SNL’s Pete Davidson slams Chevy Chase as ‘a genuinely bad, racist person’
Pete Davidson slammed Chevy chase on Monday as a “f douchebag” and “a genuinely bad, racist person.” (Getty Images)
“Saturday Night Live” star Pete Davidson slammed show alum Chevy Chase on Monday, calling the former cast member a “putz” while defending his boss, Lorne Michaels.
Davidson, during an appearance on “The Howard Stern Show,” swiped back at Chase, who last week said the iconic NBC show had the “worst f humor in the world.”
CHEVY CHASE SLAMS SNL: ‘WORST F HUMOR IN THE WORLD’
“He’s a f douchebag,” Davidson, 24, reportedly said. “F— Chevy Chase. He’s just a genuinely bad, racist person and I don’t like him. He’s a putz.”
Video Chevy Chase allegedly made racist jokes to Donald Glover Chase, 74, was one of SNL’s first cast members. He told The Washington Post he was amazed the show’s creator, Michaels, “has gone so low.”
“I just couldn’t f believe it,” Chase said. “That means a whole generation of s—heads laughs at the worst f humor in the world.”
Davidson, who became one of the show’s youngest members when he joined at 20 years old, questioned who Chase was to make such “disrespectful” comments.
PETE DAVIDSON SAYS HE GOT DEATH THREATS OVER ARIANA GRANDE ROMANCE
“What has he done since ’83? Nothing,” Davidson said. “He had a big career and then it stopped because everybody realized he’s a jerkoff. He should know more than anybody.”
He continued: “It’s disrespectful to Lorne, too, a guy who gave you a career. No matter how big you get, you can’t forget what that guy did for you.”
However, Taran Killam, another former SNL cast member who was booted from the show in 2016, said Chase was allowed to have his own opinion on the sketch comedy series.
“I think for comedy to stay important and relevant it needs to evolve and it needs to change over time, so I certainly understand if the comedy that he’s been watching since he left is not to his liking, but I certainly don’t disagree that it hasn’t been as good since the first two seasons or that first one season he was on because I own that box DVD set,” Killam said. “It’s at best uneven.”
Chase, who made an appearance at SNL’s 40th Anniversary Special in 2015, won three Emmy Awards for his work on the show. He starred in the show during its first one and a half seasons.
Nicole Darrah covers breaking and trending news for FoxNews.com. Follow her on Twitter @nicoledarrah .
Medusa and Hillary Clinton: Why the Original ‘Nasty Woman’ Keeps Reappearing During the 2016 Election – The Atlantic
Culture The Original ‘Nasty Woman’ For centuries, Medusa has been used to criticize powerful women. So it’s no surprise the mythological Gorgon has re-emerged this election cycle.
Elizabeth Johnston Nov 6, 2016
Slava Gerj / WitR / Shutterstock / Zak Bickel / The Atlantic As a professor of English, I teach a humanities course on female icons in pop culture, and one of the first examples my students learn about is Medusa. A Gorgon from classical mythology, Medusa is widely known as a monstrous creature with snakes in her hair whose gaze turns men to stone. Through the lens of theology, film, art, and feminist literature, my students and I map how her meaning has shifted over time and across cultures. In so doing, we unravel a familiar narrative thread: In Western culture, strong women have historically been imagined as threats requiring male conquest and control, and Medusa herself has long been the go-to figure for those seeking to demonize female authority.
Benvenuto Cellini’s 1545 sculpture
Perseus with the Head of Medusa .
Wikimedia It’s perhaps no surprise, then, that Medusa has cropped up repeatedly during this heated election cycle, one that may end with the United States electing its first woman president. One image in particular keeps recurring—that of the Democratic candidate Hillary Clinton as the mythological snake-haired monster. Clinton has been compared to Medusa by conservative writers like Joel B. Pollak at Breitbart News and bloggers like Ron Russell at Right Wing Humor , and in political merchandise sold online. Meanwhile, her opponent Donald Trump has been portrayed as her conqueror, the Greek demigod Perseus. On Zazzle, people can buy products emblazoned with an image of a stoic Trump raising the severed head of a bug-eyed Clinton, her mouth agape in silent protest—an allusion to a sculpture by the Italian Renaissance artist Benvenuto Cellini. Today, the political references to Medusa only underscore the pervasive misogyny that drives many attacks against Clinton and other so-called “nasty women .”
