mooney's material but doesn't do it justice. Instead of shucking and jiving like generations of Black comics from Mantan Moreland to Martin Lawrence to the latest Neo-Blaxploitation sit com on UPN (which stands for U Pick a Nigger, according to Mooney) or BET for that matter, Paul Mooney's laser sharp wit is radical, liberating, cutting edge and cathartic.

The two albums of his I'm aware of ("Masterpiece" which I have, and "Race" which I'm trying to find) are both out of print.

Mooney's humor is certainly not for the easily offended, but if you can get past that he has alot to say. If you think about it, due to obvious economic and demographic realities of the market, most Black entertainers and artists are creating a product intended for white consumption, or at least strongly influenced by the preferences and demands of white consumers (e.g. the biggest consumers of mainstream hip-hop are white kids). And in the case of comedy, this means that to a large degree Black comedians set up Black people to be objects of ridicule. But Paul Mooney turns this formula on its head and fights for laughs with the ruthlessness of a Mau-Mau.

He uses his words to redefine the world in new ways. It's like he can reach deep into your gut, up through your limbs, pull out your funny bone and then proceed to beat you upside the head to knock some sense into it.

More later...

black is the new white

I'm also in the middle of Paul Mooney's memoir Black is the New White. I've been following Paul Mooney's career for a while so, to be honest, I haven't found much of it shocking or new. But it is still a good read. Mooney has some interesting things to say about the racial politics behind the scenes in Hollywood.

The Griot: Paul Mooney's 'Black Is the New White' is an ode to Richard Pryor
NPR's Talk of the Nation: Black is the New White

Planet Grenada's past:
"it makes my teeth white" - paul mooney
"i like a little salt on my cracker"
"homie don't play that"
okay, maybe he was wrong on this one
word association
bamboozled
richards' racist rant
richards' racist rant (part 2)

[Dec 11, 2009]
I also should have added
negrodamus 1
brian gumbel (sic) is looking like malcolm x?
negrodamus 2

"i like a little salt on my cracker"

I haven't given y'all a dose of Paul Mooney in a while...

The last I heard (and posted...) in the wake of the Richard's rant, Mooney vowed to stop using the "n-word". I'm not sure whether the current Mooney excerpt comes before his promise or after, but in any case it is not for the linguistically faint-hearted. (It is also brief, but rather Grenada-esque, including comments on Arabs, 9/11, and Afro-Latinos along with Mooney's typical material).


[REPLACEMENT LINK 2/3/2011]

Paul Mooney and Planet Grenada

mumbo jumbo with ishmael reed

Shamelessly taken from Tariq Nelson's blog:

An amazing and involved interview of Ishmael Reed by Pakistani-American writer Wajhat Ali. Topics include race and the Clinton dynasty, Obama, Paul Mooney and the Black/Latino pseudo-divide, the economics of misery, Nazi science, Irshad Manji, Ayaan Hirsi Ali, Blacks in NASA, Amiri Baraka, Malcolm X, the racist uses of feminism and the scapegoating of Black males, Gloria Steinem, Geraldine Ferraro, medical experimentation on Black people, Dinesh D'Souza, Crash, The Wire, American Gangster and the canons of Western Civilization.

Mumbo Jumbo: Naming Names | "Faking the Hood" | Jabs, Low Blows and Knockout Punches

imam zaid shakir: should muslims use the “n” word?

From Should Muslims Use The “N” Word? by Imam Zaid Shakir

Do not call each other by demeaning nicknames: How foul is a name connoting vileness… Al-Qur’an 49:11

...

Words in this regard are part of the forces that engender a healthy human consciousness in us. Furthermore, individual words do not stand alone, in terms of the reality they define. They are part of a system of meaning that informs a conceptual worldview. In affirming the acceptability or even the desirability of freely using the term “nigger” we are not endorsing a single term, we are endorsing a verbal culture that collectively works to dehumanize our youth. For example, popularizing the term “nigga’” has been accompanied by the enhanced acceptability and widespread usage of bi_, ho’ (whore), dog, motherf__, sh__ and a host of other terms that historically were associated with vulgar lan-guage. Collectively, they are part of an integrated culture characterized by nihilism, hedonism, self-hatred, and an increasingly alienated disconnection from mainstream society.

