
What’s a difference between a Jim Carrey movie, the Three Stooges, a Wayans Brother show, and a Flavor Flav sighting? Semantics, really.
Jim Carrey and the Three Stooges perfected the art of physical farce and slapstick humor. The Wayans Brothers and Flav perfected the art of coonery.
Of course, this would be true only in a context where BET exists and perceptual double standards existed for different races.
Oh wait.
Urban dictionary defines coonery as:
Antics and behavior displayed by certain underclass individuals in the Black culture, the end result being the embarrassment of the rest of the upstanding Black community.
“Embarassment of the rest of the upstanding Black community.” Which is another way of enforcing class disparities within the black race. Which is another way of, well, defining America.
One of the collateral damages of living in a capitalistic society is the inevitable division of classes. As income gaps increase between segments of society, the customs of these societal segments become disparate as well. White collar workers and blue-collars workers, for example, adopt different tastes, live in different areas and over time base their value off the accumulation of capital.
Capitalism.
In his magnum opus, Wealth of Nations, Adam Smith asserted that division of labor was necessary for maximum productivity. In fact, he said it was the crux of industrialized nations. His work is often cited by free-market fundamentalists (those who advocate letting the market wholly determine what’s viable). According to the laissez-faire principles that Smith “trumpeted,” coonery is a means to an end: money
But what’s increasingly left unacknowledged are Smith’s views later in the same book, in which he stated that division of labor results in mental mutilation in workers.
“They become ignorant and insular as their working lives are confined to a single repetitive task.”
The repetitive task in the case of the coonery industry is the ever-present depictions of “unflattering” black behavior on a mass scale for profit (unflattering behavior that is not for profit is another classification). The tradition of blackface reportedly started in the 1830s, with white folks coloring their faces black, entertaining masses – and there were masses entertained – with hyperbolic rituals of oblivious, village idiot-like behavior of slaves on the fields. Musicals and dancing and tomfoolery were at the center of the minstrelsy acts. Pretty much the anti-Frederick Douglass.
Then black folks took cue, and instead of slapping blackface in the face, they took over. Why? Because they needed money. Or they lacked self-respect. Or they needed money and lacked self-respect.
Capitalism birthed the industry of coonery.
Blackface existed for decades as the main vehicle for African Americans to break into show business. As U.S. influence around the world grew, blackface was right behind, gaining steam in the United Kingdom, countries throughout Asia and Australia. The image of blackface still exists worldwide (see video below).
Minstrelsy may have left mainstream U.S. culture, but the spirit lives on through various reincarnations. Same product, new name.
Martin Lawrence, Marlon Wayans, David Mann and Flavor Flav are a few African Americans who have picked up the cues that their white “brothers” started and ran with it. The success of Aaron McGruder and Dave Chappelle – two figures who made careers of skewering buffoonery – is owed to the tradition of coonery, albeit on a different twist.
They are all stakeholders in the industry of coonery. In this industry, bettering the perception of a group of people is tangential; making funnies is the main goal. There’s no money in channeling intelligent black people, common wisdom goes. The Cosby Show is a risky venture. But Ray J and Tyler Perry is guaranteed mulah.
And to many African-Americans’ credit, there has been tasteful art that has furthered the image of their race. Everybody Hates Chris, The Steve Harvey Show, Living Single and My Wife and Kids are shows that are funny but not demeaning. And oddly enough, they are all casualties in the industry of coonery.
Activists and regular citizens alike express aghast at the antics of Flavor Flav and Big Ass Chains while others recognize that there is a market for blackface behavior. Like any forward-thinking capitalist, executives in this country have found a way to package black talent and make elephant dollars off it.
All while rendering the target group entranced and distracted by laughter.
In capitalism, riches are dictated by market forces. So I guess that means we all are stakeholders in our diminished image. If a tree falls and no one hears it, then it doesn’t make a sound.
Folks were beat like cattle to place African-Americans in the position to succeed in this country. If blackface behavior is success, then I guess those lashings weren’t in vain.
Man, excellent article and dead on, as much as I like to defend the right of people to “buy and sell” what they want there is no denying the one sided display of images of black people in the entertainment field. Yet whose feet do you lay the blame at? The producers of the mess or the consumers? When ever there is money involved your going to find someone willing to do what ever for it and it is up to the individual’s level of self respect to decide wahst too far. Case in point a lot of what Dave Chappelle does is borderline yet he draws the line at wearing a dress viewing it as an attack on black men. Yet Tyler Perry who makes Christian oriented and high moral movies has no problem going drag. Neither one is clear cut like a Flava of Love but there is some damage there. Then there is the consumers, are black people the really the ones requesting these images and thus allowing whites a view of how we see ourselves. Or are these shows demanded by white audiences and forced upon black people since there is not enough alternatives? Me, I got to lay blame on the producers, there the ones who are willing to sell out.
