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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
Brian Regan Live! at the Bandshell Rescheduled to Thursday, June 24Th
For Immediate Release: Contact: Todd Rossi, [email protected] Brian Regan Live! At the Bandshell Rescheduled th to Thursday, June 24 (Daytona Beach, Fl- January 18, 2021) The LIVE at the Bandshell engagement with comedian BRIAN REGAN, originally scheduled for December 12, 2020 has been rescheduled to June 24, 2021. Patrons are encouraged to keep their same tickets which will be honored on the new rescheduled date. Refunds available at point of purchase. For more information or questions, please email the Peabody Auditorium at [email protected]. Critics, fans and fellow comedians agree: Brian Regan is one of the most respected comedians in the country with Vanity Fair calling Brian, "The funniest stand-up alive," and Entertainment Weekly calling him, "Your favorite comedian's favorite comedian." Having built his 30-plus year career on the strength of his material alone, Brian's non-stop theater fills the most beautiful venues across North America, visiting close to 100 cities each year. Brian starred in his own Netflix series, Stand Up And Away! With Brian Regan, which premiered on Christmas Eve 2018. Brian and Jerry Seinfeld Executive Produced the four- episode original half-hour series that combined sketch comedy and stand-up. Brian premiered his seventh hour of comedy, the Netflix special, Brian Regan: Nunchucks And Flamethrowers, in 2017, the first special in a two-special deal with Netflix, joining Brian with Dave Chappelle, Chris Rock, Jerry Seinfeld and others in multi-special deals with the channel. Brian's second Netflix special is planned for release in 2021. The Live! At the Bandshell Series features nationally known musicians and comedians performing to hundreds of socially distanced fans at the Daytona Beach Bandshell. -
(FCC) Complaints About Saturday Night Live (SNL), 2019-2021 and Dave Chappelle, 11/1/2020-12/10/2020
Description of document: Federal Communications Commission (FCC) Complaints about Saturday Night Live (SNL), 2019-2021 and Dave Chappelle, 11/1/2020-12/10/2020 Requested date: 2021 Release date: 21-December-2021 Posted date: 12-July-2021 Source of document: Freedom of Information Act Request Federal Communications Commission Office of Inspector General 45 L Street NE Washington, D.C. 20554 FOIAonline The governmentattic.org web site (“the site”) is a First Amendment free speech web site and is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. Federal Communications Commission Consumer & Governmental Affairs Bureau Washington, D.C. 20554 December 21, 2021 VIA ELECTRONIC MAIL FOIA Nos. -
Nigger’ : Interpretations of the Word’S Prevalence on the Chappelle’S Show, Throughout Entertainment, and in Everyday Life
‘NIGGER’ : INTERPRETATIONS OF THE WORD’S PREVALENCE ON THE CHAPPELLE’S SHOW, THROUGHOUT ENTERTAINMENT, AND IN EVERYDAY LIFE Kyle Antar Coward A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillmen t of the requirements for the degree of Master of Arts in the School of Journalism and Mass Communication. Chapel Hill 2007 Approved by: Dr. Anne Johnston Dr. Lucila Vargas Dr. Lois Boynton © 2007 Kyle Coward ALL RIGHTS RESERVED ii ABSTRACT ‘Nigger’ : Interpretations of the Word’s Prevalence on the Chappelle’s Show , Throughout Entertainment, and in Everyday Life (Under the direction of Anne Johnston) This study analyzes the prevalence of the wor d nigger in the television sketch comedy the Chappelle’s Show – in particular, the word’s prevalence in a 2004 skit entitled “The Niggar Family” – by performing a textual reading of the five -act skit, along with conducting in -depth interviews with ten blac k individuals. In addition to the comprehension of sentiments regarding the word’s prevalence on the Chappelle’s Show , this study also analyzes how participants construct meaning out of the word as it is prevalent not only throughout entertainment in gene ral, but in everyday life outside of entertainment as well. The data from the in -depth interviews is gathered and analyzed by the utilization of the grounded theory framework of Strauss and Corbin (19 98). iii ACKNOWLEDGEMENTS From the moment that I first began the graduate program at the School of Journalism and Mass Communication to th e present time , there were many days where I wondered if I had the resolve necessary to withstand any and all challenges that I would come to face with my studies. -
