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Revolution Televised.pdf

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192 Conclusion<br />

Shut the fuck up! White people ain’t losing shit. If y’all losing, who’s<br />

winning? It ain’t us. Have you driven around this motherfucker? Shit,<br />

there ain’t a white man in this room that would change places with<br />

me—and I’m rich! That’s how good it is to be white. There is a white<br />

one-legged busboy in here right now that won’t change places with<br />

my black ass. He’s going, “No, man, I don’t want to switch. I want to<br />

ride this white thing out. See where it takes me.”<br />

While quick to note the problems inherent in U.S. society at the<br />

turn of the millennium, Rock insists that black people need to<br />

know where to draw the line when critiquing mainstream society.<br />

He explains this with an anecdote based on the reaction to the<br />

deaths of two significant hip-hop figures.<br />

I’m watching the news: Tupac Shakur was assassinated. Biggie Smalls<br />

was assassinated. Struck down by assassins bullets. No they wasn’t.<br />

Martin Luther King was assassinated. Malcolm X was assassinated.<br />

John F. Kennedy was assassinated. Them two niggas got shot.<br />

Again, when Rock focuses his observations on black society, the<br />

public forum becomes an issue for a television audience. The live<br />

and primarily black audience at the Apollo can have a different engagement<br />

with the comedian. As on The Chris Rock Show, they use<br />

call-and-response to agree or disagree with his statements throughout<br />

the show, and Rock clearly engages with them. The loudest<br />

audience reactions occur during Rock’s discussion of relationships<br />

between black men and women and within the black family.<br />

External to this process of engagement between Rock and the black<br />

audience is the mainstream audience’s response and interpretation.<br />

The comedian again is unconcerned with the white audience’s opinions<br />

on the subject matter, and this again places him in the position<br />

of revealing issues that reside behind black walls. 32<br />

Rock has a clear agenda to recuperate the image of the black<br />

father. 33 He believes that while the mother has a tough job, at least<br />

she receives recognition for it. As he says,<br />

Think about everything that the real daddy does—pay the bills, buy<br />

the food, put a fucking roof over your head, everything you could<br />

ask for. Make your world a better, safer place, and what does daddy<br />

get? The big piece of chicken. That’s all daddy gets is the big piece<br />

of chicken. And some women don’t want to give up the big piece of<br />

chicken.

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