God declares in the Qur’an, You are the best people raised up to benefit humanity. You enjoin the right, forbid the wrong and believe in God. (3:110) Enjoining right and forbidding wrong are part of the mission of the Muslims. Doing so requires a well-established standard of right and wrong. Part of the effort to undermine religion lies in the undermining of revealed or widely accepted moral standards. In the ensuing confusion, many things long held to be blameworthy and in many instances almost universally condemned become acceptable. Illegitimate children, foul language, uncouth and slothful comportment, open displays of sexual affection (both heterosexual and homosexual) and sloppy dressing have all become acceptable or even encouraged behavior, as we move ever further down a slippery slope in what amounts to a moral race to the bottom.

From Grenada's past:
niggers are scared of revolution
"it makes my teeth white" - paul mooney
"i like a little salt on my cracker"
but that's the story y'all
a soldier's story
deep cover
what's my name, fool?
richards' racist rant
richards' racist rant (part 2)
richards' racist rant (epilogue)
with apologies to jesse jackson
accepting the slurs

richards' racist rant

By now a lot of bloggers and punidits have already put in their two cents on the whole Michael "Kramer" Richards racist rant situation so I'll assume you know the basic facts of what happened. (If you don't, I've included several links below).

My own contribution to that conversation as follows:

From a free speech perspective, Michael Richards has the right to say pretty much whatever he wants to on stage and I'm glad that I live in a country where it is legal for anyone with a microphone (or a blogger account) to say all sorts of offensive things without facing legal sanction. In that light, I have definite resistance to the idea that the courts should make Richards pay monetary damages for his actions. At the same time, I am also glad I live in a country where I have the right to call someone like Michael Richards out as a racist prick. And given that he had such a fundamental disrespect for the Black paying members of his audience it would only be appropriate for his career to be adversely affected.

Also, to add a certain amount of historical perspective to the situation, this isn't even the first (or second) time that the cast of Seinfeld has been involved in racial controversy.

The first case which comes to mind is the Puerto Rican Day episode (which included a number of stereotypical Puerto Rican characters along with a scene where Michael Richards accidentally sets a Puerto Rican flag on fire and then stomps on the flag in full view of some Puerto Rican parade-goers.) NBC actually had to apologize for airing the episode and took it out of circulation for years even after Seinfeld went into syndication.

The second racial controversy involving the Seinfeld show which I'm aware of has to do with the time that Danny Hoch was asked to play a stereotypical Hispanic character (Ramon, the crazy pool cleaner) and ended up refusing the role. (He reminds me of the Hollywood Shuffle line: "There is always work at the post office")

So I would argue that Richard's rant is really not surprising given his time on a show with such a track record.

The best analysis of the situation I've seen so far comes from Dan Charnas over at Dantrification:

I harbor no illusions: The construct for “Seinfeld,” like so many other comic teleplays and films, is a monochromatic world where White People are central, and people of color — if they appear at all — are simply used as accessories, as added “color” for a scene.

When you think about “Seinfeld,” and you realize the only recurring Black characters were either there because they made our white heroes uncomfortable simply by being Black (like George’s nemesis Mr. Morgan at the Yankees); or to parody a Black celebrity (like Kramer’s erstwhile lawyer Jackie Chiles doing his best Johnnie Cochran), you get a peek inside the archaic white psyche. It’s a headspace where white people simply do not know how to deal with a world that is slowly become not their own. So they literally ignore it. “Seinfeld” is Ralph Ellison’s argument made visual.

