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Streaming or Skipping: A & E's "Right to Get Angry: The Black Comedy Revolution", How and Why Black Jokes Are Important

In time for Independence Day, Kevin Hart executives will produce a two-part documentary on comedy history from a black-American perspective. How did comedians struggle to hear their voice? How to balance the desire for fun with the need to be social and political activists, and a few comedians have opened the door to follow them for generations.

Opening Shot: The first thing you see is a warning card like this: "This is a story of a black comedian deliberately using humor. A tool to evoke discrimination and fight for social change. Racism, ethnic violence, offensive language, some Includes a candid discussion of thought-provoking dialogue that can distract viewers. ”Continued, sitting Kevin Hart said,“ The role of black comedians today is not the same as yesterday. ” He says.

Key points:Episode 1 "Revolutionary" focuses on black comedy pioneers such as Dick Gregory, Richard Pryor, Moms Maybury, and Red Fox.

The first rise of Blackface by the Minstrel Show, the first Blackface Devil comedian emerges from Blackface and begins (the very term punchline speaks to punk jokes and blows the air. It comes from Charlie Case, who used his arms when punching.), And how radio and movie stars such as Amos'n'Andy and Steppin Fetish perpetuated previously harmful stereotypes Gregory in the early 1960s. It broke through the Citrine circuit and the color line.

How Gregory rushed into the civil rights movement and eventually took a more active approach both on-stage and off-stage, and several other successes in Gregory's early television. Mostly among them see how the black comedians, Fox and Marbury, opened the medium.

Foxx's "Party Record" and how Richard Pryor was released in offensive language after deciding to stop imitating Bill Cosby to appeal to the mainstream white audience. have something to talk about. Yes, we now all know what Cosby's personal life contradictions are, but it also has a debate about Cosby's legacy as a black comedian without the threat of breaking through.

The first half of this documentary series entered the 1970s, when Normanria'sGood Timesaddressed heavy social issues and made star Jimmy Walker the catchphrase for "Dyn-O-Mite." Reduced, how Garrett Morris felt on the sidelines of much of his time in the original cast ofSaturday Night Live, and how the SNL episodes and fledgling sketch shows of Pryor changed.

And the documentation has a lot of heads: W. Kamaubel, Alonzo Bodden, Dr. Todd Boyd, Wayne Brady, Kevin "Dotcom" Brown, Michael Che, Louis Tud Sokei, Tommy Davidson, Michael Eric Dyson, Wayne Fedderman, Andre Gaines, Nelson George, Christian Gregory, David Alan Greer, Tiffany Hadish, Michael Harriott, Steve Harvey, Bambi Higgins, Lil Lell Howary, DL Huley, Norman Lear, Darryl Littleton, Daryl, Dwayne Mooney, Garrett Morris, Mark Anthony Neal, Kliph Nesteroff, David Peisner , Russell Peters, Elizabeth Pryor, Rain Pryor, Donnell Rawlings, Tony Rock, Amber Ruffin, Allison Samuels, Scott Saul, Amanda Seales, Sheri Shepherd, Bob Sumner, Eddie Tafoya, Robin Thede, Kenan Thompson, Joe Torry, Aisha Tyler, Jimmie Walker, George Wallace, Marsha Warfield, Cut Williams, Tony Woods.

Photo: A&E

Documentary reminds me:Kevin Hart is also , I made an award-winning documentary in EP at Dick Gregory last summer. Whoopi Goldberg, meanwhile, published a great documentary on HBO's Moms Maybury 10 years ago. A concrete look at the 1990s hip-hop comedy isFat Tuesdayin Prime Video. However, to see the history of the entire genre, we need to return to Robert Townsend'swhy we laugh, who made his debut at the Sundance Film Festival in 2009.

Our take:The heart may look unexpected in front of a documentary like this. His fame depends mostly on pleasing as many audiences as possible. When thinking of a comedy revolutionary, he's not at the top of your list. Again, that's probably exactly why he puts his voice, face, and EP stamps on it and insists on putting such a historical film in front of many eyes. Of the black comedy revolution.

I haven't seen the heart pivot yet, as Pryor did in the late 1960s.

But it's not easy to see how history repeats itself in comedy and how threads are pulled. attractive. When Gregory made his famous debut at Jack Pearl'stonightshow, he sat in a chair and told the audience, "When you tell the audience that this show contains live colors, you believe it. It's better, "he said.

Living color, sure.

Early in the document, scholar Louis Chude-Sokei said: It wasn't possible before, so it's possible now, and people have taken on the impossible and extended it. I believe that how it happened is an important story to tell and that's what you're trying to do here.

Gender and skin:Not applicable.

Farewell Shot:Zoom in on Richard Pryor's Star at the Hollywood Walk of Fame.

Sleeper Star:The first part of this document focuses on the comedy "revolutionaries" of the 1960s and 70s, as Katt Williams talks about them. Every time he is signaled, he draws our attention. When Williams was asked to put more weight on his contemporaries in Part 2, he sounds even more amazing. Probably because he's used to seeing high-energy stand-ups on his high wires. Attitude, he is even more memorable and worth listening to.

Our call:STREAMIT. Two years have passed since the new Black Lives Matter protests all over the United States, but comedians aren't just observers and philosophers, and sometimes more importantly, listen to remind them of their plight. I realized that it was a necessary voice. Among us who do not enjoy the same rights as our others.

Sean L. McCarthy is his own digital newspaper Comic comicsBefore that, for the actual newspaper. Based in New York, I travel everywhere for scoops, including ice cream and news. He also tweeted @thecomicscomic , 30 minutes for comedians to unveil the origin story. Podcast episodes of: Comic comics present the last one first

SeeRight to get angry: A&E

Black Comedian Revolution