Mr. Happy, the analogy to The Producers works fairly well in this context. First off, Jews aren't the only people who could easily be offended by "Springtime for Hitler" though I appreciate that was what Mel Brooks was reaching for--something that was profoundly offensive to the sensibilities of American Jews. Which is the same point (but with a different intention) Spike Lee is aiming for with Bamboozled. Find the most profoundly offensive "entertainment" to the sensibilities of an African American audience.

The point is, both men knew and realized the effect that using that point of sensitivity in each of their cultures would have in their artistic work, both of which use satire and parody a good deal throughout. Both Brooks and Lee build offense after offense as a plot device in their stories.

The thing is though, they weren't SERIOUSLY suggesting that these things had any intrinsic value, except to the most morally corrupt and greedy entertainment industry types.

Why is that message falling on deaf ears here? The point that both Brooks and Lee made was that the stuff NEVER should be done, precisely because it is SO hurtful and offensive to these particular audiences, and anyone who would engage in such a ruse for profit (or power, or notoriety, or whatever you think you might gain from the performance of minstrel shows/songs) should immediately be seen as morally suspect.

Very good analogy, Mr. Happy. But I'm guessing I'm interpreting it differently than you are.