Hollywood declares God is black

[mke]

Mr. Freeman, You Look Divine
By SAMUEL G. FREEDMAN



Audiences have accepted Morgan Freeman, left, in the role of God in "Bruce Almighty," starring Jim Carrey.



n 1898 a prominent black minister named Henry McNeal Turner wrote an essay titled, "God Is a Negro." When even some of Turner's fellow members of the African Methodist Episcopal denomination objected, he replied in print that "every other race of people since time began" envisioned God in its image. "Why should not the Negro," he concluded, "believe that he resembles God as much so as other people?"

Some 105 years later Turner's premise has received unlikely, in part unintended, confirmation in a big-budget Hollywood comedy. The new Jim Carrey film, "Bruce Almighty," presents the black actor Morgan Freeman as God. More specifically the movie evokes African-American theology by showing God identifying with the poor and scorned, taking the forms of a janitor and a homeless man.

Audiences have clearly accepted the notion: "Bruce Almighty," released on May 23, made $100 million in its opening weekend to lead all films, and by last weekend had taken in $170.8 million. Among black religious figures and film scholars, Mr. Freeman's performance has provoked both satisfaction and skepticism.

"It's significant because it would not have happened 20 or 30 years ago," Professor James H. Cone, an influential African-American theologian who teaches at the Union Theological Seminary in New York, said in an interview. "The use of a black God reflects how much white Americans can relax with the idea of racial inclusiveness, provided it doesn't challenge their power."

The comfort level, Professor Cone went on, also attests to the increasing exposure of white Americans to black Christianity, whether by studying the life of the Rev. Dr. Martin Luther King Jr. or by watching ministers like T. D. Jakes and Frederick K. C. Price on cable television.

The Rev. Johnny Ray Youngblood, senior pastor of St. Paul Community Baptist Church in East New York, Brooklyn, lauded Mr. Freeman's performance from his pulpit. "The spirituality of black people is being depicted — not just our singing, our entertainment," Mr. Youngblood said. "There's a sense in this movie that at the highest levels of existence there are black people."

The film is essentially a comic version of the Job story, with Mr. Carrey as a television newsman named Bruce Nolan who grows so depressed and frustrated that he dares God to do something about it. Whereupon God grants Bruce divine powers, which he proceeds to use on himself: sports car, promotion to news anchor, revenge on sundry enemies. Only then, omnipotent but unhappy, does Bruce realize that the purpose of godly power is to dispense mercy and compassion to others.

Members of the creative team behind "Bruce Almighty" said the choice to depict God as black occurred more from a desire to cast Mr. Freeman than to make any racial or theological point. Steve Oedekerk, a screenwriter who helped devise the film with Mr. Carrey and the director Tom Shadyac, said their goal was to present God as "more personal," less "generic and pious." Race did not figure in the screenplay. But in discussing how to cast the film, Mr. Oedekerk said in an e-mail message, the creative team focused very early on Mr. Freeman for his combination of authority, wisdom and comic timing.

"We all knew having a black God was a choice that would be talked about," Mr. Oedekerk noted, "but I don't think we were thinking it would be as groundbreaking as it turned out being. I was personally surprised by the attention this received. For me this type of casting isn't as groundbreaking as it is overdue."

Reviewing the film in The New York Times, Stephen Holden wrote: "For Mr. Freeman, playing God is a piece of cake. With his quiet, measured drawl, which implies depths of good-humored wisdom, he may be the most convincing screen sage Hollywood has these days."

The film's personal, impious God embodies some central premises of black theology. The concept of God or Jesus being black was first espoused by the writer Robert Alexander in 1829, when his "Ethiopian Manifesto" called for a "black Messiah" to liberate the slaves, Professor Cone said. Since then the idea was taken up by figures as varied as Henry McNeal Turner, Marcus Garvey and Malcolm X, who famously deplored the way "the white man has brainwashed us black people to fasten our gaze upon a blond-haired, blue-eyed Jesus." Many black ministers today cite the biblical verses that describe Jesus as having "hair like lamb's wool" and feet the color of "hammered brass."

At least one film prior to "Bruce Almighty" featured a black God, with Rex Ingram playing De Lawd in the 1936 all-black musical "Green Pastures." The image of a Christian deity was implicitly altered when the comedian George Burns, whom many viewers knew was Jewish, took the title role in the 1977 movie "Oh, God!" and two sequels.

