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thedrifter
04-17-07, 06:47 AM
April 17, 2007
The New Lynching: Why I Must Defend Don Imus
By Selwyn Duke

So Don Imus has been fired from his radio show, and all is well in the world. We all know about the maelstrom that developed around the aging shock jock, who has found out how loose lips sink ships, in this case his own. But even though his is a vessel I never would have christened, I find a certain conclusion inescapable here. I must defend Don Imus.

Lest I be misunderstood, I have no use for the man, nor any for the rest of his ilk. I know him to be a poster boy for our cultural decay, a man who, along with innumerable fellow babblers, disgorges cultural effluent on a daily basis. He has been a willing participant in the defining of deviancy downwards and I normally would not lament his departure. Given my thorough condemnation of the man, in what way do I defend him?

It's very simple: What really matters with respect to this issue has nothing to do with Imus. This is because this has everything to do with race, but not in the way many think. It isn't what was said that has the sultans of slime (read: reverends without congregations, et al.) so upset, but the color of the man who said it.

Let's place this in perspective. We now have a society in which virtually no comment, no matter how salacious, sardonic, crude, rude or lewd, is out of bounds. The only restriction is that politically incorrect people must confine themselves to politically correct comments; politically correct people can go further and utter some politically incorrect ones. And shock jocks and music pox, otherwise known as rappers, regularly exercise their tongues in ways that would make the Marquis de Sade blush. And these rappers, who, almost to a man, would be dead or in jail if quasi-literacy and incoherent, vulgar, hateful rambling weren't handsomely rewarded by our beating-a-chicken-under-the-moonlight culture, drive around in limousines, even though no amount of money can take the gutter out of the guttersnipe.

Hw do you encapsulate a toxic culture operating 24/7 and beaming its poison to all corners of the Earth in a paragraph? Perhaps it can be done, but it's beyond my capabilities.

Doesn't the journey toward a reclaimed culture begin with the draining of a single cesspool? Of course we would have to start somewhere, but the problem is that an overall war against immorality is not the basis on which Imus has been punished.

Moreover, Imus may be replaced with someone more politically correct, but he won't be replaced with someone better.

And now we're inching closer to the point. Anyone who wants to combat immorality across-the-board will find a staunch ally in me. However, I will not, under any circumstances, be party to a process whereby a few politically incorrect instances of it are cherry-picked from a sea of immorality and the perpetrators punished harshly simply because they bear the wrong complexion.

The problem here is both simple and ominous: The firing of Imus further solidifies the precedent stating that, with respect to freedom of speech, the latitude one has is directly proportional to his epidermal melanin content. Plainly speaking, a white person risks his career when saying things for which black people are regularly given a pass. It's the new lynching.

I said this solidifies the precedent because it's not even close to the first such occurrence. Back in 1988, famous sportscaster Jimmy "the Greek" Snyder's career was ended when, while inebriated in a restaurant, he asserted that blacks were better athletes and posited a theory as to why this was so. Contrast this with the case of Dusty Baker, a black man who, while manager of the Chicago Cubs, also said that minority athletes enjoyed some innate advantages in the athletic arena. Although Baker did have to endure some criticism, his job was never in jeopardy (nor should it have been).

Getting back to Don Imus, I'll point out that music pox and black comedians regularly trade in bigoted, misogynistic, hateful material that makes him look like Opie Taylor. On Hannity & Colmes recently, they had as a guest a quite corpulent comic named Patrice O'Neal. O'Neal, a black man, unabashedly used the word "cracker" (a racial epithet referring to whites that is the equivalent of "******") numerous times, while Sean Hannity just sat quietly and smiled. Then there's the clip of black comedian Chris Rock (Michael Savage brought it to light on his show) wherein he talks about how he hates all "crackers" to the roar of an appreciative audience.

"Oh, c'mon, Duke, that's just humor," you say? Yeah, so was what Imus said.

Contrast this with how white commentators have been cowed into not even uttering the word "******" for illustrative purposes; instead, they obediently say "the ‘N-word.'" It's something they dare not even whisper. . . . To me, this one, solitary phenomenon perfectly epitomizes the neutering of the white male, as we genuflect at the altar of the race hustlers. In fact, it's so preposterous it bears restatement: Blacks can use the word "cracker" to demean and express hatred, but whites cannot even utter the word "******" as an element of substantive commentary. I guess this is the affirmative-action of the tongue.

Speaking of the rotten fruits of our affirmative-action mentality, two of its worst products - and that takes in a lot of territory - Jesse Jackson and the bovine bloviator himself, Al Sharpton, were Imus' two main inquisitors. That they apply a double standard that benefits themselves is bad enough, but that the media apply one that benefits them is far worse.

