In the early 1960s, Dick Gregory called his autobiography
Nigger, because, he explained, “I told my mama if she hears anybody
shout ‘nigger,’ they’re just advertising my book.” Richard Pryor called one of
his albums That Crazy Nigger and wrote an article for The
Realist about the disproportionate amount of blacks fighting in Vietnam
which he titled Uncle Sam Wants You, Nigger! After a visit to
Africa, he reclaimed his heritage, promising not to use that word again. And
then there was Lenny Bruce, on stage one night, riding an invisible unicycle as
he balanced his way along a tightrope into uncharted comedic territory:
“The reason I don’t get hung up with, well, say, integration, is that by the
time Bob Newhart is integrated, I’m bigoted. And anyway, Martin Luther King,
Bayard Rustin are geniuses, the battle’s won. By the way, are there any niggers
here tonight? [Outraged whisper, as if an audience member] ‘What
did he say? Are there any niggers here tonight? Jesus Christ! Is
that cruel. Does he have to get that low for laughs? Wow! Have I ever
talked about the schwarzes when the schwarzes had gone home?
Or spoken about the Moulonjohns when they’d left? Or placated some Southerner by
absence of voice when he ranted and raved about nigger nigger
nigger?’
“[In his own voice]: Are there any niggers here
tonight? I know that one nigger who works here, I see him back there. Oh,
there’s two niggers, customers, and, ah, aha! Between those two niggers
sits one kike - man, thank God for the kike! Uh, two kikes. That’s two kikes,
and three niggers, and one spic. One spic - two, three spics. One mick. One
mick, one spic, one hick, thick, funky, spunky boogey. And there’s another kike.
Three kikes. Three kikes, one guinea, one greaseball. Three greaseballs, two
guineas. Two guineas, one hunky funky lace-curtain Irish mick. That mick spic
hunky funky boogey. Two guineas plus three greaseballs and four boogies makes
usually three spics. Minus two Yid spic Polack funky spunky Polacks.
[Auctioneer’s voice] ‘Five more niggers! Five more niggers!’
[Gambler’s voice] ‘I pass with six niggers and eight micks and four
spics.’
“[In his own voice] The point? That the word’s
suppression gives it the power, the violence, the viciousness. If President
Kennedy got on television and said, ‘Tonight I’d like to introduce the niggers
in my cabinet,’ and he yelled ‘nigger-nigger-nigger-nigger-nigger-nigger-nigger’
at every nigger he saw,
‘boogey-boogey-boogey-boogey-boogey-nigger-nigger-nigger-nigger’ till nigger
didn’t mean anything any more, till nigger lost its meaning, you’d never make
any 4-year-old nigger when he came home from school. Screw ‘Negro!’ Oh, it’s so
good to say, ‘Nigger!’ Boy! ‘Hello, Mr. Nigger, how’re you?’”
Four
decades later, Dave Chappelle on his TV show played a man delivering milk to the
all-white family, the Niggars, and he did indeed say, “Hello, Mr. Niggar, how’re
you?” But consider the contrast between Lenny’s good-natured, poetic routine and
Michael Richards’ mean-spirited, uncontrollable outburst. In November 2006, at
the Laugh Factory in Los Angeles, in response to heckling from a table of four
African Americans (three men and a woman), he suddenly became enraged with
repressed hatred:
“Shut up! Fifty years ago we’d hang you upside down
with a fucking fork up your ass! [Laughter in the audience, apparently
unaware of the heckler’s race and that the reference is to lynching] You
can talk, you can talk, you can talk, now you’re brave, motherfucker! Throw his
ass out! He’s a nigger! He’s a nigger! He’s a nigger!”
“[A woman in
the audience] “Oh my god!”
“A nigger! Look, there’s a nigger!
[Imitating reactions in the audience] ‘Oooh! Oooh!’ All right, you see,
this shocks you, it shocks you to see what lies beneath your stupid
motherfuckers!”
[A man at the heckler table] “That wasn’t called
for.”
“What was uncalled for? It’s uncalled for you to interrupt my ass,
you cheap motherfucker! You guys have been talking and talking and
talking.”
[Voice from the audience] “Calm down.”
“What’s
the matter with you? Is this too much for you to handle?”
“I said calm
down.”
“They’re gonna arrest me for calling a black man a nigger? Wait a
minute, where’s he going?”
