Manqué cineaste Simon Lynxx needs to raise money for his film, so he pays two black friends to mug elderly movie mogul Hermann Wolff, so Lynxx can rescue him and get cash out of gratitude. That’s from Take Five, a D. Keith Mano novel released in 1982, the year actor Jussie Smollett was born.
Nearly four decades later, Smollett is an actor in the Fox series Empire, centered on hip-hop artist Lucious Lyon, CEO of Empire Entertainment. In real life, not on the show, Smollett sends a threatening letter to himself showing a noose, then pays two black friends to attack him in Chicago, which they proclaim is “MAGA country!”
The pair beat Smollett and string a rope around his neck while yelling racist and homophobic slurs. Smollett somehow escapes unscathed. The tale soon unraveled, and as Chicago Police Superintendent Eddie Johnson put it, Jussie Smollett “paid $3,500 to stage this attack…
…The stunt was orchestrated by Smollett because he was dissatisfied with his salary,” reportedly more than $1 million per year before taxes.
Smollett paid the $3,500 to Abel Osundairo, his personal trainer, and Ola Osundairo, a former extra on Empire. Police have the check and a video shows the pair buying the masks. The story was less credible than Al Sharpton’s Tawana Brawley hoax, but Smollett cast himself as a Trump victim. So right from the start leftist Democrats were all in.
“The vicious attack on actor Jussie Smollett was an attempted modern-day lynching,” proclaimed Cory Booker. “I’m glad he’s safe.” In similar style, fellow presidential candidate Kamala Harris tagged the attack a “modern day lynching.” Green New Dealer Alexandria Ocasio-Cortez and House Speaker Nancy Pelosi, who believe walls are immoral, called it a “racist, homophobic attack.” The media echo chamber also chimed in.
On February 14 Robin Roberts interviewed Smollett on “Good Morning America.” Smollett contended he was a victim and did not orchestrate the alleged attack. According to Roberts, “It’s a setback for race relations, homophobia, MAGA supporters. I cannot think of another case where there is this anger on so many sides and you can understand why there would be.”
Yet as the story unraveled, Smollett’s siblings blamed the media……….
(LIBERTY HEADLINES) (Paul Chesser, Liberty Headlines) A satirical video that overdubs fiery rhetoric of Adolf Hitler (in German) over a speech given by student activist David Hogg at Saturday’s “March for our Lives” in Washington has earned it a warning to would-be viewers on YouTube…….
“THE DAILY CALLER caught up with Gesualdi, who says his experiences reveal how humorless the Antifa protesters are and how dangerous they can be — especially when there are no alt-right protesters for them to fight against.”
….“As a comedian I am obviously a big free speech advocate, which is why this recent wave of protests bother me,” he says. “Though most of the protesters have good intentions and show up simply looking to exercise their free speech rights, many come for the sole purpose of starting fights and causing destruction. That’s not how we solve problems in America.”
“What I do is bring a bit of absurdism to the venue, to hopefully keep things lighthearted while also showing how ridiculous it is to characterize these protests as if they are the battlegrounds of a civil war,” says the comedian. “These kids may think they are badass street soldiers fighting against the forces of evil, but it’s hard to maintain that narrative when you’re being heckled by a peanut vendor.”
Gesualdi says that unlike the last time, the protest site was “almost devoid” of right-wing voices, many of whom were chased off by the large Antifa turnout, or because they were warned not to go by the organizer.
“I saw one group of people being chased into the police station by a group of leftists,” he says. “There’s actually a great video of this on LiveLeak, which pans over to me hawking my wares.”
The comedian says that the normal Berkeley protest crowd was peaceful, with “lots of people laughing, asking for pictures, etc.” A trio of Juggalos — fans of Insane Clown Posse — even treated Gesualdi to a bottle of Faygo and he got to sing along to “I’m Gonna Let It Shine” with older hippies.
“It was only when I got too close to the Antifa camp that things started to go south,” he says, describing how he was attacked by two separate black-clad groups.