In "Bruce Almighty" the title character first meets God in the guise of a janitor, wearing coveralls and mopping a warehouse floor. "People underestimate the value of good ol' manual labor," God tells the skeptical Bruce. For Mr. Youngblood that scene resonated with black theology's view of Jesus as an oppressed man put on earth to free the oppressed.

Michael Eric Dyson, a professor of African-American and religious studies at the University of Pennsylvania, said via e-mail: "Freeman's God allows Bruce to work out his soul's salvation in trial and error. That's part of black theodicy — the attempt to understand, better yet survive, the existence of suffering and evil."

The praise for "Bruce Almighty" in black intellectual circles is not unanimous. The cultural critics Gerald Early of Washington University in St. Louis and Linda Williams of the University of California at Berkeley said that Mr. Freeman is carrying on what Ms. Williams, in an e-mail message, called "the same old tradition of the saintly black man who is shown caring for the relatively trivial worries of white protagonists."

Both scholars traced that line of cinematic characterization back to Uncle Tom tending Little Eva in the 1927 film adaptation of Harriet Beecher Stowe's abolitionist novel "Uncle Tom's Cabin." Sidney Poitier took on several such roles in the postwar decades, particularly as the handyman caring for a group of white nuns in "Lilies of the Field" (1963). Mr. Freeman himself portrayed the moral instructor of a self-absorbed white as a rich widow's chauffeur in "Driving Miss Daisy," the 1989 screen version of Alfred Uhry's play.

"We have here another instance of a wise black person helping a white person achieve insight, realize his humanity," Professor Early said of "Bruce Almighty." "That's about as tired a Hollywood formula, indeed an American culture formula, as one can get." He added, "Audiences subconsciously were drawn to it, particularly white audiences who like their black folk nonthreatening and supportive."

But even those who find the portrayal of a black god problematic laud the performance itself. "If you're going to go the route of having a black God concerned about a trivial white person," as Professor Williams put it, "you couldn't get a better God than Morgan Freeman."

[Dr Dave]

If I thought God was Morgan Freeman, I'd probably be a believer.

[Aggie87]

For another interesting spin, how about Alanis Morrisette's version in "Dogma"?

[mke]

Originally posted by Aggie87
For another interesting spin, how about Alanis Morrisette's version in "Dogma"?

She didn't have much to say for herself in that role.

[Brian Olewnick]

While I love Morgan Freeman (saw him on Broadway way back in the original staging of 'The Gospel at Colonnus'), I tend to agree with Early's comments at the end of the piece. Hollywood likes its black actors as unthreatening as possible. I'm afraid Freeman is basically an updated James Earl Jones. One of the things I like about HBO's 'The Wire' is that they, to an extent, buck that trend.

btw, did you notice the several times the writer of the piece referred to the quotes as having come from e-mail communications? Is this something new? Maybe related to the scandals the NYT has been going through?

[Uli]

Originally posted by mke
Mr. Freeman, You Look Divine
By SAMUEL G. FREEDMAN

The new Jim Carrey film, "Bruce Almighty," presents the black actor Morgan Freeman as God. More specifically the movie evokes African-American theology by showing God identifying with the poor and scorned, taking the forms of a janitor and a homeless man.

I like that! As opposed to some now popular strains of European-American theology whose God mainly identifies with the greedy mutherfuckers.

[Aggie87]

Brian Olewnick: Hollywood likes its black actors as unthreatening as possible.

Just out of curiousity, what does this really mean? Are there white actors who are allowed to be more "threatening" to the American psyche than comparable black actors are? I'm curious as to who an example of this might be?

I'm not saying this statement is false, I'm just curious about it, given the variety of black actors that seem to be successfully carving out careers in Hollywood. In addition to James Earl Jones and Morgan Freeman, there's also Cuba Gooding Jr., Eddie Murphy, Chris Rock, Ice Cube, Chris Tucker, Denzel Washington, Spike Lee, Michael Clark Duncan, Angela Bassett, Halle Berry, Tiny Lister, Nia Long, Lawrence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Whitney Houston, and I'm sure I could probably think of some others given more time.

Are these individuals all unthreatening? Seems like a quite a wide body of work that they've collectively accomplished.

[Pete C]

If he were still alive, I'd have cast Dexter Gordon. He was tall and had a great delivery. I'd like to hear him recite the Ten Commandments.