“That was uncalled for, you fucking
cracker-ass motherfucker!”
“You calling me cracker-ass, nigger?
“Fucking white boy!”
“Are you threatening me?”
“We’ll see what’s
up.”
“Oh, it’s a big threat. That’s how you get back at the man.”
“You’re just not funny. That’s why you’re a reject. Never had no shows, never
had no movies. Seinfeld, that’s it.”
“Oh, I guess you got me
there. You’re absolutely right. I’m just a wash-up. Gotta stand on this
stage.”
“That’s it, we’ve had it. Niggers--that’s un-fucking-called-for.
That ain’t necessary.”
“Well, you interrupted me, pal. That’s what you
get when you interrupt the white man, don’t you know.”
“Uncalled for,
that was uncalled for.”
“You see, there’s still those words, those words,
those words.”
Richards then walked off stage. Later, seemingly stunned at
his own racist rage, he apologized again and again as best he
could.
African-American comedians reacted to Richards’ use of the n-word.
Chris Rock on Bill Maher’s HBO show, Real Time: “He said nigger?
Nicotine?” Damon Wayans at a comedy club: “Welcome to Nigger Night.” Jamie Foxx
defended the use of “nigger,” but only by black people. He began his monologue
at the Borgata in Atlantic City: “I’m an Oscar winner, but I’m a nigger too.”
Referring to the Richards incident, Foxx said, “He was just calling us niggers
like it was the ’50s. Nigger, nigger, with a ‘e-r.’ Then they said we can’t use
the word ‘nigger’ any more. That’s my shit. I need it. I need the word to
describe certain things, because at a certain level of excitement, I need to
tell you how the shit was, and there ain’t no other word that helps me say that
better than that word. White people, you can’t use it. I would’ve booked his
ass!”
The NAACP Philadelphia Youth Council held a mock funeral for the
n-word. And, at the NAACP annual convention in Detroit, a horse-drawn carriage
pulled a pine casket with a black wreath on top, signifying the death of the
n-word.
In February 2007, a historically black school in Alabama held a
four-day event titled the “‘N’ Surrection Conference at Stillman College.” Its
goal was to challenge the use of the n-word “through the use of intelligent
dialogue and a thorough examination of black history.” Kovan Flowers, co-founder
of AbolishTheNWord.com, said that striking the word “nigger” from use would help
set an example for other races. “We can’t say anything to Hispanics, or whites
or whoever unless we stop using it ourselves,” he said. “It’s the root of the
mindset that’s affecting why people are low, from housing to jobs to
education.”
Community activist Tim Robinson pointed out that blacks don't
have a problem using the word “nigga” because it’s distinctly different and is
considered a term of endearment when they say it to each other. He said, “It was
‘nigger’ which was the bad word, but you’ve got our people that just went and
changed it up a bit.” The late rapper Tupac Shakur was credited with
legitimizing “nigga” with his song “N.I.G.G.A.” which stood for “Never Ignorant
Getting Goals Accomplished.”
The first season of Aaron McGruder’s TV
adaptation of his controversial comic strip The Boondocks on the
Cartoon Network angered Al Sharpton and other black activists by the show’s
frequent use of “nigger.” The second season was scheduled to devote an entire
episode to “The N-word.” Co-executive producer Rodney Barnes explained, “You
can’t bury ‘nigger.’ It’s like a vampire. It’s going to live forever. And we
can’t let the fans down. Why be responsible now?”
On the other hand, on
the series Cavemen, the cavemen referred to themselves as “maggers,”
but this was considered racist, and the word “magger” quickly disappeared from
the sitcom’s scripts.
Attorney Gloria Allred tried to arrange an
informal three-member “jury” of a retired judge and two lawyers to decide
“whether they think, under the facts and the law, Michael Richards should be
accountable and, if so, in what way. We want accountability, and we want the
public to understand the significance of the n-word and how it has hurt” her
clients. Richards’ lawyer, Douglas Mirell, said that while Richards’ comments
were “inappropriate, they are not legally actionable” and that, if Richards
faced mediation or a lawsuit, he intended to oppose a cash settlement under his
constitutional right to free speech--an incorrect claim, since the 1st Amendment
applies only to censorship by the government.