Medusa remains a potent icon at a time when women leaders continue to be viewed skeptically or, at worst, as inhuman. Indeed, almost every influential female figure has been photoshopped with snaky hair: Martha Stewart, Condoleezza Rice, Madonna, Nancy Pelosi, Oprah Winfrey, Angela Merkel. (Have a few minutes? Do a Google Image search: Type in a famous woman’s name and the word Medusa.) These businesswomen, politicians, activists, and artists made the same “mistake” that Susan B. Anthony identified when she commented on the lack of women’s voices in 19th-century newspapers: “Women … must echo the sentiment of these men. And if they do not do that, their heads are cut off.” These women infringed upon the domain of men. The only response, as suggested by their Medusa-fied images? To cut their heads off; to silence them.
The implicit violence of the Medusa comparison relates not only to beheading, but also to rape culture — another issue that has figured into the current election. Bits of Medusa’s story date back to at least Homer’s Iliad , but it’s with Ovid’s Metamorphoses that her story emerges most fully. A closer read of her tale may surprise those who only know her vaguely from popular culture. In Ovid’s story, the god Neptune sees Medusa, desires her, and decides that, because he is a god, he is entitled to her body ( sound familiar ?). He rapes her in Minerva’s temple, and Minerva, incensed that her temple has been defiled, punishes the victim rather than the perpetrator ( again, sound familiar ?). Minerva transforms Medusa into a snake-haired monster who now, instead of inspiring men’s desire, literally petrifies them. Later, Minerva gives her shield to Perseus to help him kill Medusa; he uses it as a mirror, deflecting Medusa’s curse. He beheads her while she sleeps and then carries her head in a bag, a trophy he pulls out as needed to destroy enemies.
Medusa has since haunted Western imagination, materializing whenever male authority feels threatened by female agency. As the art historian Christine Corretti has explained , Cellini believed Medusa symbolized both the threat of women’s burgeoning political power and a feminized Italy. Corretti notes that these sentiments were popularized during the Renaissance by Machiavelli who, in The Prince, alluded to the Medusa icon when he described the state as a woman “without head, without order, beaten, despoiled, torn,” desperate for a manly rescuer. Medusa again became a symbol of a monstrously feminized republic during the French revolution. In 1791, Marie Antoinette appeared as a beastly Medusa in the print “Les deux ne font qu’un.” A year later the English artist Thomas Rowlandson created a print depicting the vision of liberty espoused by the rebels of the French Revolution as Medusa-like.
A caricature by the English artist Thomas Rowlandson titled “The Contrast, 1792.” Wikimedia Later, as women’s colleges began to open in the United States, the 19th-century painter Elihu Vedder imagined Medusa as a self-absorbed woman who petrifies herself by looking into a mirror. Sigmund Freud notably used the myth to explain his concept of castration anxiety. And as women rallied for the right to vote, various anti-suffrage postcards linked suffragettes to the monster. Concerns about gender and power continued into the 1940s when the writer Philip Wylie, in his invective Generation of Vipers, evoked Medusa (and her Gorgon sisters Stheno and Euryale) in order to urge readers to resist the women who had entered the work force after the first two world wars. By then, Medusa’s history as a rape victim had been erased from the cultural consciousness. She had simply become a woman with a terrifying potential power to emasculate men.
However, with second-wave feminism, many writers and artists began to re-examine traditional myth. Hélène Cixous, Sylvia Plath, Colleen McElroy, and others searched the recesses of history for their lost matriarchal heritage and chose Medusa as their muse. “How to believe the stories I am told?” the poet May Sarton asked in 1971 when she looked on the Medusa and found herself not frozen but “clothed in thought.” Later, as discussions about rape culture evolved in the 1970s and 1980s, poets including Ann Stanford and Amy Clampitt channeled Medusa to engage in conversations about the silencing of sexual-assault victims.
Similarly, feminist scholars like Marija Gimbutas re-read the myth of Medusa as a beheading of early matriarchal societies by Greco-Roman culture. According to this interpretation, Neptune’s rape of Medusa and Perseus’s subsequent beheading of her represent the same effort to legitimize male privilege by muting female authority. Indeed, ancient mythology is rife with stories of gods who violate women. This devaluing of women was reflected in the norms and laws of a culture wherein women were traded as commodities between men and rape was permissible by law.