[mke]

Originally posted by Uli
I like that! As opposed to some now popular strains of European-American theology whose God mainly identifies with the greedy mutherfuckers.

Just because you're a janitor or homeless, doesn't mean your not greedy.

[Pete C]

Originally posted by Aggie87
Just out of curiousity, what does this really mean? Are there white actors who are allowed to be more "threatening" to the American psyche than comparable black actors are? I'm curious as to who an example of this might be?

This isn't an answer to that question, but wouldn't Christopher Walken make a great Old Testament god?

[Sergio Zamora]

It's funny how Freeman has been typecast into the soft-spoken, wise, benevolent role. He was great as a pimp in that movie with Christoper Reeves. The movie wasn't that good, but his performance was excellent, and the persona he creates was scary.

Miles would have made a great movie God.

[stonemonkts]

Originally posted by Aggie87
Just out of curiousity, what does this really mean? Are there white actors who are allowed to be more "threatening" to the American psyche than comparable black actors are? I'm curious as to who an example of this might be?

I'm not saying this statement is false, I'm just curious about it, given the variety of black actors that seem to be successfully carving out careers in Hollywood. In addition to James Earl Jones and Morgan Freeman, there's also Cuba Gooding Jr., Eddie Murphy, Chris Rock, Ice Cube, Chris Tucker, Denzel Washington, Spike Lee, Michael Clark Duncan, Angela Bassett, Halle Berry, Tiny Lister, Nia Long, Lawrence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Whitney Houston, and I'm sure I could probably think of some others given more time.

Are these individuals all unthreatening? Seems like a quite a wide body of work that they've collectively accomplished.

Not a very impressive list of thespians. Most are personalities, with the exception of Fishburne and Jackson. I suppose if fame and fortune (and Oscars) are sought, than those mentioned would be deemed successful. As far as acting, every black cast member of "The Wire" or the previous series "The Corner" can act circles around anyone mentioned in that list.

I hope the critical success of those series will open a few doors.

Hollywood's use of black actors has always been dreadful, for the most part (unfortunately Paul Robeson's example didn't lead to much, beyond a few good productions of "A Raisin In The Sun", the best of which starred Esther Rolle and Danny Glover).

Orson Welle's all-black Macbeth on Broadway way back when should have catalyzed more of the same, instead he was lauded as a boy wonder but the production itself dwindled into obscurity. Another young wunderkind (name fails me at the moment) presented Mozart's "Don Giovanni" where twin black actors played the leads. I thought the production was mesmerizing, but again, it never led to other efforts along the same lines.

There are isolated cases where the acting is inspiring or at the very least realistic (Duvall's "Apostle" contained a few noteworthy scenes, some of Spike Lee's work esp. "Do The Right Thing" and "Clockers") but IMO movies of late where subjects of epic proprtion are attempted (Ali, Malcolm X, Glory) the portrayals are syrupy at best.

There are far more talented actors out there than one-note Denzel (even in "Training Day" where the character was sinister, it was still one-note repeated over and over).

I hope "The Wire" is just the beginning. I haven't enjoyed anything as much as this in a very long time.

[walto]

I'm going with Alanis. She almost had that handstand down.

[Darryl G. Thomas]

Too Too Divine
Movies' 'Magic Negro' Saves the Day, but at The Cost of His Soul

By Rita Kempley
Washington Post Staff Writer
Saturday, June 7, 2003; Page C01

Morgan Freeman plays God in "Bruce Almighty;" Laurence Fishburne a demigod in "The Matrix Reloaded," and Queen Latifah a ghetto goddess in "Bringing Down the House."

What's the deal with the holy roles?

Every one of the actors has to help a white guy find his soul or there won't be a happy ending. Bruce (Jim Carrey) won't get the girl. Neo (Keanu Reeves) won't become the next Messiah. And klutzy guy
Peter (Steve Martin) won't get his groove on.

In movie circles, this figure is known as a "magic Negro," a term that dates back to the late 1950s, around the time Sidney Poitier sacrifices himself to save Tony Curtis in "The Defiant Ones." Spike Lee, who
satirizes the stereotype in 2000's "Bamboozled," goes even further and denounces the stereotype as the "super-duper magical Negro."