I’m gonna challenge this article and point out that beyond these actors choice to sell coonery, you really have to look within the upper echelon.
Someone is paying flavor flav and the wayans brothers to act like coons. Its not simply the black director, its the guy funding the project…the white executive. He chooses what to air on his media outlets because he happens to own it. The best example of this is the show “30 Rock” which explicitly (and strangely) depicts that very notion.
While I would support a television show or movie that topples the white establishment or at least creates a significant impact to rattle it…that’s not gonna happen. The guy who owns the media outlet is white and he’s not going to fund a project that questions his authority and the authority of his fellow “brothers”.
Lets be real, the only shows that truly questioned the white establishment were arguably “The Chappelle Show” and “The Boondocks”. For one, Dave ran to africa and The Boondocks have been on hiatus for over three years.
I’m just saying…your not going any further in your analysis and I don’t know whether you were avoiding a “bash the whities” article but it would have been worth the discussion.
Despite that…good article!!!
Boondocks will be back in March. :)
Eh…I thought the “bashing the whites” thing was already implied. Lord knows we don’t need another piece totally blaming the Man. That right there, is a game for fools…
Excellent, excellent column brother. That spoken word video only bolstered what it’s all about: cheddar. You’re right…coonery is an industry of its own….
I’ll def be forwarding this around.
I like this article cause it speaks to the heart and truth of capitalism:
“Whomever calls someone else a sellout ain’t never been given an offer.”
It’ easy to want to be reactive to the people who’ve shucked and jived for a living but at the end of the day they earned a dollar and you can’t say what you’d do if you were in their shoes. I often ask myself: has anyone ever offered me $20,000 to embarrass myself on national TV for 17 minutes worth of work? What is my price?
Cause everyone has one.
Before his reality shows Flavor Flav was a crack addict pawning Yankee Tickets to get his next fix. He said no one had his back and he was alone. Two years later he lands his reality show and he’s able to take care of his kids, get help for his addiction, and be a star. Is he really gonna care about what the talented tenth has to say when they were no where to be found when he was down and out?
Flava Flav chose to smoke crack father those kids and hurt the ones around him, and plenty of people offered him help he chose not to because he wanted to get high. And judginf by the way he was knocking down the Hennesy on the show he still gets high. And just like his addiction no doubt hurt the people around him, his antics on the show also hurts. He doesnt get a pass.
Mr. Mike.
I offer Flavor Flav no pass.
I’m with you. I think Flav is Black Embarrassment Television on Ice. And I’m proud to say I’ve never even seen an entire episode of Flavor of Love.
But in the context of this article I wanted to make a point that capitalism is the driving force behind why many African American entertainers chose to not “care” about the negative perpetuation of stereotypes. For many its a payday that they’ll never see otherwise if they don’t jump on the opportunity. And it also boils down to a decision to not carry the the weight of the black race on their backs.
Yes Flav chose to pick up a crack pipe and he’s also chose to “do him” and exploit himself of reality TV as if he were never a part of Public Enemy. Do I agree with his antics? Hell to the naw.
If I were in his shoes and a network put a $50,000 per episode deal on the table when my pockets is on lint?
I’ll let you answer that question.
Well there is a difference there, I dont act or dress like flava, if the network is asking me to get a gold grill, mug for the camera, wear god awful clothes then no I wouldnt.
If they let me be me then we have a deal and choose who I want then we have a deal.
As for the money Im not too worried about it I give you this quote, “I don’t beg From no rich man And I don’t scream, and kick, when his shit don’t fall in my hands man,
’cause I know how to steal”.
Not to say I am unbuyable just that my price is high then that.
Comedy is a fascinating medium because it allows us to address topics that would not be easy to address otherwise. Last year I performed a cultural analysis on Spike Lee’s “Bamboozled” as part of my M.A. in Communication Studies degree (I highly recommend the movie to anyone interested in learning more about the topics of minstrelsy and coonery). My research led me to the early stages of the abolitionist movement. In the northern US the Irish and other immigrants were given life threatening and strenuous work with laughable pay. My research credits these groups with early blackface. They performed in blackface, as did many disadvantaged groups throughout the US and even outside the nation, to show how their treatment was no better than the treatment of slaves that abolitionists were fighting. It was a “safe” way to make a political comment about things they otherwise dare not say. Later it became part of the viscious cycle discussed in the article above.
