This article discussed the evolution of “Negro” or Black humor. The first stage of Black humor was when slaves used humor in the form of satirical songs to mask their pain. From the outsider’s point of view, the songs they were singing made it seem that they were happy but only the members of the group understood the actual implications of the songs. The humor was formed because of the groups’ shared experiences. The second stage of Black humor was no longer in-group as those who were once outsiders, were now using Black humor and it was intended for the public. Comedians such as Al Jolson used blackface to portray Black caricatures to the public. Finally, the third stage is Black humor today, which contains elements from the previous two stages.
He rightly communicates his ire at profound established preference and the infrequent scorn that blacks are subjected to. This part of his paper is not special, for minority writing in America is brimming with such subjects. However, what makes Staples' exposition emerge from the rest is his proposed answer for the issue. Rather than receiving a radical point of view of forceful meeting or even activist striking back against racial shameful acts, Brent Staples endeavors to see the issue from White Americans' viewpoint and makes a special effort to facilitate their worries. This is in fact an extraordinary outlook in the connection of dark and minority writing.
In early 1900, Patrick “Pat” Chappelle founded The Rabbit’s Foot Company (or, The Rabbit Foot Minstrels) as a roaming, tented minstrel company. Chappelle, equipped with a strong entrepreneurial spirit and notable talent as a banjo guitarist, was to become the figurehead of one of the most successful vaudevillian entities in U.S. history, and, perhaps most importantly, the first exclusively black-owned and operated traveling variety shows in the country. Despite this evolution to “variety show,” The Rabbit’s Foot Company “came forth in the unmistakable form of a minstrel show.” To define, minstrel shows oft manifested as sketch, musical, and variety performances that targeted and mocked black people using blackface and exaggerated stereotypes
This paper will first incorporate a summary of the author 's argument discussing how the experiences the two leading male character in Richard Wright 's "Down by the Riverside" and "Long Black Song" highlights racial oppression and alienation. Hakutani comparing and contrasting their shortcomings leads the audience to focus on the idea that during the Jim Crow conditions the results remain that African-Americans will always be inferior to Caucasians. Therefore, their suicidal actions gave them purpose and the ability to define their existence. Then, one will provide a sum up discussing one strength and one weakness of the article and what can be utilized from this piece of work. Overall, this article can be valued as a credible document for scholars seeking a summary of these two pieces of work.
The television show Saturday Night Live performed a skit titled, “Black Jeopardy” in order to suggest that people, no matter their race or background, are more similar than society portrays. The writers of SNL support their suggestion by creating a fake game show, “Black Jeopardy,” for which the object is to answer the black cultured questions correctly. On the game show, the host, as well as two of the three contestants, are African American; the third contestant, Doug, is a white Trump supporter. During the start of the game, it is assumed for Doug to lose due to his race and assumed lack of knowledge of black culture with remarks such as “Sorry Doug!”
A way to add sarcastic humor to the racial
At first, the act was predominantly done by white people who wore black faces to depict how African-Americans spoke and acted, but eventually, there was a recorded increase in African-Americans themselves who too wore the black faces. The acts included a variety of comic acts, African-American music, comic skits, and dancing (Minstrel Show). However, with the shows’ popularity, it was also quite clear that the acts were highly depicted as racist towards the African Americans. This notion comes about from the fact that the acts portrayed African Americans as lazy, ignorant, and as those who loved music and dancing regardless of any other facet of life. Surprisingly, the history of the minstrel acts has over the time infatuated both black artists in the modern day and a clique of white artists locally referred to as “wiggers” which translates to white artists who want to act as black artists (Blacking Up: Hip-Hop 's Remix of Race and Identity).
In Black Men and Public Space, Staples uses diction to create a sarcastic and almost humorous tone to get his point across. “As a softy who is scarcely able to take a knife to a raw chicken - let alone hold onto a person’s throat…” (347). Staple writes. Instead of taking a full on negative tone and having no sense of humor in it, Staples shows, no matter what happens to him, sarcasm and humor to lighten the mood of the article. In contrast, Staples chooses to include “ I could cross in front of a car stopped at a traffic light and elicit the thunk, thunk, thunk, thunk of the driver…” (347).
