The Redd Foxx Encyclopedia of Black Humor PDF Download
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Author: Redd Foxx
Publisher: Ward Ritchie Press
ISBN:
Category : Humor
Languages : en
Pages : 284
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Book Description
Author: Redd Foxx
Publisher: Ward Ritchie Press
ISBN:
Category : Humor
Languages : en
Pages : 284
Get Book Here
Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 120
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Book Description
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
Author: Cary D. Wintz
Publisher: Taylor & Francis
ISBN: 9781579584580
Category : Art
Languages : en
Pages : 708
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Book Description
An interdisciplinary look at the Harlem Renaissance, it includes essays on the principal participants, those who defined the political, intellectual and cultural milieu in which the Renaissance existed; on important events and places.
Author: Darryl Littleton
Publisher: Hal Leonard Corporation
ISBN: 9781557837301
Category : Performing Arts
Languages : en
Pages : 362
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Book Description
(Applause Books). Black Comedians on Black Comedy is the only up-to-date book to examine African-American humor. Comedian Darryl Littleton traces the history and evolution of "black comedy" in his narrative and through the 125 interviews he conducted with some of the top African-American comedians in the world. Those interviewed include Dick Gregory, Sinbad, Eddie Murphy, Mike Epps, Cedric the Entertainer, Nick Cannon, Bernie Mac, Eddie Griffin, Damon Wayans, Arsenio Hall, Chris Rock, Marla Gibbs, Robert Townsend, and John Witherspoon.
Author: Mel Watkins
Publisher: Chicago Review Press
ISBN: 1569767602
Category : Humor
Languages : en
Pages : 638
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Book Description
This comprehensive history of black humor sets it in the context of American popular culture. Blackface minstrelsy, Stepin Fetchit, and the Amos 'n' Andy show presented a distorted picture of African Americans; this book contrasts this image with the authentic underground humor of African Americans found in folktales, race records, and all-black shows and films. After generations of stereotypes, the underground humor finally emerged before the American public with Richard Pryor in the 1970s. But Pryor was not the first popular comic to present authentically black humor. Watkins offers surprising reassessments of such seminal figures as Fetchit, Bert Williams, Moms Mabley, and Redd Foxx, looking at how they paved the way for contemporary comics such as Whoopi Goldberg, Eddie Murphy, and Bill Cosby.
Author: Bambi Haggins
Publisher: Rutgers University Press
ISBN: 9780813539850
Category : Biography & Autobiography
Languages : en
Pages : 292
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Book Description
In Laughing Mad , Bambi Haggins looks at how this transition occurred in a variety of media and shows how this integration has paved the way for black comedians and their audiences to affect each other. Historically, African American performers have been able to use comedy as a pedagogic tool, interjecting astute observations about race relations while the audience is laughing. And yet, Haggins makes the convincing argument that the potential of African American comedy remains fundamentally unfulfilled as the performance of blackness continues to be made culturally digestible for mass consumption.
Author: Bill Reed
Publisher: McFarland
ISBN: 0786457260
Category : Performing Arts
Languages : en
Pages : 273
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Book Description
From the early days of minstrelsy to Black Broadway, this book is the story of African American entertainment as seen through the eyes of some of its most famous as well as others of its practitioners. The book moves from the beginning of African American participation in show business up through the present age. Will Marion Cook and Billy McClain are discovered in action at the very dawn of black parity in the entertainment field; six chapters later, the young Sammy Davis, Jr., breaks through the invisible ceiling that has kept those before him "in their place." In between, the likes of Valaida Snow, Nora Holt, Billy Strayhorn, Hazel Scott, Dinah Washington, and others are found making contributions to the fight against racism both in and out of "the business."
Author: Robert L. Mott
Publisher: McFarland
ISBN: 9780786418121
Category : Performing Arts
Languages : en
Pages : 244
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Book Description
During the "golden age" of live radio and television, writers, performers, and producers created their programs in an environment far different from the studios of today. With live programming, anything could happen, and often did. Robert L. Mott, a veteran writer and Emmy-nominated sound effects creator of the live era, recreates the days when television and radio programs were performed live. He includes personal reminiscences as well as a forthright look behind the microphones: horses' hooves were played by coconuts, African-American women were played by white males, and television actors might ad lib an entire program that didn't go as planned. Celebrities like Red Skelton and Jackie Gleason, as well as the unsung heroes in the sound booth and backstage, step up to the mike here. Behind-the-scenes photographs are also included in this account of the exciting--but not always glamorous--world that was "live on the air."
Author: David Bruce
Publisher: iUniverse
ISBN: 0595378986
Category : Humor
Languages : en
Pages : 135
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Book Description
"The Funniest People Who Write Books and Make Music" contains such anecdotes as these: When Peg Bracken started writing, she would often type the first page of a famous short story for inspiration. Often, she discovered that the page did not look as impressive typed on a sheet of paper as it did printed on a page in a book, so sometimes she would imitate her English professor and write on the sheet of paper: 'You can do better than this, Mr. Faulkner." Andri Previn played jazz with a couple of American-African musicians. Afterwards, he went into a diner, where two white men asked him, 'Why the hell don't you play with your own kind?" Mr. Previn replied, 'To tell you the truth, I wanted to, but I couldn't find two other Jews who swing." Soccer and Cup Final day are important in England. Once, the noted conductor Sir Thomas Beecham held a rehearsal on Cup Final day. The rehearsal had been going on for only a short time when a giant television was delivered to the rehearsal area. Sir Thomas then said, 'Now, gentlemen, let's get down to the most important business of the day-watching the match."
Author: Terrence T. Tucker
Publisher: University Press of Florida
ISBN: 0813065607
Category : Literary Criticism
Languages : en
Pages : 405
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Book Description
"An important and timely expansion of American racial discourse. Tucker’s demonstration of how the comic is not (just) funny and how rage is not (just) destructive is a welcome reminder that willful injustice merits irreverent scorn. "—Derek C. Maus, coeditor of Post-Soul Satire: Black Identity after Civil Rights "Adroitly explores how comic rage is a skillfully crafted, multifaceted critique of white supremacy and a soaring articulation of African American humanity and possibility. Sparkling and highly readable scholarship."—Keith Gilyard, author of John Oliver Killens: A Life of Black Literary Activism A combustible mix of fury and radicalism, pathos and pain, wit and love—Terrence Tucker calls it "comic rage," and he shows how it has been used by African American artists to aggressively critique America’s racial divide. In Furiously Funny, Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique. Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony’s attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America’s legacy of racial oppression. Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.