If we are going to root out bigots, why aren't we applying the attention where it's most needed? As to this, we can add to Jackson and Sharpton's sins their bigoted crucifixion of the recently exonerated and always innocent Duke lacrosse players. Let's look at what Jackson said shortly after the false allegation was made:
". . . And the idea of white males fantasizing about black women is - is quite old, quite - and quite ugly, and now quite illegal."
And,
"That fantasy is as old as slave masters impregnating young slave girls."
Now, this seems curiously reminiscent of what was sometimes said a century ago about black men lusting after white women, something now viewed as a most egregious form of racial stereotyping. But not only has the media not criticized the race hustler for this prejudiced remark, it has been disseminated so little that I actually had trouble finding the exact quotation (you have no idea how long I spent searching for it).

Of course, this is just the latest from a man who is beneath contempt, a creature who has made a career out of using threats and intimidation to shake down corporations, all to enrich himself, his family and his cronies.

Even more of a thug is Sharpton, a man who has incited riots that have caused immeasurable pain and suffering and more than just a few deaths - he has blood on his hands. And this isn't the first time he has been party to false rape allegations. In 1987 he perpetrated the Tawana Brawley hoax, an incident in which a 15-year-old girl fabricated rape allegations against six white men. Sharpton was only too eager to drag the men's reputations through the mud, which included labeling Dutchess County Assistant District Attorney Steven Pagones a racist and a rapist. Sharpton never even apologized to Pagones, and to this day has not paid a price for his vicious slander. Of course, he did disappear from public view for a spell, but like a jerk-in-the-box, he popped back up some years later as if nothing ever happened and now is a favored guest on many news shows. (Shame on you, Bill O'Reilly, for giving this criminal a forum.)

Now, contrast the above with "nappy-headed hos." And the latter also pales in comparison to Jackson's and Sharpton's demonizing of the Duke boys. Imus made a rude racial comment about some college students; the two guttersnipes participated in a lynching that might have changed some college students' lives inexorably. Thus, can anyone really say the media have their priorities straight?

Some would, it appears. Dick Morris said recently that taking Imus to task may herald a new era, one of increased civility in public discourse. Sure, Dick, if you believe that, your former employer, Bill Clinton, has some land to sell you in the Whitewater development.

Nothing will change, except that a further chill has been put on the tongue, especially when it's wielded by one bearing a politically incorrect complexion. Yes, when you cut through all the posturing and sanctimony, it's obvious that what was played to perfection here is a now old game: Beat up on whitey.

Ellie

thedrifter
04-17-07, 06:56 AM
The Race Police or Imus: Which Is Worse?
By Yale Kramer
Published 4/17/2007 12:08:10 AM

Three or four powerful energic forces collided last week to create a perfect cultural storm that ended in toppling one of the giants of radio entertainment from his current venue. The forces at work were a) the culture of offensive humor and its audience of millions of lovers of pie-in-the-face comedy led by Don Imus; b) the paranoid hypersensitivity of black, moth-eaten, demagogues Al Sharpton and Jesse Jackson and their grievance collecting, loser minions; c) tens of millions of dollars in advertising fees whirling around in the ether and in danger of encamping to safer venues; d) and billions of watts of hypocrisy radiating from CBS, which is no newcomer to Imus's brand of humor, and the multitude of media people -- whited sepulchers all.

Don Imus is a gifted entertainer who has been practicing his art -- offensive humor -- for decades, and has won a following of millions, and a salary estimated at $10,000,000 a year. His morning show, listened to nationwide, consists of commentary on sports and politics and interviews with figures in the news. Sprinkled in among these items is his Shock-Jock humor -- his trademark. Nothing , no one, no group, religion, race, or class seems spared from his insults, if they are in the public eye. He's very good at this kind of thing and he is almost never out of control, it never becomes a rant. That is what makes it entertainment rather than an assault. His tone is never mean -- the shock part of his insult is only in the words and not in the emotion.

The humor of insult and shock is an art, a very old art. It goes back to a time when man learned that it was almost as satisfying to hurl an insult as it was to hurl a stone or a spear -- and much safer. Almost all comedy involves the expression of hostility and even when it appears to be gentle it is only well disguised hostility, as the following example will demonstrate. Spike Milligan, the great Anglo-Irish writer of low comedy, wrote what is reputed to be the best joke ever created:
A couple of New Jersey hunters are out in the woods when one of them falls to the ground. He doesn't seem to be breathing, his eyes are rolled back in his head. The other guy whips out his cell phone and calls the emergency services. He gasps to the operator: "My friend is dead! What can I do?" The operator, in a calm soothing voice says: "Just take it easy. I can help. First, let's make sure he's dead." There is a silence, then a shot is heard. The guy's voice comes back on the line. He says: "OK, now what?"