Many of my friends live in this space. Many of your friends do too. They’re the white friends who giggle when hip-hop comes on, rather than bob their heads to it. It’s not that we can’t be friends with them. It’s just that we choose to live multiculturally and they don’t... either because they don’t know how, don’t want to, don’t have to, or they are afraid to.

When white folks are brought out of this space, they can have a number of reactions. Some take kindly to reality. Others snap.

I’m sure that Michael Richards doesn’t believe he is a racist. I’m sure, on an intellectual level, believes in equal rights for all. But we never find the truth until we get cornered. When Black folks are pushing his buttons, Richards’ response, apparently, is to tell Black people they have no right to push his buttons because they’re Black. That is the very definition of deep-seated, latent racism. Sorry.

That should be enough for now. More later.

You Tube: Michael Richards' Rant
You Tube: Michael Richards' "Apology"
You Tube: Seinfeld: The Puerto Rican Day episode
Script for The Puerto Rican Day

hiphopmusic.com: The Definitive "Racist Kramer" Post (Updated)

Revolutionary Worker: Danny Hoch's People
You Tube: Danny Hoch exposes Seinfeld

The Manrilla Blog: Racism, Kramer and Why His Apology Meant Nothing To Me
Digg: Comedian Paul Mooney rips Michael Richards on FOX News
Racialicious: Kramer drops the n-bomb repeatedly in racist tirade
African American (Black) Opinion: African American Opinion Reader says: Michael Richards a.k.a Kramer is only the tip of the iceberg.
Alternet: Richards' N-Word Diatribe

"homie don't play that"

So, last night I was watching some television and happened to come across a rerun of In Living Color. Homie the Clown (played by Damon Wayans, and invented by Paul Mooney) was "keepin' it real" by bopping a group of young children on the head with a partially-filled sock. It reminded me how in college, one of the texts for a Latino studies class I was taking, talked about a Brazilian trickster/clown figure who engaged in similar antics. I was moved to try to find information about that particular character online (and failed) but I did find a brief description of a related Puerto Rican character...

The Vejigante
The Vejigante (bay-he-GAHN-tay) is a fantastic, colorful character introduced into carnival celebrations hundreds of years ago. He is a classic example of the blending of African, Spanish, and Caribbean influences in Puerto Rican culture.

The name Vejigante comes from the Spanish word for bladder, vejiga. The Vejigante inflates a dried cow's bladder and paints it to resemble a balloon. The Vejigante's costume is made from scraps of fabric and looks like a clown suit with a cape and bat wings under the arms.

During the carnival celebrations in Loíza Aldea and Ponce, the Vejigantes roam the streets in groups and chase children with their vejigas. The Vejigante is such an old character that he is even mentioned in the classic novel Don Quixote written in 1605.

homie don't play that!

okay, maybe he was wrong on this one

Paul Mooney disses Diana Ross at BET awards I wonder if you just had to be there.

bamboozled

Spike Lee's 2000 film Bamboozled is actually in some respects an homage to Network. Both are stories where the (anti-)hero works for a television network, is put in a precarious position in terms of their job, and out of desperation "comes down from the mountain" and reveals more Truth than the network is ready to hear.

One significant difference is that Bamboozled obviously takes the scathing social commentary of Network and focuses with laser-like intensity on race, in particular, the representations of Black people in the media.

The stellar cast includes Damon Wayans in the lead role, Paul Mooney as his father, Mos Def, muMz the Schemer, MC Serch and others as part of an activist hip-hop group called the Mau-Maus (The inside pun is hilarious. The analagous characters in the original movie Network were Maoist revolutionaries). Savion Glover and Tommy Davidson play a pair of modern-day television minstrels. And the members of the Roots play the role of musicians (wow, what a stretch) for the tv show, where they are caled the Alabama Porch Monkeys.

In any case, the film is amazing and not to be missed.

An interview with Spike Lee about the film

official Bamboozled site.

If you think television is a Satanic implement to enslave humanity, and you live too far away from a Blockbuster Video, here is the screenplay to Bamboozled