"I Know Why the Caged Bird Laughs" — the Maya Angelou prank show.

I dvr "Saturday Night Live," but I rarely watch any of it. But we got sucked into this week's show, with Maya Rudolph hosting, and that Maya Angelou imitation cracked me up.

The second link goes to the whole show, which includes Rudolph playing Michelle Obama in a "Cosby Show" spoof in which Fred Amisen has to play a merged Barack/Cosby character. Rudolph also plays Beyonce (with her new baby) in a scene that I didn't watch but heard Meade laughing at, and there was a very noisy segment called "What's Up With That?" about an incredibly irritating TV show. The real Bill O'Reilly appeared as himself in that sketch, and Meade seemed to find it hilarious, as I — 10 feet away from the TV — was trying to get through some work that I'd been putting off all weekend.

What made the show so funny? Has "SNL" gotten good again for some reason? Is Maya Rudolph a genius? Was it race? I see Ace of Spades is saying:

SNL Does Oddly Racial Episode for Black History Month

One sketch knocks the hypocrisy of sportscasters for making jokes about Jeremy Lin's race while getting all pissy about similar jokes aimed at blacks, and another sketch asks what it would take for Obama to lose the black vote.

Plus goofing on Maya Angelou.

Regarding that first sketch: I agree on the hypocrisy but I think the solution here is for everyone to lighten up, not for everyone to submit further to PC.

Saturday Night Live knows well that racial jokes are funny -- since they use them themselves a lot. Oh, they don't do it in a mean way, and they often (as here) have some kind of defensible thesis they can point to, but still. If you're using them, you're not really against them.

Isn't this the problem that drove Dave Chapelle crazy? I know Ace is trying to turn the tables on liberals. I think part of what's going on is that if there's a subject that you're not supposed to laugh about, when someone steps up and cracks jokes about it, it's especially funny. And part of why it worked is, I think, that there were some really great black actors playing, not racial stereotypes, but specific black individuals: Beyonce, Prince, Maya Angelou, Cornel West, Morgan Freeman, Michelle Obama. Specificity, not stereotypes.

Meanwhile, and speaking of Jeremy Lin, here's the NYT not-so-subtly accusing the American people of racism for getting so excited this year about Jeremy Lin and Tim Tebow, when we haven't gotten comparably excited about a black athlete.

Photographs by/of Dennis Hopper.

Hopper took some cool photographs in the 1960s — cool not just because he had access to some of the celebrities of that era (Paul Newman, Jane Fonda, Bill Cosby, Brian Jones, Tuesday Weld, Andy Warhol, etc.).

And Terry Richardson did a nice cigar-smoking sequence of Hopper.

Via Metafilter, which highlights the great photoblog Chasing Light.

YouTube is adding a big page of full-length movies and TV shows.

Info about the new show.

To watch, go to Youtube dot com slash shows.

I check out the classic TV, hoping for my favorite show, "Dobie Gillis." It's not there (yet), but — check it out — here's the first episode of "I Spy." Not embeddable, but nice and sharp.

Very cool.

What would someone have to say on "Meet the Press" to prompt a follow-up question from David Gregory?

The previous post is about something Bill Cosby said on today's "Meet the Press." That was part of a segment about what Obama can do to help "the black community" with its "deepest problems." Also in this segment was Congresswoman Maxine Waters. Take a look at this:

[DAVID] GREGORY: You go home to Watts and you go out there and you see young people--the fact that we have a black president, that means something.

REP. WATERS: Well, of course it means something. He's absolutely a role model. I was watching the young boys from the Ron Clark school who have a--they were in a choir, and they have created a song about Obama. And I was watching their faces. And certainly if there's one thing you can say about this historic election, it is that he has created hope. He has, you know, let young people know and young black boys know that you can, you can indeed succeed.

Let me tell you about this parenting issue. I have--or we just had a Black Caucus retreat, and parenting emerged as the number one concern in that retreat. Now, as a public policymaker and a legislator, I think about ways by which we can be helpful in bringing about the kind of public policy that will assist families. And so parenting is one thing that I'm going to spend a lot of time on, because I think that we should dedicate personnel in our public schools to work with parents and to get parents involved. The PTA does not do that. But the teachers cannot do that, the teachers cannot be concerned about what is going on in the classroom and follow the kids home. But if we have a component in the school that's dealing with going to the home, finding out what is happening with this child, what are the circumstances under which they are living, and be able to direct resources toward that family and give families support, I think we can use parenting as a way to begin to deal with these very serious problems where children drop out and children are already considered failures before they reach high school.