“One group of Antifa-types took issue with the tiny American flags attached my vendor’s tray of snacks,” he described footage that was captured on his video. “Declaring them symbols of colonialism and white supremacy, they ripped them off and burned them in front of me. I was surprised they were so brazen about it, and parts of the crowd even cheered as the flags burned.”
Gesualdi was confronted by another set of Antifa later on in the day, when one of them declared him a “troll” and encouraged the group to accost him. “Knowing this could end badly I attempted to walk away from the situation, but they followed behind, ringing a cowbell for some reason. Very intimidating.”
He speculates that the reason he was targeted was because few right-wing voices had come out for them to attack, so they were happy to go after him. “They lobbed some rotten tomatoes at me, but thankfully, none of them could throw worth a damn. They blared rape whistles in my ear and got some tomato juice on my shirt, but stormed off in anger when I just ignored their nonsense and kept trying to sell them bags of popcorn.”
Gesualdi says that what really surprised him about the protest was how many people there were going on about the “evils of capitalism.”
“They seemed too much like a stereotype of the classic clueless communist who knows capitalism is evil but isn’t really sure why,” he says. “One young man tried seriously explaining to me that people didn’t want to pay because they were socialist, though I actually had commenters from socialist countries tell me that of course they pay for their food and that kid was a clueless idiot.”
“Others told me to cease my selling and ‘seize the means of production.’ I will have to look into seeing if the state is willing to acquire me a free peanut factory.”
Gesualdi says he won’t let the bad experience deter him from going to future rallies if it allows him to keep exposing their absurdity, but he worries that Antifa will paint a target on his back if he becomes a regular face.
“The Berkeley police were nowhere to be seen on both occasions I’ve gone and I honestly believe it’s only a matter of time before someone gets killed at one of these things,” he says.
He’s already made Chelsea Clinton look like an utter fool (to be fair, that’s not difficult to do). But in this monologue he turned his attention to delicate flowers over at CNN, still draped over their fainting couches and calling for their smelling salts over a freaking gif that Trump retweeted. (CHICKS ON THE RIGHT)
The Blaze notes that “when Behar claimed that Limbaugh refers to President Barack Obama as the ‘magic negro,’ Norton still pushed back. The phrase made its way to Limbaugh’s radio show in the form of satirical song written by political satirist Paul Shanklin.
The song came after Los Angeles Times critic David Ehrenstein first linked Obama to the magic negro, a ‘figure of postmodern folk culture’ who serves to ease racial tensions.” There seems to be a lot of piling on Rush Limbaugh for a parody song, Barack the Magic Negro, based off of a black writers L.A. Times article (he is pictured below, hint – he is not the Asian guy).
I figure these people do not allow satire unless by John Stewart or SNL? Parody songs have been on Rush’s show for years, while I typically do not listen to him (Dennis Prager is on at the same time), I have caught a few songs here-and-there. The only reason I wish to deal with this now is I keep seeing it pop-up as a dig against Rush as a racist (implied either implicitly or explicitly) when the author of the idea — a black man — is not mentioned at all. It seems odd to me. So here is part of that L.A. Times article, followed by some Wikipedia info:
AS EVERY CARBON-BASED life form on this planet surely knows, Barack Obama, the junior Democratic senator from Illinois, is running for president. Since making his announcement, there has been no end of commentary about him in all quarters — musing over his charisma and the prospect he offers of being the first African American to be elected to the White House.
But it’s clear that Obama also is running for an equally important unelected office, in the province of the popular imagination — the “Magic Negro.”
The Magic Negro is a figure of postmodern folk culture, coined by snarky 20th century sociologists, to explain a cultural figure who emerged in the wake of Brown vs. Board of Education. “He has no past, he simply appears one day to help the white protagonist,” reads the description on Wikipedia.
He’s there to assuage white “guilt” (i.e., the minimal discomfort they feel) over the role of slavery and racial segregation in American history, while replacing stereotypes of a dangerous, highly sexualized black man with a benign figure for whom interracial sexual congress holds no interest….