The movie Bamboozled does an excellent job of depicting this cycle. In it, Pierre, played by Damon Wayons, is a writer for major television network. Each time he tries to pitch a show that depicts Blacks in a positive light the show is dismissed. He explains to his assistant, played by Jada Pincket-Smith, that he cannot quit because he’s under contract. So he devises a plan that will get him fired (out of the contract) and make a point about how the only way execs like to promote Black shows is if they are making a fool of themselves. He proposes Man Tan’s Millenial Minstrel Show that features Blacks in Black face tap dancing in a watermelon patch in the south at the height of slavery. Instead of being offended by Pierre’s implication and firing him, the network airs the show and it becomes the biggest show in television. Over time, Pierre stops trying to use the minstrel show as a social commentary on how blacks are systematically misrepresented as a people, and begins to use it as a vechicle to make money.
There’s a delicate line between the two. So delicate that it’s hard to find. When used as social commentary, as I believe Chappelle managed to do often, it can be the most powerful tool for instigating public conversations about things that we often ignore and begin to accept as normal, acceptable behavior. A prime example of this from Bamboozled is when Latinas, Italians, Blacks, and Whites wear blackface to taping of the shows and proudly proclaim that “I’m a Ni**er and proud of it.” However, when it goes wrong and becomes a tool for financial game, everyone from the producers, viewers, and actors are marred for life.
The question is, if minstrelsy and coonery are not easily managed to steer social change, what is a better alternative that is equally effective at inciting outrage to the point that people want to make a change?
it’s also because of Capitalism that Alicia Keys, Jay Z and all the other black artists have collaborated with John Mayer! he doesn’t have a hood pass, it’s just because his agents have skills to book him with great artists from the black community, a way to reach the black consumers… so you gonna purchase his albums, and tikets for his concerts… loooool
Its all about money. What ni**a’s will do for a buck?
Yeah its really annoying watching that crap on tv, but what can you do. They have an audience & thats what the audience wants to see.
They sell, what people are buying. The ‘majority’ wants to see “coonery”, then thats what we’re gonna see.
[...] Funky, Edgy, and relevant, with content updated every monday. Check out their recent article on Coonery and Blackface and those who continue to perpetuate its sad legacy. There is also a great article on DC’s [...]
Good to see Zettler writing again.
At the end of the day, the power lies in the hands of consumers.
I wonder if we write letters and make a big fuss about the coonery that maybe people will stop being retarded and start listening?
If they LGBT community can do it, the intelligent black community can too. After all, our grandparents fought during the 60′s for us to be where we are, so lets make them proud. Boycotts! Stop watching the shows. Get people to stop watching the shows. If nobody’s watching, nobody’s making money.
I had a group on facebook called the Anti Blaxploitation Movement, however Facebook said I was promoting hate by wanting to stomp out coonery. So maybe that puts things into a better perspective.
if folks got rid of the teLIEvisions and stop letting media shape their views, it probably wouldn’t be a problem but most folks would rather have cable teLIEvision then spend the money on better food choices (e.g. grocery shopping at Costo’s or Food 4 Less vs Whole Foods and other natural grocers). Meaning if folks REALLY put there hard earned money where their mouths were I think there would be less uneasiness regarding the trash ALL media puts out. But, sh*t what do I know I haven’t worked outside my home in more than 8 years and my husband works in the VERY industry I speak of as an advertising exe (it’s actually HIM to taught me truth about how it all goes down).
Thanks for bringing up this topic, but I have to point out the unreflective classism implied throughout. The Cosby Show, Everybody Loves Chris, etc. are all shows that depict a Black middle class lifestyle available to only a small portion of our community, and which is touted as the goal we should all be working toward. The Wayans family is large, and have been working in the business for 20 years now, so I think it’s difficult to call all of those thousands of hours straight coonery – particularly looking back at In Living Color. In Living Color was true comedic brilliance, making fun of coonery itself, as well as mainstream white America. Their more recent work… less reflective, more formulaic.
However, you bring up capitalism as the great ill – here we agree. It’s just important to remember that the forces of capitalism also determine what kind of blackness is ‘embarrassing’ and which is ‘respectable’. I hope that we can get beyond a mindset in which all the images available to us are either working class coonery (“big chains”) or totally harmless, never going to rock the boat, middle class respectability (“Living Single”).