Racialism and the Media. Venise T. Berry
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(2016), the Zip Coon is an arrogant trickster who avoids responsibility at all costs. Finally, Bogle (1973) described the Zip Coon as a male buffoon who is depicted as an unreliable, subhuman creature misusing the English language for the amusement of white people. Bogle adds that racial stereotypes have been used for decades to confirm white superiority over African Americans.
All were character types used for the same effect: to entertain by stressing inferiority. Fun was poked at the American Negro by presenting him as either a nitwit or a childlike lackey … The movies which catered to public tastes, borrowed profusely from all the other popular art forms. When dealing with black characters they simply adapted the old familiar stereotypes, often further distorting them. (p. 4)
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In her book Black Looks: Race and Representation (1992) (bell) hooks agrees. She expresses concern because stereotypes are distorted inventions, yet they can be seen as reality.
Stereotypes however inaccurate are one form of representation. Like fictions they are created to serve as substitutions, standing in for what is real. They are not there to tell it like it is, but to invite and encourage pretense. They are a fantasy, a projection onto the other that makes them less threatening. (p. 170)
The contemporary Zip Coon stereotype has evolved into a prominent media staple. He is the funny, ignorant, aggressive, loud talking, ill-dressed, black male caricature in popular movies and television shows. For example, Stepin Fetchit in Judge Priest (1934) and other films during the 1930s took Zip Coon off of the minstrel stage and placed him on the television screen (Fetchit bio). Stepin Fetchit is depicted as a slow-witted, mumbling coon who moves with a lazy shuffle. He scratches his head when he is thinking, uses poor dialogue and his intelligence is questionable.
The Kingfish character was introduced in the Amos and Andy radio show (1928–1955) as a Zip Coon stereotype. Freeman Gosden, a white man, did the voice over for radio, but the 1950s television show (1951–1953) used a black actor, Tim Moore (Watkins, 1991). Kingfish displayed the general Zip Coon traits showing a lack of intelligence, plus constantly scheming and trying to con people. For example, he set up a phony raffle, got amnesia whenever it came time to pay his debts, bought and tried to sell a broken-down race horse, and was accused of robbery several times concerning different items.
Despite his standup routines that were often socially conscious and controversial (Trickster, 2010), Redd Foxx in the television sitcom Sanford and Son (1972) was a streetwise representation of Zip Coon (Foxx bio). The character of Fred Sanford was a junk dealer living with his only son. He constantly made stupid mistakes, followed get-rich-quick schemes, dished out insults, walked with a stagger and threatened to have a heart attack when confronted about a problem.
Good Times (1972) began as a unique look at life in the urban ghetto, but J.J.’s character eventually developed into an obvious Zip Coon stereotype including his signature action of screaming “dy-no-mite.” Jimmy Walker as J.J. also mixed up words showing his illiteracy and flaunted ill-fitting and colorful clothes on his tall, lanky body. Finally, Will Smith in The Fresh Prince (1990) brought urban slang and cool pose to upper class Beverly Hills in his more contemporary version of the Zip Coon. His style included wearing a private school jacket inside out to expose the bright red, blue and yellow lining. Since he came from the hood, Will’s loud and brash personality was depicted by the upper class kids as cool and different.
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The Blaxploitation period meant changes in the Zip Coon stereotype, even though key features continued to thrive under the surface. Confidence in the use of language changed into a jive talk. For example, Rudy Ray Moore used rhyme and signification in his records and movies. “Yes, I’m Dolemite. I’m the one that killed Monday, whooped Tues, put Wednesday in the hospital, called Thursday to tell Friday not to bury Saturday on Sunday” (Dolemite, 1975).
The clothes in many of the Blaxploitation films included bright yellow, red and green suits worn by pimps and players that were promoted as stylish. Black men were depicted as sexually empowered dope dealers and gangsters involved in fighting, shootouts, and other aggressive actions. Bogle (1989) argues that the strained ethnic humor and the inferiority of Black people turned upside-down was used to trick black people into believing that Blaxploitation meant better depictions. But the major characters were superspades with aggressive, take-no-shit attitudes concerning “the man” according to Bogle who argues that the Black Power movement was actually mocked in these films.
Contemporary Zip Coons
Eddie Murphy is definitely a talented actor and comedian, yet his career is built around a number of stereotypes, specifically, the Zip Coon. One of his most controversial characters appeared on Saturday Night Live (1998) where he butchered the English language as Buckwheat from the Little Rascals (1955). In the Beverly Hills Cop series (1984, 1987, 1994), 48 Hours (1982), Another 48 Hours (1990), and Showtime (2002) movies his signature laugh, wide-toothy grin and aggressive nature create a comfortable Zip Coon reminder for white and black consumption. And, despite Murphy’s enormous skill of being able to portray various members of the Klump family in The Nutty Professor (1996), Buddy Love shows up to portray the cool yet ignorant stereotypical Zip Coon.
A number of other popular Murphy characters display Zip Coon characteristics like the jive-talking donkey in the Shrek (2001) series, the con artist, street thug Billie Ray Valentine in Trading Places (1983) and even the Oscar winning Jimmy from Dreamgirls (2006) with his bright suits and third person speech pattern. According to Sands (2018), while not overly racist, a number of Murphy’s movies reinforce negative stereotypes. Sands says that throughout Murphy’s career, he has been able to appeal to mixed-race audiences by using stereotypes. However, he has also taken the time, occasionally, to celebrate the more positive attributes of blackness in Coming to America (1988), Dr. Dolittle (1998) and Daddy Day Care (2003).
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In 2016 Kevin Hart became the highest paid comedian in American history making 87.5 million dollars between June 2015 and June 2016 (Berg, 2016). Hart’s movies and television shows like Jumanji: Welcome to the Jungle (2017), Ride Along (2014), Ride Along 2 (2016)