Elayne Boosler came to
Richards’ defense in a blog on Huffington Post:
“Words won't
kill you unless they are ‘Ready, aim, fire!’ Now that some time has gone by
since the Michael Richards rant, let's talk about the true victim of the
‘n-word’--stand-up comedy. The L.A. Times continues to feature articles
on the Laugh Factory, focusing on further ‘n-word’ developments, and on black
comedians lamenting the loss of their use of the ‘n-word’ at the club. They’re
determined to say it, even though the club owner is fining them for it.
“When I watch the majority of black comedians on cable and in clubs, I am amazed
the TV version of Amos and Andy was called racist, and canceled due to
the main characters speaking less than perfect English in their rhythms. (We're
not discussing the radio show, which was done in blackface before television and
which, by the way, was voted into the Radio Hall of Fame last week.) Those men
had jobs, wore suits, had beautiful wives in earrings and pearls, and ate at
tables with tablecloths. They were a classy version of The
Honeymooners, the ostensible white welfare show.
“By comparison, the
‘comedians’ on cable seem to be making Klan recruitment films. There is such a
dearth of dignity, but most of all, such a lack of comedy, that every time I try
to watch I say out loud to the performer on TV, ‘Hey, I’ve got the Kingfish on
the phone here, he'd like an apology.’ These shows have reinvented comedy as
style over substance, rhythm over writing. I can’t discern a joke, let alone
root for the person up there. Between the ‘n-word,’ the ‘mf-word,’ and ‘bitches’
and ‘hos’ (talk about insulting half the population every waking hour of the
day), they have annihilated stand-up comedy. Those words have made it possible
for people to fill an hour set without five actual minutes of comedy. Maybe
stand-up comedy could hire Gloria Allred to sue on its behalf, for a proper sum
for not only hurting its feelings, but destroying its legacy. (Allred, what a
great feminist. ‘We're going to find a retired judge and let him
decide.’)
“The rule about heckling is this: You fire at a cop, get ready
to die. Yelling ‘You’re not funny’ at a comic is firing with an AK. Hurt your
feelings? Tough. Anything goes for hecklers, including excessive force. I lay
myself bare up here, at my most vulnerable you shoot me in the chest, I will
kill you if I can. You know why Richards looked so shell-shocked at his own
outburst? Because he's not a racist, he was simply in the zone. Comedy clubs are
like Indian reservations. They are their own country. I don’t think he should
have apologized. You pay your money and you take your chances, step right
up.
“Jesse Jackson and Al Sharpton, far from demanding apologies, should
have apologized to Bill Cosby, who tried to point out the heartbreak and social
defeat of how some blacks are undercutting their own dignity and chances (did
you see Queens of Comedy?). It’s one thing to use the ‘n-word’ when you
are an original, like Chris Rock or Bernie Mac, or if you’re a genius, like
Richard Pryor. It’s another matter when you don’t have the talent to co-opt the
enemy. These currently enraged black leaders are about ten years too late in
their outrage, and they are mad at the wrong person. By the way, the best black
comedian I ever saw was Marsha Warfield. She cut to the bone of race relations,
was brilliantly funny, as well as intense, challenging, and seething with rage,
and she never used the ‘n-word’ once....
“When I started doing stand-up
in 1973, the women working in comedy were the caricatures of their time;
housewives who hated sex, loved jewelry, hated their husbands, hated themselves,
etc. My oath to myself was that I would do nothing, no humor, no matter how easy
it would have been, that propagated any of those images of women. I had to work
harder, write better, face resistance, lose opportunity, to present a funny
woman who was a worthwhile human being deserving of respect and dignity, and who
could entertain not just a niche audience, but people. I don’t see too many
comics striving for that on cable. You can’t legislate the end of the ‘n-word.’
Nobody can ever tell a comic not to say something, it runs against a comic’s
soul. Don't take the ‘n-word’ out of your act because someone wants to ban it.
Take it out because you are replacing it with actual comedy.”
And editorial cartoonist Mr. Fish depicted Jesse
Jackson saying, “In light of the Michael Richards tirade,
I’m calling for the immediate removal of the letter
‘N’ from the alphabet so that racism will no longer exist
in this country.” I decided to send a contribution to the NAACP
in support of their anti-discrimination efforts, and I made the check
out to the AACP.