Racial Satire and Chappelle's Show
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 4-21-2009 Racial Satire and Chappelle's Show Katharine P. Zakos Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Zakos, Katharine P., "Racial Satire and Chappelle's Show." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/50 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RACIAL SATIRE AND CHAPPELLE’S SHOW by KATHARINE P. ZAKOS Under the Direction of Mary Stuckey ABSTRACT This thesis examines Chappelle's Show’s use of racial satire to challenge dominant stereotypes and the effectiveness of that satire as a tool to achieve perspective by incongruity. I use a variation of D’Acci’s circuit of media study model to examine the institutional challenges and limitations on the show due to the context in which it was created, produced, and distributed; to interrogate the strategies employed by the show’s writers/creators to overcome these challenges through the performance of race; and to analyze the audience’s understanding of the use of racial satire through a reception study of the show’s audience. I argue that using satire often has the unintended consequence of crossing the line between “sending up” a behavior and supporting it, essentially becoming that which it is trying to discount, though this is not to say that its intrinsic value is therefore completely negated. -
Dave Chappelle's Block Party
’ Dharmender Singh Dhillon Cardif University This paper examines Michel Gondry’s 2006 documentary: Dave Chap- pelle’s Block Party (hereafter referred to as Block Party), in light of the work of the critical theorist Herbert Marcuse (1888-1979). I shall be- gin with a brief introduction to the work of both Chappelle and Mar- cuse, which will lead onto a discussion of how the content of Block Party—music from the marginalized inhabitants of the ghettos of the USA—meets certain conditions that Marcuse posits as necessary for revolutionary action. I will then look at some of the problems of this reading in terms of how the lm betrays some other of Marcuse’s con- ditions, as well as some more general problems with his theory of rev- olutionary art. I will argue that, whilst history has not necessarily vin- dicated Marcuse’s claims, there is still something of them that can be salvaged, which is made evident in certain moments in the lm. 1 Dave Chappelle At the time of lming, Chappelle was one of the most popular co- medians in the USA. By collaborating with the innovative music video director Gondry, Chappelle sought to document his attempts to put together a secret, low-budget block party in the Bedford- Stuyvesant ghetto in Brooklyn, New York. Coming from a mid- dle class background in Washington D.C., having been raised by his African-American mother (who has a PhD in linguistics), Chappelle is not—like his hero, the comedian Richard Pryor, who grew up in a postgraduate journal of aesthetics vol. -
Event Destination This Is
EVENT DESTINATION THIS IS FOR OVER HALF A CENTURY, THE IMPROVISATION COMEDY CLUBS HAVE REMAINED THE PREMIERE STAGES FOR LIVE COMEDY IN THE UNITED STATES. Over the decades, the talent who have played center stage represents the Who’s Who of American Comedy, including Richard Pryor, Billy Crystal, Lily Tomlin, Freddie Prinz, Andy Kaufman, Eddie Murphy, Jerry Seinfeld, Tim Allen, Jay Leno, Chris Rock, Dane Cook, Ellen DeGeneres, Jamie Foxx, Adam Sandler, Jeff Dunham, and Dave Chappelle. Today, the Improv stage continues to be the most important live venue for new comedians. Come and join the IMPROV legacy. PERFECT for ANYONE WHO LOVES TO LAUGH. WE’RE PRETTY SURE THAT MEANS YOU, YOU, YOU… PLEASE INTRODUCE YOURSELF... • PROFESSIONAL • LOCAL CELEB • BUSINESS PROFESSIONAL • MILLENNIAL • HIPSTER • INFLUENCER • CORPORATE 500 • CURIOUS OUR VENUES. YOUR PARTY. Book the whole space. A blank canvas. IN-HOUSE AMENITIES INCLUDE: • DEDICATED EVENT PLANNER • STATE OF THE ART SOUND, & EXPERIENCED STAFF LIGHTING & PRODUCTION • UNIQUE & FLEXIBLE • CUSTOMIZABLE MENU OPTIONS EVENT SPACE • FULL SERVICE KITCHEN & BAR • BUILT-IN STAGE • OFF-SITE PREFERRED • ON-SITE AV TECHNICIANS CATERERS WELCOME SO WHAT’S THE OCCASION? • CORPORATE MEETINGS • AWARDS CEREMONIES • FUNDRAISERS • SPEAKING ENGAGEMENTS • TEAM BUILDING • HOLIDAY PARTIES • CONFERENCES • PRODUCT LAUNCHES • BIRTHDAYS • BACHELOR & BACHELORETTE • BAR/BAT MITZVAHS • FILM SHOOTS/LIVE ENTERTAINMENT TALENT DISTINGUISHED BOOKING TEAM WITH UNLIMITED INDUSTRY ACCESS. WE SPECIALIZE IN COMEDY AS THE MOST PRESTIGIOUS BUYER ON A GLOBAL SCALE. EAT. DRINK. LAUGH. THE WAY TO THE HEART IS THROUGH THE STOMACH. FROM CASUAL TO ELEVATED, FROM SAVORY TO SWEET, FROM RECEPTION BITES TO FULL MEALS, OUR SEASONED TEAM OF EVENT PLANNERS WILL CUSTOMIZE A MENU PERFECTLY SUITED TO YOUR EVENT FROM OUR IN-HOUSE MENU OR FROM OUR PREFERRED VENDORS/CATERERS. -
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture
Representations of Blackface and Minstrelsy in Twenty- First Century Popular Culture Jack HARBORD School of Arts and Media University of Salford, Salford, UK Submitted in Partial Fulfilment of the Requirements of the Degree of Doctor of Philosophy, June 2015 Table of Contents List of Figures iii Acknowledgements vii Abstract viii Introduction 1 1. Literature Review of Minstrelsy Studies 7 2. Terminology and Key Concepts 20 3. Source Materials 27 4. Methodology 39 5. Showing Blackface 5.1. Introduction 58 5. 2. Change the Joke: Blackface in Satire, Parody, and Irony 59 5. 3. Killing Blackface: Violence, Death, and Injury 95 5. 4. Showing Process: Burnt Cork Ritual, Application, and Removal 106 5. 5. Framing Blackface: Mise-en-Abyme and Critical Distance 134 5. 6. When Private goes Public: Blackface in Social Contexts 144 6. Talking Blackface 6. 1. Introduction 158 6. 2. The Discourse of Blackface Equivalency 161 6. 3. A Case Study in Blackface Equivalency: Iggy Azalea 187 6. 4. Blackface Equivalency in Non-African American Cultural Contexts 194 6. 5. Minstrel Show Rap: Three Case Studies 207 i Conclusions: Findings in Contemporary Context 230 References 242 ii List of Figures Figure 1 – Downey Jr. playing Lazarus playing Osiris 30 Figure 2 – Blackface characters in Mantan: The New Millennium Minstrel Show 64 Figure 3 – Mantan: Cotton plantation/watermelon patch 64 Figure 4 – Mantan: chicken coup 64 Figure 5 – Pierre Delacroix surrounded by African American caricature memorabilia 65 Figure 6 – Silverman and Eugene on return to café in ‘Face -
Deconstructing "Chappelle's Show": Race, Masculinity,And Comedy As Resistance Lyndsey Lynn Wetterberg Minnesota State University - Mankato
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2012 Deconstructing "Chappelle's Show": Race, Masculinity,and Comedy As Resistance Lyndsey Lynn Wetterberg Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the African American Studies Commons, Ethnic Studies Commons, and the Women's Studies Commons Recommended Citation Wetterberg, Lyndsey Lynn, "Deconstructing "Chappelle's Show": Race, Masculinity,and Comedy As Resistance" (2012). Theses, Dissertations, and Other Capstone Projects. Paper 133. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. i DECONSTRUCTING “CHAPPELLE’S SHOW”: RACE, MASCULINITY, AND COMEDY AS RESISTANCE by LYNDSEY L.WETTERBERG A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN GENDER AND WOMEN’S STUDIES MINNESOTA STATE UNIVERSITY MANKATO, MINNESOTA JULY 2012 ii Deconstructing Chappelle’s Show: Race, Masculinity, and Comedy as Resistance Lyndsey Wetterberg This thesis (or dissertation) has been examined and approved by the following members of the thesis (or dissertation) committee. Dr. Helen Crump, Advisor Committee Member, Dr. Shannon Miller Committee Member, Dr. Kristen Treinen iii Abstract “Chappelle’s Show” is a sketch comedy series that ran from 2003-2004 and that was created by and starred comedian Dave Chappelle. -
Intertextuality and Understanding Dave Chappelle's Comedy
