Chris Rock solves the “race issue”

Chris Rock is one of the biggest racists in America. And in a recent interview in The Hollywood Reporter, he proves the stupidity of Liberalism.

Rock admits to being brought to Hollywood by Eddie Murphy when Rock played a bit role in Beverly Hills Cops II. Rock earned the spot from his earlier days doing stand-up and getting noticed by Murphy. In the article Rock explains what it was like coming to the set of paramount.

Don Simpson and Jerry Bruckheimer’s office was in the same building as Eddie’s office, and they would come to work every day with matching cars. Some days it would be the Porsches, and the next day it would be Ferraris. I was like the kid in A Bronx Tale. I got to just hang around when the biggest parts of show business were happening. I was only there a couple of weeks, but I remember every day Jeffrey Katzenberg would call Eddie Murphy — I don’t even know if Eddie was calling him back — but it was like, “Jeffrey Katzenberg (emphasis added) called again.” “Janet Jackson just called.” “Michael Jackson called.” It was that crazy. I’ve still never seen anything like it. I had a small part in the movie, but my dream was bigger than that. I wanted to have a convertible Rolls-Royce with a fine girl driving down Melrose blasting Prince.


What Rock doesn’t realize at this time is:

  1. He caught a break that many young comedians would never get, and
  2. All these “white” people, the very people discovered Eddie Murphy, are now ready to help Rock expand his mind. They expanded Rock’s mind, and yet HE had bigger dreams.

So Rock admits to getting help with his big dreams, and now he knows the process, the game. Yet, he laments:

Someone’s going to help the white guy. Multiple people will. The people whom I’ve tried to help, I’m not sure anybody was going to help them.

Couldn’t the same be said about Eddie Murphy helping him?

So Rock explains,

I still remember people thinking I was crazy for hiring Wanda Sykes on my old HBO show. I recommended J.B. Smoove for Saturday Night Live, and I just helped Leslie Jones get on that show. She’s about as funny as a human being can be, but she didn’t go to Second City, she doesn’t do stand-up at The Cellar and she’s not in with Judd Apatow, so how the hell was she ever going to get through unless somebody like me says toLorne Michaels, “Hey, look at this person”? I saw her at a comedy club four or five years ago, and I wrote her name down in my phone. I probably called four managers — the biggest managers in comedy — to manage her, and all of them said no. They didn’t get it. They didn’t get it until Lorne said yes a few years later, and then it was too late.

Rock doesn’t even realize that he is repeating the very same process that got him famous, as all the people he is helping are getting ahead. Murphy discovered him, and he is paying it forward with others. And as we all know, breaks come for various reasons.

Rock begins to show signs of understanding things, as he comments about the industry of Hollywood.

It’s a white industry. Just as the NBA is a black industry. I’m not even saying it’s a bad thing. It just is. And the black people they do hire tend to be the same person. That person tends to be female and that person tends to be Ivy League. And there’s nothing wrong with that. As a matter of fact, that’s what I want for my daughters. But something tells me that the life my privileged daughters are leading right now might not make them the best candidates to run the black division of anything. And the person who runs the black division of a studio should probably have worked with black people at some point in their life. Clint Culpepper [a white studio chief who specializes in black movies] does a good job at Screen Gems because he’s the kind of guy who would actually go see Best Man Holiday. But how many black men have you met working in Hollywood? They don’t really hire black men. A black man with bass in his voice and maybe a little hint of facial hair? Not going to happen. It is what it is. I’m a guy who’s accepted it all.

There is so much twisted logic in this statement, though Rock rightly acknowledges that Hollywood being a “white industry” is not necessarily bad, just as the NBA being black is not necessarily bad. Personally, I don’t want to see a bunch of mediocre white guys (or girls) playing basketball. Which brings me to the “black division” of a studio.

Do black people like “black entertainment,” or could black people get entertained watching “Identity Thief” for example?

Identity Thief featured two white actors, however it did have Morris Chestnut in a non-bit role (Chestnut played mediocre-acted part as the cop who works with Jason Bateman’s character to help him with his identity theft problem).

My question is, “Who let Morris Chestnut out of the ‘white division’ of Hollywood to do that role?”

Rock discusses the life of privilege he has now established for his daughters, and how they will no longer have the “black experience.” He further commented that his daughters would not be able to run the “black division” of a Hollywood studio, because in his logic, they apparently are no longer black.

You getting this? I know it’s confusing that a black nationalist is essentially admitting to raising his daughters “white,” and lamenting the plight of black people.

For my remedial readers, what Rock is saying is these young black girls will grow up in a different CULTURE, than what Rock himself grew up. They will have different experiences, experiences Rock deems “non-black.”

Well I think Oprah, Denzel, Le Bron, J-Lo, Tiger, and many other non-white people whom I don’t need to use their last names they are so big and wealthy might beg to differ.

Rock then laments the town of Hollywood, not just the studios in this comment.

But forget whether Hollywood is black enough. A better question is: Is Hollywood Mexican enough? You’re in L.A, you’ve got to try not to hire Mexicans. It’s the most liberal town in the world, and there’s a part of it that’s kind of racist — not racist like “F— you, nigger” racist, but just an acceptance that there’s a slave state in L.A. There’s this acceptance that Mexicans are going to take care of white people in L.A. that doesn’t exist anywhere else. I remember I was renting a house in Beverly Park while doing some movie, and you just see all of the Mexican people at 8 o’clock in the morning in a line driving into Beverly Park like it’s General Motors. It’s this weird town.

Rock appears to tell readers that Mexicans are not qualified to do anything significant at a studio? Nothing but mop up?


I will consult with Eva Longoria and get back with you on that.

Here’s Rock discussing trying to set up a conveyor belt for young blacks to break into Hollywood.

Fifteen years ago, I tried to create an equivalent to The Harvard Lampoon at Howard University, to give young black comedy writers the same opportunity that white comedy writers have. I wish we could’ve made it work. The reason it worked at Harvard and not at Howard is that the kids at Howard need money. It’s that simple. Kids at Harvard come from money — even the broke ones come from money. They can afford to work at a newspaper and make no money. The kids at Howard are like, “Dude, I love comedy, but I’ve got a f—ing tuition that I’ve got to pay for here.” But that was 15 years ago; it might be easier to do it now because of the Internet. I don’t know.

Sounds like the very wealthy Rock knows the problem is financing, yet he doesn’t appear willing to get up off any of his money to finance this new crop of writers.

Like most Liberals, Rock is a walking, talking contradiction. Don’t expect interviewers to press him on these issues, but I can see glimpses of him coming to grips with his Liberalism.

Only time will tell.



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