"I personally believe we were put here to build and not to destroy"
About this Quote
Coming from Red Skelton, a man who understood how easily laughter can be weaponized, this line reads less like a greeting-card maxim and more like a professional ethic. “Personally believe” is doing quiet work: it softens the claim, sidestepping sermonizing, but it also signals a hard-earned conclusion drawn from watching audiences, politics, and media moods swing. Skelton isn’t issuing doctrine; he’s offering a moral posture that a comedian, of all people, has to choose every night.
The build/destroy binary is deceptively simple, almost childlike, which is part of its power. Skelton’s comedy leaned on innocence, sentiment, and characters like Freddie the Freeloader - figures who could have been played for cruelty but instead became vessels for tenderness. “Build” suggests craft and accumulation: a joke constructed, a room brought together, a shared mood stitched from strangers. “Destroy” evokes the easier alternative: the cheap laugh, the humiliating punchline, the scorched-earth cynicism that turns wit into a wrecking ball.
Context matters: Skelton’s career runs through the Depression, World War II, the Cold War, and the rise of television - eras when entertainment could either steady people or stoke their worst impulses. The quote implies a responsibility attached to visibility: if you have the microphone, you’re either constructing something communal or helping dismantle it. It’s not anti-edgy; it’s anti-gratuitous. The subtext is a rebuke to cultural reflexes that confuse harshness with honesty and demolition with insight.
The build/destroy binary is deceptively simple, almost childlike, which is part of its power. Skelton’s comedy leaned on innocence, sentiment, and characters like Freddie the Freeloader - figures who could have been played for cruelty but instead became vessels for tenderness. “Build” suggests craft and accumulation: a joke constructed, a room brought together, a shared mood stitched from strangers. “Destroy” evokes the easier alternative: the cheap laugh, the humiliating punchline, the scorched-earth cynicism that turns wit into a wrecking ball.
Context matters: Skelton’s career runs through the Depression, World War II, the Cold War, and the rise of television - eras when entertainment could either steady people or stoke their worst impulses. The quote implies a responsibility attached to visibility: if you have the microphone, you’re either constructing something communal or helping dismantle it. It’s not anti-edgy; it’s anti-gratuitous. The subtext is a rebuke to cultural reflexes that confuse harshness with honesty and demolition with insight.
Quote Details
| Topic | Ethics & Morality |
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