The Hollywood films and the TV practices that Townsend poked in 1987 still need poking. Ironically, this includes a channel like TCM. This month, September, TCM has devoted Tuesdays and Thursdays to "The Black Experience On Film." The hosts are members of the AAFCA, the African American Critics Association. Watching has been a monumental joy to me -- because the last time I saw a black host on TCM was trailblazer DAUGHTERS OF THE DUST director Julie Dash in December 2016.
Seeing black critics as guest hosts on TCM this month has been not only refreshing, it's been long overdue.
When I had my VH1 talk show, not only was it extreme fun but it was also a privilege for which I am still grateful. I got a great review from the New York Times, People Magazine and TV Guide. I still did not have a broadcast agent. Agents said they wouldn't know what to do with me. One said that if I did weather, he could get me local TV news jobs in a heartbeat. I don't do weather. Here's what I showed to the agents back then.
The agent replied, "But that wasn't a role for a black actor." By the way, the agent was about as white as winter in Minnesota. Look at TOOTSIE again. Bill Murray's character could've been Bill, or a John Leguizamo or a Randall Park (the dad on the ABC sitcom, FRESH OFF THE BOAT). The roommate role in TOOTSIE didn't just have to be played by a white actor -- but that's how agents thought. And that's what has frustrated we people of color who perform and seek work for a long, long time.
I signed with that agent, then parted company after one year. I never had a meeting about hosting another talk show. I had auditions to play either inner city homeboys, prison inmates or thugs. I left the agent after he submitted me to play a knucklehead thug in 1993's WEEKEND AT BERNIE'S 2. The sequel's script called for the two black simple-minded crooks to perform a voodoo dance with the Bernie corpse in a Times Square X-rated movie theater men's room using a boombox and a bucket of fried chicken.
I was appalled at the script's images of black men from a white writer. But to refuse the audition could've labeled me as difficult. Difficult AND black. I kept my audition appointment. I was told by the three white men in the audition -- the writer/director and a couple of others -- to make any kind of choice I wanted when I entered the room to read for the part.
So...I played him like Zero Mostel's high energy, desperate theatrical loser Max Bialystock in Mel Brooks' THE PRODUCERS. I gave them Zero Mostel. The three white men were slack-jawed. I made a choice without giving them the expected stereotype they wanted to see. Nothing against the actor who did book the part. I knew I wouldn't get it -- and I was glad I wouldn't. The thug in the red jacket is the character my ex-agent submitted me to play. This is the exact audition scene I was given. It's in WEEKEND AT BERNIE'S 2. To see a clip, just click onto the link:
That was my HOLLYWOOD SHUFFLE moment in a New York City casting session. And that is why I am so passionate about diversity, inclusion and equal opportunities in the arts. To keep things like that from happening to the new generation. Representation matters.
HOLLYWOOD SHUFFLE airs Sept. 25th at 8p Eastern on TCM.