The humor of insult has its origins in Aristophanes' Greece in what came to be called the "Old Comedy." This was comedy that addressed itself to social commentary, using the language of farce, burlesque, and travesty. The point is to make fun of politicians, social institutions, and the foibles of the powerful. The "outsider" always plays an important role in this form of comedy. They may be slaves, non-Greeks, Persians, Jews, nappy-headed ones, ones with funny accents, and these "others" become the butt of comic insult or appearance. These "outsiders" always function as characters against whom the society measures itself.

The legacy of comic otherness is the legacy of ethnic humor and comic stereotypes like "Amos 'n Andy" and Steppinfetchit in the thirties. By the time of Plautus, comic otherness had transcended the role of the target of insult to become the low comic hero like Pseudolus, the slave character in Plautus' play which became A Funny Thing Happened on the Way to the Forum with Zero Mostel as Pseudolus, the fake, the liar, the trickster. In modern times it was Charlie Chaplin's little tramp -- the low comic hero, impoverished eternal outsider, who was always ready to stick his finger in the eye of the fat rich guy.

Old comedy seems to have its legacy in vaudeville, physical burlesque and farceurs like the Marx Brothers. Groucho, the modern champion of comic insult, has been replaced by comics like Jackie Mason, and the great British comics like Spike Milligan, creator of The Goon Show, and who once caused a stir by calling the Prince of Wales a "little grovelling bastard" on television in 1994. Instead of being fired he was made a Knight Commander of the British Empire (KBE). And it was the zany, obnoxious humor of Milligan and the Goons that inspired the Monty Pythons. Who can forget the hundreds of sketches targeting high and low alike -- stuffy ministers, stupid policemen, gays, women. All human foibles were equal to them. Probably their ultimate and greatest example of the Old Comedy was The Life of Brian, a brilliantly witty satire on the follies of religion and a poke in the eyes of two billion Christians.

Whatever else Imus is or is not, he is a member of this tribe, this long line of social critics who are funny, irreverent, and ignoble.

PART OF WHAT MAKES IMUS funny in the context of his show is the unscripted nature of the interchanges between him and his claque. It takes a lot of courage and skill and a little luck to pull off that kind of routine day after day for years without crashing. Unfortunately, he ran out of luck that day. And, although he has uttered many more obnoxious insults and pseudo racist remarks over the years, two things went wrong in this case. The first is that the Rutgers Women were totally innocent of any fault -- they are intelligent, educated, hard-working, gifted athletes, mature, and gracious. And what was worse, they were powerless -- they had no access to a public voice -- which made Imus into a bully-boy. It's okay to insult big guys -- celebrities, politicians, movie stars -- they can protect themselves.

What Imus should have done that day was to call the women and arrange for transportation for them to come and meet with them for a private apology, and as an expression of good will offer a contribution to the team's monetary needs. He should not have made any public apology, but handled whatever criticism came with humor. He should have made fun of the critics and of himself.

Instead he allowed two nappy-headed demagogues to crawl out of the woodpile -- hos to their eyeballs -- who then pre-empted the situation. Sharpton and Jackson, clever racist hatemongers who live on the misfortune, ignorance, and stupidity of their tiny constituency which is growing smaller every year as black America works its way into the middle class.

We have come to judge public events and motivations nowadays by subjective perceptions rather objective evidence. In Washington or in the media, more and more judgments are made on appearances rather than realities. Down the drain with "innocent until proven guilty." And these changes in cognitive values and justice is what men like Sharpton and Jackson count on. Every day, somewhere in America, there is a perception or misperception (misperceptions mostly, since most perceptions turn out to be incorrect or incomplete) of injustice done to somebody of color. And there is always a small community of losers nearby -- on the dole and "victims of the white man's oppression" who will take up the cry of injustice and reach for their cell phone to call one or the other of these racial demagogues. And the next day Sharpton and/or Jackson are Johnny-on-the-spot with an angry demonstration making claims and threats just in time to get on the evening news.

That is the way these men operate, the Race Police, just as corrupt policemen work by selling their power. The Race Police can threaten politicians or businessmen -- in this case CBS and their sponsors, by getting on the evening news no matter what the rights and wrongs of the matter are.

The most regrettable aspect of this matter was the strength that racial demagoguery achieved. Everybody lost but Sharpton and Jackson. And in this matter the fault lies with Imus for caving in to the real racists and CBS for allowing themselves to be snookered by the Race Police.

Everyone has already commented on CBS's hypocrisy, no need to beat a dead horse, but their retreat in the face exaggerated accusations was a betrayal to their and Imus's fans -- their rightful constituencies. These folks were their first responsibility. They should have fought the good fight and told Sharpton and Jackson to buzz off and that they were still in command. And then perhaps they should have made a major public relations effort to give democracy a chance by letting Imus's fate be determined by voting on the Internet. Should we keep Imus or not? Just the way the life or death of Tinker Bell is determined -- by the love and applause of the audience.