I'm really feeling hopeless about David Gregory as Tim Russert's replacement on MTP. No follow-up question? Does he even listen to what the guests are saying?

Waters just said that the teachers can't follow the kids home, but that there ought to be "a component in the school" that — what? — follows the kids home? What sort of "component"? I'm afraid of these components! What is Waters proposing, and does Gregory have any capacity for critical thinking? How is it acceptable for government authorities to intrude into the home this way?

Then, Bill Cosby is going on about service:

... these Jesuits, I — they have an answer, and they make their boys go out into the community and give service... One of the things I've heard... is that when a person gives, when a person does a service, that there's something that happens to them emotionally. I've heard people in prison working with prisoners talk about prisoners breaking down and crying because they taught another prisoner, they mentored another prisoner to learn how to read. And that the, the mentoring person started to cry. You can't--as a policeman, as a policeman said to me -- make a man cry by punching him in the face. They don't cry. But here this man is, and it's something emotional about us giving to each other, teaching each other. And that's what this family's talking about.

Again, no follow-up from Gregory. Is Cosby suggesting that the government — like the Jesuits — should make their boys go out into the community and give service? A public-service draft? Could Gregory give some critical push-back?

Or was Gregory patronizing black people? Not only was he sparing his black guests any challenging questioning, he also abysmally failed to see the libertarian interests of black people as those guests went on about following black kids home from school to check on whether their parents are decent and forcing young black men into service. If those proposals had been made in a way that seemed to extend beyond the "black community" with its "deepest problems," would the light bulb in Gregory's brain turn on? What exactly are you talking about doing? How would you respond to those who would argue that this is an unacceptable — perhaps even an unconstitutional — burden on individual liberty?

When Bill Cosby voted: "Well, I took my father's picture, I took my mother's picture and I took my brother James, he died when he was 7, I was 8..."

"And I took the three of them into the voting booth in Shelburne Falls, Massachusetts, and I pulled the curtain and I took their pictures out and I said, 'And now we're going to vote.' And I — we only, I only voted once. But — and I did that and their pictures were out, and then I put them back into my pocket and I opened the curtain. And it, and it was wonderful."

IN THE COMMENTS: Chip Ahoy said:

When I voted I stepped into the booth and closed the curtain. Then I took out of my overcoat photos of my mother and father and my four brothers and sisters and my dog that I have in little frames and taped them to the voting machine. I came prepared with Scotch tape because I remembered last time they didn't have any shelves in that voting booth. Then I took out a couple of candles and taped them to the sides of the voting booth. Then, from another pocket of my overcoat, I took out a bento box that I stuffed with sushi and sashimi and mixed the soy sauce into the wasabi, and using chopsticks, had a little snack. Then I took out a flask of saki and took a few long swigs. Then I gazed at the pictures for a long time. I thought heavily about each member of my family as I went down the row of election choices and made my selection. Then when I was finished with my little ritual I looked at the pictures again, individually, and said to them as if they were in there with me, "You're wrong about nearly everything and although I have only an idea how you all voted I have but one vote to counteract yours, so here goes." Then I pulled the lever. Put the pictures back into my pocket, snuffed the candles, put those away too, then the flask. Then closed the bento box and left.

Bissage said:

When I voted I brought my menagerie of Star Wars figurines and wrote in Jedi Master Mace Windu.

And it, and it was wonderful.

"Shakedown in your child’s room!"

Bill Cosby — on "Meet the Press" — urges parents to subject their children to intense, prison-style searches:

When you—when—there’s a, there’s a friend of mine who was in jail. He is now a pastor in, in Wilmington. And he talks about a thing called “shakedown.” And in shakedown, you’re in prison, you go to your cell, and all of a sudden they go whoop-whoop! And they stop the water from flowing into your—and they turn the lights, and you have to take your clothes, and they go through everything in your cell, and you have to stand there, period. They’re looking for stuff. And what, and what Pastor Dee says to the people in the church—and I’m telling you, people started cheering—he said, “Shakedown in your child’s room! Your child didn’t buy that room, your child’s not paying rent. You’re trying to keep your child from being murdered, from going to jail, etc., etc. Shake down. Look under the mattress, make sure your kid doesn’t have a gun. Look into materials on the wall. What is your kid talking about? Is it dangerous?” This is a part of love, and this is what we have to do, regardless of race, color or creed.

