In case you missed it, in the middle of its sixth season, NBC’s highly vaunted hit comedy, ”30 Rock”, which is neither a hit nor very comedic, hit rockbottom last Thursday by featuring a reversion to blackface.
If you did miss the show, you have plenty of company since almost everyone else did too.
Despite being a big fave among leftist elites, “30 Rock” has been an abysmal flop.
With Nielsen rankings starting at 102 in its initial season, climbing all the way to 94, 69, 86, then flopping back to 106 last year, its death throes could be heard last week as “Mad Men’s” guest star Jon Hamm donned black makeup in a sketch ostensibly aimed at satirizing racism in the television industry.
Confident in the liberal misconception that libs can’t be racists any more than blacks can, the live episode was more a desperate attempt to boost ”30 Rock’s” ratings by mocking African-Americans under the guise of satire. ( http://lat.ms/IhIOjP)
Hamm, decked out in an afro and mimicking stereotypical black speech, would have been driven into the same entertainment oblivion as “Seinfeld’s” Michael Richards just a few years ago but, apparently, blackface is now back in vogue.
The use of blackface–white performers such as Al Jolsen coloring their faces in dark paint or charcoal makeup in order to appear as what were then called Negroes–dates back to the days of 19th century minstrel shows. Blackface, always cloaked in humor, later became symbolic of every slander committed against black people.
As it did in 2010, “30 Rock” once again revived the previously-condemned practice of whites ridiculing blacks by appearing in blackface as comedic fodder even though, along with the word “nigger,” which is also making a regrettable comeback, it has been banished as a gross example of racism.
It was a counterintuitive gambit to satirize discrimination against blacks on television since anyone who watches TV has to be aware that African-Americans have been represented in dramas, sitcoms, and commercials far in excess of their 13% of America’s population ever since Rev. Jesse Jackson complained blacks were being given short shrift in the entertainment industry.
There’s nothing like pressure from racial agitators to scare the bejesus out of Hollywood and television types.
Cynics believe that plaudits for “30 Rock” are motivated more by an effort to enhance the reputation of its principal star, liberal darling Alec Baldwin, than for the quality of the show.
The far-left actor, noted for ripping into his 11 year old dauhter as a ”thoughtless little pig” and threatening to “straighten [her] ass out” and for his advocacy of leftist causes, recently, ludicrously, announced he may run the office of mayor of New York City. His fellow liberals figure he needs all the help he can get to achieve that ambition.
If Baldwin is successful, New Yorkers will yearn for the incompetency of Mayors Lindsay, Beame, and Dinkens.
The explosion of racial division and unrest we have been witnessing in America since the election of the first (semi-) black president, Barack Hussein Obama, wasn’t always prevalent in our country.
Way back when, “Amos and Andy” was a hugely popular radio show with white actors portraying blacks. After the show moved on up to the small screen and featured African-Americans in the lead roles, it was equally popular among both whites and blacks.
All told, “Amos and Andy” ran for thirty years, depicting black people as average, normal Americans who struggled with the same problems and challenges we all endure, the same silliness and conflicts most of us experience, albeit with a similar comical twist we laughed at with the Kramdens in “The Honeymooners.”
“America’s Dad,” Bill Cosby, and the NAACP took issue with the typicality of “Amos and Andy” and probably were instrumental in fostering today’s devil’s brew of racial divisiveness.
According to urban legend, Cosby somehow took offense at the characterizations of the cab driver and dedicated family man, Amos Jones, the blustering blowhard, Andy Brown, the scheming yet lovable, George “the Kingfish” Stevens, his eternally-patient wife, Sapphire, and the usually-terrified porter, Lightning.
Cosby, a rich, black actor, was allegedly so incensed over a television series that presented his fellow blacks as average Americans that he bought up the broadcasting rights to “Amos and Andy,” as well as rights to the “Little Rascals” because the endearing Buckwheat didn’t suit Cosby’s image of African-Americans.
The urban legend has been denied but what’s undeniable is that the NAACP contended “every character” in “Amos” was either a crook, a thief, a quack, a cackler, in general, “inferior, lazy, dumb and dishonest.” Also irrefutable is that “Amos and Andy” and the “Little Rascals” have been series non grata on the tube ever since the complaints were lodged. (http://bit.ly/ICsU2I)
As always in Obama’s Liberal World, the key to getting away with racism is to make it funny and politically correct, not like what those evil conservatives do, pointing out the obvious that Democrats survive and thrive by convincing African-Americans that they are constantly denigrated and mocked by Republicans.
The key to the Democrat and Obamian futures is contingent on creating a mindless terror of potential oppression by the opposition combined with creating a dependency on government whose true intent is keeping blacks subservient, submissive, and in line. The transparent racism on “30 Rock” is counterbalanced by phony charges of racism in “Amos and Andy.”