Ellie

thedrifter
04-17-07, 07:05 AM
Music and Lyrics
Hip-hop "artists" are no better than Imus.

BY JIM FUSILLI
Tuesday, April 17, 2007 12:01 a.m. EDT

In case you missed it, on Friday afternoon the Hip-Hop Summit Action Network (HSAN), an advocacy group for the rap and hip-hop industry, issued a press release "differentiating between Don Imus and Hip-Hop." That such a press release is required suggests there may be reasons to confuse these two reliable sources of offensive speech--but no, say Russell Simmons and Benjamin Chavis, HSAN chairman and president, respectively.

After pointing out that Mr. Imus "is not a hip-hop artist or a poet," the release states: "Hip-hop artists rap about what they see, hear and feel around them, their experience of the world. Like the artists throughout history, their messages are a mirror of what is right and wrong with society. Sometimes their observations or the way in which they choose to express their art may be uncomfortable for some to hear, but our job is not to silence or censor that expression."

One might quibble and say the quest for commercial success, and not artistic integrity, is the driver for many major-label rappers, but let's accept the statement as fact so that all those in favor of freedom of expression may line up behind Mr. Simmons and Dr. Chavis. Mr. Imus might join the queue, arguing that his comedy sketches provide him with some claim to free speech in the service of satire. But Mr. Imus abused that right on the public airwaves for quite a while, and it's about time he was sent to his room.

Mr. Imus's skits with producer Bernard McGuirk were among the most vile, sexist, racist and homophobic on mainstream public radio. His attack on the young women of the Rutgers basketball team in which, smirk firmly in place, he called them "nappy-headed hos" was far from out of character for the program. Good riddance, and the satellite radio network that will inevitably revive the Imus program can deal with its equally inevitable return to the bilge and bile of hate speech that may be protected by law but is not immune to public outrage that compels laudable action.

Perhaps the reason HSAN feels it must differentiate itself from the radio bigots is that, in attacking the Rutgers basketball team, Mr. Imus and Mr. McGuirk co-opted the language of hip-hop. In fact, one might argue that they were empowered by the language of hip-hop, which is now mainstream and in play both in schoolyards and penthouses in the U.S. and many parts of the planet. In the world of hip-hop, a woman who displeases the narrator is often referred to as a "ho," a shortened version of "*****." To use a phrase popular among hip-hop purveyors and their fans, to "disrespect" women is an everyday thing, a sign of authority and virility. Because it's a common enough expression in some circles, Messrs. Imus and McGuirk thought their listeners would let their remarks slide.

Not familiar with the latest hip-hop lyrics? Sample these: "I got a lot but baby you can be my best ho," "The hos love it when they see a coupe roofless," "A lot of hos give me they numbers but I never call." Call it cherry-picking to make a point, but these lyrics aren't on obscure recordings. They, and others far more coarse and offensive, appear on three of the top five CDs on Billboard's Top Rap Albums chart--and are marketed by units of EMI and the Universal Music Group.

HSAN argues that Young Buck, Mims and Rich Boy, perpetrators of the aforementioned lyrics, are playing characters that represent urban archetypes. But hip-hop has enormous cultural influence that blurs such distinctions, and Mr. Simmons and Dr. Chavis know it. When rappers imply that all women who don't acquiesce to their demands are hos, the young, impressionable part of their audience may think that's a valid point of view--and take that attitude with them into adulthood.

The undeniable link between the Imus flap and hip-hop is how people in some segments of society now feel free to bring such an opinion of women into public discourse with confidence that others believe it's true. Mr. Imus, Mr. McGuirk and their sportscaster, Sid Rosenberg, who chimed in with equal venom, saw assertive black women and believed they could denigrate them with impunity. Some rappers think the same way, and thus it must follow that so do executives in companies that profit from selling their product.

The HSAN press release went on to say the following: "Our job is to be an inclusive voice for the hip-hop community and to help create an environment that encourages the positive growth of hip-hop. Language can be a powerful tool. That is why one's intention, when using the power of language, should be made clear."

As Mr. Simmons and Dr. Chavez strive to "help create" such an environment--an admission that one does not yet exist--they might keep in mind their own words. Language is indeed a powerful tool. Ask any young woman who's been called a "ho" by some dimwit who heard it on shock radio or a rap record and thought it a fact of modern life. Whether the speaker was trying to emulate Don Imus, Young Buck or an executive profiting from hate speech , the intention was the same: to degrade our daughters and sisters.

Ellie