"Put on this wig and believe."

A photographer spends six years finding 1,431 persons to put on a big, curly, black wig and pose:

"The wig was perfect because it was a blank slate," Kenneth Solomon said. "The variable was their face, their expression, their interpretation of 'Put on this wig and believe.' "

Too bad the mosaic of tiny photos at the NYT link isn't clickable for enlargements. The impact of the mosaic is nice, what with the thematic unity provided by the wig, but we can't see enough of the varied expressions that the wig set off. Is it supposed to say something about race? You really can't tell from the article.

For something much more substantive on the subject of race, here's a NYT review (by Slate's Dana Stevens) of biographies of two black actors, who found success in Hollywood in the 1930s and 40s.

About "Hattie McDaniel: Black Ambition, White Hollywood" by Jill Watts:

Her trademark screen attitude of comic insolence reached its peak in "Alice Adams" (1935), when, playing Katharine Hepburn's family maid, Malena, she all but slammed down the plates in front of her white employers while resentfully chomping on a piece of gum.

Watts's sympathetic biography makes much of these moments of Trojan-horse resistance, linking McDaniel's finely calibrated defiance with modern notions in race theory: by infusing her body language with hostility or a parodic compliance, Watts argues, McDaniel was "signifying," deliberately turning racist tropes against themselves.

About Mel Watkins's "Stepin Fetchit: The Life and Times of Lincoln Perry":

He was reviled in the African-American press (and soon after, in the culture at large) as a racist caricature, the "subservient, dim-witted, craven, eye-rolling" Negro. By the 1960's, his name had become an epithet, like "Uncle Tom."

In a 1968 CBS special entitled "Of Black America," a young comic named Bill Cosby proclaimed that "the tradition of the lazy, stupid, crap-shooter, chicken-stealing idiot was popularized by an actor named Lincoln Theodore Monroe Andrew Perry." The outraged Fetchit, then 66, movingly responded during a press conference: "They're making me a villain," but "if it wasn't for me there wouldn't be no Sidney Poitier or Bill Cosby or any of them."

Seinfeld on "Oprah."

Jerry comes out to a huge ovation. He looks at the audience and says: "This is something. You do this every day?"

The audience constantly over-applauds. Oprah notes that she and Jerry are the same age (50), and the audience goes wild.

Jerry's response is perfect: "I love being 50. It means I'm almost done." Oprah goes into no! no! mode and Jerry has to say "it's just a joke" and a few other things until he finally lands on "it doesn't matter how old you are," and the audience goes wild again.

Oprah asks why they've only released the first three seasons on DVD, and Jerry says, "That's 40 episodes. How much time do you have?" There's a very distinctively Seinfeld way to say "How much time do you have?" and you've got to imagine it to find it funny. It's impossible to render in type. Something like: "How … much time … do you … have?"

Oprah asks him what he finds funny on TV today, and he says he watches a lot of "Sesame Street," and he thinks about how people tell him he should do another show: "I sit there and I watch this Elmo guy. And he is so likeable and so funny and so charming. And I sit there with my daughter, and I think: let him bust his little red ass."

Jerry's wife is there (and moved to tears by the experience of being 20 feet away from Oprah), so the conversation turns to marriage. Jerry says he was surprised at all the questions. He thought "Do you take this woman?" would be the last one. But now it's "How long are you going to sit there watching TV?": "I wish I knew the answer to that one myself."

Jerry's wife tells us he's "sweet," but can't come up with much of an answer to Oprah's request for a story. He's nice to his kids.

Oprah asks him about his obsessions: dolphins (they have "nice smiles"), Bic pens ("Every joke for the Seinfeld show was written with a Bic pen"), sneakers ("I'm wearing shoes just for you.")

The Puffy Shirt is being put in the Smithsonian, we're told.

Seinfeld's wife says has not seen all the episodes of "Seinfeld."

Oprah brings out Jason Alexander. The crowd acts pretty thrilled, even though it's just Jason Alexander.

Oprah brings out Julia Louis-Dreyfus. Clearly, the audience (nearly all women) likes her more than Jason. She looks great, Oprah tells her. Truthfully! Oprah shows Julia a clip of several audience members imitating Elaine's little steps dance [added: technically, it's "The Little Kicks."]. Julia says "wow" but doesn't seem that enthused. She seems not to be so much like the people in the audience, even though they identify with Elaine. Jerry helps out with a joke: "It's really true that girls just wanna have fun."

