From Todd Boyd, ESPN’s Page 2:
that disgraced radio talk-show host Don Imus has been booted, can we
finally get down to some “real talk” about the multiple issues embedded
in this racial theater? There is a lot to sort through here, but after
a week of debate centered around “nappy-headed hos,” half-assed
apologies, cries of censorship, and a curmudgeonly shock jock’s lame
attempt at being funny, many pundits have moved beyond the core issue
and now are talking about the perceived double standard they feel
exists between what Imus said and what often comes from the mouths of
Yet Imus and hip-hop really don’t have much in common. Imus was host
of a radio show that focused on the real news of the day, while hip-hop
is a fictionalized form of cultural expression. Imus is real, featuring
real guests and humor based on real topics. However loudly hip-hop
might claim to be real, it is not real; it is a form of representation.
This is why so few rappers use the names on their birth
certificates when performing. Rappers are in essence characters
performing a fictional life. Though the culture is rooted in the notion
and style of authenticity, it is decidedly fictional. If not, the cops
could arrest every rapper who talks about selling drugs or killing
someone in his or her lyrics. So we should be judging hip-hop the
same way we judge a novel, a movie, or a television show, and to do so
means we have to afford hip-hop the same latitude we afford any other
form of artistic expression.
should include comedy, lest Chris Rock or a host of black comedians be
forced to apologize for their jokes about whites and Asians, for
Imus’ schtick was lame and unwisely aimed. But he was nevertheless
referencing the lexicon of rap culture, which has become part of the
general cultural lexicon (a point Boyd himself makes unwittingly later
in the piece) in his revolting attempt at “humor.” Which, using Mr
Boyd’s criteria, would mean we shouldn’t be judging Imus based on the
content of his art simply because it is “art” that is aired in a different context and using a different medium.
I mean, are we really now prepared to argue that what is in Imus’ heart is determined by what name
he chooses? That is, would what he said be more acceptable—a form of
indexical “representation” of “cultural expression”—had he uttered it
as, say, “Donny I-Money?” Because as I recall, many feminists weren’t too keen on accepting such an argument when the purveyor of “cultural expression” in question was Andrew Dice Clay—who very clearly was a persona, developed by Brooklyn Jew named Andrew Silverstein.
Boyd is, to a large extent, correct in his conclusion: we should be
judging hip-hop the same way we judge other forms of art, and I believe
its content—provided it doesn’t provide proximate cause for inciting
violence (which is so difficult to prove as to make it virtually
useless as an argument)—should be protected.
But where he goes astray is in trying to draw a distinction to suit
his political purposes. Because like it or not, the “art” of comedians
and humorists, among whose number Imus has always been counted,
deserves the same kind of speech protections, given that it, too, can
be described as a form “representation,” a meta-commentary on society
filtered through the subject position comedians and humorists assume in
order to make their pointed remarks.
Imus, in short, was doing a comedy bit. The bit may or may not have
exposed his deep-seated racism; but if we are to argue that hip-hop
artists deserve a pass because they are engaging in a form of art that
mirrors our culture back to us, we must provide the same defense for
people like Imus.
Which is not to say that MSNBC shouldn’t have fired him—they have
every right to do so in order to stave off a PR disaster; but for
Barack Obama or Condi Rice to come out for his firing is dangerous and,
given that they are tied to government, worrisome to the First
That we seem to be mainstreaming this idea that free speech,
properly understood, is somehow protected by a corresponding cleansing
from civilized discourse of “offensive” speech, runs directly against
the intent of the First Amendment.
Not only that, but it turns tolerance into a speech code—when what tolerance should
be doing is preventing speech codes by insisting that, for speech to be
truly free, we must be able to tolerate even that speech that most
Sadly, we are living in Orwell’s world—where even our politicians
are willing to read the Constitution through the cynical eyes of
Cross-posted at Protein Wisdom.