On 60 Minutes in 1998, Don Imus told Mike Wallace that his
show had someone specifically assigned to do “nigger jokes.” In 2000,
Newsday’s Philip Noble monitored the Imus show for months, then cited
numerous examples of his racist, homophobic and misogynist references. In 2001,
Imus promised syndicated columnist Clarence Page that he wouldn’t make racist
comments about black athletes any more.
But in April 2007, on the morning
after the mostly black Rutgers University women’s basketball team had reached
the finals of the NCAA women’s basketball championship, Imus offhandedly
remarked, “That’s some nappy-headed hos.” Calls for his removal from the
airwaves were invoked by public figures ranging from Barack (not black enough)
Obama to Al (too black) Sharpton, from feminist Eleanor (not woman enough) Smeal
to Jesse (“Let’s go to Hymie-town”) Jackson. Although Imus proceeded to
apologize all over the media, ranging from Sharpton’s radio program to the
Today show, he felt that he was only following the lyrics of black
rappers, from the Wu Tang Clan (“nappy-headed niggaz”) to Ludacris (boasting of
random “hos in different area codes”).
Platinum-seller Chamillionaire,
admitted, “I’ve always used the n-word,” but after he went on tour and saw
mostly whites in the audience lip-synching it along with him, he announced that
his new album, Ultimate Victory, would not include the n-word,
explaining, “I’m not going to say the n-word on this one because when I go back
on the road and I start performing, I don't want them to be saying it, like me
teaching them.” He said this conversion was a moral issue and not a result of
the backlash against Imus. Snoop Dogg said that rappers “are not talking about
no collegiate basketball girls who have made it to the next level in education
and sports. We’re talking about hos that’s in the ’hood that ain’t doing shit
that’s trying to get a nigger for his money.”
In 1992, hip-hop mogul
Russell Simmons had stated that “oppression of artistic expression, like any
sort of oppression, should not be tolerated.” In 2007, he told reporters that
offensive references in hip-hop “may be uncomfortable for some to hear,” but
that his job wasn’t to censor expression. Yet, only one week later, in the wake
of Imusgate, he joined Al Sharpton’s insistence that broadcasters should ban
“bitch,” “ho” and “nigger.” Sharpton, who had announced to the press in 1995
that record-label executives shouldn’t “cave in” to right-wingers wanting to
censor lyrics because it would “infringe on our 1st Amendment rights,” now
justified his turnaround because James Brown on his deathbed had urged him to
“be more aggressive in cleaning up the music.”
Two months before the Imus
incident, New York City Councilman Leroy Comrie successfully sponsored a
“symbolic moratorium on the use of the N-word.” (Other cities passed similar
measures.) Ironically, at a hearing on Comrie’s resolution, the word “nigger”
was said nearly fifty times in less than two hours. The founder of the Ban the
N-Word Movement, Marcia Harris alone said “nigger” nineteen times. One man who
didn’t say it was Atlanta-based attorney Roy Miller, who managed to get the word
stricken from the Funk & Wagnall dictionary. A few days later, inside
Harlem’s Uptown Jeans clothing store, the voice of rapper 50 Cent, one of whose
songs is titled “To All My Niggers,” blared over the loudspeaker, “Nigger you
front you gone get it, OK now maybe I said it.”
“What difference does it
make if they ban the n-word?” a bookseller asked. “Ban police brutality. Ban
racial profiling. Ban that. Forget the n-word.” Four months after the plethora
of rap-lyrics criticism that followed the Imus incident, New York City
Councilwoman Darlene Mealy tried unsuccessfully to ban the words “ho” and
“bitch” (which was referred to in the attempted legislation as the “b-word.)”
Basketball star Isaiah Thomas said that although it’s wrong for a black man to
call a black woman a bitch, it’s much worse for a white man to do it.
On
April 9, CBS Radio announced it was suspending the Imus in the Morning
show for two weeks. Two days later, a Pennsylvania radio station fired a disc
jockey for urging listeners to mimic the Imus epithet. That same day, MSNBC
decided to cancel its simulcast of Imus’ radio show. Although sponsors - General
Motors, GlaxoSmithKline, Procter & Gamble, American Express, Sprint Nextel,
Bigelow Tea, Staples - had pulled their commercials from the Imus show, NBC
denied that the loss of advertising motivated his cancellation. The next day,
CBS fired Imus. Sponsors had already dropped out, and others were threatening to
do so.