Oprah brings out Michael Richards. His hair is slicked down. He describes looking for "little things" in the script, ad libbing "the sound effects," practicing lines off by himself, and feeling that Kramer was playing him and that what he needed to do was to "get out of the way."

We're told Jerry bought Billy Joel's house in the Hamptons and we're shown some photos of him and his wife and kids on a windswept beach and in a sparkling, white kitchen. The audience goes "aaah!"

Talking about the last "Seinfeld" show, Jason Alexander says that, as they were about to shoot, Jerry said to them, "For the rest of our lives, when anyone thinks of any one of us, they'll think of all four." The audience goes "awwww." Oprah goes, "That is sweet." When the show ended, Jerry took some parts of the set (which he keeps with his Porsches). He took the door, the couch, and one of the booths from the restaurant. Michael Richards and Jason Alexander just took their shoes and (Alexander only) his glasses. Julia Louis-Dreyfus took her wardrobe, and jokes that she doesn't know why. (On the DVD commentary, she often talks about how bad Elaine's clothes were, and also how bad Jerry's clothes were. George's clothes were always intended to look bad. Kramer's clothes were supposed to be strange, and it's noted in the DVD commentary that only Kramer's clothes look good now. That vintage look aged well.)

After the final commercial break, there's only time enough to push the DVD one more time and say good-bye, but Oprah whips the crowd back up into a hysterical, jubilant cheer. As the closing credits roll, Oprah hugs each of the "Seinfeld" castmembers, kicking one leg up when she hugs Jerry and again when she hugs Michael Richards.

UPDATE: The group continues, more casually, on "Oprah After the Show." Oprah talks about how Jerry and his wife invited her to dinner but she had to refuse because she's on a diet that has a rule against eating after 7:30 at night.

We're shown photos of Julia Louis-Dreyfus's house, which has a retractable roof is dedicated to ecological principles. "It has sustainable woods" causes Jerry to say "What does that mean?" The question isn't answered. It's a joke. The tile, we're told, is made from recycled carpet. "It is a totally green house," Louis-Dreyfus says. Much applause.

Jerry offers this piece of advice: "If you never make a career choice based on money, you'll always have money." Hey, it worked for him!

Oprah asks what's your favorite episode. Jerry: "The Marine Biologist." Jason: "The Parking Garage." Michael: "The Parking Garage." Julia: wasn't asked.

They talk about Jerry's favorite comedian, Bill Cosby. When he walks down the street, Jerry says, he's happy to meet everyone who comes up to him. Oprah tells us that when he appeared on her show, he was dropped off alone! She clearly thinks this is flat-out amazing.

What comedian does Michael Richards love? Charlie Chaplin, Stan Laurel, Jacques Tati, the early Peter Sellers. Good answer! So good it almost makes me cry to think that more roles have not come Richards' way. He adds: "And I love the great Red Skelton." Ah! I loved Red Skelton so much when I was a child. I loved him in that deep, childlike way where you completely believe that everyone loves him.

Julia Louis-Dreyfus? "I think Ellen DeGeneres is unbelievably funny." She also loves the funny actresses, specifically, Mary Tyler Moore and Lucy.

Jason? Jon Stewart. And Jerry.

What we might find funny.

The Black Table (via Throwing Things) has a nice "entirely subjective list of major influences to what We Find Funny." The first thing on the list is "Bill Cosby, Himself" and the description was enough to make me go over to Amazon and pre-order the DVD (to be released in August). Amazon tells me "Customers who shopped for Bill Cosby, Himself also shopped for": The Passion of the Christ, Kill Bill Volume 2, and Hellboy ("a moodily effective, consistently entertaining action-packed fantasy, beginning in 1944 when the mad monk Rasputin--in cahoots with occult-buff Hitler and his Nazi thugs--opens a transdimensional portal through which a baby demon emerges, capable of destroying the world with his powers"). Who are these customers?



UPDATE: When I wrote this originally, I thought it was absurd that anyone could be interested in all four of these DVDs. (Of course, I knew Amazon wasn't claiming the same person was interested in all four.) The weird thing is, now that I've written that, I realize that I am interested in all four movies. Regular readers may attempt to guess which of the four movies I went to see as soon as it came out. The other three, I've never seen. Answer: here.