Blackface was never funny
Blackface was never funny. It’s dehumanising. What follows is a policeman’s knee on a man’s neck
Three words for the folks whining about Leon Schuster’s movies being pulled off Showmax and an episode of Fawlty Towers being yanked off the BBC’s repeats: are you kidding?
Here’s another word for anyone who thinks that freedom of expression is being trampled on by angry people who would love to see Schuster’s movies consigned to the dustbin of history: blackface.
Blackface — makeup used by nonblack performers in caricatures of black people — is a theatrical "tradition" dating from around the time the first black people arrived in England, or the Americas, or Europe, or wherever it was sport for white people to make fun of black people (when they weren’t manacled to the ’tween decks of slave ships or being terrified by burning crosses on American hillsides).
Blackface was never funny. It’s dehumanising. What follows is a policeman’s knee on a man’s neck. In case of any lingering thoughts that Schuster is being unfairly treated, note that it was the "funnyman" himself who in a 2018 interview with the Sunday Times regretted ever doing blackface.
"But especially on Twitter they said stay away from the blackface, it’s not on. It was black people talking to me and you’ve got to listen. I can’t do it because I’ll be heavily criticised."
"Criticised"? No shucks, Schuster.
As for the Fawlty Towers episode in which the senile resident major uses the N-word multiple times in between Basil Fawlty, John Cleese’s henpecked hotelier, goose-stepping around the dining room and screaming "Don’t mention the war" while making Nazi salutes in front of his German guests — how has this outrage even made it to 2020?
Oh, sorry, I forgot: the EU and (illegal) immigrants, Little Britain’s two bogeymen, fear of which has caused England to retreat from history’s best peace treaty ever and consigned that sceptred isle to looming irrelevance.
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