"[Filmmakers] give the black character special powers and underlying mysticism," says Todd Boyd, author of "Am I Black Enough for You?" and co-writer of the 1999 film "The Wood." "This goes all the
way back to 'Gone with the Wind.' Hattie McDaniel is the emotional center, but she is just a pawn. Pawns help white people figure out what's going wrong and fix it, like Whoopi Goldberg's psychic in
'Ghost.' "

It isn't that the actors or the roles aren't likable, valuable or redemptive, but they are without interior lives. For the most part, they materialize only to rescue the better-drawn white characters. Sometimes they
walk out of the mists like Will Smith's angelic caddy in "The Legend of Bagger Vance." Thanks to Vance, the pride of Savannah (Matt Damon) gets his "authentic swing" back.

A case of the yips hardly seems to call for divine intervention, but then neither does Carrey's crisis in "Bruce Almighty." He's a TV funny guy who wants to be a news anchor. After he loses out to another
contender, he verbally lambastes the Lord (played by Freeman with as much dignity as he can muster), and the Lord takes an interest.

Freeman's God can walk on water. But when He first appears, God is mopping the floors. Yes, He humbles Himself to teach the title character, Bruce, about humility. He then hands his powers over to him,
popping in from time to time to save the world from Bruce's bumbling.

In "The Family Man," a 2000 version of "It's a Wonderful Life," Don Cheadle turns up as Cash, a meddlesome guardian angel disguised as a street tough. Cash shows Wall Street wheeler-dealer Jack
Campbell (Nicolas Cage) how things would have been if he hadn't ditched his college sweetheart to pursue his career. When the fantasy ends, Jack must choose between love or money. Thanks to Cash, Jack
has a chance to make amends for his capitalistic piggishness. Cue the heavenly chorus.

"Historically, if a black person is thrust into a white universe, it is inevitable that the white people will become a better person," says Thomas Cripps, author of "Making Movies Black: The Hollywood
Message Movie from World War II to the Civil Rights Era" and other books on African American cinema. "Sidney Poitier spent his whole career in this position. Sidney actually carried the cross for Jesus in
'The Greatest Story Ever Told.' "

In 1943 alone, black men became the moral conscience of white characters in four World War II movies: "Sahara," "Bataan," "Crash Dive" and "Life Boat." Cripps is especially fond of the example set by
actor Rex Ingram in "Sahara," the tale of a tank full of men lost in the desert. "When they decide to get rid of somebody so the rest can survive, who stands up and says, 'We either all live or we all die
together'? Ingram. The black man becomes the spokesman for Western democracy."

Like Ingram's soldier and Queen Latifah's salty soul sister, many black exemplars don't have halos, but they still work miracles. Her Highness's performance "is especially unusual because most of these
characters are male," says Jacqueline Bobo, chair of women's studies at the University of California at Santa Barbara. "When women do show up, they end up in exoticized roles like Halle Berry's in
'Monsters Ball.' "

Cedric Robinson, author of "Black Marxism" and a colleague of Bobo's at UCSB, says, "Males, more problematic in the American imagination, have become ghostly. The black male simply orbits above the
history of white supremacy. He has no roots, no grounding. In that context, black anger has no legitimacy, no real justification. The only real characters are white. Blacks are kind of like Tonto, whose name
meant fool."

Audiences -- black and white -- seem to be accepting of these one-note roles, judging by the financial success of "Bringing Down the House," which brought in about $130 million, and "Bruce Almighty,"
which has raked in $149 million and was ranked No. 2 at the box office last week.

And yet other viewers and most critics were appalled by the extreme odd-couple comedy "Bringing Down the House," in which Charlene (Latifah), an obnoxious escaped con, invades the staid bourgeois
universe of Peter (Martin), the uptight suburbanite.

Charlene not only shows Peter how to jump, jive and pleasure a woman, but teaches his son to read (a nudie magazine piques the tyke's interest), saves his daughter from a date-rapist and then reunites him
with his estranged wife. And she does it all while pretending to be Peter's maid.

"If you were to say to the average person playing God was representative of a stereotype, you would get a curious look," Boyd says. "People are uninformed. They see a black man playing God and that's a
good thing. The same principle is at work when it comes to 'Bringing Down the House.' People know she had a hand in creating the movie, so everything must be okay. White people and black people are
getting along and having fun. Isn't that great?"