Imus hired attorney Martin Garbus - who had once represented Lenny
Bruce - announcing that Imus would sue CBS for $120 million, since they had
contractually encouraged Imus. A clause acknowledged that his program was
“unique, extraordinary, irreverent, intellectual, topical, controversial.”
Garbus said the firing was “unconstitutional,” which could be considered an
accurate claim, since the FCC is a government agency. Imus and CBS settled out
of court. Meanwhile, a clue in the New York Times crossword puzzle was
“Fired celeb,” and the correct answer was “Imus.”
In a Los Angeles
Times op-ed, civil rights attorney Constance Rice sounding somewhat like
Lenny Bruce, wrote, “But rest assured, the Imus crew has plenty of kike,
wetback, mick, spick, dago, Jap, Chink, redneck and unprintable Catholic priest
jokes too. Not to mention the rabid homophobia and occasional Islamophobia...
Imus’ remarks were racist, offensive and, given that these athletes are not fair
targets, out of bounds. There is no excuse for what he said. But there’s also no
basis for firing him or ending his show. Firing Imus for racist riffs would be
like firing Liberace for flamboyance. It’s what he does. More to the point, Imus
should only be fired when the black artists who make millions of dollars rapping
about black bitches and hos lose their recording contracts. Black
leaders should denounce Imus and boycott him and call for his head only after
they do the same for the misogynist artists with whom they have shared stages,
magazine covers and the awards shows.”
Washington Post media critic Howard Kurtz - Imus had once
referred to as “a boner-nosed, beanie-wearing Jewboy” - stated, “I do not
believe Imus is a bigot - not a man who raised millions for cancer-stricken kids
of all races to stay at his New Mexico ranch.” New York Times columnist
Frank Rich argued in favor of free speech, and that Bill O’Reilly should be
allowed to say “wetbacks,” a term used as dismissive shorthand for undocumented
Mexicans. O’Reilly claimed that he was actually searching for the word
“coyote.”
Gloria Allred represented a member of the Rutgers team who
planned to sue Imus and CBS for slander and defamation of character, charging
that his comment had damaged her reputation. This was reminiscent of the joke
about a public speaker who stated, “The trouble with women is that they take
things too personally”- then a woman in the audience stood up and said, “I do
not.” In September 2007, the basketball player’s frivolous lawsuit was
withdrawn, ostensibly so she could focus on her education.
In April
2007, CBS fired the hosts of The Dog House with JV and Elvis, after
they placed an on-air order to a Chinese restaurant for “slimp flied lice” and
compared food items to body parts. “In the wake of the Imus case,” said New York
City Councilman John Liu, “it would have been maddening to the community if
these idiots did not get fired.”
The next month, XM Satellite Radio
suspended shock jocks Opie and Anthony for 30 days after they aired a segment
with “Homeless Charlie.” When they mentioned Laura Bush, Condoleezza Rice and
Queen Elizabeth, he said about each, “I’d love to fuck that bitch.” Although the
station is not subject to FCC regulation or punishment, it does need FCC
approval to merge with satellite-radio competitor Sirius. In 2002, the pair had
been fired by CBS Radio for broadcasting a call from two listeners who said they
were having sex in St. Patrick’s Cathedral. Now they expressed sympathy for Don
Imus, saying that his career was “gone, just because he was trying to entertain
people.” In fact, though, Imus would be returning to radio, on ABC.
Meanwhile, Glenn Beck called antiwar activist Cindy Sheehan “a pretty big
prostitute,” then softened that epithet to “tragedy pimp.” Michael Savage called
Barbara Walters “a mental prostitute” and “a double-talking slut.” GQ
editor Jim Nelson, parodying The Secret, advised readers to “visualize
what you want (an Alfa Romeo? Leather pants? An Asian whore?), think positively
and the universe will make it happen to you.” Presidential candidates Mitt
Romney and John McCain used the racially offensive term “tar baby” and later
apologized. Black comic Sheryl Underwood called Monica Lewinsky “an amateur ho.”
And Don Imus referred to his own wife, Deidre, who is an environmental activist,
as “the green ho.”
Paul Krassner is the author of One Hand Jerking:
Reports From an Investigative Satirist, and publisher of the Disneyland
Memorial Orgy poster--both available at paulkrassner.com.