The Pop Culture of Gus Lequerica

There is one truth with the Boondocks, and that is not as commercial as many other series and is sincere compared to the many television shows that are today.

The Boondocks tells the story about two African-American brothers Huey and Riley Freeman; both as different from each other, but not as different as the sides of the African Community that they represent. Huey been the radical, political active who looks for a better future of the community; and, Riley, the side of the community that is influenced by the negative side of the mass media (such as the rap industry and the stereotypes many rappers portray).

The paradox of The Boondocks is that both brothers even if they are completely different, as far as they can be, they show mutual compassion to each other, which is a message that can be followed by almost any community in the world, that even with our differences we are the same deep in the end and just the color of the skin and dogmas are just a small fraction of what men really are.

Huey is probably the most complex character from the entire series, as he is the only one who shows a complete creed about how cruel but yet intricate society is. Although that serves as a “vehicle” to Aaron McGruder political dogma, which isn’t that far as the one given to Huey, but still we can see how McGruder sees contemporary society.

Riley in the other hand, is what in Mass Communication is called a “Mass Man”, someone who don’t have a self-identity but an identity taken from the Mass Media, used to fill the void of not having a self-identity. Riley can be portrayed as the classical individual who believes in everything that is seen in television and in the Rap Doctrine (a doctrine that today is more commercial rather than spiritual or personal) and he follows’ it with passion, even if most of his heroes are just manufactured products.

The deal with The Boondocks is that is appealing to many audiences, as it was said previously because the show is fresh and real than many today shows.

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