When Medusa pops up in pop culture today, her deeper significance is largely ignored. For example, in the 2010 film adaptation of Clash of the Titans , Perseus rallies his men before confronting Medusa: “I know we’re all afraid. But my father told me: Someday, someone was gonna have to take a stand. Someday, someone was gonna have to say enough! This could be that day. Trust your senses. And don’t look this bitch in the eye.” In the film, Perseus knows Medusa has been raped, but she’s nonetheless treated with indifference by the plot, and with hostility by the other characters.
With this context, my students look anew on art like Cellini’s sculpture. Now, they can see that Perseus is the aggressor, not a hero but a symbolic rapist standing astride the body of his victim, her bloodied head held high in victory. Medusa’s closed eyes and lips speak volumes about both the history of women’s oppression and the submersion of women’s histories. It’s a submersion poignantly symbolized by a story that Congresswoman Carolyn Maloney shared recently at a panel discussion in historic Seneca Falls, New York. For years Maloney tried to get a statue of the first-wave feminists Elizabeth Cady Stanton, Susan B. Anthony, and Lucretia Mott moved from the basement of the Capitol Building to center stage in the Rotunda. Colleagues, however, argued that it was “too ugly.”
Women’s physical appearances are often particularly used as a way to demean them, as the Clinton-Medusa images show, and tying women’s value to their looks has also been a feature of this election thanks to Donald Trump . The misogyny of the election comes through in much of the anti-Clinton imagery that abounds, including a t-shirt featuring a beheaded Medusa Clinton that reads, “Life’s a bitch, so don’t vote for one.” The shirt echoes the campaign’s most popular slogan, “Trump that Bitch” (and even the “bitch” Quote: : from Clash of the Titans .) The fact that there’s even a market for such political paraphernalia testifies to the terror that powerful women continue to elicit even in the 21st century and to the related and troubling persistence of mythologies that endorse and perpetuate rape culture.
Unlike the eyes and mouth of the Cellini Medusa, those of the Clinton Medusa in the Triumph t-shirt are wide open, a grotesque caricature of female agency that likely gratifies her conservative foes. Those satirizing Clinton as a Medusa are likely unaware of the misogyny tied into the iconography. For them, Medusa is just a creature who castrates men and that must be defeated. In their minds, Hillary is monstrous, too, but in a slightly different way: She’s a woman who wears pantsuits, who calls attention to institutional sexism, who is ambitious, and who altogether refuses to conform to traditional gender roles. And yet, as Greco-Roman history makes clear, when the gods devalue women, the people will too. On Tuesday, voters in the United States will decide which candidate they want as figurehead, which representative they think best embodies the values of this country. The implications of that choice could not be more profound.
We want to hear what you think about this article. Submit a letter to the editor or write to email@example.com.
Elizabeth Johnston is an associate professor of English at Monroe Community College in Rochester, New York.
Brett Kavanaugh And The Men Who Say Nothing
POLITICS 09/25/2018 04:06 pm ET Updated 21 hours ago Brett Kavanaugh And The Men Who Say Nothing His career was built on a code of silence. HuffPost spoke to one man who broke it. By Emily Peck Jim Bourg/Reuters Donald Trump is not even the most notorious accused sexual harasser in Brett Kavanaugh’s circle. 1k Brett Kavanaugh , the embattled Supreme Court nominee facing multiple accusations of sexual misconduct, stands on the shoulders of some of the country’s most powerful and influential misogynists.
The man who nominated him to the Supreme Court is Donald Trump, himself accused by more than a dozen women of sexual misconduct. His high school pal is Mark Judge, a well-known conservative author whose writing reveals a deep disdain for women and especially feminists .
But perhaps one of the most influential figures in Kavanaugh’s career is his longtime mentor: Alex Kozinski, a well-known federal judge who resigned last December after many women came forward to describe his sexual harassment and misconduct.
Kavanaugh has steadfastly claimed he knew nothing about Kozinski’s behavior, and couldn’t recall anything inappropriate about him. Yet considering the overwhelming evidence that’s piled up about Kozinski, Kavanaugh’s denial seems preposterous.
“Everybody knew,” writes longtime legal columnist Dahlia Lithwick for Slate, explaining she had experience with Kozinski since the late 1990s.
“There’s no way Kavanaugh didn’t know,” a man who clerked for Kozinski more than a decade ago told HuffPost recently. Others have asked how Kavanaugh could have possibly been ignorant of the judge’s sexism and misconduct.
Justin Sullivan via Getty Images Alex Kozinski, then a judge for the 9th Circuit U.S. Court of Appeals, looks on during a House Judiciary Committee hearing on March 16, 2017. The former clerk is the rare man to speak up about Kozinski ― most of the judge’s accusers are women. Indeed, this man says he even took the almost unheard-of step of telling Kozinkski that his behavior was inappropriate.