Intertextuality and Understanding Dave Chappelle’s Comedy DAVID GALVEZ Produced in Dan Martin’s Fall 10 ENC1101 In an American culture where individual achievements and a maverick approach are praised, people tend to forget that “nothing is new under the sun” and that their ideas and thought processes are molded by their everyday experiences in their particular environment. The reality (and beauty) of authorship is that, in the words of James Porter, “the creative mind is the creative borrower” (110). Intertextuality, however, becomes controversial when it comes to defining sole authorship. Any text can be praised as creative (assuming it hasn’t been copied from any source word for word), but not because it’s something never before seen. Rather, sole authorship is the innovative arrangement of pre-existing ideas recognized by an audience who understands and interprets the work of the author as “original,” based on their own representations. In other words, it’s up to the individual to determine whether the text is original or plagiarized. If it looks like a duck and sounds like a duck, it isn’t necessarily a duck. Since each individual interprets a text differently from everyone else, there can really be no universally accepted way of differentiating sole authorship from plagiarism. In this paper I’ll discuss how an author uses “creativity through borrowing” through a sketch comedy clip from Chappelle’s Show and how an audience uses intertextuality to get something out of the text. In doing this, I’ll explain why every work, unless blatantly copied word for word, has a sole author. -
The Influence of Political Correctness on Stand-Up Comedy
Running head: MAJOR RESEARCH PROJECT: THE INFLUENCE OF POLITICAL CORRECTNESS ON STAND-UP COMEDY Master of Professional Communication – Major Research Project: The Influence of Political Correctness on Stand-Up Comedy Martina Buehler Supervisor Dr. Jessica Mudry Ryerson University Toronto, Ontario, Canada August 31, 2019 THE INFLUENCE OF POLITICAL CORRECTNESS ON STAND-UP COMEDY 2 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MAJOR RESEARCH PAPER I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. THE INFLUENCE OF POLITICAL CORRECTNESS ON STAND-UP COMEDY 3 To my beloved daddy, I cannot wait to see you again. THE INFLUENCE OF POLITICAL CORRECTNESS ON STAND-UP COMEDY 4 Acknowledgements I would like to express my thanks to Dr. Jessica Mudry, who has been my supervisor for this major research project. Her support, guidance and strict deadlines have helped me to stay on track and focused on completing this major research project. My thanks also go to Professor Dr. Robert Clapperton, who supported me in defining my topic and being the second reader for this project. I would like to extend special thanks to my lovely classmate, Yvonne Yeung, who pushed through this process with me and whose constant availability to discuss our research topics and give feedback was encouraging and motivating. -
Paramount Home Entertainment
ParamountParamount HomeHome EntertainmentEntertainment E-Solicitation 8.7.07 Shrek The Third Order Close: 9/18/07 Street Date: 11/13/07 Synopsis: When Shrek married Fiona the last thing he had in mind was becoming the next King of Far Far Away. But when Shrek’s father-in-law, King Harold, suddenly croaks, that is exactly what he faces. Recruiting Donkey and Puss In Boots for a new quest, Shrek sets out to bring back the rightful heir to the throne. Meanwhile back in the kingdom, Fiona's jilted Prince Charming storms the city with an army of fairy tale villains to seize the throne. Fiona and a band of princesses must stop him to ensure there will be a kingdom left to rule! Stars: Julie Andrews, Antonio Banderas, John Cleese, Cameron Diaz, Rupert Everett, Ian McShane, Michael Meyers, Eddie Murphy, Amy Poehler, Amy Sedaris, Justin Timberlake Artwork not Box Office: $320 Million Final Rating: US – PG CN – G Shrek Trilogy Order Close:9/18/07 Street Date: 11/13/07 Gift Set includes: Shrek, Shrek 2 and Shrek the Third A must-own trilogy…Add the entire SHREK Story to your collection at once at a great value. Packaging: 3 Amrays in a Slip Case Stars: Julie Andrews, Antonio Banderas, John Cleese, Cameron Diaz, Rupert Everett, Ian McShane, Michael Meyers, Eddie Murphy, Amy Poehler, Amy Sedaris, Justin Timberlake Artwork not Box Office: $1 Billion+ Combined Final Rating: US – PG CN – G Com-Eddie 2-Pack Order Close: 8/14/07 Street Date: 9/25/07 Key Facts: Check out Eddie Murphy doing what he does best.