Aaron McGruder, creator of "The Boondocks" comic strip, didn't think so. He upbraided Latifah for her "less-than-dignified and racially demeaning performance." His character Huey e-mailed Latifah,
informing her that the "Almighty Council of Blackness has unanimously voted to revoke your 'Queen' status."

The mystic icon that first comes to mind with many of today's moviegoers and film aficionados is Michael Clarke Duncan in "The Green Mile." Duncan received an Oscar nomination for the role of gentle
giant John Coffey, a healer wrongly convicted of murdering two children. In the movie, Coffey cures the jaded prison guard of corrosive cynicism and a kidney infection. He also saves the lives of the
warden's wife and the prison mouse.

Ariel Dorfman sees sinister forces, something disturbing in such portrayals. "The magic Negro is an easy way of making the characters and the audiences happy. And I am for happiness, but the real joy of art
is to reveal certain intractable ways in which humans interact. This phenomenon may be a way of avoiding confrontation," says Dorfman, a playwright, poet and cultural critic.

"The black character helps the white character, which demonstrates that [the former] feels this incredible interest in maintaining the existing society. Since there is no cultural interchange, the character is put
there to give the illusion that there is cultural crossover to satisfy that need without actually addressing the issue," Dorfman says.

"As a Chilean, however, I sense that maybe deep inside, mainstream Americans somehow expect those who come from the margins will save them emotionally and intellectually."

Damon Lee, producer of the hard-hitting satire "Undercover Brother," has come up with a similarly intriguing hypothesis drawn from personal experience. "The white community has been taught not to listen
to black people. I truly feel that white people are more comfortable with black people telling them what to do when they are cast in a magical role. They can't seem to process the information in any other way,"
he says.

"Whoever is king of the jungle is only going to listen to someone perceived as an equal. That is always going to be the case. The bigger point is that no minority can be in today's structure. Somehow the
industry picked up on that."

Robert McKee, who has taught screenwriting to about 40,000 writers, actors and producers, says, "Try to see [the issue] from a writer's POV. He or she wants to be PC. But you can't expect writers to think
like sociologists. They aren't out there trying to change the world; they are just trying to tell a good story."

Morpheus (Fishburne), named for the Greek god of dreams, has an interesting mission, to ensure the rise of the messiah, Neo (Reeves). But Morpheus is the ultimate outsider. He and 100,000 or so others
have been enslaved by the Matrix.

Morpheus, a captain in the war against the Matrix, is both a free-thinking renegade and a religious zealot. In other words, he is more complex than similar characters. But his powers are in the service of the
chosen one.

Such a worthy cause is no consolation for those who would prefer a fulfilling life of their own, rather than the power to change someone else's. Especially if the souls being saved aren't really in dire straits.

[Dr Dave]

"Magic Negro." Wow. What can I say? White people (like me) still need a lot of therapy. We understand stomping on black people; we understand elevating black people; we still have a really hard time seeing black people as people. Let those who are Totally Enlightened on matters of race throw the first stone...

[Noj]

No empirical evidence suggests God has an epidermis, much less melanin or lack thereof. Racism is so odd.

[clinthopson]

Anybody who appears in a Carrey movie automatically loses any diestic powers.

One can only sink so low.

[Sergio Zamora]

Interesting article, Darryl. I hadn't ever noticed this trend as such, but I can see what the author means. Is it possible that this phenomenon is caused by the combination of liberal guilt and lack of knowledge of African Americans? What I mean is that it seems like an easy way to fulfill the desire to add a Black characterwithout really having to "write" a real Black character. Of course, what's also implicit in this is that a Black character is much more difficult to write because he or she is so different from White characters.

This is even noticeable in some recent teen movies, where the black friend (of either the boy or the girl) is the moral center, whereas the white friend is the slacker, opportunist, or snob.

Hey, at least it's better than having the character killed off in the first 20 minutes of the movie.

[Darryl G. Thomas]

Sergio,

Jim Brown made it to the last 20 minutes of the "Dirty Dozen" at least.

I think the "phenomena" is partially due to the fact that the vast majority of screen writers and directors are white and have a hard time writing for black characters. And, how many black actors have the star power to carry a movie? The main protagonists are usually white in the most successful movies (unless it's a comedy). Will Smith? Denzel Washinton?