During the man’s clerkship, Kozinski showed him a video of naked women skydiving, he told HuffPost. “He thought it was hilarious to watch their breasts ‘flap’ back and forth,” he recalled.
The former clerk declined to be named in HuffPost for privacy reasons, but Catharine MacKinnon, a prominent professor at the University of Michigan Law School who first conceptualized the notion of sexual harassment in the legal system, confirmed his story.
“He spoke of hearing in the chambers things Judge Kozinski said that I vividly recall were sexually salacious,” she said, adding that the judge made this man extremely uncomfortable. The former clerk was MacKinnon’s research assistant years ago.
Men weren’t typically the butt of Kozinski’s jokes. The former clerk remembered that while Kozinski was evaluating the application of a woman who was second in her class at the University of California, Berkeley, School of Law, the judge had described her as the sort of woman who would only give you a handjob.
Even as a bystander, the former clerk said, he was offended.
“He thought it was discriminatory, harassing to everybody in the chambers. He was absolutely horrified and attempted to convey his lack of enjoyment of this to the judge,” MacKinnon said.
The former clerk said he set up a meeting with Kozinski to directly confront him, telling him these comments about women were just too much and that the overall atmosphere felt abusive.
He said Kozinski responded by telling him a joke: “How can you tell if a woman has an orgasm?” The answer: “Who cares.”
The message was: Kozinski didn’t care.
A week later, the law clerk quit.
He tried to get another clerkship, but found that Kozinski had thrown up roadblocks, he said.
“Suddenly, he had no prospects,” MacKinnon recalled. “He struggled professionally for some time trying to recover.”
MacKinnon said she never again recommended Kozinski to students who were looking for coveted legal clerkships.
The former clerk’s story perfectly illustrates why someone like Kavanaugh, an ultra-ambitious lawyer on a glide path to the Supreme Court, would never admit to knowing what his mentor was truly like.
That kind of complicity is how harassers stay in power.
Scott J. Ferrell via Getty Images Brett Kavanaugh looks on as his former boss Alex Kozinski testifies during a Senate Judiciary confirmation hearing. Kavanaugh clerked for Kozinski in 1991 and remained in close contact with him over the years. They co-authored at least one book and sat on panels together. They even helped vet law clerks for Supreme Court Justice Anthony Kennedy, an incredibly influential role.
“Judge and law clerk are in fact tethered together by an invisible cord for the rest of their mutual careers,” Kozinski famously wrote in a paper called “Confessions of a Bad Apple,” published in the Yale Law Review the same year Kavanaugh clerked for him.
Kozinski, of course, is THE ultimate judicial bad apple.
Fifteen women, including one judge and several former clerks, told The Washington Post last year how Kozinski, a Reagan appointee on the country’s biggest federal court, had shown them pornographic images in his chambers, made grossly inappropriate comments, and stared at and groped their breasts.
Heidi Bond, who clerked for Kozinski in 2006 and 2007, described how the judge showed her photos of naked people, asking her if she was turned on.
“When I first arrived in chambers, the outgoing clerks suggested that we should watch The Aristocrats , a documentary about a notorious dirty joke, to prepare ourselves for the upcoming year,” Bond, who left the legal profession entirely, wrote in Slate recently .
“Having clerked in his chambers, I do not know how it would be possible to forget something as pervasive as Kozinski’s famously sexual sense of humor,” she said.
Kozinski was one of a handful of federal judges known for feeding clerks to the Supreme Court. If you landed a job clerking with him, you scored a golden ticket to a prestigious legal career in the United States.
Indeed, after Kavanaugh’s clerkship with Kozinski ended, he went on to work for Justice Anthony Kennedy on the high court and subsequently skipped down the path to his current nomination.
Crossing Kozinski almost certainly would’ve put a halt to all that.
Even if we take Kavanaugh at his word that he had no idea one of his most important professional contacts was a serial abuser, it raises a crucial question: Does he understand what sexual misconduct looks like?
“Who knows what kinds of sexual harassment issues Kavanaugh will have the opportunity to decide on over the next 30 years or so,” Elie Mistal wrote in Above the Law this summer. “Whether the man can even recognize sexual harassment WHEN HE SEES IT is relevant. ”
Emily Peck Senior Reporter, HuffPost Suggest a correction