In this article, Ehrenstein references a Wiki article on the subject. I wonder where the outrage is for others mentioned at this site? Or does the term mean something different:
….African-American filmmaker Spike Lee popularized the term, deriding the archetype of the “super-duper magical negro” in 2001 while discussing films with students at Washington State University and at Yale University.
The magical negro is a subset of the more generic numinous negro, a term coined by Richard Brookhiser in National Review. The latter term refers to saintly, respected or heroic black protagonists or mentors….
Another L.A. Times article, Redefining “black”, mentions that maybe Barack Obama is not black enough. (NewsBusters wrote on this.) In this article the relationship between immigrants from Africa and the Americanized black culture is highlighted. They talk of the following issues: “Among African Americans, discussions about his racial identity typically vacillate between the ideologically charged options of ‘black’ versus ‘not black enough’ or between ‘black’ and ‘black, but not like us’.”
When special categories are created, law ceases being equal
This was discussed on the Colbert Report, in which the guest was very serious about this, to which Colbert had a field day with…
Of course there are other great skits worth mentioning based on this as well:
Mixed Race Flow Chart
Obama’s “Blackness” Scale
All these parodies tap into this “in-house-discussion” (in the Black Community), as well as the historical “Magic Negro” concept that has its essence in a hero aspect of the black man.
~ context, context, context ~
CONTEXT IS KING
I suggest to the more serious reader one of my favorite authors and intellectuals, Thomas Sowell and his book, Black Rednecks and White Liberals. (Thomas Sowell happens to be a “Magic Negro” to me, a hero to emulate my intellectual life after.) A great read in understanding this topic in a scholarly way. If you do not want to purchase the book, order it at Barnes and Noble (if it isn’t in stock) and read the first chapter, “Black Rednecks and White Liberals,” in the store and do not purchase it (you are allowed to view books before purchasing them). Another great book is White Guilt: How Blacks and Whites Together Destroyed the Promise of the Civil Rights Era, by Shelby Steele.
To conclude, here is political correctness and the “offended generation” at its best, and then warping it to use against whom they dislike (Sarah Silverstein — whom I dislike but think free speech is key to our country as well as comedy):
More about the Political Correctness chill on comedy from REASON:
Can We Take a Joke, a feature-length documentary about stand-up comedy, “outrage culture,” and censorship is now available for digital download on iTunes, Google Play, and on-demand through most major cable providers. The film was directed by former Reason TV producer Ted Balaker and co-produced and co-written by yours truly.
The reviews already have begun to roll in, with the LA Times saying that “Can We Take a Joke? poses a valid question at a juncture when freedom of speech is a hot topic,” and The Hollywood Reporter writes that the film delivers “sobering commentary” and “strongly makes the case that we’ve all got to get over ourselves.”
The movie features several stand-up comedians who’ve had unpleasant encounters with the online outrage mob, including Adam Carolla, Lisa Lampanelli, Jim Norton, and Gilbert Gottfried, who famously lost his job as the voice of the AFLAC duck after he sparked outrage on social media after making Twitter jokes about the 2011 Japanese tsunami.
“When people are outraged, they’re also patting themselves on the back,” says Gottfried. “Like, ‘Hey, I’m a good person. I was outraged.'”
Everyone, of course, has the legal right to be offended and the right to demand the firing of comedians for telling jokes. The First Amendment only protects against the government censorship of ideas, not corporate or mob censorship. But the film argues that the very idea of “free speech” requires more than simply government protection of the press.
“The First Amendment, although it’s necessary, it’s not sufficient. It has to rest on a social foundation of First Amendment values,” says Jonathan Rauch, scholar at the Brookings Institute and author the book Kindly Inquisitors: The New Attacks on Free Thought. “Once you get into the business of saying you are going to prohibit things you find offensive or wrongheaded, that’s where the most sensitive person in society gets to determine what all the rest of us can hear.”…