I've been reading some of the Alex Cross mysteries the last couple of years (Morgan Freeman played Cross in a couple of recent movies). The author of these books is white, the lead character is black. While I really enjoyed the books a lot of the time I find myself thinking"` "would a black person say that, would a black person be in that situation". It just may be too hard for white screenwriter to fully actualize a black character.

As to the thoughts or motivations of the white movie -goer I can only guess. What are their expectations for a black character in a major movie? What are the limits they are willing to accept? What if Denzel and Julia Roberts bedded down in "The Pelican Brief". Would that have hurt attendance?

[Chris D]

A lot of valid insight a be found in these pieces. But I do have to address this:

"More specifically the movie evokes African-American theology by showing God identifying with the poor and scorned, taking the forms of a janitor and a homeless man."

God identifying with the poor and scorned is not just African-American theology; it's true Christian theology. You don't sense it from the righteous hypocrites carrying water for the monied, but it's a fundamental part of true belief.

[Sergio Zamora]

Originally posted by Darryl G. Thomas
Jim Brown made it to the last 20 minutes of the "Dirty Dozen" at least.

Ah, but "The Dirty Dozen" was an extraordinary movie. Not to mention that everybody dies in it

[tippy]

Isn't it actually Jesus who identifies with poor and scorned? I don't think God is as nice as Jesus. But then how could he be? Jesus is the nicest!

[Brian Olewnick]

Aggie, you're right, I probably shouldn't single out black actors, as Hollywood certainly likes all its stars to be as unthreatening (generally saleable) and bland as possible. But there's a white tendency to write in, for example, black characters from whom they (the whites) can learn, who are wise and can show us how we've strayed or forgotten the "important" things and, importantly, want to show us. They rarely write in wise characters who could care less about "us" and have no desire or need to "teach" anything. Ie, they have to be utile to whites, not self-sufficient. It's a way of taming the Other, imho. And there are actors whose persona will implicitly read in one of the two manners. There's a reason Halle Berry gets a lot more work than Joie Lee, Cynda Williams or Sonja Sohn and I don't think it's just her looks. As Stone mentions above, that's one of the very nice things about The Wire: the interaction between races is pretty natural, realistic and noncondescending.

Spike Lee's underappreciated School Daze lays these issues out there pretty clearly, I think. I don't recall a lot of the actors on the "jigaboo" side of the fence having gotten too many roles in the ensuing years.

[Sergio Zamora]

Originally posted by tippy
Isn't it actually Jesus who identifies with poor and scorned? I don't think God is as nice as Jesus. But then how could he be? Jesus is the nicest!

I think before Jesus came around God was all like "Y'all. Don't get on my bad side, cuz I can get real bitchy and blow shit up. You saw what I did to Sodom and Gomorrah. Not to mention the flood. So don't fuck with me. Yeah, that goes for you too in the back, the guy worshipping the goat".

But after Jesus was born, I think he mellowed out - which is good.

[tippy]

Actually, I notice that with a lot of new fathers, Sergio. I've watched the baddest mother fucker turn all mushy mush over 10 lbs. of swaddled miracle.

The same thing happens to me when I hold a California super burrito.

[Sergio Zamora]

Yes, in many ways, a baby is like a good burrito.

[Tanager]

Originally posted by Darryl G. Thomas
I've been reading some of the Alex Cross mysteries the last couple of years (Morgan Freeman played Cross in a couple of recent movies). The author of these books is white, the lead character is black. While I really enjoyed the books a lot of the time I find myself thinking"` "would a black person say that, would a black person be in that situation". It just may be too hard for white screenwriter to fully actualize a black character.

Well, the bizarre thing about the first of those movies, Kiss the Girls, was that it was so unaware of racial and cultural reality is that it portrayed the Durham, NC, P.D. as being run by a bunch of guys whose accents made them sound more like antebellum Charleston rice planters than anything else, and, well, he just doesn't know much about local politics, etc., in Durham.

Not a particularly well-researched story, IMHO.

I haven't read the book, but I hope Alex Cross was at least moderately more aware than the movie was (which wouldn't be hard).

[Pete C]

Originally posted by Sergio Zamora
Yes, in many ways, a baby is like a good burrito.

But Sergio, your baby would have no skin!

[tippy]

Skinless babies? By George, Pete, I think you've got it!

[Sergio Zamora]

Originally posted by Pete C
But Sergio, your baby would have no skin!

Well, why not?