The article “South Park and the Carnivalesque” written by Alison Halsall delves into both parody and satire within the context of the program. South Park’s Carnivalesque humor, or carnival laughter “is a method by which popular culture in general, and South Park in particular, provides liberation from constraint” (Halsall 24). South Park makes it a point to use humor that provokes the inherent “dirtiness” that we contain, in an attempt to expose cultural aspects that generally go undiscussed (Halsall 34). Through profanity, South Park brings carnival humor down to the basic grotesque humor that serves to “critique linguistic sanitation” (Halsall 34).
There is a clear through-line in our nation’s history of blackface. As a detrimental tradition, the practice reflects a collectively low opinion of African-Americans, so much so that it became feasible to reduce an entire group of people to caricatures. When Rondrich describes minstrelsy as the “first truly American band” based on its origin within and its reflection of our past beliefs, I found it a sickeningly accurate statement. It is rather astonishing how music has been used to disseminate racially charged imagery—in this situation, Adorno’s fears of music perpetuating group-thought was startlingly supported. Beyond the racial elements, the growing popularity of blackface minstrelsy reflects how low-quality entertainment (more colloquially,
In this new integrated society, colorism has the greatest impact on the African American culture and community. People of color are discriminating against each other due to the fact of their skin complexion. Colorism is a major problem in society and the black community. This vicious system privileges light skinned people of color over dark skinned people in such areas as beauty standards in mass media, self-esteem in social media and education. Passed through generation after generation, it has been taught that light skinned has been the right skin since the 1600’s pre-slavery.
In Paul Laurence Dunbar’s poem, “We Wear the Mask” the speaker wears a mask to hide his internal suffering because he does not want the rest of the world to think he is weak. This poem relates the prejudice black people face against white people. The speaker starts the poem with the lines, “We wear the mask that grins and lies,” (1). Here he describes the kind of “masks” that he wears.
The bright colors and the deformed cartoonlike style in combination with the obvious history of racial mixing suggests the ugly past that is tied to biracial people who are both black and white. The painful and ugly history of rape and the mixing of blacks and whites within slavery is not only expressed through the figures but also through the use of bright colors that clash with each other and also through the cartoonlike distortion of the figures. The ‘ugly” style is meant to express the ugly and difficult history of biracial people. The style and color choice also addressed the subject of “passing” as another lighter race and the tendency of biracial people to choose their lighter skinned heritage over their black heritage. Robert Colescott was known for transgressively playing with themes of race and sex, he was very politically aware.
In Terrance Hayes’s poem “Mr. T-,” the speaker presents the actor Laurence Tureaud, also known as Mr. T, as a sellout and an unfavorable role model for the African American youth for constantly playing negative, stereotypical roles for a black man in order to achieve success in Hollywood. The speaker also characterizes Mr. T as enormous and simple-minded with a demeanor similar to an animal’s to further his mockery of Mr. T’s career. The speaker begins his commentary on the actor’s career by suggesting that The A-Team, the show Mr. T stars in, is racist by mentioning how he is “Sometimes drugged / & duffled (by white men) in a cockpit,” which seems to draw illusions to white men capturing and transporting slaves to new territories during the time of the slave trade (4-5).
Stereotypes have changed throughout history. Toni Cade Bambara’s short story “Blues Ain’t No Mockin Bird” uses stereotypes to develop characters and set a realistic setting. Bambara sets her story in the rural South in the United States of America. With a house near some woods, Granny, Granddaddy Cain, and a group of their relatives enjoy a private life away from white people. In this time period, during the civil right movement, there was a distrust between the African-American community and the white people.
The Colored Museum is a satire about African American Culture which examines the influence of history on African Americans. George C. Wolfe uses political theater’s alienation effect to engage the audience into critical thought. The title “The Colored Museum” is a direct correlation between the word “Museum” where ancient artifacts are unchanged and “Colored”, a word from the past which is figurative for stopping time and escape. The Colored Museum has 11 exhibits which mock different aspects of African American history and culture. Wolfe also illustrates the affects of African Americans assimilation into the European culture with exhibits such as, “The Hairpiece”.