“Hollywood in Blackface” vs “Primetime Progaganda”: Kersey against Shapiro

Having just published Hollywood in Blackface, a new book written by Ben Shapiro caught our eye. EntitledPrimetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV, Shapiro’s book seemed like it might mirror many of the arguments we made.

The Cosby Show is conservative?

Picking it up from a local bookstore, we promptly returned it upon finishing Shapiro’s screed against Disingenuous White Liberals (DWLs) in Hollywood and their immense power in shaping the public’s perception.

Flipping to the appendix of the book, Shapiro lists the top conservative shows of all-time. No. 1 is 24, followed by The Cosby Show. What exactly makes 24 conservative?

Here is what Shapiro states qualifies 24 as conservative (p.354):

You knew this would be number one. It is, with one caveat: After season four, the show began to die. The first few season, the show was pure conservative adrenaline. Bad guys had to be stopped, and if Jack Bauer had to torture terrorists to do it, he would, no questions asked. “We’re running out of time!” was the battle cry – and it was an accurate battle cry. The show embodied the ethic of the War on Terror – we were in a battle for survival, and we didn’t always have time for the Marquis of Queensberry rules. “People in the [Bush] administration love the series,” Surnow noted. “It’s a patriotic show. They should love it.”

That’s it? Bad guys being stopped, so it automatically becomes the top conservative television show? If you want to stop Islamic terrorism, the kind Jack Bauer only faced in one season, don’t allow immigration from Muslim countries. Profile at the airport.

The War on Terror is over anyways, right? Osama is dead. Oh wait, an entire police state apparatus has been erected that recruits people via pizza box employment notices and employs Black people at a disproportionate percentage compared to the private employment numbers.

Sorry Shapiro, not buying your logic. So what makes The Cosby Show “conservative?” (page. 354):

A show about a black middle-class family that doesn’t rip the American government, doesn’t fall into the self-victimization of the “racist society,” doesn’t portray whites as either idiots or bigots, and encourages black children to get an education, get married, and have a family. Revolutionary, even if its creators meant it to be a statement on racial tolerance.

Sanctimonious White Conservatives (SWC) in a nutshell. Black people “acting white” and transcending their Blackness automatically disqualifies from being a lowly Black person and into the rarefied air of conservatism. Family values, pursuing an education, getting married automatically qualify as “whites-only” activities and allow Black people to be welcomed into the club of ‘whiteness’ – how arrogant and revolting a statement from Shapiro.

Believing that Black people only succeed because they embrace one way of thinking is… disingenuous. What did we write about Thomas Sowell vs. Norway again?

How… pathetic.

The one part of the book we enjoyed was the discussion on COPS (read Mangan’s take here) on pages 204-205:

Because Cops is a law-enforcement support show, it has become the target of hard-left types like Michael Moore, who interviewed producer Richard Hurlin for his hit-piece documentary Bowling for Columbine. Hurlin tells Moore, “if you look liberal up in the dictionary I think my picture will be in there somewhere.” Moore then proceeds to grill Hurlin about the supposed racism of the show, saying that racism raises the ratings.

“Maybe because we in the television business tend to demonize black and Hispanic people, then those watching it a home are going, ‘I don’t want to help those people. I’m not going to do anything to help them because I hate them now because they may hurt me.’ You know what I’m saying?” More asked/demanded. Hurlin, who clearly did not know what Moore was saying, answered, “I know what you’re saying, I don’t know that’s what we’re doing. I’m not sure we’re demonizing black and Hispanic people particularly.” 

Cops does have a lot of minority criminals, but that’s because there are a lot of minority criminals. John Langley, the create of the show, rejected Moore’s argument head-on. “What irritates me sometimes is critics will watch Cops and say, ‘They misrepresent people of color,'” Langley fumed. “That’s not true. Au contraire, i show more white people than is statistically what the truth is in terms of street crime. If you look at the prisons, it’s sixty-something percent people of color and thirty-something percent of white people. If you look at Cops, it’s sixty percent white and forty percent people of color, it’s just the reverse. And I do that intentionally, because I don’t want to contribute to negative stereotypes.”

What? How would that be a stereotype? Wouldn’t showcasing people of color as criminals just be a fact? In some extreme cases, Hollywood must put a whiteface on uncomfortable facts, unless stereotypes of crime stats become well known.

The fact that every white person, be they Stuff White People Like (SWPL) white people or Untouchable whites move away from the Black Undertow should be evidence enough that everyone already believes the stereotype of the aggressive, criminally-prone people of color ‘myth’.

So Shapiro’s book is really dull. 24 wasn’t that good of a show, but it should tell you all you need to know about Shapiro’s brand of “conservatism” when he ranks it the best show for right-wingers. That The Cosby Show is runner-up tells you even more.

We recommend you pick up Hollywood in Blackface. Shapiro is right that those in control of Hollywood and television push a certain agenda and our book details what that agenda actually represents. That agenda? Simply the creation of positive images of Black people. Hey, the guy who produces Cops admits they have to fake crime stats… talk about Black-Run America in action.



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One Response to “Hollywood in Blackface” vs “Primetime Progaganda”: Kersey against Shapiro

  1. I am shocked that anyone would actually be shocked. Most news programs is skewed towards right wing politics and entertainment is skewed to the left wing – how was this not obvious to everyone?

    If you look at the pattern of programs – in the 50′s, the family sitcom upheld the nuclear family with Father knowing all and best

    by the 60′s, we get single dads with sons and shows about single women

    in the 70′s, we get blended families, single divorced moms with kids and All int he Family, with Archie trying to hang on to tradition while all the other characters demonstrate that he’s wrong and out of touch with current reality

    to the 80′s where family sitcoms were cuthroat and bickering to the current crop of dad is a beside the point doufus and mom knows and cares about all

    black characters go from 70′s stereotypes to more rounded and varied characters now and gays have gone from invisible to the sidekicks in a much shorter span of time

    it didn’t take a biased conspiracy book, just a lot of back issues of TV guide and any book that tells people how to write screenplays and tv programs.


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